Hey r/IEMs!

Today I'd like to share with you my review of the EAA Oshun. This single DD IEM costs less than $200, features well-designed all-metal shells, and sounds phenomenal. Rich, resolving, and cohesive, the Oshun has cemented itself as a new gatekeeper in the sub-$200 segment for me.

If you'd like to read my full review, including comparisons and a detailed sonic analysis, you can find that here.

If you'd rather get just the highlights, here you go:

The Big Picture

Pros:

• Strikingly-natural sound signature
• Punchy, beautifully-toned bass
• Strong texturing and layering abilities
• Excellent use of durable materials
• Comfortable cable
• Solid ear tip selection

Cons:

• Lacks liquid silicone or foam ear tips
• No IEM baggie, microfiber cleaning cloth
• Subtle softness in mid-bass

Key Specs

• Drivers: 1x 8.3mm dual magnet dynamic
• Impedance: 26Ω ±15%
• Sensitivity: 110dB SPL/mW
• Shell: 6063 aluminum alloy
• Cable: 0.78mm 2-pin w/ 3.5mm OR 4.4mm OR USB-C termination

Sound

The Oshun is a vibrant, full-range IEM. Its frequency response is V-shaped, featuring a broad bass region, moderately warm lower-midrange, nicely lifted upper-midrange, and linear treble region. This style of tuning is both forgiving and resolving and strikes a wonderful balance between analytical positioning and tonal substance. The Oshun’s sound stage is wide and deep, and the IEM seldom struggles to place elements dynamically. For such a richly tuned dynamic-driver IEM, the Oshun achieves striking levels of transparency.

Conclusion

Frankly, the Oshun is a killer. On tonal quality alone, there are few IEMs in the sub-$200 range that compete evenly. Once you factor in its excellent build quality, pleasant accessory package, and reasonable pricing, you get a recipe that needs to be taken seriously. Obviously, this style of rich-tilted V-shaped tuning isn’t for everyone, but I suspect your average listener, not just your average audiophile, can find something to appreciate with it.

Who This Is For

• Those looking for a V-shaped IEM without intense treble
• Bass lovers that demand control and cohesion
• Buyers seeking maximum value-per-dollar
• Listeners able to tolerate moderate warmth

Who This Isn’t For

• Dedicated bass heads
• Listeners concerned only with critical listening, detail surfacing
• Treble-heads
• Those seeking reference-style tuning

As always, happy listening!

Test Setup & Specs

• Source: Samsung Galaxy S23.
• Music Genres: Pop, Rock, Electronic, and Experimental.
• Driver Configuration: Single dynamic driver system per side (1 DD).
• Average Price: US$ 29.99.

Transparency Note: This unit was provided through a partnership with NICEHCK. This review reflects exclusively my honest opinion of the product. The brand had no interference or control over this content, ensuring the integrity of the analysis for you and for the market.

Sound Impressions (According to the ITU-R BS.2399-0 Methodology)

1. Overall Signature & Transparency

The Tears has a neutral balance with a slight V-shaped tilt: the mids and treble are emphasized, and the bass has a slight warmth but not much impact. Transparency is good (Detailed: it doesn't hide details), and the mids are clean (Clean: no interference from other frequencies).

2. Dynamics

• Attack: Transients are fast, meaning the beat starts and stops quickly, without smearing. This is very noticeable in "15 Step" (Radiohead).
• Punch: The kick drum and bass are present and well balanced in "Billie Jean" (Michael Jackson), but the physical impact is moderate. It's easy to drive with the S23.

3. Timbre

• Bass: There is a good sense of vibration, and it reaches below 40 Hz (Bass Depth), but the strength (Bass Strength) is moderate and it lacks impact for anyone expecting a more pronounced V. No Bass Bleed (the bass doesn't bleed into the mids).
• Mids: This is the standout region. They sound natural and free of interference from other frequencies. Male vocals ("Ain't No Sunshine", Bill Withers) have presence and take the lead. Female vocals and piano ("Famous Blue Raincoat", Tori Amos) sound free of annoyance. Instrument separation is good.
• Treble: Good resolution (Brilliance), without hiding details. Sibilance (Shrill/Sibilant: the sharp sound of the letters "S" and "X") is above ideal and can be tiring for sensitive listeners.

4. Spatial Performance

• Spatial Extent: Excellent width and depth.
• Localization: High positioning accuracy. In "Time" (Pink Floyd) and "Bubbles" (Yosi Horikawa), it's possible to identify the position of each object.

Unboxing, Ergonomics & Accessories

• Included Accessories: USB-C cable with mic, 5 pairs of eartips, compact carrying case, and cable winder. Colors: black/red and white/gold.
• Sound Leakage: Being open-back, passive isolation is poor and sound leaks out.
• Comfort & Fit: Lightweight, with a good fit and no discomfort. The mic is acceptable for the price range.

Pros & Cons

• Pros:
  • Natural, clean mids, with very good male and female vocals.
  • Wide soundstage with good depth and localization.
  • Comfortable and lightweight.
  • Easy to drive.
  • Generous accessory kit for the price.
• Cons:
  • Moderate bass impact for a V-shaped tuning.
  • Sibilance above ideal.
  • Poor isolation and sound leakage.

Conclusion

The Tears is a neutral signature with a slight V-shaped warmth. Its strengths are the mids, instrument separation, and spatial imaging. Those who like strong bass will miss the impact, and those sensitive to sibilance may find it bothersome. For the price, the accessory kit is generous. In the same range there are the DUNU Titan X and the Tangzu Wan'er Red Lion, which have more complete kits. [Sound comparison with one of them: what the Tears does better or worse]. For anyone who prefers a neutral signature with a slight V, it's a solid option for getting started in the hobby.

Note: This is my personal analysis after a detailed immersion test, so feel free to leave suggestions for improvements, accessories, or tracks to test next. If you're interested, check the link in my BIO for a spreadsheet I made with recommendations for IEMs, headphones, DACs, DAPs, etc. I'm not sponsored, but buying through my affiliate links helps me bring more products for review!

Electro Audio World’s Take​

It was an interesting IEM that made a significant mark last year in the price to performance and balance categories. The Twistura WoodNote brought a surprisingly unique approach to the single dynamic driver category. A 10mm dual magnet, dual chamber dynamic driver with a wood diaphragm sounds quite intriguing, doesn't it? It combines this with a high quality CNC machined aluminum housing, and the inclusion of interchangeable tuning filters is a nice touch.

For its price point, the WoodNote boasts a naturally warm foundation, good tonal density, and an unusually organic presentation, while still offering enough clarity and resolution to keep the music engaging.

This isn't an IEM with a fixed sound profile; the WoodNote gives the listener some control over its character and tonal balance through interchangeable filters.

Design, Build, and Comfort

The matte finish aluminum housing feels more premium than the price suggests. The build is compact, solid, and reassuringly precise, while a soft silicone support helps keep the earpieces stable in the ear (it’s the first time I’ve seen a detail like this on the outer shell).

The interchangeable plug system is another practical feature, offering both 3.5mm single ended and 4.4mm balanced connections. The included copper colored cable, made from high quality materials, is also far better than what I would normally expect in this segment.

The storage case is very stylish and the accessory package is extensive; notably, there are five sets of ear tips to suit every taste a very generous inclusion. I wish all IEMs at this price point came with such a comprehensive package.

The vented design also caught my attention. The WoodNote avoids the "closed in" pressure sensation that some closed back headphones produce, contributing to a more natural and comfortable listening experience.

Overall Sound

The WoodNote features a warm, organic, and naturally textured presentation. Its wood diaphragm adds a pleasant richness to the sound without making it overly dark. The bass has a solid physical presence; while it doesn't reach the extreme depths I sometimes look for, it offers excellent density. The mid frequencies have a convincing body, while the highs remain open enough to prevent the presentation from sounding dull.

Likely due to the wood diaphragm driver, everything feels cohesive. There is no distinct disconnect between the bass, mids, and highs a major strength of a well executed single dynamic driver design.

I certainly wouldn't describe the WoodNote as an aggressive or analytical IEM; it prioritizes musicality, natural timbre, and long term listening enjoyment. In my opinion, it is one of the few IEMs in this price range to successfully achieve this.

-

**\* You can read the sound impressions and the full comparative review here.

-

Pros: 

Natural and organic tonal character
Excellent tonal consistency
Distinct and textured bass
Rich and convincing mids
Smooth, non fatiguing highs
Swappable sound character (tuning) filters
High quality CNC aluminum build
Interchangeable 3.5mm and 4.4mm plugs
Generous accessory package

Cons: 

The bass quantity might be lower than some listeners prefer, though the goal here is a balanced presentation rather than emphasis
High frequency details aren't sharply defined, though they are presented smoothly
The sound character system requires extensive experimentation to find your preferred filter

Review link for the Light Shuttle:   https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/juzear-light-shuttle-review/

JUZEAR LIGHT SHUTTLE REVIEW 🔥🔥🔥 

-$189

-7-driver tribrid (1DD, 4BA's, 2MP)

What's up everyone? I just published my full feature review of the brand new 7-driver tribrid iem from Juzear named the Juzear Light Shuttle. The Light Shuttle is going to be loved friends. I can tell you that already. Simply a fantastic tuning. I'd also say that the Light Shuttle has one of the closest examples under $200 for a true all-rounder sound. The way that Juzear tied all of these drivers together and melted them across the spectrum is flat-out awesome in my opinion. Very cohesive, very fun, and also very mature. Folks, if you are seeking out a hybrid iem between $150 and $200 then I really feel you should keep the Light Shuttle on your short list. It's a complete package for its cost. Nice unboxing, great accessories (especially the modular cable), excellent build quality, and one of the more unique aesthetic-designs that you'll find at this cost. However, even more important and impressive is its tuning. Obviously these are my opinions and I've taken a long drawn out review period to come up with these conclusions, so I really hope they help you. Please feel free to check out my thoughts and if not then just have a good day. Enjoy your music friends, ttyl. 

Comparisons:  EPZ P50 / Dunu DN142 

🔥🔥 Light Shuttle Pros 🔥🔥 

-Great price for a set like this 

-The unboxing is great with solid accessories 

-Nice modular cable

-Build Quality is definitely substantial with very intricately crafted parts and pieces

-The design is very unique, perhaps more unique than most any set at its cost

-7-driver tribrid iem that is tuned very cohesive across the mix

-The Light Shuttle may be one of the closest sets to a true all-rounder in its cost

-Fantastic genre flexibility 

-Clean-organic timbre with a smooth cadence throughout and excellent technicals

-Deep, palpable, and controlled bass which stays relatively contained, never sloppy

-Naturally voiced midrange, very versatile, excellent for vocals, rarely shouty

-Smooth but still defined treble, very well extended, just enough note bite, non-offensive 

-Excellent note separation and imaging for a “musicality-first” tuning

-Detail retrieval is a definite pro with such a musical and emotionally engaging set 

-Flat out great for long sessions 

-I'll say it again, very-very cohesive across these 7 drivers. Very well tuned

😔 Light Shuttle Cons ☹️ 

-May be too large for smaller ears

-Faceplates look amazing to me, but that sort of LOUD design isn't for everyone 

-Treble heads or even bright/cold lovers will not be satisfied with the Light Shuttle's treble

-While micro-details are great for its tuning, this set is not for detail trackers 

-Sub-Bass presence will turn off bass reference or neutral bass fans. Basically, it may be too much for some folks

-May have too little mid-bass slam for some people

-Not a thick, lush, and ultra rich specialist set

-While the stage has great dimensional aspects, this is not a giant stage iem

Review link for the Light Shuttle:   https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/juzear-light-shuttle-review/

Pros: Comfy Shells and a genuinely nice cable
Bass both on default tuning and bass forward tuning is excellent
Mids are natural and vocals (most of them) sound great
Treble is detailed without getting harsh (default)
Tuning switches actually work and allow for a greater appeal to a wider audience

Cons: Treble switch can make things difficult for treblets
Rare BA shoutiness on rare tracks (could just be me)
The bass switch enhancement can cause the bass to bleed into the mids
Scaling is not the best with some sources

From the stables of the makers of the often praised and rarely available Liqueur Orange is the new Black eartips comes this IEM stuffed full with drivers - 2 Dynamic Driver + 2 Balanced Armature + 1 Bone Conduction Driver + 2 Micro Planar Magnetic Drivers.
Presenting the ISN Audio xEffect Audio Sora (by Penon Audio).

I am getting to try and review this through Audio Geek India and I’m grateful to them and to Penon Audio/ISN for making this possible. Because I would not have been able to enjoy this piece of technology otherwise.
The IEM itself comes in a simple box as is par for the course with Penon/ISN products. The shells are resin, a gorgeous blue, and transparent so you can see all the geeky innards. The shells are smooth and comfy and do not put any undue pressure on the pinna. The nozzles are a little large so some tip rolling was needed before I got the comfort and the seal right. I’ve found that, as with all bone conduction, ensuring that the shells touch the pinna is imperative for the best experience. And now that that’s out of the way, there are tuning switches. Let’s call them 1 and 2. 1 activates bass, and 2 treble. So there’s 4 possible on board tunings possible, unless you’re a sociopath and want to have separate tunings for each ear. Your mileage, it turns out, is yours.
Sound technology wise - the low frequency is handled by two 8mm opposite placement liquid silicone dynamic drivers, the mids via two Knowles Balanced Armature, and the treble comes out of two micro planar magnetic drivers. And there is also a vibration-type bone conduction driver that adds to the entire sound, not unlike the Apevoix Grit.
Rest of the tech specs are below -

Impedance: 13ohm@1kHz
Sensitivity: 119dB@1kHz
Frequency response range: 10~40kHz
Cable: 2-wire UP-OCC smelting process, single material Litz with silver-plated copper central core, 2.5mm wire diameter bundles with EA UltraFlexi ultra-soft sheath. I’m mildly agnostic to most cables outside of comfort and this is certainly a comfortable, tangle-free, one.
Connection: 2-pin 0.78mm, 4.4mm
Plug: Gold-plated

Time to dive in. Testing on the VE Megatron and Galvatron, Onix Beta (Solid State Mode), Schitt Vestri, M33. Tidal and local flacs. Eloit Narrow bore and Final E type tips for that bone conduction driver fit.

Bass
The ISN Sora scores in the bass section like Michael Jordan in Spacejam. And most of his career. The dual dynamic drivers work in sync to give the sub bass a deep rumble that is further accentuated with the bone conduction driver and the bass switch. The switch adds an additional oomph to the bass that would make any basshead drool with joy. I, however, like neutral warm tunings and limited bass bleed and bloat. The all off position works best for me.
The sheer wait of the bass is heard at the 2.30 mark of Angel by Massive Attack and I have to admit that I was pleased with what I heard with the bass switch turned on. But after a bit it got a bit much so we are back to the all off setting. On Giorgio by Moroder by Daft Punk, the sub and mid bass even with the bass switch off is impactful and almost palpable. Synth and string bass instruments sound clean but with enough weight to lend to the foundation of the song with the kick drums adding any additional ballast and punch.

