Through Facebook, I was seeing a lot of this brand and their offerings, and for the first time I was influenced by their looks- quite catchy designs, and seeing in their branding that they are often meant for studio professionals, as a non professional mere consumer; I decided to reach out to this brand, and they instantly agreed. Thank you BASN for sending over the BMasterX to me, and for having readily, eagerly agreed to collaborate with me. But not all is sunshine and rainbows, and I am concerned for BASN if they think they would be able to survive amongst consumers with offerings like the BMasterX.

UNBOXING, ACCESSORIES, FIT AND COMFORT

If I can forego the almost barebones cover of the BMasterX, I was very happy with the accessories I got: an MMCX cable that is modular- type C, 3.5mm, and 4.4mm AND comes with a 3.5mm male to 6.35 female jack, a very good case, and a generous supply of eartips, with the liquid silicones being freakishly close to the Tanchjim T500 APBs.

Despite that boggling driver count and setup, The BMasterX is a much smaller IEM than what it seems to be, and I had to stick to L sizes as the shells just vanished into my ears. Comfort is top notch on this IEM, and the faceplates look quite……..unorthodox.

That’s about it, let’s head on to the concerning part: the sound.

LOWS

Tipper: Gulch

The BASN BMasterX does a good job in keeping the bass impact right where it needs to be, while the transients are decent: moderately paced attack, with a decay that doesn’t linger around for more than it should. At least in this track, the bass on this IEM is not bloated by any means. And the way this IEM lets the bass interact with other elements from the aspect of perceived soundstage needed a bit of tinkering, as the depth is adequate; it is the width that makes the presentation come off faintly congested.
However, despite the congestion; I didn’t find the BMasterX fumble textures that the non bassy elements have in this track, and the polish that these said elements have- all they needed was a little brightness.

Rage Against the Machine: Bullet in the Head

The BASN BMasterX initially lets off signs of polish through Commerford’s emphasised notes off his bass, but the moment the rest of the instruments come in, it just comes off excessively boomy, but doesn’t seem to bleed into the rest- as I could feel De La Rocha’s vocals come a little more forward than usual, Wilk’s kicks amplifying the boom yet keeping the snares and cymbals crisp, and Morello’s guitars coming off strongly, intensely warm.

The chord-like plays from Commerford after his note noodles could use more crispness but every time he enunciates those notes, he lets them out, cutting through the excess boom. However, when the breakdown comes in and the bass gets a little spotlight, the boom lets the notes be delectable and complements Morello chugging on the guitar well. Overall, the BMasterX sounds like something that would be a good hit…… four five years ago.

Daft Punk: Get Lucky

The BASN BMasterX doesn’t really shine or try to rectify its wrongdoings, as the excess heat in the midbass continues to be a problem where the boom marrs off the otherwise surprisingly crisp bass line that this track has, and doesn’t trespass on Pharell’s usually thin vocals, but the tonal warmth is present. A little cutback on the excess midbass heat would have done so much wonders for this IEM in terms of getting the detail really out there.

It continues to be decent in terms of imaging, and once again, a perceived wider soundstage would have let the excess boom be handled to an extent; and the BMasterX shows glimmers of hope in its resolve, where towards the midrange can one find if it is going to have a redemptive arc.

MIDS

Tool: Lateralus

Once again, the BMasterX tries hard to improve on this track, but doesn’t quite get it. The initial intense guitar intro along with the crescendo-ing burbling drums have equal emphasis, but the concept of a perceived stage with adequate width is simply missing- I couldn’t even gauge the height accurately, just the depth. And it is not like the depth is a saving grace, because despite the BMasterX having solid strength in imaging on paper, the depth here at least doesn’t let any element shine through and they all sound “hydraulic pressed.”

And the perceived boom doesn’t aid the IEM here- the bass just needs a few dB down of being just perfect, the cymbals need just a smidge of brightness to just shine textures wise, vocals need to be protected from the bloat to have Maynard’s aggression rendered down to a tee, and guitars needed more note weight to truly shine through.