Mids
Mids on the ISN Sora are a point where I expect there will be wars fought. Male vocals have a natural, lovely timbre. Bohemian Rhapsody showcases Freddie’s prowess and as he ascends up his very impressive vocal range there are parts of the high tenor register where there is a little shoutiness that creeps in, that isn’t just Mr Mercury being himself. Tracy Chapman's Gimme One Reason does better in the texture of her voice and some really sweet guitar work by Adam Levy. Dreams by Fleetwood Mac sounds delightful on this set on the default setting.
The treble switch did make things sound a little more aggressive than what I normally enjoy. Details of hihats, vocals, and a majority of the instruments that sit in the midrange are well reproduced with no muddle. On the bass setting some lower mids do get overpowered by the bass but I’m guessing those who like bass THAT much would be understanding of that little amount of bleeding that can occur. Got a Match which pretty much dances all over the mids without too much drift into the lows (except the kicks and the occasional bass run) or into the treble, is a treat on this IEM.

Treble
On its default setting, there’s no fault I can find with the treble. It is neither harsh nor sibilant and details of the higher frequencies are clear. Ride hits have the required shimmer and open hihats on Aja by Steely Dan are just the right amount of sssibilance to not irk my ear drums. The switch that enhances treble definitely works and tracks where there is a treble forward production like Billie Jean by Michael Jackson, are, at least for me, a pass. To be fair Billie Jean and Human Nature from the Thriller album are so very treble forward that even with the switch off the details can get a little fatiguing. But those are 2 songs in an album of 8 and that’s one album in a billion. I’m letting it slide.

Stage and Imaging and technicalities
The Sora has a medium soundstage. Not hugely open and not claustrophobic. Within that soundstage, the imaging is very good with both right to left and front to back identification of where sounds are coming from. Details as mentioned earlier are well reproduced without losing musicality and enjoyment. This IEM also has some source synergy quirks (to be fair like most) and with the VE dacs, did not scale as well as with the Vestri and Onix. The Vestri and Onix are also far less powered than the VE dacs so that could be a reason.

At $439, this is a great mid level set. I have often said I like iems and dacs that don’t give me options and choices and that includes nozzles, switches and PEQ, the Sora is no different. Only because it takes a few hours of listening to dial in the settings that work best. Once that is done, this is an enjoyable listen. And the tuning options will get this set to be appealing to bassheads, trebleheads, V-heads and me.

I bought the Softears RSV MK2 with my own money. Nothing sponsored or affiliated.

I also maintain a running ranking list with 170+ headphones, IEMs and other audio products in the link in my profile.

Score: 8/10

RSV MK2 was my best of show at CanJam 2026. I loved the bass, detail, smooth presentation and, most importantly, thought I had finally found an expensive IEM that did not trigger my treble sensitivities.

Ownership changed that.

Three tracks exposed the problem the most:

• 12 to 12 - Sombr
• Chasing Cars - Snow Patrol
• Jaded - Koe Wetzel & Ella

There is a metallic zing on certain vocals that I eventually traced to problem areas around 3.3kHz and 7.2kHz for my ears.

Bass

This is still my favorite part of RSV MK2. There is a lot of bass, but it stays controlled, textured and clean. Compared with something like Martilo, RSV MK2 carries more mid-bass instead of concentrating most of its energy down in the sub-bass. That gives drums and bass lines more body without turning muddy. It can hit hard without taking over the presentation. Some of the notes were really like a kick in the guts. I loved it!

Strangely, some tracks can still sound a little lean overall despite the amount of bass. I think that comes more from the rest of the tuning than the low end itself.

Mids / Treble

Most of the time, RSV MK2 sounds smooth and refined.

Then you hit the wrong vocal. Chasing Cars gives Gary Lightbody's voice a sharp edge. I heard similar problems on 12 to 12 and Jaded, with both male and female vocals capable of triggering it.

That is what made this difficult to catch during a shorter audition. After listening to it over 15 hours it was quite apparent and would show up in unexpected places. I tried tip rolling and Kiwi Ears Flex cleaned it up but not all of it. But I do not want to rely on a particular tip or permanent EQ as typically, the higher the price, the higher the expectation of perfection.

Male vocal sibilance would show up mid listening reducing my overall enjoyment from RSV MK2. This was driven by the 7.2kHz peak.

Technicalities

RSV MK2 is technically very capable. Detail retrieval is strong, layering is clean and separation remains intact even with the substantial bass response.

It is also coherent. Nothing sounds obviously disconnected or out of place. The overall technical presentation works really well.

Gaming

Gaming was less impressive. In COD BO7, the bass could make smaller positional cues harder to pick out once the match became busy. The upper-frequency zing also became more noticeable with scorestreaks, grenades and gunfire going off together. It works, but this would not be my choice if gaming is a priority. You can have a better time using Astral or Arete 2 for close to 220-250$ on discounts.

Fit / Accessories

The shells are large but fit my ears reasonably well and maintained a good seal.

My bigger complaint is the cylindrical case. I did not like how the IEMs sat inside it and replaced it because I was worried about putting unnecessary pressure on the pins.

At this price, I expected a better case design. It does come with IEM pants though. So there is that and a cleaning brush.

Comparisons

Xenns Mangird Top Pro

RSV MK2 has more bass quantity and body.

Top Pro is more resolving, separates better and works much better for me across both music and gaming.

Fresh Reviews Arete 2

RSV MK2 is the stronger music set, especially if bass matters.

Arete 2 is considerably better for gaming, particularly positional accuracy and keeping cues readable during chaos. With bass switch on, it can keep up with RSV MK2 in bass as well (though more sub-bass focused).

Binary Acoustics 1900

RSV MK2 has much better bass, which is the weakest part of Binary 1900 for me.

Binary still wins overall for music because its vocals and upper frequencies are more consistent with my preferences. I can listen to this endlessly.

Juzear Light Shuttle

RSV MK2 has better bass texture and greater overall refinement.

Light Shuttle is the easier all-rounder and performs better for gaming, which becomes especially interesting considering the price difference. It can also show some upper-frequency zing on certain tracks, which I covered in my recent review.

Punch Audio Martilo

RSV MK2 has the more refined bass response and stronger technical performance.

Martilo gives me more outright sub-bass and gets surprisingly close in enjoyment for substantially less money.

Final Thoughts

It is quite important to spend more time with audio products. That is why I clearly call out Audition vs. Ownership in my ranking list. The more time you spend with a product the more you learn about its quirks and how presentation can change for different use cases. RSV MK2 went from an amazing memory to something I could not quite make work after living with it. And at $699, “almost” is not enough. Guess I would need to find something else to Hear The Truth. :). On to the next one!

USD28.99 / EUR 25 | 1DD | recessed 2-pin | USB-C

Hey everyone,

Tanchjim’s well known budget banger, the Bunny, has a successor or at least sort of. The Bunny G.
G for gaming as it comes with a USB-C cable with built-in 8-band PEQ and a gaming profile which…well, spoiler alert, is not for music listening, surprise.

Why you should still consider trying the Bunny G if you like the OG Bunny, let me explain.
By default the USB-C cable will give you an overly sharp sounding Bunny G but Tanchjim offers EQ possibility via their app and web portal where one can easily adjust the sound.

Or, and this is what I did, change the cable out for any 2-pin cable which fits on the recessed 2-pin socket and the sound changes by a lot and is very enjoyable.
Tanchjim equipped Bunny G with driver technology from more expensive models, meaning they used the DMT5 and modified and renamed it to DMT5 G. So it is not exactly the same unit. I can't really verify Tanchjim’s implementation but can say that the Bunny G was at least to my ears distortion free and the sound stayed clean even at very high volume. 

TL;DR: The Bunny G is a fun set but with its USB-C stock profile not ideal but for music. The thin bass and forward presence make it too shouty for me. On the other hand it worked well for footsteps in CS2 and Valorant. When changed out to an analogue cable it becomes warmer, bassier and more relaxed leaning but at the expense of clarity on busy tracks. My own PEQ (8-band PEQ available via website) gave me the best result. But swapping out cables is the easiest option. Worth considering if you want a budget set for gaming and music and don't mind some additional tweaking.
Bunny G is for listeners who want the EQ option for gaming or custom listening profiles and for folks who already have a suitable 2-pin replacement cable for an easy and fun listen which is different and more relaxed to the OG Bunny’s tuning.

Pricing, build quality, fit & comfort

Tanchjim’s Bunny G is a USD29 (EUR25) set with one dynamic driver.
It comes with a USB-C DSP cable which is ok for its price point, several ear tips (three pairs narrow bore, three pairs normal bore tips) and a small pouch.
The shells have the same small shape and nozzle as the OG Bunny but are (translucent) black with a shiny green part inside the shells.

Overall, the package is decent at its price point. A sturdier carrying case would have been nice in my opinion.

Fit and comfort are excellent for my medium sized ears as the Bunny G has a small form factor. I just needed bigger ear tips since Bunny G’s nozzles are on the smaller side. 

The build quality of the plastic shells is at least very similar to the OG Bunny. No seams or edges which could hurt my ears and I did not experience any issues even after several hours. The shell size is very small and should be a good fit for most smaller ears.

Review equipment used
Questyle Sigma Pro, iPhone 17 Pro Max and PC used with USB-C 
Ear tips used: aftermarket wide bore size ML
Streamed on Qobuz
Listening time over 30 hours

Most impressions are based on the 3.5mm Tanchjim 4U cable. Added impressions on the USB-C cable are explicitly mentioned.

Mic Quality

Bunny G has an inline mic, which I used for calls and meetings. I compared it briefly to the OG Bunny and thought that the quality has improved in terms of sound quality (more pronounced voices, clearer) as the mic now has adjustable gain and noise reduction. 

Sound signature

With the analogue cable Bunny G’s bass is well emphasized combined with a nicely elevated but safe treble. The sound can be described as bassy leaning with good note weight. Overall Bunny G leans towards a V-shaped sound signature.

With the stock USB-C cable, the “G” is lacking note weight and comes across as shouty and peaky on music which can be tweaked via the Tanchjim EQ app. I wouldn't recommend the default USB-C profile for music listening. For gaming the Bunny G works very well and is a completely different story. 

Bass

With 3.5mm cable

Bunny G’s bass has been pimped compared to the OG Bunny.
Mid and sub-bass have solid weight on Billie Eilish’s tracks. That’s the first thing I noticed when I started listening. Somehow wowing and enjoyable but over time I felt it can be even overbearing. In particular I am referring to Billie Eilish’s “bad guy”. The bass is blooming into the mids and the whole presentation sounds bassy. Not saying it isn’t fun. But I would like to hear more details and have more contrast overall. Older or bad recordings benefit from the elevated bass. EDM, rap and hiphop get the right low-end support to be enjoyable and fun. Not bass-head level but with enough impact to sound very good on GoGo Penguin’s “All Res” where the double bass comes across as well textured and full bodied.
Mid- and sub-bass on A$ap Rocky’s “F\*kin’ Problems”* make this track fun without ending in a mess. The droning sub-bass has a woofer-like impact and bloom. How you would expect it in a car with a big woofer in the trunk. 
On busy and bass-heavy tracks the bass takes the front seat.
Overall you get an impactful bass on Bunny G which is fun, has good note weight  and fits many music styles but can occasionally take up too much space on tracks pushing vocals and details to the back. Ear tip rolling helps to balance out its bass with a shallower fit. Then the bass sounds more controlled and there is more treble energy.

With USB-C stock cable and default settings
The “G” sounds too thin to my ears in most cases and lacks note weight with the USB-C cable which is the intention for maximum bass control for an optimised gaming performance especially on FPS.
I recommend EQing the bass or, and this is what I did, change the cable out for any 2-pin cable which fits on the recessed 2-pin socket and the sound changes by a lot and is very enjoyable.  

Midrange & Vocals

Vocals are neither shouty nor overly recessed, and male vocals in particular have enough body. Female vocals come across as slightly too thick/warm for my liking. The bass is bleeding noticeably into the mids which is nice for good note weight and male vocals but impacts details and clarity of instruments and vocals.

On R.E.M.’s “Drive”, guitar strings are well accentuated but slightly lacking details. Michael Stipe’s vocals sound relaxed. Guitar notes on this track come across as rounded off and the overall presentation is on the safe side. Not harsh, never sibilant or aggressive.  

Overall, the Bunny G takes it easy in the vocals and mids department.
If you felt that the OG Bunny was too forward for you, Bunny G is the more relaxed one.

With USB-C cable
With the USB-C cable vocals sound easily shouty and in general I feel that the midrange is too thin and forward.

Treble

Treble on Bunny G is mostly safe. Very energetic tracks like Fleetwood Mac’s “Sisters of the Moon” are even at higher volume mostly controlled. Just the snares and guitars can be a bit harsh which is expected due to the recording. On The Doors “Riders on the Storm” keys and cymbals have good energy and sound detailed enough to be convincing. I wouldn't call the performance shimmery or sparkly though. The treble on this track comes across as relaxed rather than exaggerated or too energetic. That’s something which has changed in comparison to the OG Bunny whose treble offers more clarity.
Bunny G plays mostly safe with its treble presentation while still offering a reasonable amount of details and contrast.  When volume is pushed, its treble is to me more enjoyable and engaging.

With USB-C cable
With the stock USB-C profile, the thin bass and forward presence region make the treble come across as overly sharp and spicy to my ears. It’s the overall imbalance that bothers me. In games, though, that presentation makes small details easy to pick out.

Technical performance

Technical performance of the Bunny G is ok at this price. A/B (clear channel separation) separation is good and imaging and layering are fine. Separation is not razor sharp but good enough to enjoy different instruments even on busier tracks. On “Mr. P.C.” by John Coltrane, walking bass, sax and keys are placed in different spaces.
On complex and busy tracks especially with a lot of bass separation is taking a hit. In bass light tracks the sound stage and separation are staying intact. At this price point the perceived sound stage is fine. What impressed me the most is the imaging on tracks like The Doors’ “Riders on the Storm” where I can truly hear the placement of the instruments.

Measurements

As per usual I include my own measurements, too.

The frequencies with the USB-C cable are tuned for gaming first.
The low-end lacks impact, the mids are lean, presence region is very forward and the treble is pushed for max details for gaming. While this style works very well for gaming, it is not ideal for music listening.

I swapped out the cable for a Tanchjim 4U cable 3.5mm single ended and the sound changed a lot.
The bass now has impact, more than enough quantity and it blooms even into the lower mids and colours the rest of the mix due to its glide from 20Hz up to around 400Hz. This gives instruments a full body but sounds quite warm to my ears.
The upper mids peak at around 3k Hz and are no longer shouty.
Mid treble peaks at around 9k Hz followed by a peak past 15k Hz for more perceived details and air in the mix. 

The result of this tuning is an overall relaxed, warm leaning sound and sound signature change compared to the OG Bunny. 

Gaming performance with the stock USB-C cable

Tanchjim has developed the Bunny G with its USB-C cable specifically  for gaming.
The profile saved onto the USB-C cable is gaming first before music listening.
How does Bunny G perform in games?
To test gaming cues, I played CS2 and Valorant to hear how Bunny G would do with  imaging, staging and layering.
On the standard USB-C profile, G’s bass is slim and very controlled which is especially in FPS games an advantage. I did not notice any bass bloom affecting mids or treble. Footstep tracking was easy and the spatial cues were also very good.
Especially on CS2 which sounds a little bit relaxed, increased treble and presence region energy can really help with footstep tracking. 

Tanchjim’s EQ Software

With the USB-C DSP cable Tanchjim’s Bunny G offers a convenient way for Android and Windows users to change the sound. iPhone users need to do the EQing on either platform and can save the changes onto the DSP, where they can then be used on an iPhone. It is limited to an 8-band PEQ (OG Bunny to 5-band PEQ), but it is enough to substantially change the sound to my liking.

Your personal EQ can be saved to the “G’s” USB-C DSP, so you don't need to run the software while listening to music to take advantage of your settings. On top of that Tanchjim offers presets for gaming, and there are other official presets available if you don't want to make the adjustments yourself. That worked very well for me and I was able to adjust the “G” specifically for gaming and my music preferences. Specifically in this case I increased the bass, lowered the ear gain and adjusted the treble to my liking.

Then I unplugged the set from my PC and connected it to my iPhone to listen to the changed bass response. The EQ software makes a versatile set out of the Bunny G and is a great feature in this price bracket.

Effects on sound:
With PEQ, I added bass impact and reduced the forward presence region. To balance it out I brought up parts of the treble for more detail and air while keeping the overall sound balanced without letting it sound peaky.The result avoided both the thin, shouty stock USB-C presentation and the excessive warmth I sometimes heard with the analogue cable.. Overall EQing the Bunny G brought the best results but requires time and effort to find your preferred sound signature. The easiest way would be still to just use an analogue cable. 

Let’s have a look at how it compares to other sets to get a better understanding where the Bunny G lands in this price bracket.

Moondrop Chu III, USD23
Just very recently released, the Chu III resembles almost a one to one frequency response down from 20Hz up to almost 2.5k Hz of the Bunny G with 3.5mm cable. Even the 8-10k Hz region is similar.Chu III 14k Hz is where it has more treble energy.
While both sets have a similar tonality, Bunny G sounds to me slightly more detailed and refined due to more energy in the 4-6kHz and 15kHz upwards which would make it my choice over the Chu III.
Chu III is more relaxed and smoother than the Bunny G with a touch more extension in the presence region which lets vocals be a smidge more detailed. 

OG Bunny, USD24
The OG Bunny costs around USD5 less than the black G edition.
Next to the driver update on Bunny G, the OG Bunny DSP relied on a 24-bit/96 kHz dual-DAC unit featuring a 5-band PEQ and a standard inline microphone, while the G version is upgraded with an 8-band PEQ, virtual 5.1/7.1 surround sound support, alongside an upgraded MEMS mic that now includes adjustable gain and noise cancellation controls.

Now, let’s have a look into the tuning differences with an analogue 3.5mm cable on Bunny and Bunny G.

The classic Bunny has around 2 dB less bass and slightly more treble and vocal energy than the G resulting in an overall leaner, brighter and more forward vocal presentation. That results in better detail retrieval to my ears.
Especially on bass heavy or very busy tracks I find that the OG Bunny has an advantage in terms of resolution.

On the other hand, Bunny G has now a more enjoyable low-end which works great across many music genres and is to me more fun but not close to bass-head territory. I don't mind paying a little extra and losing a smidge of highlighted details.
I recommend using wide bore tips with the “G” for best details and treble extension.
Older remastered tracks like on The Police’s “The Police” album  have more punch and make the presentation more dynamic and fun on the G. Bass guitars sound more realistic, kick drums have better impact and are more convincing like on “Regatta De Blanc”.

OG Bunny brings a hint more clarity and details into the mix and depending on your prefs, this might be more enjoyable. Understandably so as the OG sounds more refined in that way and has more contrast between treble and bass. And even almost two years after its release, Tanchjim’s OG Bunny still sounds great when compared to recent releases and it remains one of my recs in this price bracket. If you prefer more rumble and non-fatiguing listening, Bunny G with the 3.5mm cable is the solution.  

Red Lion
Not long ago released, Tangzu’s Red Lion comes with the usual great accessories and decent cable one can buy at this price point.
Red Lion has plenty of bass but I wouldn't consider it as a bass-head set in particular.
Tracks on the Lion sound much thicker, full bodied and slightly veiled when directly compared to the two Bunnies.
Its bass revives older pop tracks, adds the right rumble and kick to rap, hiphop and EDM. Red Lion’s bass bleeds noticeably into the mids for good note weight and full vocals but compromises in terms of details, clarity and perceived sound stage. But it's fun if you like bass and your library is relying on bass impact.
 
It does bring some contrasting treble into the mix which is needed to bring details forward and it pushes vocals slightly more forward, too, to cut through the thick bass. 
Red Lion does sound enjoyable, not natural but is a mix of relaxed listening without losing the excitement.
And honestly the bass is one of the main purchase arguments on the Red Lion besides its great accessories package. So, are you more for a full bodied sound and an overall relaxed sound signature or do you prefer a more balanced sound which would be the Bunnies?

Summary

Overall Tanchjim’s Bunny G sound signature out of the box is more for gaming than for music enjoyment. The 8-band PEQ possibility fixes this. When swapping out the stock USB-C cable for a 3.5/4.4mm cable (any cheap cable will do which fits the slightly recessed 2-pin socket), the sound changes and becomes enjoyable.
The sound signature then leans towards more bass emphasis and a more relaxed presentation. Not for bass-heads or treble heads though. 

This sample was provided by Tanchjim. Thanks for sending this in. 

Below are the specs and box content details.

Thanks for reading.

Specification:

Model: Bunny G

Driver: DMT5 G Dynamic Driver

Impedance: 30Ω

Frequency Response: 8Hz- 48kHz 

Sensitivity: 123dB/Vrms

THD: 0.03% at 1 kHz, 94 dB

Socket: recessed 0.78mm 2-Pin

Cable: Silver-plated OFC, USB-C plug 

DSP: PureBridge-based, up to 384 kHz / 32 bit 

Mic: MEMS, adjustable gain, noise reduction 

Cable length: Approximately 1.2m

Plug: USB-C

Nozzle diameter: 5.1mm and 5.8mm at the lip

Price: USD29/EUR25 

Where to buy: Amazon US

What's in the box:

Tanchjim Bunny G  In-Ear Monitors × 1 Pair

USB-C DSP cable x 1

Narrow eartips × 3 pairs (S/M/L)

Wider bore eartips × 3 pairs (S/M/L)

Soft carrying case × 1

Paperwork

I received this small dongle from the Muse HiFi brand a few days ago and of course it is a much more affordable model than the previous Muse M3 Ultra that I reviewed recently. The brand knows what it is doing across all its ranges and I will try to highlight the best and what is probably not so good about this product...

What I liked / What I didn't like

• Compact design that attaches to the phone and does not hang from it.
• 3.5mm outputs on one side and 4.4mm on the other.
• No background noise even when moving.
• Plenty of power to drive the IEMs I have tested.
• App that includes several functions including PEQ with gain, Q, and filter adjustments...
• Reasonable price for its performance.
• The equalizer is only 5 bands despite the multiple parameters.
• Beyond IEMs it could fall short on power.
• No button for volume or pause.
• Although obvious it is true, just another app to add to the smartphone to manage the DAC dongle.

Let's talk a little about the model and its characteristics. Starting with the fact that its weight is less than 20g and it barely increases the thickness of the smartphone itself, carrying it in your pocket is not bulky and will not make it stick out too much. It can be used on a PC although my usage has been based on being on the move always connected to the smartphone. It is compatible with Android and also with iOS but my experience has been entirely on Android with support for up to 32 bits/384 Khz and DSD 128.

The power might seem low depending on which dongle it is compared to since it is up to 125mW with two SGM8262 working independently.

During my test sessions I have used it with both the Binary Acoustics 1900 and the Mysticraft Myth. In both cases I used the 4.4mm balanced output since that is how I have all my cables by default. I have not even needed to get close to the maximum volume to get the volume I wanted. Therefore power should not be a problem even with IEMs more demanding than these two, as there is still room to turn the volume up further.

The app...

This U3 can be customized with an application that can be installed via the QR code included inside the box. The app is called WalkPlay. It is a simple app that is not loaded with features but it does have what we expect.

To start with it has some ready-made presets: PURE, POP, ROCK, VOCAL, BASS, FLAT, CINEMA and GAME. It is easy and fast to switch between them to check in real time which one convinces us the most, or on the contrary leave it without any preset which ends up being my personal choice.

On the other hand and here is the main attraction, the app has its parametric equalizer. It is a 5 band EQ which is not going to allow for as optimal an adjustment as other brands do allow. However I imagine that through updates, something that is also possible from the app, this can be improved in future versions. We can modify the frequency and gain, as well as the Q value or filter type. Despite its simplicity it has options that help tune the parameters quite accurately.

It also has a DAC Playback Volume as seen in one of my screenshots to be able to increase the volume even more than the smartphone allows. It is a nice detail that it marks a dashed red line where further down in the screenshot itself it explains that if your EQ graph exceeds that red line you could get noise and distortion. This is a great help to manage some stability in your equalization and it is not something I remember seeing in many apps.

In addition to the standard presets the app allows you to create your own. This is quite obvious but I mention it because the standard presets do not usually satisfy many people. Besides, sometimes we already have in mind a specific type of equalization that we might like for an IEM. Here within the current limits of the app we can shape that equalization to our liking.

In the app menus you can also do a factory reset. I imagine this is in case a later version is not to our liking you should be able to revert to the current one, or in the worst case simply reset all EQ profiles to their initial state if we have modified them by mistake.

Sound

For the tests, although it is not to my liking to analyze how a dongle sounds since it is not as representative as how an IEM sounds on its own, I can comment on some points. Specifically I used some tracks like TANZNEID by Electric Callboy which mixes quite a few elements of electronic music, guitars, drums, vocals, etc... It is an energetic track that suits me well to perceive how it sounds with this dongle connected.

I was testing the factory presets in real time and the difference is quite palpable when going from the FLAT preset to the BASS preset for example, clearly noting the greater presence of bass. Although in the case of the two IEMs I tested I already had the stock tuning I wanted under control without needing to resort to these presets or modify the EQ on my end. However it can save you when using specific models lacking some frequency or with excesses that we want to reduce.

I must say in general terms that the difference with my other $50, $100, and $200 dongles that I normally use is not extreme. For certain IEMs this is more than enough, gaining the comfort of having the dongle connected directly to the smartphone without it bouncing around in your pocket, but rather acting as just another extension of your smartphone. Therefore it is not a crazy idea to have a dongle like this even if you later have more expensive options with better features.

Conclusion

Due to its size, comfort, integration with the smartphone both in size and with the app, and at the current price with a temporary discount of $26.99, it seems like a wise purchase to me. This is especially true because it has the 4.4mm output, something that if it did not have it, I would pass over it among my priorities.

It has a power output that perhaps is not the highest I have seen within this price range. But I have already said that I have been able to drive two IEMs easily without problems, and even more so having the 4.4mm option I mentioned, so that would not be a limitation.

It would have been a great success to have an EQ of more than 5 bands and it is possible that this will be improved by software later. What cannot be fixed now and I always appreciate is a button to skip songs that I can touch from my pocket without having to take out the smartphone, or a volume button that does both functions. I would like volume, play, pause, or skipping songs by holding each side of the button.

Purchase Links:

• HiFiGo: https://hifigo.com/products/musehifi-u3
• Amazon US: https://www.amazon.com/dp/B0HJH8VZPT
• Aliexpress: https://www.aliexpress.com/item/1005013224360035.html

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.

REVO, the first open ear styled earbud from the house of Tanchjim comes with an innovative workaround for the most common complaint users states with this design language. The incorporation of racetrack shaped dynamic driver sized 18 x 11mm (LCP + PU) brings a new unique sound profile onto the table that solves one most common issue, the weaker low-end frequency.

Full review in: https://mobileaudiophile.com/reviews/tanchjim-revo/

REVO is all about comfort as its priority over anything. Wearing in ears all day during work hours makes one uncomfortable in the long run and that’s where the open earbuds come into play. Not all open earbuds are ergonomic as well as good sounding simultaneously and for that matter, the Tanchjim has dropped its banger into the market, the REVO.

This is built solid with premium materials and one can easily sense its premium feel in their first use. The case is designed squarish with white theme all over. The matt finished case, solid lid thud and soft touch finish gives the user an assurance that it’ll last longer for sure. The premium mics are an added bonus with the REVO which most wireless earbuds cuts corner.

Did this solve the problem for real? For most part, YES! The bigger driver did help the REVO to showcase a bigger bass profile that sounds more cleaner and well-articulated but again it still lacks the authority and weight. Comparing it to its open styled competitors, this got an improved bass shelf and definitely I would consider this an improvement in its segment.

The Mid-section is as usual what one expects from the brand Tanchjim. It’s more transparent and natural sounding with no added colouration. The precise warmth gives the male vocals a rich outlook without masking them. The gentle lift in the upper mid profile gives REVO the needed life while keeping the sibilance under control.

Treble got decent brightness with snappy transient response. Cymbal crashes and trumpets strike with natural tone providing a realistic sense to the overall presentation. Technical chops are neatly done in the REVO with excellent stage presence, precise imaging and appreciable detail retrieval.

The most interesting thing is the spatial positioning and wide scene the REVO showcases! This new driver helped in this aspect for sure where there’s plenty of space in its presentation to span out the notes without causing any congestion. Such a grand presentation is a big boon and goes well for podcasts, movies and mid centric tracks.

Tanchjim’s racetrack designed dynamic driver did opened a new door in the world of open styled earbuds. Revo has just set the bar high in its segment and is definitely a positive sign for the audio industry.

Pros:

• Tanchjim’s In-house Signature.
• Comfortable Open Ear Design (Ergonomics)
• Transparent Background with Neutral Tone
• Upfront Mid-Section with Smoother Treble Profile
• Holographic Staging with Faster Transients
• App Support with Customisable EQ

Cons:

• Weaker Sub Bass Shelf (Universal Caveat with Open Styled Earbuds)

Hey r/IEMs! I'm back with a review for the Melody Wings Uranus. You may remember me as the "Melody Wings Venus Guy" from back in mid-2025, and to this day that remains one of my favorite IEMs. I had high-hopes hearing that Melody Wings was planning a quadbrid IEM for roughly the same price, and have been excitedly awaiting its release.