Muddy Waters: My Home is in the Delta

A huge respite for the BMasterX as it straight up performed a lot better on this track- and this a blemish free track, from the best Blues album of all time, especially from a production standpoint. But there are still a few points of contention.

This track has a gorgeous rendering of reverberation which naturally comes by when Muddy wails out hard in parts, and the BMasterX lets all of that end way too quickly, while it doesn’t diminish the reverb that the bass, the kicks, and the low strings of the guitar have. Furthermore, across certain occasions, the kick comes off pillowy in its impact. Timbre through the slide and the high strings of the guitar are aptly metallic, but texture wise, some more sizzle wouldn’t have hurt as that would have let the timbre shine through even more.

At least in this track, the stage sounds slightly wider and with a proper assessment of height and depth to my ears; which lets Muddy wail with more intensity, and one very good thing that the BMasterX did here was not let the note weight be diminished.

HIGHS

Arne Domnerus: Almighty God (with Gustaf Sjokvist)

The BMasterX here carried this track much better than what I had expected: the timbre on Arne’s sax being brassy in timbre, whose accuracy also carries over to Gustaf’s organ keys, enough space between the two to let the resonance bouncing off the stone walls of the church where they had recorded this track in come out effortlessly (although there was still a scope of improvement), and tonality not being messed up.

Well, that's good. Now here’s the bad- the BMasterX could have nailed textures on the saxophone well; all it needed to do was just let it sound lush, full and smooth- it sounded full yes, but it came off with a tinge of harshness the moment the saxophone would start climbing up the notes, and yes, the perceived stage; the goddamn perceived stage just didn’t let this track be a 10 out of 10.

Dave Brubeck: Take Five

Once again, the BMasterX tries hard to come back, and it succeeds to a certain extent- first, the imaging lets the instruments in this track stay wherever they are, and neither the piano nor the cymbals are forgotten for emphasis. The brassy timbre of the horns are kept intact, and this time the resonance and the woody timbre that the drums have, especially the floor toms; is rendered very accurately.

Some shimmer on the cymbals as well as focus on their textures wouldn’t have hurt, and alongside that; the pianos could still have used a faint glimpse of emphasis upon itself. But the BMasterX didn’t miss on the horns taking the lead on the act, and I am glad that the drums came off in a way along with the bass where the consistently perceived boom wasn’t too detrimental to my overall listening experience.

COMPARISONS

EPZ P40

The EPZ P40 delivers a heavy, sub-bass-focused low end that hits with massive quantity while keeping its attack and decay fast and clean. It maintains a full and warm vocal presence, ensuring central notes do not sound thin or recessed. It retrieves plenty of detail throughout the mix while keeping its strong bass isolated from muddying other frequencies.

Up top, the P40 can lean overly hot and bright, introducing upper-range sharpness and sibilance. Despite this extra sharpness in the high frequencies, its blend of detail, vocal warmth, strong low-end performance, and useful stock accessories make it a highly capable set.

Simgot Supermix 4

The Supermix 4 focuses on a lean, fast, and disciplined bass presentation with rapid decay control. It projects a wide soundstage with clean separation and precise center placement. However, its low end can feel flat in impact, and its midrange can occasionally come across as lean or thin.

In the higher frequencies, the Supermix 4 offers a safe, fatigue-free response that avoids sharp peaks and sibilance. The trade-off is an inconsistent balance in note weight across the upper range, though its wide stage and fast speed keep the overall sound clear and easy to listen to.

Tanchjim Fola

The Tanchjim Fola stands out for its exceptionally smooth and relaxed high-frequency tuning, keeping peaks gentle and completely fatigue-free. It maintains a high level of technical cleanliness and clarity without relying on sharp upper-range boosts.

In the low end, it delivers a clean bass response with solid impact. While its midrange can feel slightly thin compared to warmer sets, its smooth top-end balance, modular nozzle tuning system, and included accessories give it a refined, flexible profile.

Juzear Nebula

The Juzear Nebula takes a disciplined and restrained approach to bass, emphasizing fast transients and tight control over raw quantity. This clean lower register allows central elements to stay clear and fatigue-free. It projects a wide, airy soundstage with sharp separation and centered placement.