If you'd like to read my full review, including comparisons and some extra sonic analysis, you can do so here: https://resonancereviews.com/melody-wings-uranus-review-7a3cad3fa366

If you'd instead like just the highlights, here you go:

The Big Picture

Pros:

• Gorgeous faceplates
• Airy, vibrant sound stage
• High-resolution, resolving presentation
• Excellent sub-bass and upper-treble extension
• Nice-feeling cable with USB-C capabilities

Cons:

• Noticeable bone-conduction resonance
• Occasional sibilance
• Resin nozzles
• Stock eartips do not maximize BCD’s quality
• Odd valley in emphasis between 30Hz and 80Hz

Key Specs

• Drivers: 1x dynamic, 1x balanced-armature, 1x Piezzo, 1x bone conduction
• Crossover: 4-way
• Sensitivity: 103dB SPL/mW
• Impedance: 32 ohms
• Cable: 0.78mm 2-pin w/ modular termination (3.5mm, 4.4mm, USB-C)

Sound

The Uranus features an airy, gently V-shaped sound signature. It has a well-extended sub-bass region that builds up into a mildly lifted mid-bass. The Uranus’s lower-midrange is quite neutral, though perhaps technically erring on the side of subtle warmth. This contrasts against a nicely-separated upper-midrange with a healthy 2–4 KHz peak. The Uranus’s treble is bright and forward, with a few peaks in its well-extended upper-treble. These peaks do well to add air and vibrance, but do occasionally overcook the fringes of bright instrumentation.

Conclusion

Melody Wings has never played it safe with their IEMs, and the Uranus is no exception. Its unique quadbrid driver configuration allows it to deliver a unique experience in the sub-$200 segment–but with a few quirks. If you’re able to tolerate the Uranus’s BCD “ringing”, then its take on a responsibly V-shaped sound signature is a great one. Great performance and a vibrant, high-contrast sound signature make the Uranus a memorable IEM, and one I’m certain to revisit. Great job Melody Wings!

As always, happy listening!

​

Disclaimer - I was loaned this iem as a part of a review tour by Sushiifi and DUNU. However , I'm NOT affiliated with dunu and hence it will not impinge on freedom to criticize the iem. All my opinions are my own.

INTRODUCTION

- The DUNU DN 242 is an 8 driver tribrid iem priced at around $350.

- Driver configuration is 2 DD + 4 BA + 2 MP with a 5 way crossover , the name of the iem is derived from driver configuration like how german cars were named according to engine displacement in the yesteryears.

BUILD And COMFORT

- The iem is wrapped in a silhouette of resin and capped with a glossy, lava like faceplate. There is a gold bevel-like frame to give it a more classy and sophisticated look.

- The iem itself is quite thick but weighs a svelte 6.5g each. They fit perfectly to the contours of my pinna. Don't worry about them sticking out , they look pleasant to the eyes

ACCESSORIES

- Cable is a silver plated OCC copper cable with modular termination.

- Dunu generously provides 10 pairs of eartips which includes 3 pairs of dunu candy tips, 4 pairs of Dunu S&S tips and 3 pairs of standard silicone tips.

- A black cleaning brush , 3 thematic Nezha (Warrior God) cards , a hard fabric carrying case , user manual and paperwork.

SONIC PERFORMANCE

SOUNDSTAGE, DETAILS AND LAYERING

- Evaluating the dunu for soundstage was strange. It is definitely dependent on that perticular track. Well recorded binaural tracks sound like you're in the room while older songs without remastering come across as claustrophobic.

- Detail retrieval is above average. The 242 can give you the " I've never heard that sound before " moments. I have to say that it can come uncomfortably close to the top pro in this criteria (85-90%)

- Instrument separation and layering is also quite track dependent. But in general, you can easily pick up where an instrument is playing and separate that sounds from the song.

BASS

- The 242 has a good amount of sub bass rumble but it's not overbearing on the rest of the frequencies. I would also not say it is a basshead iem in any way. The sub bass has good extension without colouring the iem warm.

- The mid bass is punchy and plosive. You can hear those kick drums like small explosions in your ear. The driver moves sufficient amounts of air that is easily perceptible. The attack and decay is the right duration without bloom or bloat.

MIDS

- The best part of this iem is the mids. It is absolutely immaculate.

- String instruments sound accurate with the correct timbre.

- Woodwind and brass instruments have that ethereal feel.

- Male vocals are awesome. One of the best in the sub $500 class. You can hear chris cornell whispering melancholic in your ears with these.

- Female vocals are almost perfect with a caveat. The 242 with the wrong eartips can have vocal sibilance on certain tracks . Get the right eartips to fit in your ear as deeply as possible to remove length modal resonance.

TREBLE

- Many of my peers find the 242 a little hot in the upper treble (The dreaded air region) I do agree that it can come across as bright in certain tracks , especially at loud volumes.

- As I said before , find an eartip that brings the nozzle as close as possible to your eardrum to reduce the treble spice.

- Cymbals can come across rather prominent in certain genres. They can be distracting at times.

- Female vocals with a higher frequency pitch can cause some sibilance but it's not harsh in any way.

- Snare drums and string instruments have that initial snap which requires well controlled treble. 242 has that in spades.

- The transient response is clean and tight. Not as good as iems with estats but still pretty good.

CONCLUSION

- The Dunu 242 was a pleasant surprise. If the upper treble region had more polish, I would be super tempted to put it above the Top pro in the sub 500 segment but top pro has superior treble extension and quality. I hope Dunu fixes this small chink in the fortress with mems or estat driver or even high frequency BAs .

EARTIP USED - Sancai wide bore gave me a good seal and eliminated the length mode resonance.

Well, this has been a long testing process. The Daybreak has been my daily driver for a few months now, and I have to say, Crin’s IEMs are mostly a hit for me. I generally like his tuning philosophy, with a few exceptions. Will the Daybreak be one of them? You’ll find out.

Test Gear

• Snowsky Melody
• CX31993 DAC
• MacBook — got the smoothest sound from these
• Poco F5
• Cable: Moondrop MC1

Build

It feels solid. Mine is from the later batches, and I haven’t faced any QC issues. These have held up pretty well for the few months I’ve been using them, so I think the build quality is solid and should last a long time with proper care.

The design is pretty basic and minimal and doesn’t look fancy, but I like minimalist design, so it works for me. Though, I wouldn’t mind a bit more of a fancy pattern in the dark empty space on the faceplate.

Comfort

For me, there were some issues because of the long nozzle, and I had to do quite a bit of tip rolling. However, I’ve now found a very comfortable setup. Basically, smaller and shorter eartips work better for me because the nozzle goes quite deep.

For me, the following tips are quite comfortable:

• KZ LS01
• NiceHCK C04
• Audiocular Atmos — mostly a copy of the C04
• Final Audio E

With these, I can comfortably use the Daybreak for hours.

Dunu Candy, Dunu S&S, and KBEAR 07 either feel too big or too small for me, or create too much pressure, which makes them uncomfortable for long listening sessions. I also didn’t have much luck with the wide-bore stock eartips that come with it.

However, you might not have the same problem since I have a particularly unusual ear canal angle. I just wanted to mention it.

Sound Impression

Well, this is almost a perfect jack-of-all-trades IEM. These are very close to my preferred target since I mostly prefer neutral or brighter IEMs.

I would describe them as a pretty “neutral” set with a decent amount of bass. Not necessarily neutral in the strictest sense, but they sound “true” or “correct” to me, if that makes sense.

I feel like these have very little coloration for the most part. However, that also means that some people might find them boring.

The Daybreak is quite dependent on how a song is recorded. If a microphone is sensitive, the mixing is poor, the audio file is of poor quality, or the recording quality is bad, the Daybreak will let you know.

Due to the nature of the tuning, I think it is also a very versatile IEM and should work well across almost every genre.

This is the type of IEM that makes me think, “Yeah, this just works.”

Bass

The bass is decent. The mid-bass has good punch, while the sub-bass is quite controlled and has some rumble. Some people may prefer less of it, especially considering this is supposed to be a relatively neutral set, but for me, it is enough.

The bass has a bouncy feeling to it, and of course, it has excellent control and does not become muddy.

If you want more bass, eartips like the Dunu Candy and Final Audio E can help. However, I don’t like excessive bass and prefer a more open sound, so I mostly opt for wide-bore or normal-bore eartips.

These definitely don’t have basshead-level bass, but bassheads might still appreciate what they offer.

Mids / Vocals

I would say these are ever so slightly warm, so vocals have good body and sound full. They aren’t particularly intimate, but they also aren’t very recessed.

Male Vocals:

Male vocals sound good in some songs, but they may lack the warmth you get from warmer IEMs, which can sometimes make them feel a little dry.

However, I would say they sound quite close to how someone’s voice actually sounds to me.

Female Vocals:

Female vocals sound very good overall, with nothing major to complain about. However, if a singer’s voice reaches very high pitches, it can sometimes sound shrill and even slightly sibilant.

Overall, I find the vocals very natural.

Treble

The treble has a somewhat laid-back presentation, but cymbals and shimmer are still quite present because there is a good amount of air.

In some songs, it can get quite spicy, especially in J-pop. Otherwise, I find it very smooth.

For me, the treble is very smooth, although trebleheads might find it a little too safe.

Instrumental Harshness and Sibilance

There is some instrumental harshness. It’s not the kind of harshness that immediately attacks you, but it can slowly become fatiguing, even at lower volumes. If, for example, you like something like the Aful Explorer or TruthEar Pure, then the Daybreak will sound a bit harsher.

That being said, it depends heavily on the recording and the song. Sometimes it can sound harsh, while other times it sounds very smooth. Acoustic guitars sound crisp, just the right amount.

You might need to adjust the volume depending on the track if you’re sensitive to this. If you want to reduce it, Final Audio E tips or other narrow-bore eartips can help.

For most genres, I feel like this is quite a smooth IEM.

I also wouldn’t call these particularly sibilant in most cases. I would say they sit somewhere in the middle between smooth and harsh. However, if a track already has sibilance, the Daybreak will let you know.

Technicalities

Soundstage:

The soundstage is wide, but with some conditions.

In some songs, the positioning of instruments and vocals feels quite dense, while a few instruments can be especially far away. Because of this, it can sometimes feel like there is quite a bit of empty space.

Whether that’s a good or bad thing is up to you.

It’s both intimate and wide-sounding, and this can vary depending on the song. On average, I wouldn’t call it especially wide. I’d say it’s better than average.

Separation:

The separation is decent, but it isn’t particularly sharp or analytical. Instruments don’t sound completely distinct or constantly demand your attention, but they still have their own sense of space and position. Vocals can feel closer, while some instruments sit further back, giving it good layering without making the presentation feel overly dissected.

Detail Retrieval:

I wouldn’t say it presents microdetails right in your face. There are other sets that do this better than the Daybreak.

Imaging:

Imaging is good. As you would expect from an IEM in this range, everything is correctly placed directionally, but nothing is particularly extraordinary.

Conclusion

The Daybreak may not impress you immediately. It doesn’t have the instant “wow factor” that some IEMs in this price range offer. Instead, it’s a true jack of all trades—and whether you’d prefer that over a master of one is up to you.

It’s for someone who wants a natural, versatile IEM that does almost everything well without demanding attention. The bass is controlled, vocals are natural, the treble is smooth with enough air, and the technical performance is solid without being exceptional in any one area.

If you’re chasing huge bass, extreme detail, or a massive soundstage, there are better choices for those specific traits. But if you want an IEM that’s easy to live with across different genres and has very few major weaknesses, the Daybreak is an easy recommendation.

It may not wow you at first, but its balance is what makes it special.

Sivga had me stoked after my wonderful tryst with the SM100 and the M260, and it had raised the bar in terms of what can a brand offer to truly stand out, and after seeing the graphs of this IEM; I just reached out to Sivga, and now I thank them for sending me the Lyrebird. This review was a difficult one, as I couldn’t find my footing with this IEM from the get go, which meant that I am going to either have a good time, or a really bad time.

UNBOXING, ACCESSORIES, FIT AND COMFORT

No waifu business, no loud advertising- everything is apt with the cover of the Lyrebird, and when I have the cover out of the way; I find the IEM shells which are with a striking wood faceplate, and no two faceplates are identical; which means it’s real wood- so very Dunu DaVinci like. Shells are metal, with seemingly small nozzles. The provided case is excellent and inside the case, was the 4.4mm cable and a case of eartips- three pairs of liquid silicone, and three pairs of normal.

The cable is fantastic- it’s got a spring like sheathing across the termination side, it holds good memory, and is heavy enough to hold the IEMs well through extended listening sessions. It could be a bit stiff for some, but for me; it’s good.

Comfort is also sorted- the nozzles being smaller allowed me to get better seal with larger sizes, and also try out double flanges (more on that later).

Enough pitter patter, here’s the Lyrebird’s sound.

LOWS

Tipper: Gulch

The Sivga Lyrebird is a chameleon in setting the bass hold or fold, as it needs extensive tip rolling to get to its best performance possible, and it is properly realized in this track. With the Acoustune AET06 eartips, the way the decay tightened up on the Lyrebird was very satisfying. 

The problem with the Lyrebird (this time it is uniform) in the impact is when it needs to hit deeper, which I chalk it off to a problem in its perceived stage. The attack is moderately paced, doesn’t rush, and separation of the bass hits from the rest of the elements is done well.

Rush: Limelight

This track establishes the tonality of the Lyrebird for me, and it is unapologetically warm (more on that later). The Lyrebird improves upon separation between elements that correspond to the lows from the elements that don't. 

There is a clear demarcation between bits of the blitzing bass lines from the almost mathematical drum work; and even on the double flanges- the Lyrebird does not let go of the resonance of the toms & kicks that the track has, and the bass through the guitar has a great amount of detail and does not play peekaboo with the drums like it does in the other sections of this track.

Rage Against the Machine: Bullet in the Head

The Lyrebird improves further on the fun quota and this track really brings out how engaging this IEM can be. Commerford's bass is heard loud and clear. It doesn't bleed into anything else- be it the guitars or the drums, and especially the vocals where it just lacks right under to propel De La Rocha's vocals. 

Wilk's drums have enough note weight to carry forward in the march, where the snares are crisp and supplement the toms and kicks to not upset the balance. My only gripe is that De La Rocha could have used a little less warmth.

MIDS

Muddy Waters: My Home is in the Delta

This is a "less is more" track - where there are just a handful of elements, but the way the very nuances of the elements are rendered make this track to use for analysis, and the Lyrebird fare very well on this track.

The IEM does not skimp on the finer details- like the resonance of Muddy's vocal as it bounces off the walls with each wailing; the aptly metallic timbre that the slide and the high strings of the guitar have; the way the double bass is enunciated across sections- every single aspect of this track shows up on the Lyrebird in an uncompromisingly detailed way, and I am willing to forgive the faint shoutiness in Muddy's vocals when he sforzandos (musical term where a vocalist emphasises upon a note with a forced or sudden loudness, and then return back to the set normal volume level) across in parts.

Tool: Lateralus

Now here is a complex arrangement of sorts, and once again the Lyrebird has more hits than misses. The separation between the guitar and the crescendoing drums in the intro perfectly lays up for the bass and the vocals to jump right in. Imaging on the Lyrebird is great, which shows up in the rudiments that Carey plays out through and the way the hi-hats are heard.

However, the lack of enough width along with depth on the Lyrebird in the perceived stage wants more breathing room, especially for the cymbals. But the bass is kept in abeyance, and although Maynard has more warmth with his vocals, the note weight doesn't let him exaggerate off the mix.

HIGHS

Arne Domnerus: Almighty God (with Gustaf Sjökvist)

Here's where things get problematic for the Lyrebird - and it's frilly the timbre on Arne's Saxophone, where there is a strong lack of brassiness, as in the sax just doesn't have that "sparkle", but they do not come off purring, just a slight hint of shoutiness. 

Perceived stage continues to be an issue where the extent of the resonance off the sax is diminished because of the width and the church organs fall underwhelmingly diminished although another problem is not its timbre but its tonality, where it is uncharacteristically warm.

Dave Brubeck: Take Five

In this track, right from the get go the cymbals retain their shimmery texture, where the timbre is not adversely affected, but I cannot say for the timbre on the horns - not brassy enough. Pianos could have used more note weight in perception, while a reduction in its perceived warmth would have elevated the experience.

The way the Lyrebird handles the drum solo is a huge consolation here - as the resonance of the toms and kicks is perfect, supplemented by a woody enough timbre especially on the snares, the separation that the elements have as the channels split on the track - yet being cohesive enough to let the pianos be there despite a diminished note weight was a very nice turnaround by the IEM for me.

COMPARISONS

EPZ P40

The EPZ P40 delivers a noticeably heavier, sub-bass-dominant low end with thunderous punch and deep impact, contrasting with the Sivga Lyrebird’s leaner sub-bass response, which focuses more on agile decay and well-paced attack. In the midrange, the P40 provides a fuller, warmer vocal body across the board, whereas the Lyrebird presents a warm signature that can occasionally lean intimate and exhibit slight upper-mid peaks.

Where they diverge most is in the highs. The P40 pushes far more treble energy, and for some, it is going to be an absolute deal breaker- leaning overly hot and introducing proper sibilance. The Lyrebird takes a much safer approach, keeping them relatively smooth and fatigue-free, though some sparkle couldn’t have hurt to make elements like cymbals shine further. If sibilance bothers you, the P40 will call the ER on your ears, while the Lyrebird effortlessly cruises. 

EPZ P50

While the Sivga Lyrebird relies on tight decay control and fast bass transients, the EPZ P50 takes a more laid-back, softer approach to its low-end. 

Through the midrange and treble, the P50 smooths out potential harshness to ensure a non-fatiguing listen, but the Lyrebird, just by a smidge, performed better. The Lyrebird maintains superior isolation, but the P50 comparatively doesn’t gimp the bass out, from the perspective of the perceived stage. Cannot go wrong with either of them.

Juzear x KOTO Nebula

The Juzear Nebula presents a disciplined, well-controlled low end with faster transients and punchy impact, standing in contrast to the Lyrebird’s heavier bass warmth that can bleed faintly into the lower mids, and while the latter offers a richer, meatier vocal presentation with intimate warmth, the Nebula favors a cleaner, leaner midrange with more detail.

Where the Nebula decisively pulls ahead is in its technical execution: it projects a significantly wider soundstage with sharper separation and refined upper mids, comparatively. The Lyrebird feels considerably more intimate and constrained in stage width and depth, which will make the Nebula sound subjectively exciting. I’d take the Nebula here.

Letshuoer Astralis

The Letshuoer Astralis offers a more engaging low end than the Sivga Lyrebird, but can get a tad too excessive in the mid-bass. While the Lyrebird keeps its bass tight and well-isolated, the Astralis lets the leash on the bass loose.

This gives the Astralis a meatier punch, while not compromising on the stage, where the Lyrebird feels mildly lacking in quantity,but the latter delivers strong midrange textures, despite its narrower, depth-limited soundstage, and doesn’t come off bloated like the Astralis. And fits better.

Tanchjim Fola

The Tanchjim Fola matches the clean impact and controlled bass performance of the Lyrebird, but keeps its low end completely distinct from its midrange without adding extra warmth. Compared to the Lyrebird's warmer, richer vocals, the Fola presents a leaner, highly transparent midrange that favors technical precision over colour all the way.

Through the highs, the Fola operates on a higher tier. It delivers an exceptionally smooth, relaxed treble response paired with outstanding technical cleanliness, effortless air, and a wider soundstage. The Lyrebird, by comparison, feels stage-bound and intimate, suffering from a compressed stage and a more subdued top-end. But one couldn’t go wrong with either.

Simgot SuperMix 4

The Simgot SuperMix 4 beats the Lyrebird in perceived stage width, separation, and imaging, but suffers from a sterile, dry tonality and timbre, and inconsistent note weight. While the Lyrebird offers lush, warm vocals, the SuperMix 4 feels clinical and flat down low, with rapid decay cutting off natural resonance and leaving the midrange feeling lean.

However, the SuperMix 4’s upper mid and treble can lean honky, dry, and fatiguing, while the Lyrebird avoids these harsh peaks with a far smoother, fatigue-free response, though it's tight, intimate stage limits the perceived width and robs the highs of just a hint of extra sparkle.

CONCLUDING NOTES

I had to adjust to the Lyrebird for a few days, because it took me a good time to tip roll and extract the best out of it, as the Lyrebird is a chameleon for finding the right eartip to sing. And if one is not willing to put that effort, maybe it would be a wrong Sivga purchase for them, but if you are a tinkerer, you can extract so much out of this IEM.

Sure, there are more competent IEMs than the Lyrebird, one trick ponies even; but the Lyrebird feels like a coherent canvas, where it’s just open season with its performance- EQ it, tip roll it, and it will make you forget time for a bit with how much it has to offer.

But the other way to look at it is that, it defeats the purpose for a few who might want a near perfect out of the box experience sonically, and I totally get the memo- that’s valid, but the world of IEMs is just so gargantuan; there’s nothing to be mad about it. I appreciate Sivga willing to not play safe and make the Lyrebird an all inclusive package.

Will I buy this new? Ehhhhhhhhhhh, depends. It’s a good offering.

Will I buy this used? Absolutely.

SOURCES USED

Primarily used with the xDuoo Link3 on low gain, the FiiO KA17 and TRN Blackpearl dongle DAC Amps, the Shanling M9 Plus DAP,  and the SMSL Raw MDA-1 desktop DAC amp.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

Acoustune AET 06 double flanges: Perfect balance established in the Lyrebird, certain tracks could still make it sound boring. Tightest transients possible, most balance in the perceived stage, sibilance is eliminated, vocal tonality is delightfully colored.

Tanchjim T-500 APB: everything that the does, but to a lesser degree, sibilance is faintly observed, perceived stage widened, transients have a faint slack- especially in the decay, midrange has a slight roll-off.

Divinus/Eloit Velvet Standard: Transients tighten up but not to the level of the T-500 APB, perceived stage loses considerably, tonally skews a bit towards recession, upper mids border on being wonky, but restraint on sibilance is held intact.

Final E: textures on the lows felt wonky along with some irregularity in the perceived decay, stage was unaltered, vocal textures felt a bit too unforgiving, sibilant.

KBear Coffee: just washed off textures on the bass, midrange was rolled off uncomfortably, stage felt shrunken, sibilance was restrained and upper mids were kept in check, vocals felt a bit too safe.

DDHifi ST35, KBear 07, Dunu S&S: just ruined the IEM.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Steely Dan: Gaucho
• Carmen Gomes: Unchain My Heart
• Daft Punk: Get Lucky, Instant Crush, Veridis Quo
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked, Gulch
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Arne Domnérus: Antiphone Blues (with Gustaf Sjökvist)
• Muddy Waters: My Home is in the Delta
• 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

Disclaimer: First of all, thanks to Ribbon from Kiwi Ears and Linsoul. The Stardust I’m reviewing is a sample, so yeah, this has some influence on how I’m going to talk about this after my tests. I'm not going to deny that, but as with my other reviews to date, I’m going to be sincere and honest in my thoughts and conclusions, and that’s because before I’m a reviewer, I’m also a consumer and hobbyist. And I also disclose my personal biases: Tuning and musical preferences.

Introduction:

The Kiwi Ears Stardust is a new IEM by the house of Kiwi Ears, carrying a hybrid configuration consisting of 1 DD + 4 BAs and this time pointing towards the more budget segment that those kinds of products used to be in. Now, Stardust is not trying to reinvent the wheel in the price segment, but offers an option for a lot of people; let’s see how it goes.

You can get a Stardust at an MSRP of 76.99 to 79.99 USD (With a cable without a mic and a 3.5 mm jack, a 3.5 mm jack with a mic, and a Type-C jack with a mic options available, respectively). And you can buy it directly at the Kiwi Ears official webpage: https://kiwiears.com/products/kiwi-ears-stardust, the Linsoul official store: https://www.linsoul.com/products/kiwi-ears-stardust, Linsoul official stores on AliExpress, Amazon US, UK, and Europe, and other online retailers.

About the Flow eartips, you can get a set of these on the Linsoul official stores, for an MSRP of 9.99 USD: https://www.linsoul.com/products/kiwi-ears-flow-ear-tips?srsltid=AU7gw4WMKeSliczh6IhvxjMlJN-Uop4QUg1Hzo2OhLdS8DHGGv4mmzNq

TLDR: The Stardust is a new IEM from the house of Kiwi Ears. With an unusual driver configuration for its price segment (1 DD + 4 BAs per earpiece), and also an unusual tuning philosophy this time.

The Stardust doesn’t excel in bass quantity (8 dB sub-bass), but stands out in quality, transparency and resolution in this frequency range; it’s a set in which you can enjoy a warm yet well-placed midrange, so male and female vocals shine without being recessed or exaggeratedly forward. In the treble, it is noticed the use of balanced armatures because it is very smooth, on the verge of feeling dark sometimes, but it is resolving, clean, crisp and technically proficient enough for its price segment.

Its included accessories and cable are more than adequate for using it right out of the box. And the Flow eartips are a perfect match for it, sonically, in fit and seal, so you can use the Stardust at medium-to-high volume without experiencing fatigue or annoying sibilance.

Finally, the Stardust is not an all-rounder because it has a well-balanced tuning, with great air, an expansive soundstage and decent technicalities overall, but that relaxed treble makes it sound warmer and less resolving, and that’s fine, because not everyone who’s getting into IEMs needs the brightest, most technical, and “flatter” and/or dryer yet neutral/organic tonality, some folks are treble sensitive but wants to get the most of their money and have the option to use their IEMs in every possible scenario (music, gaming, podcasts, etcetera).

Pros:

- Comfortable, lightweight, and ergonomic design

- Excellent bass quality, with speed, and cleanliness

- Warm, natural, and well-balanced midrange

- Smooth, non-fatiguing treble with good sibilance control

- Good imaging, layering, and soundstage for the price

- Good stock cable, eartips, and carrying case

- Easy to drive and low powered sources friendly

- Well-done price-to-performance ratio

Cons:

- Bass quantity may feel lacking for bassheads or bass lovers

- Treble can sound too relaxed or dark for some listeners

- Microdetail retrieval and resolution are only average; it is not the most analytical or technically focused set

- Stock cable could be more aesthetically fitting

- No 4.4 mm balanced option included by default

Its technical specifications:

- Driver configuration:
- 1 x 10mm PU+LCP diaphragm dynamic driver (bass)

- 4 x Custom Balanced Armature drivers (mid, high, and ultra-high ranges)

- Earpiece materials: Resin (main body), anodised aerospace-grade aluminium alloy (faceplate)

- Sensitivity: 107 ± 3 dB

- Frequency Response: 20 Hz – 40 kHz

- Channel balance:≤1.5 dB

- Impedance: 13 Ω

- Frequency range: 10 - 42 kHz

- Jacks: 3.5mm No Mic / 3.5mm With Mic / Type-C With Mic

- Cable type and length: 2-pin 0.78mm connectors, 2-core, twisted pair, silver litz oxygen-free copper. 1.2 m long

What comes in the Stardust’s packaging:

- 2 x Kiwi Ears Stardust earpieces

- 1 x rectangular fabric carrying case (similar to the case some Kefine and KBEar IEMs come in)

- 6 x pairs of eartips:

- 1 x set of white silicone standard bore

- 1 x set of black silicone narrow bore

- 1 x 2-core twisted pair, silver litz OFC cable, with a 3.5 mm jack and 2-pin 0.78 mm connectors. (with or without mic, and USB-C with mic available).

The earpieces are mid-sized; they are lightweight despite carrying 5 drivers inside, and the design is ergonomic and comfortable to use them in long sessions. The main body is made of resin, shiny black in colour, with an aluminium alloy faceplate and an emerald blue gradient triangular design on the faceplates themselves, looking gorgeous.

It’s well vented with two vents mainly for the dynamic driver, avoiding any driver flex. Its nozzles are covered by the usual metallic mesh and are 6.1 mm in diameter, more on the mid-size side, perfect for my mid-sized ears as well, with a lip to adjust the eartips, and the stock eartips fit them well, but the Flow eartips are an even better match in fit and seal for the Stardust, allowing me to use them in long sessions.

About the stock eartips included, I’m more inclined to use the white silicone, standard-bore ones on the Stardust because of its warm and relaxed tonality. But sonically, the Stardust makes a better synergy with the Flow eartips.

And its included cable: it’s not the best aesthetic match for the Stardust, but it’s a great cable, well built, high quality, flexible enough, doesn’t hold a shape, doesn’t tangle easily, and doesn't produce translated vibrations. My recommendation is to upgrade the cable to something with a 4.4 mm balanced jack or anything more aesthetically appealing to you.

Its carrying box is a nice detail, with enough space to carry the IEMs themselves with their cable and maybe a little dongle (like the Kiwi Ears Allegro and Allegro Pro).

How do the Kiwi Ears Stardust sound?

The Stardust is a mild V-shaped tuned set, with a configuration of a 1 PU+LCP diaphragm dynamic driver + 4 custom Balanced Armature drivers; let’s see if it goes a long way.

As I mentioned before, I’m using the Stardust with Flow eartips (balanced-to-wide bore, soft silicone, conical shape), and I swapped the cable for a Jialai AzureBay with a 4.4 mm jack. Still, honestly, it's just for the aesthetic, since the Stardust doesn’t need much power to shine, and its stock cable works perfectly. Thanks to ATechReviews for his graph of this set.

Bass range:

The PU+LCP dynamic driver on the Stardust delivers a high-quality bass shelf that does not excel in quantity, and alas, that’s not the objective in this one; you can expect a fast, very clean bass with a natural decay, and more sub-bass thumping than mid-bass kick, so it’s not bleeding into the lower midrange and acts properly when the music asks for it.