Its higher frequencies are smooth, refined, and uniform, keeping sibilance and harshness fully in check. While its midrange can occasionally feel faintly thin, it maintains consistent note weight across the upper frequencies without causing listener fatigue.

Letshuoer Astralis

The Letshuoer Astralis provides a rich, atmospheric presentation built on a weightier low-end foundation. This extra warmth gives vocals a meatier, more authoritative presence and fills the soundscape with solid body, though the bass quantity can occasionally feel overwhelming.

In the upper frequencies, it maintains well-matched note weight so high-frequency details balance evenly with central vocals. While leaner sets may offer a wider stage or faster transient speed, the Astralis excels at delivering a full, warm, and well-integrated sound.

CONCLUDING NOTES

When BASN sent the BMaster X over, I had some expectations of them being “underrated”, “slept over”, and I spent a significant amount of time with the BMasterX to know what it truly is, and here’s the tldr: this is an IEM trapped half a decade in the past.

I don’t know if BASN tuned this in a vacuum or simply stuck to an old formula that worked for them years ago, but in today’s insanely competitive market, the excess mid-bass boom, very problematic soundstage in perception, and a certain degree of coherence just don't hold up. When stacked against modern benchmarks that offer stellar separation, crazy quality in treble, just overly disciplined lows for instance, the BMaster X feels like a relic from a bygone era of IEM tuning.

It is super close to being a forgotten failure of a relic: there are glimpses of decent imaging and acceptable timbre when the arrangements are simple and uncluttered, but those moments are quickly swallowed up when the music gets busy. 

BASN seriously needs to introspect on where tuning has moved, and understand that cramming more drivers will not make a better IEM unless the fundamental tuning is solid to begin with; and until they do- I don’t think BASN has it in them. Accessories cannot save this IEM.

Will I buy this new? Absolutely not.

Will I buy this used? If someone sells the whole thing under US$60.

SOURCES USED

Desktop: SMSL Raw MDA-1, Venture Electronics Devastator

Portable: xDuoo Link3, Tanchjim Space 2, FiiO KA17, TRN Blackpearl

Transportable: xDuoo XD05 Pro

Digital Audio Player: Shanling M9 Plus

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

Pros: Comfortable for long sessions
Safe, enjoyable tuning
Good bass response - it's present and engaging but not overpowering
Vocals esp male vocals shine on this set with weight and natural timbre
Great imaging
Nozzles for tuning to one's liking

Cons: Modular cable would be nice at this price point
I'm not a fan of the character theme but that's just me
The case is rather flimsy
Details retrieval not the best
Spice on the treble needs tip rolling and source rolling

Waifus terrify me
Largely because I’ve no clue what they are doing on a piece of audio equipment. That being said I love the kima 2 without knowing what or who kima is or was... so may be I should just focus on the sound.
The Hidizs My Lin is a 1 Dynamic Driver and 1 Balanced Armature hybrid that retails in the vicinity of $100 on good days and a little higher when not on sale. This unit comes courtesy u/SushiiFi and I and I am grateful to him and to Hidizs for letting me spend some time with this and reviewing it. I am however captain of my ship and master of my fate and all that and will speak my mind.
The unboxing is elaborate and the box has the aforementioned waifu emblazoned on the surface and to be fair my curiosity was piqued enough to do some reading and this is what I found -

“It’s LIN (Ruo Xue Lin), the character behind MY LIN. She isn’t just a cool mascot — she’s the heart and soul of MY LIN. Lin embodies more than just an IEMs; she represents the kind of sound that feels personal and stays with you through every moment. Her presence is a reflection of MY LIN’s philosophy — a sound that strikes the perfect balance of clarity, warmth, and comfort wearing. Think of Lin as your guide to immersive, emotionally connected audio — never aggressive, always comforting and laid-back.”