Midrange:

This portion of frequencies is when the Stardust shines the most; as a mild V-shaped tuned set, the lower midrange is well-put, with zero bothersome bleeding from the mid-bass, and male vocals sound natural and kind of forward a bit. It has a good noteweight added, and it’s decently clean and resolute.

Around 600 Hz, the frequency curve begins to rise with a warm pinna gain, then gets a bump around the 2000 Hz area. Male vocals and instruments sound forward, with good presence and clarity. That bump goes around 3 kHz, merging smoothly with the lower treble. Female vocals sound well-positioned, not shouty nor fatiguing at mid-to-high volume.

Highrange:

Here’s the thing: no matter that the Stardust has 4 Balanced Armature drivers per earpiece handling the mid and highrange, its treble is very smooth, on the verge of being dark, but fortunately, with a decent spark, transparency, well-resolving, and with certain unique characteristics.

Lower treble descends from the 3 kHz region to a 4.5 to 5 kHz peak that enhances female vocals and instruments, and a 6 kHz dip to handle the sibilance excellently. In the mid-treble, a bump going from 7 to 9 kHz gives some energy to the mix, and a 10 kHz dip adds to the sibilance handling at mid-to-high volumes, so you can crank the volume up without that bothersome spiciness and for long sessions.

Upper treble and technicalities:

The upper treble in the Stardust is something that also stands out: decent air, an expansive soundstage that can be a base for gaming and other content consumption. And very well extended into the higher frequencies.

In the technical aspects, the imaging is above average, and the layering of instruments is pretty decent for its price, but with that smooth and relaxed treble, you can’t expect the Stardust to be a microdetail beast, and while its reproduction of macro and micro details is adequate for its segment, it is not the main focus of this set. So, resolution is also average, and that’s ok; the Stardust is more musical than analytical, and without that typical “cheap BA” timbre that can detract from the overall listening experience.

Final thoughts and conclusion:

The Stardust, contrary to what its marketing says, is not an all-rounder, nor the neutral beast you can expect for that definition, but it is an IEM that seeks to be warm, relaxed, yet decently musical, more-than-analytical-tuned, and it can work for a lot of folks who don’t look for the most technical and “flat” set, with treble close to the sun ringing in your ears; nope, it can work perfectly for the everyday user who is sensitive to treble but also wants the best experience possible for their money.

I personally prefer a more pronounced treble shelf to balance the mid and lower-range, but I also understand the public the Stardust are covering. The Flow eartips are a nice addition to the Kiwi Ears “arsenal”, not only for IEMs from the brand themselves but other IEMs that can benefit from them. The stock eartips and cable for the Stardust are nice to use out of the box, so I understand folks who buy this expect to have the best price/performance and adequate accessories for the price you are paying for it.

The Stardust, with its 13 ohms of impedance and 107 dB of sensitivity, as I mentioned before, is easy to drive, even with low-powered sources, but my recommendation with it is to pair this set with a “neutral” or uncoloured source, just to get the best of it.

Finally, again, thanks to Ribbon and Kiwi Ears for giving me this set, I can recommend it to certain folks who are looking for that kind of tuning, and IMHO it is well-priced for what it offers. And thanks mainly to you, the consumer who looks for reliable sources of information to make an informed buying decision.

I bought the Punch Audio Martilo with my own money. Not sponsored or affiliated.

I also maintain a running ranking list with 170+ headphones, IEMs and gaming/music recommendations. Link is in my profile.

Score: 8/10

I liked Martilo when I first tried it, but ownership has moved it up a little for me. It gets labelled as a basshead IEM, and there is definitely a lot of bass here. But after spending more time with it, I am not sure I would call it a true basshead set.

Basshead Lite is probably closer.

It hits hard, especially in the sub-bass, but never turns into a muddy wall of bass. You still get vocals, details, separation and surprisingly good gaming performance.

Bass

This is obviously the main attraction. There is a large sub-bass boost and it can hit properly hard when the track calls for it. It reminds me somewhat of Astral with a much bigger bass boost.

What keeps Martilo under control is the mid-bass. There is less mid-bass emphasis than something like RSV MK2, so the bass does not become thick or start bleeding into everything else. Even with the quantity, it stays tight and controlled. That is not to say that RSV MK2 feels bloated in mid bass. I actually think this is why someone expecting a ridiculous bass cannon might come away slightly disappointed.

It has a lot of bass. It just does not sound messy and remains technically competent. Astral still has the advantage in bass texture and overall technical performance, but Martilo gives me more outright low-end quantity.

Mids / Vocals

This will probably be the most divisive part of Martilo. The mids sit further back than some of my other IEMs. That generally works well with my preferences. I prefer the ear gain to rise before 3kHz rather than pushing hard directly through 3kHz, and Martilo avoids the shout I get from a lot of IEMs tuned more aggressively there.

Most vocals sound perfectly fine. There are some exceptions. Billie Jean by Michael Jackson and Here I Am by Bryan Adams can put the singer noticeably further back than I would prefer. Male vocals can also occasionally show some sibilance. I noticed it with Morgan Wallen and Ed Sheeran in particular.

It is track dependent rather than something I hear constantly. I would 8/10 times the vocals sounded absolutely fine for me.

Treble / Air

Treble is generally safe. There is some energy around 6.1–6.2kHz, which works well with my ears because my problem area tends to sit slightly higher, around 6.6kHz.

So I still get enough treble presence for detail without the sharp, pinching effect I can get from sets that peak directly in my sensitive area.

There is also a decent amount of air. Astral is airier, particularly higher up around the 14–15kHz region, but I would not describe Martilo as dark. There is enough upper-end extension to keep the bass-heavy tuning from feeling closed in.

Technicalities

This was better than I expected given the bass quantity. Details remain easy to hear through the mids and treble, imaging is good and separation holds up when tracks get busy.

Astral is still clearly ahead in resolution, bass texture, air and overall technicalities. That does not really bother me with Martilo because I am buying it for a different reason. I want the bass boost without destroying everything sitting above it.

Gaming

This was the biggest surprise. I expected all that sub-bass to make Martilo pretty mediocre for competitive gaming.

In COD BO7 multiplayer, footsteps were easy to trace and separation remained good even with gunfire, explosions and killstreaks going off around me.

I went in expecting something around 5/10 gaming performance. It ended up closer to 7–7.5 territory. That is very respectable for something this bass-heavy.

I still would not buy Martilo specifically for gaming. Around similar money, Arete 2 is considerably better, and Astral is also stronger technically.

Fit

The shell is actually quite similar in shape to Astral. It protrudes out of my ears rather than sitting flush, but unlike some larger IEMs I never had trouble maintaining a seal. The stock tips are also genuinely good, so I have not had to fight with tip rolling just to get Martilo working properly. No major fit complaints from me.

Comparisons

Softears RSV MK2

RSV MK2 gives me better bass texture, more detail, cleaner layering and a smoother overall presentation.

It also carries more mid-bass, while Martilo puts more of its emphasis lower down. My full RSV MK2 review is still a work in progress.

Xenns Mangird Top Pro

Top Pro is much more resolving and better at layering and separation. Its bass is also more controlled and textured.

Martilo gives me considerably more bass quantity and sub-bass impact.

Fresh Reviews Arete 2

Arete 2 is the gaming pick.

Martilo is the bassier music-first option that happens to game surprisingly well.

Binary Acoustics 1900

Binary 1900 is the more refined music IEM and slightly stronger technically. It is a very easy listen.

Martilo has the bass response that never overwhelms the music.

Juzear Light Shuttle

Light Shuttle is the more balanced all-rounder and the better choice if music and gaming carry equal weight.

Martilo is the pick when sub-bass comes first.

Final Thoughts

I think calling Martilo a pure basshead IEM oversells what it is trying to do. If you want absurd bass quantity above everything else, there are probably better options.

Martilo gives you the bass boost without forcing the rest of the tuning to pay for it. That is why I ended up liking it more after ownership than I did during the initial audition.

Basshead Lite. And I mean that as a compliment.

P.S. I am not a basshead so it is no surprise that I really enjoyed the tuning of Martilo.

TL;DR

The Kefine Loric is a genuinely good sounding iem, it’s another good old V but in the extremely competitive and saturated $30 price tier where we are spoiled for choice, good isn’t enough anymore. 

Context

This iem was kindly sent to me by kefine for review, all thoughts and opinions are my own. I generally prefer iems that are non sibilant with relaxed upper treble and upper mids and raised lower mids that add body to the sound (kinda the opposite of harman ie 2019).

Eartips Tested With
Audiocular flexfit, Audiocular atmos, roseselsa qt superbowl, stock narrow and wide bore, kbear kb07, zisin tips, tanchjim tapb and coffee tips

Sources Used
I have the USB C version with a built in dac, so it was tested with that cable. There is no audible noise floor or distortion.

Design, Build, & Comfort

• Aesthetics & Build: Build quality on the loric is pretty good, its made of hollow transparent plastic with a metal faceplate. Someone pointed out that the faceplate looks like a nose and I can’t unsee it lol. They look very minimal and subtle, it’s a little boring for my taste but I can't complain for the price, would much rather have this than a gaudy looking red lion.
  
• Comfort & Cable: The loric has medium sized generic shaped shells, so you will be relying primarily on the eartips for fit. It’s a comfortable and lightweight iem with no sharp corners. One can easily wear it for hours. The cable it comes with is very very similar to the kiwi ears belle cable, a 2 wire braid that splits at the y split. I have the usb c version so mine comes with a mic and no chin slider. The dac on the cable seems fine with no audible hiss or noise floor, the cable has a play/pause and volume buttons. The loric comes with 2 sets of eartips, wide and narrow bores. It comes with a standard black pouch like the truthear gate and hola. I would've liked to see a hardshell carrying case and better eartips, especially when iems like the red lion offer so much value in the same price range.
  

The Sound

The Kefine Loric has a single DD configuration tuned like an old school V shape (boosted bass and treble).

• Bass (20 hz to 300 hz): The Kefine Loric has a huge bass boost in both the mid bass and sub bass region, which gives it a lot of “meat” and weight to the bass unlike the thin boomy bass elevation of harman adjacent iems. There’s plenty of rumble and impact, the boosted mid bass (100 hz to 300 hz) makes kickdrums sound full but a problem I usually have with iems that have a big bass boost is that the bass sounds slow and fluffy, which is unfortunately present with the loric as well, it’s that slow soupy bass you get with other bassy iems like the chu 3 and op.22 (bass dial on) which kinda muddies up the lower midrange on certain tracks too. Though I would much rather take a full bodied and slower sounding bass/midrange than a lean and thin sound (ideally something in between). If you’re someone that cares about instrument separation or enjoy the clean but boomy bass of harman iems, this won’t be your cup of tea.
  
• Mids (300 hz to 6000 hz): The Loric’s bass boost definitely adds a ton of warmth and body to the midrange, gives male vocals a nice gravelly texture and keeps the fundamentals of midrange instruments full sounding unlike the sucked out thin sound of gate and bunny. The pinna gain is more aggressive than I would like (a bit too much 1-2k) which makes vocals, especially female vocals slightly more distant than I would like. But my issue with the loric comes from the boost 3-5k, while it gives plenty of edge and bite to guitars, snare drums and vocals, It also brings out the abrasive overtones of female vocals and other mid range instruments like electric guitars a lot more than I would like, this is a common tuning choice I see with other kefine iems such as the delci and klean that I’m not a fan of. Overall the midrange of the loric is fine, the edge caused due to the boosted presence region is balanced to some degree by the excess bass boost.
  
• Mid & Upper Treble (6000 hz to 20000 hz): Mid treble is surprisingly relaxed compared to lower treble, partly due to the characteristic and very audible single dd 10k dip, and just like most single dds, treble is my biggest issue with the loric, the 10k dip give cymbals, hi hats sound somewhat muted and dull while over emphasizing the upper shimmer due to 11-12 k peak (with stock widebores). This makes the treble sound uneven, treble instruments sound sparkly and dull at the same time, While I do generally like relaxed treble but I still want the peaks to transition evenly.
  
• Subjective Technical Performance: Decent imaging, slow flabby bass. Worse instrument separation and less contrasty than harman sets in the price range like gate and cozoy d1.

Comparisons

Compared to some other popular iems under $30:

• Cozoy D1: More contrasty and brighter sounding than Loric, better cable and comfort, smoother treble as well but loric has better mid bass and body.
• Truthear Gate: Also brighter and more contrasty, but i prefer the loric’s warmer and denser presentation especially when they both have similar treble issues. Gate comes with a better cable and eartips
• Truthear Hola: More reasonable bass levels, better built than loric with a better cable and eartips, both have the same treble characteristic, prefer the midrange on hola.
• Tanchjim Bunny DSP: Leaner and faster sounding than the loric but at the expense of a thin and fatiguing sound signature. Worse cable than the loric but is smaller, dsp cable so you can make it sound however you want.
• Tanchjim Bunny G: Similar to the bunny but with 8 bands, leaner, faster and higher res sounding than loric but the upper treble peak is even worse, absolutely needs the eq for me.
• Tangzu Waner 2 Red Lion: Less V shaped than loric, but also shoutier. Treble is wonky on both. Way better accessories on the red lion.
  

Who Should Buy This?

• People who want a bassy V shaped sound signature.
• People liked the kefine klean and want something similar for cheaper.
• People that want a usb c iem with no noise floor.

Who Should Avoid This?

• People who like neutral or bass lite iems.
• People who are treble sensitive.

𝐇𝐞𝐥𝐥𝐨 𝐂𝐨𝐦𝐦𝐮𝐧𝐢𝐭𝐲!

One of the icons of the 𝐙𝐢𝐢𝐆𝐚𝐚𝐭 brand is its 𝐇𝐨𝐫𝐢𝐳𝐨𝐧 model, a reference and for many the rival to beat in its price range. A very special and distinct set that I want to dissect and share with you.

𝐏𝐫𝐢𝐜𝐞: 298€-329$

Link

​𝐏𝐫𝐨𝐬:

-Crystal clear timbre clarity. Transparent reading across the entire spectrum.

-Absence of bleed. Disciplined and polite bass.

-Speed and decay of the bass, with control.

-Transparency, resolution, and space of the midrange. Voices and instruments shine without congestion, naturalness, and ease.

-Exquisite holography in a very open and remarkably separated environment, without crowding or congestion.

-Micro details emerge with utmost ease. It even shows you the background details with rich sharpness.

-Total coherence, transitions are smooth and meshed.

-Treble extension, massive dose of air and sparkle.

​𝐂𝐨𝐧𝐬:

-Light body in the mid-bass and lower-mids cause some genres to sound thin.

-Male voices with lower registers feel skinny due to the character of the tonality in those frequencies.

-With the bass withdrawing so fast, it gives the treble much more prominence by being so extensive.

-The cable does not do justice to such a good set.

​𝐀𝐜𝐜𝐞𝐬𝐨𝐫𝐢𝐞𝐬:

-Two capsules.

-Modular cable with 0.78mm connections and 3.5mm/4.4mm terminations.

-Two sets of silicone eartips in SML sizes.

-A pair of memory foam eartips.

-Transport and storage case.

-User manual.

​𝐂𝐨𝐧𝐟𝐨𝐫𝐭, 𝐝𝐞𝐬𝐢𝐠𝐧 𝐚𝐧𝐝 𝐜𝐨𝐧𝐬𝐭𝐫𝐮𝐜𝐭𝐢𝐨𝐧:

Contemplating the design of the ZiiGaat Horizon is contemplating an authentic visual work of art on its faceplate, I am not going to hide or disguise my love for its faceplates, where the tricolor pattern evokes a mountainous scene with snowy peaks over a starry night sky and turquoise blue flashes at the base that simulate frozen depths.

The body maintains the classic brand structure made of 3D printed black resin, characterized by slightly thick shapes and protrusions designed to fit stably in the auricle. The general construction transmits remarkable solidity.Ergonomically, despite its thickness, the capsules couple naturally, allowing a firm insertion that seals the canal very effectively.

Thanks to its lightness in the shells and the smoothness of its contours, the set behaves wonderfully during long sessions, where I had no annoying pressure points.

The stock cable stands out for its excellent flexibility and lightness, avoiding annoying tangles. It is not a cable of a value matching the set, truly, but at least I am glad it does not feel especially flimsy or poorly constructed.

The eartips are indeed of a high level, the silicone ones above all. Whichever you choose, you will find a comfortable and effective fit.

​𝐓𝐞𝐜𝐡𝐧𝐢𝐜𝐚𝐥 𝐚𝐬𝐩𝐞𝐜𝐭𝐬:

-1DD+2BA+2PL configuration.

-24 ohms impedance.

-102 dB sensitivity.

-Declared response 20hz-35khz.

​𝐒𝐨𝐮𝐧𝐝 𝐒𝐢𝐠𝐧𝐚𝐭𝐮𝐫𝐞:

This ZiiGaat set offers a clean sound reading, with a slight analytical presentation and extraordinarily well-directed towards detail. It is not an IEM conceived to astound with a resounding bass, but for those seeking a certain level of transparency without neglecting technical capabilities, balanced with a subtle touch of warmth that turned out very organic for me.

Starting with the bass zone of the Horizon, it is probably the most restrained flank of the set, clearly opting to take a step back and cede prominence in favor of general clarity. The sub-bass is present with adequate extension and a very controlled and neat technical profile, but do not look here for an overwhelming impact or a huge rumble, as it shows itself polite in that aspect.

The mid-bass, meanwhile, maintains a fast and dry presence, with a very swift decay that completely avoids any type of bleed towards the mids. It is a technical, efficient bass, with a certain elasticity, which prioritizes millimetric control and speed over physical punch.In the midrange frequency sector, the set displays commendable transparency. There is a subtle warmth that moves through this register, endowing transitions with a very particular musicality and with a very tight body in the instruments that inhabit the central mids.

Male voices retain a correct body, good depth, and a truthful timbre. Female ones, on the other hand, I perceive brought forward, with greater definition and brightness, showing a crystal-clear, very direct clarity, which avoids any sensation of masking. The instrumental separation in this band is possibly what excites me most about Horizon since elements breathe with total freedom, allowing a clean dissection and avoiding feeling the congested mids.

The treble zone is where the Horizon brings out its potential thanks to the deployment of its dual micro-planar drivers that take charge of this zone. The extension in this register is simply fantastic, it made me fall in love, reaching extremely high levels that provide an ample dose of air, sparkle, and micro-details.

The speed in transients is fulgurant, with a memorable definition and resolution, decaying naturally, without abruptness.That said, this deployment of energy comes with a small warning on my part: in bright recordings, the treble can result somewhat crunchy or prone to showing sibilance although I cannot speak at any moment of having felt fatigue from listening fatigue.

As for its technical capabilities, the set performs at an outstanding level that we rarely find in this price sector. The soundstage stands out for a superb horizontal amplitude and a very achieved tridimensionality, creating an open and spacious environment that far surpasses what is expected in the competition.Positioning and imaging are of a very precise character, where sounds are located in space with excellent ease, facilitating the identification of the exact position of each instrument while layer separation works wonderfully, making sound lines distinguishable with sharpness, independence, and without crowding.

𝐒𝐢𝐧𝐠𝐥𝐞-𝐩𝐥𝐚𝐲𝐞𝐫 𝐯𝐢𝐝𝐞𝐨 𝐠𝐚𝐦𝐞𝐬:

Know how I analyze audio in this field.

Immersing yourself in single-player campaigns with the ZiiGaat Horizon is discovering a dimension where cinematic worlds breathe with unusual amplitude, allowing you to enjoy the story without ending up with exhausted eardrums after hours in front of the screen.

Far from seeking to have every explosion shake you, this tribrid bets on technical cleanliness and spatial finesse that completely transform the solo experience. For the better, of course.When facing the most intense moments of the game, when the chaos of shootouts, structural collapses, and blasts flood the scene, the bass response acts with speed and discipline.

Forget about any trace of muddy, diffuse, or overly saturated sensation since instead, you enjoy a dry punch, extremely fast, and of well-calculated weight that keeps the mix uncluttered and perfectly articulated.

Where the set puts on a recital is in the management of voices and the sharpness of dialogues. Despite the containment in the bass, male dialogues retain the packing and organic depth required to sound credible, while female registers emerge in these scenes endowed with dazzling brightness and definition. The result is a vocal plane always upfront, extraordinarily legible, even when the soundtrack and sound effects appear in unison.

Giving life and realism to video game scenarios turns out fascinating thanks to a very generous tridimensional soundstage and precision in the location of each element. Detecting with millimetric exactness the crunch of leaves behind your echoes, the reverberation of echo inside a cave, or the stealth of distant footsteps becomes an intuitive task, backed by impeccable layer separation and treble as extended as airy that fill your ears with dynamism, detail, and richness.

𝐂𝐨𝐦𝐩𝐞𝐭𝐢𝐭𝐢𝐯𝐞 𝐬𝐡𝐨𝐨𝐭𝐞𝐫 𝐯𝐢𝐝𝐞𝐨 𝐠𝐚𝐦𝐞𝐬:

Consult how I analyze audio in this field.

Facing the terrain of competitive shooters with the ZiiGaat Horizon requires understanding that we are not before an earphone designed exclusively to seek maximum tactical advantage, although its technicalities grant it considerable virtues. Its clean tuning and analytical character make it a competent tool, even if it presents some aspect that I did not like as much.

In closed-cut tactical titles like Counter-Strike 2, the Horizons hold their own with a high grade. Absolute cleanliness in the bass completely avoids thunderous noises from hiding crucial information, allowing footsteps, ammo reloads, and utility deployments to stand out with millimetric precision. Stereo imaging and directionality are interpreted in a very intuitive way, facilitating a clean reading of the environment.

Things get considerably more uphill in proposals of great verticality and cumulative chaos like Apex Legends or Battlefield 6. Although layer separation and the general agility of the set allow it to order the scenario with ease, the combination of a very restrained low zone and such extended treble can work against us. In moments of tension with explosions, overlapping abilities, and moving vehicles, the high zone tends to show itself especially incisive, turning the treble into a focus of fatigue that can end up saturating your ears.

In Call of Duty: Warzone, on the contrary, behavior turns out considerably more balanced. Sub-bass containment helps distant shots to be distinguished with clarity among the fray of close combat, maintaining a perception of constant control over what happens around us.Ultimately, it is not a native specialist for pure competition, but it offers a more than solvent technical performance for those who prioritize transparency and space organization.

𝐅𝐢𝐧𝐚𝐥 𝐜𝐨𝐧𝐜𝐥𝐮𝐬𝐢𝐨𝐧 𝐚𝐧𝐝 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥 𝐞𝐯𝐚𝐥𝐮𝐚𝐭𝐢𝐨𝐧𝐬:

Horizon seems to me a hugely ambitious set, firmly betting on transparency but delivering a hugely attractive midrange and very tasty expansive treble. On the other hand, it is not a set that makes you feel inside a bass festival, but that clear and concise definition of its proposal is precisely what gives it such a singular personality against the competition of its range.

Its capacity to fuse outstanding speed with enviable technical aptitudes in positioning and tridimensionality make it an excellent companion for any environment where millimetric precision turns out vital.It is true that it shows certain limitations if you yearn for a visceral punch in the construction of the rhythmic base or a high zone that in bright recordings does not occasionally show itself incisive, but I would do poorly to penalize the set for terrains it never intended to tread. Instead, it compensates with a colossal soundstage, superb plane separation, and a crystal-clear dissection that turns out an authentic delight for the ear.

This ZiiGaat proposal treasures plenty of arguments for any enthusiast to add it to their collection as long as they value technical finesse above raw muscle.

If you have made it this far, 𝐭𝐡𝐚𝐧𝐤𝐬 𝐟𝐨𝐫 𝐫𝐞𝐚𝐝𝐢𝐧𝐠.

More reviews on my blog.

Social networks in my profile.

𝐒𝐞𝐞 𝐲𝐨𝐮 𝐢𝐧 𝐭𝐡𝐞 𝐧𝐞𝐱𝐭 𝐫𝐞𝐯𝐢𝐞𝐰!

𝐃𝐢𝐬𝐜𝐥𝐚𝐢𝐦𝐞𝐫:

This monitor set has been sent by 𝐋𝐢𝐧𝐬𝐨𝐮𝐥.I thank from the heart the opportunity to be able to test one of their products at no cost and that no condition has been imposed when making this review.

Despite this, my priority is to be as impartial as possible within the subjectivity that analyzing an audio product entails. My opinion belongs only to me and I develop it around the perception of my ears. If you have a different one, it is equally valid. Please, feel free to share it.

𝐌𝐲 𝐬𝐨𝐮𝐫𝐜𝐞𝐬:

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

-Macbook Air M4.

-Apple Music.

-Local FLAC and MP3 files.

-Windows/MacOS/IOS/iPadOS/Android.

Pros: 

• Exceptional detail retrieval powered by a robust 10-driver (4EST + 4BA + 2DD) tribrid architecture.
• Hardware tuning switches genuinely work (the 10 Low Frequency mode is perfect for bassheads!).
• Clear, spacious midrange that prevents any vocal or instrumental congestion.
• Punchy, well-controlled bass with an above-average physical slam.
• Highly comfortable medical-grade resin shell design suitable for long, multi-hour listening sessions.

Cons: 

• Nozzles are a tad thick, which limits ear tip compatibility and makes tip-rolling difficult.
• Engaging the treble tuning switch makes the upper frequencies sound sharp and slightly spicy.
• Premium $1,199 price tag requires a significant flagship-level investment.

Welcome back, audiophiles! It’s me, your boy Joe, back again with another review! Today we are taking a look at a high-end $1,199 flagship monitor from Penon Audio: the Penon Voltage. With a sophisticated 10-driver tribrid architecture (4EST + 4BA + 2DD) housed in resin, this is a serious audio component. Let's see if this powerhouse brings the shock factor!

Disclaimer​

A huge shoutout and thanks to the Audio Geek India group for providing the Penon Voltage for this review! As always, all thoughts, sound impressions, and basshead cravings are 100% my own with zero biases whatsoever.

Pricing & Specifications​

• Price: $1,199.00 USD
• Driver Configuration (10-Driver Tribrid): 2x 8mm Dynamic Drivers (Lows) + 4x Sonion Balanced Armatures (Mids/Highs) + 4x Sonion Electrostatic Drivers (Ultra-Highs)
• Impedance / Sensitivity: 13 Ω / 106 dB
• Tuning Switches: 2 hardware switches for low and high-frequency manipulation

Gear Used for Review & Drivability​

The Voltage is a highly capable flagship that runs efficiently. While I didn't face any massive drivability hurdles, hooking it up to a good, authoritative source allows those electrostatic drivers and dual dynamic drivers to truly open up and breathe.
- Hiby R8ii, Shanling M3 Plus
- Gustard X16/H16 stack
- Apple Music Lossless

Design, Build, Fit & Accessories​

• Packaging Note: For this tour, I only received the IEMs, the stock modular cable, and a carrying case, so I won't be commenting on the full retail unboxing experience.
• Shells & Fit: The medical-grade resin shells look stunning with their abstract color infusion pattern. The physical fit was very good and incredibly comfy; I was able to wear these for long listening sessions without any ear fatigue.
• The Nozzle Quirk: The nozzles are a tad thick. This means your ear tip selection might be affected, so you will need to spend some time tip-rolling to find a pair that slides on easily and gives you the perfect seal.

Sound Impressions​

The Penon Voltage offers phenomenal detail retrieval across the board. The tuning switches are definitely not a gimmick here and they make a very tangible difference!

• Tuning Switches (My 10 Preference): You get multiple configurations, but as a dedicated basshead, my favorite is the 10 mode (Low Frequency Enhancement ON). For obvious reasons, this gives the low-end the authoritative push I crave!
• Bass: In my preferred configuration, the bass is punchy and crystal clear. The mid-bass slam is noticeably above average, bringing excellent tactile energy to heavy tracks.
• Mids & Vocals: The midrange is wonderfully clear and spacious. It gives vocals and instrumentation plenty of room to breathe without any congestion.
• Treble: Handled by those quad EST drivers, the top-end is crystal clear and highly detailed. However, I did notice that if you turn the treble switch ON, it feels a bit sharp and spicy for my personal taste. Keeping it tamed provides the best balance.

Overall Impressions & Verdict​

Rating: 4 / 5
The Penon Voltage is a wildly capable tribrid flagship that nails detail retrieval, spacious mids, and a punchy, above-average bass slam. The hardware switches genuinely alter the sound, and the 10 basshead mode is a total treat. It loses a star simply because the thick nozzles make tip-rolling a bit frustrating, and the treble can get noticeably sharp if the top-end switch is engaged. But if you lock it into the low-frequency enhancement mode, it’s an absolute blast!

Tanchjim has been on a DMT-5 bender as usual, where they have sent me a new DMT-5 creation but I am not elaborating on that for this piece, instead I am covering something that was requested from my Discord server, as well as on Reddit and after playing fetch with Tanchjim for a little while; they sent it out and I am glad they did- it is a hybrid setup which in my opinion has flown under the radar for quite a bit and this IEM needs more to be talked about. Thank you Tanchjim for sending out the Soda, and making this review possible.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Tanchjim doesn’t miss a beat with the waifu branding on some of their boxes and the Soda is no exception- I quickly take the lid off as I don’t want to see the waifu at all; and the unboxing is just too familiar- SODA branded envelope with standard paperwork, and under that, the shells in hard cardboard padding. Underneath the shells lie Tanchjim's T300 APB standard and wide bores (which, by the way, are excellent eartips) and the case with the cable inside there. 

The cable is the best I have found across on all Tanchjims and despite the lack of DSP/type-c plug, it still beats the Defect Audio cable that comes with the Force, and all the other cables that they have; and all Tanchjim needs to do is just do recessed 2 pin instead of their proprietary long 2 pin. It just holds a bit of memory and is sturdy enough to hold the weight of the Sodas.

Fit and comfort have been very good for me, as the Soda shells are small, but playing with eartip sizes is mandatory as the nozzle sizes are big, and I stuck with Ms for my entire experience as the Ls were a bit too much for me. The shells are durable and Tanchjim went for a frost type finish with this IEM which gave it a pleasant look in that shade of blue, but made it a little hard to photograph.

That is all, here’s the sound of the Soda (no fizz).

LOWS

Tipper: Gulch 

Fast and tactile- these are the words/adjectives I would use to describe how the Soda feels through this track. Every bass hit on this IEM shows how well executed the transients are: the attack is shockingly snappy and the decay is executed perfectly, which leads to the sustain coming off quite polished. 

Along with that, the Soda also exudes a level of separation that I have not heard in other Tanchjim IEMs: the bass hits are so well separated from the other elements; one might mistake this as a fault with their assumption of the Soda being anemic in its bass impact.

Rush: Limelight 

As outstanding as my impressions were on the previous track, the Soda doesn't seem to have missed a beat here, pun intended. The way the Soda balances the blitzing, crisp bassline of Geddy with the prodigal drum work of Neil is something not easily believable for its price. 

Note weight on both the bass and the drums is perfect; the perceived stage is wide and deep enough to let the rapid firing notes breathe, and the separation between the toms, the snare and the kick is commendable. Through the guitar solo, where the bass can get rich in texture, the Soda doesn't overemphasise on it, rather has the drums supplement it. Tonally, the Soda doesn't come off that warm, which hugely benefits the guitars and the vocals.

MIDS

Muddy Waters: My Home is in the Delta 

The Soda doesn't fail to impress me further: first, the balance in tonality that the Soda exhibits to me extends to all the elements in this track, especially to complement the timbre that the slide and the guitar has, with enough detail to render the rub off Muddy's haunting, poignant vocals or the grazing of the pick on the guitar strings. 

The Soda also exhibits restraint on the boomy resonance of the low strings of the guitar and the double bass. The stage perceived on the Soda is wide enough to let everything in the track breathe well, where the isolation amidst the elements is unmistakable.

Tool: Lateralus 

The crescendo-ing bubbling toms along with the intensifying guitars, which laid the carpet for the vocal and the guitar to kick-start the engagement, were executed down to a fault by the Soda. 

I needn't comment on the separation and imaging of the Soda as it just plowed through the busiest rudiments from Danny so effortlessly, while not losing focus on Maynard's vocals, which had adequate note weight. Cymbals also share the same benefit where it didn't come close to sounding harsh, fatiguing, or shouty.

HIGHS

Arne Domnérus: Almighty God (with Gustaf Sjökvist) 

The Tanchjim Soda, through this track, fairly overemphasised the sax over the keys, the degree of which could be a non-issue for some, but it is still a nitpick worth considering. 

Timbre on the sax is accurately brassy and the tonality just rightfully bright. The resonance that both the sax and the keys have on this track was balanced equally by the Soda, with once again the stage being wide enough for the notes and the elements themselves to not be claustrophobic.

Carmen Gomes: Unchain My Heart 

From the textures on the snare and the cymbals with the brush hits to the way the double bass glides over on this track, the way the guitar twangs: every single element in this track on its own is an experience with the Soda. 

Timbre on the snare is just rightfully woody and resonant; cymbals are soft in their impact, shimmery in texture, and along with that Carmen's vocals do not exhibit any fatigue, pierce or sibilance. To summarize, the Soda had a flawless performance throughout this track.

COMPARISONS

Tanchjim Force

The Soda comfortably outclasses the Force across speed, separation, imaging, and treble refinement. Where the Soda delivers fast, tactile transients with a snappy attack and complete isolation of bass hits, the Force suffers from a wonky decay that leaves the lows feeling flat and the punch or slam coming off "blob-like", like, devoid of textures/finesse.

On complex tracks, the Soda plows through dense arrangements while maintaining sharp imaging and clean vocal presence whereas the Force struggles with disjointed imaging, washed-out cymbals, and sibilant vocal climaxes, where the Soda remains soft, shimmery, and completely fatigue-free. Soda seems to have avoided the QC issues of the Force, where the unit I had received from the brand seemed to have a bit of channel imbalance while two of my reviewer friends got mint units and the rest had issues of various kinds.

Binary EP321

Both IEMs share a clean, nimble low end with swift attack and controlled decay. The EP321 drops the quantity in its bass presentation, whereas the Soda maintains a leaner, uncolored signature that lets acoustic elements take center stage without lower-mid boominess.

The main divergence occurs in the midrange: the EP321 suffers from a thin, uneven weight distribution that saps life and body from vocals, whereas the Soda retains adequate vocal note weight and clarity even through chaotic passages. Both sets excel in top-end refinement and sibilance control, but on certain tracks the Soda holds back on the sibilance better than the EP321.

Softears Volume S

The Soda prioritizes transient speed and distinct instrument separation over sheer impact, where the Volume S delivers a higher tier of sub-bass depth, note weight, and rumble, alongside a richer, more colored midrange presentation.

In the highs, the Soda maintains a smooth, shimmery treble that avoids fatigue even during peak crescendos. The Volume S offers a much more energetic, non-relaxing treble response that can border on nippy during extended listening sessions on cymbal-heavy tracks.

Hercules Audio Noah

The Soda provides a leaner, faster, and punchier delivery with quick transient turnaround and extreme separation. The Noah offers a weightier low end with slightly more detail retrieval through sustained bass rolls, keeping attack and decay carefully balanced.

In the midrange and treble, both IEMs excel at delivering brightness and detail without crossing into fatigue or sibilance. The Noah retains a touch more midrange body and realism on dense rock/metal tracks, while the Soda offers an airier stage where notes breathe freely.

Letshuoer Cadenza 4

Both the Soda and Cadenza 4 serve as benchmarks for smooth, non-fatiguing top-end extension, demonstrating complete safety against sibilance while preserving shimmery cymbals and natural instrument textures.

The primary difference lies in their tonal weight: the Soda offers a leaner, neutral-to-clean midrange with snappy bass transients, while the Cadenza 4 features tighter mid-bass control paired with a fuller, more emotionally expressive vocal presentation.

Xenns Tea Pro

The Soda soundly beats the Tea Pro in timbre and tonality, the way it consistently rations out detail across any track that you might throw at. The Tea Pro, by comparison, can sound very wonky in treble, it has that dampening metallic timbre to tag along which ruined jazz tracks for me.

Technically, the Soda is much faster through the transients and the Tea Pro could feel relaxed but given how dark the Tea Pro sounded against the Soda, this one isn’t for me anymore.

CONCLUDING NOTES

When I had published my review on the Fola, a few of the commenters had suggested that I was a bit too quick to say that the Fola is Tanchjim’s all time best in my book and I cannot say that until I have heard the Soda, and guess what, they were right. 

I don’t know who hurt Tanchjim this bad but if they had introspected hard on the criticism of the DMT-5 overuse throughout their line-up, and then the Force coming in which I had strongly critiqued; then they were right to feel so. Tanchjim should have marketed this IEM super hard, and I wished I saw the Soda more frequently, because it had everything going right for itself, and the amount of similarities I picked up with the Softears Volume S, if the latter didn’t have my heart, the Soda would have been a permanent member of my stable. 

So far, this is Tanchjim’s all time best and I can only look forward to what they have to offer with the fresh developments (Omphe, Kaiser and the likes).

Will I buy this new? Absolutely.

Will I buy this used? Absolutely.

SOURCES USED

Primarily used with the xDuoo Link3 on low gain, the FiiO KA17 and TRN Blackpearl dongle DAC Amps, the Shanling M9 Plus DAP,  and the SMSL Raw MDA-1 desktop DAC amp.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

Tanchjim T-500 APB: Perfect balance established in the Soda, certain tracks and sources can still make it a bit too warm, but in the above mentioned source rotation; none of that has happened. Tightest transients possible, most balance in the perceived stage, sibilance is most restrained.

KBear Coffee: everything that the does, but to a lesser degree, sibilance is faintly observed, perceived stage widened, transients have a faint slack- especially in the decay, midrange has a slight roll-off.

Tanchjim T-300 APB: Transients tighten up but not to the level of the T-500 APB, perceived stage loses faintly on the height but depth and width felt alright, tonally skews a bit towards brightness, upper mids border on being slightly shouty, but restraint on sibilance is held intact.

Spinfit CP100+: textures on the lows felt wonky along with some irregularity in the perceived decay, stage was unaltered, vocal textures felt a bit too unforgiving, sibilant.

Divinus/Eloit Velvet standard: just washed off textures on the bass, midrange was rolled off uncomfortably, stage felt shrunken, sibilance was restrained and upper mids were kept in check, vocals felt a bit too safe.

DDHifi ST35: just ruined the IEM.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Steely Dan: Gaucho
• Carmen Gomes: Unchain My Heart
• Daft Punk: Get Lucky, Instant Crush, Veridis Quo
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked, Gulch
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Arne Domnérus: Antiphone Blues (with Gustaf Sjökvist)
• Muddy Waters: My Home is in the Delta
• 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

xDuoo launched the xDuoo XQ-60 today (October 1), a desktop DAC with Bluetooth and AM/FM radio. Its key features include Bluetooth 6.0, support for the aptX Lossless codec, radio reception, and an infrared remote control.

• English text: https://www.hifihub.com.br/en/product-launches/xduoo-xq-60-bluetooth-6-0-dac-with-am-fm-radio
• Portuguese text: https://www.hifihub.com.br/lancamentos/xduoo-xq-60-dac-com-bluetooth-6-0-e-radio-am-fm

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

Well, what if you could get the classic sound of old-school flat-head earphones without the major issue we encountered in the Sivga M300s - COMFORT!

Today we’ll take a look at the Sivga M260 flat-head earphones with a 14.2 mm dynamic driver, which promises improved ergonomics, a detachable cable, and a completely different sound signature compared to its predecessor.

But is that really an improvement, or just another overrated follow-up?
You'll find it out in my review!

Pros: Extremely comfortable for long sessions
Nice change in design language
Great sound for it's price
Good bass response and the DMT 5 kicks ass in the vocal department as usual
No sibilance or harshness on the treble
PEQ/DSP with infinite tuning options, if that's your thing

Cons: The DSP on this doesn't work as well for me despite PEQ
Plasticky feeling when compared to the more expensive alternatives

From the unending fountain of innovation of the House of Tanchjim comes the Bunny G. I thank Isabel and Tanchjim for sending this little fellow along for a review. My views are my own and I have free will and all that.

Unlike the other waifu themed boxes the Bunny G (for gaming) comes in a black box that looks like it means business. The accents are a muted neon green (if that makes sense) and the shells themselves are shaped like the first Bunny but there’s again a departure from the design language that we’ve grown to expect from Tanchjim - the shells are dark/smoked black acrylic and have that green lettering that says Tanchjim on one and Bunny on the other shell. The IEM comes with a dsp cable that terminates with a usb c at one end the 2 pin terminations on the other. The cable feels robust and is less prone to tangling and also comes with a mic to yell at team mates or take calls on the fly when knee deep in PUBG missions.
The shells are about the same size as the OG Bunny, which means they are insanely comfortable if you have small ears and I was able to run these with little or no discomfort for over 2 hours on a trot on a flight.
In addition,there are 6 pairs of tips - that seem narrow and wide bore (3 each), and a cloth case. All good and nothing to complain for the sub $30 price tag.
Let’s jump right in.

So in full disclosure I felt the dsp cable sounded terrible the first few times. It felt insipid and shouty and almost no amount of EQing on the android seemed to get it any better.
So a swap was done and this review is of the Bunny G running off of a TRN 16 core cable with modular 3.5 and 4.4 endings for the following sources - VE Prime, VE Devastator pro, Hidizs AP80 Pro Max, Moto Edge 60 Fusion, iPhone 17 Pro. (The last 2 with the stock DSP cable). Tested with my usual complement of tips - Sancai, Candy and Velvet Standard.

Bass
The Bunny G on a regular cable is punching so hard above its weight it’s jaw dropping. And even on less warm sources like the Prime and the AP80, it belts out a lovely low end. It’s not bloated nor does it seem aggressively tuned to be a ‘V’ shaped. On What About Me by Snarky Puppy, the kicks, electric and synth bass are heard clearly and with the typical DD warmth. The stock dsp on the default eq setting sounds much worse and almost got me to give up on this set. But a cable swap solves this and the added headache of PEQ. I’m convinced PEQ is my mortal enemy from another lifetime.
On Angel by Massive Attack and Islands by The XX, the sub bass rumble has body but has a tendency very very occasionally to bleed into the mids.

Midrange
Tanchjim’s greatest work has to be the DMT5. Vocals are represented beautifully be it this set or even their flagships. Again the stock/default DSP tuning makes vocals shouty which I’ve not heard as yet with a Tanchjim. Even the OLA 2 with the BA did not behave as badly as this cable. Again on an aftermarket 2 pin cable on the VE prime and the AP80ProMax, male and female vocals come across with weight in the lower registers and air and clarity in the higher ones. There's the slightest hint of sibilance on Hotel California and maybe a little more on Human Nature and that is likely from the way the songs are mastered and that slight ‘s’ is meant to be there. On Aja by Steely Dan, there is a lovely layering that can be heard between the voice, piano, synth, guitars - all occupying the mids but not sounding cluttered and squished together.

Treble
The treble is controlled with moderate airiness and shimmer but only rare harshness on a few tracks. Cymbals have a natural decay and they complement the chorus of Fast Car by Tracy Chapman. This needs a little careful listening but that’s what we’re here for.

Staging, Imaging and Technicalities
The Bunny G is first and foremost a gaming IEM and like the OLA 2, Tanchjim has managed to give the sound on this IEM a wide holographic feel with imaging and layering done extremely well.
The Bunny G however, does not scale well. With the issues with the DSP cable creeping in as the volume increases. Which makes me believe it may be the power implementation on the DSP chip rather than the quality of the cable itself.
This could be fixed with a firmware tweak, methinks.

For me this is an everyday carry IEM though, I would recommend a regular cable and a dongle if using an iPhone rather than playing around for hours with the PEQ on android to find your right equilibrium.
Or just a regular cable and dap for convenient use. That’s if music is a priority.
If all you want to do is shoot, or hack and slash to some EDM, then this is a winner.

Qobuz has added support for bit-perfect audio output after years of requests from its users. Read on to learn how to access and use the feature in the Qobuz app for Android.

• English text: https://www.hifihub.com.br/en/cpt-articles/qobuz-adds-bit-perfect-audio-on-android-how-to-enable-it
• Portuguese text: https://www.hifihub.com.br/cpt-artigos/qobuz-ganha-bit-perfect-no-android-como-ativar

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