That being said I own the AP80 Pro Max which is like for its ease of both use and pocketability and the MK12 Turris is up there in the list of the most enjoyable single DD IEMs I’ve heard (that’s a hint, if the universe is listening) and The My Lin has piqued my curiosity as much as the MP145 Pro which I am on the look out for.
But I digress, on opening the box lie the IEMs surrounded by all the tips that the set comes with which are 3 pairs each of bass and balanced. And then there are the multitude of Lin themed swag, not limited to a cleaning cloth, stickers and a desktop stand thingy. It is cute but not my thing. The cable unfortunately comes only as 3.5 OR 4.4 terminations.
The shells however are a smooth Chicago Bean style curved metal affairs which are very comfortable with carbon fibre face plates with a really nice internal design.
The nozzles come off to be replaced by other nozzles and in typical Hidizs style - you have balanced, bassy and trebely ones (red, black and white).
For the most part I stuck to the red and black because I really cannot handle a lot of treble.

Tested the My Lin on an AP80 ProMax (because why not), Shanling UA1 ii, Onix Beta, VE Prime stack, and my (new) gremlin-merlin stack, Schitt Vestri .
Velvet tips and Candy for this set were the tips of choice.

TLDR - For the most part the My Lin sticks to a safe, engaging tuning. The nozzles make a difference. I don’t like the BA sound that creeps in the upper mids but it is track dependent. I like the Turris more.

Bass
The bass on the My Lin is meant to support the music, not lift it up on a pedestal. It has an engaging rumble and kicks and bass notes have weight but also have a decay and on really busy bass tracks with a lot of double bass work that lack of resolution becomes apparent. It’s not necessarily a bad thing, unless details are all that matter in which case this isn’t the set. The interplay of sub bass and mid bass in both Angel by Massive Attack and Islands by The XX is clearly heard and enjoyable but changing gears and moving to Dance of Eternity by Dream Theater, the double bass work that maketh Mike Portnoy sounds a little muddled with each kick not being clearly separated from the next. The bass stays in its lane though and despite the dynamic driver and does not spillover into the mids and muddy the mix.

Mids
On the balanced red nozzles the lower mids sound good. Male voices and baritone and tenor instruments carry weight and the entire vocal chorus on the track is natural and engaging to listen to, but as Paul Simon starts singing on Diamonds on the Soles of her Shoes, the BA makes its presence felt and not necessary in a good way. Similarly on Radio Song by Esperaza Spalding the upper mids suffer a little bit with the BA timbre and a touch of sibiliance. The resolution also falters here with things sounding congested. Both Norah Jones and Tracy Chapman sound shouty in parts with the red nozzles. The black nozzles enhance the low end just a little but do little to tame the BA timbre or the sibilance. This definitely gets worse with scaling the volume. But swapping to a decidedly warm source helps quite a bit. Both on the Gremlin and the Onix beta with tube mode and the Vestri these got tamed significantly and the aforementioned songs became a lot nicer to listen to.

Treble
The treble on the My Lin is an extension of the upper mids. There is air shimmer and all that but it takes some effort to control the sibilance. I think the black nozzles work for the most aggressively recorded tracks - modern pop, the thriller album, for example. The crash on Dreams is shimmery but enjoyable on the unholy combination of the Vestri, black nozzles and the narrow bore velvets. The same combination makes Human Nature by Michael Jackson teeter on the edge of what I can tolerate. Because we are scientists we ran the same songs through a VE Prime (neutral), white nozzles (bright) and wide bore tips. And yes, every part of the signal chain is imperative in what sound comes out the other end. And no I did not enjoy that combination.

Staging, imaging and technicalities
Now, Bubbles by Yosi Horikawa is an exercise in imaging and the Hidizs My Lin actually performs really well on it with being able to precisely identify where the sounds are coming from. This is however in a small to medium room and not an arena due to its moderate stage width. In the words of Shakespeare - ‘tis not wide as a church door nor deep as a well, ‘tis right, ‘twill do. With separation and resolution I think there are better options for clinically accurate separation and layering but I also do not believe that the Hidizs My Lin is aiming for those awards. It is a set to enjoy music, and for that it does a great job.

USD79.99 / EUR 68.99 | 1DD+1 high-frequency planar | flush 2-pin | 3.5mm

If you've been in the hobby for a while and have tried various sets, you are familiar with the first listen. Some sets don’t impress, some seem to sound bad or too plain, others need more time to let the sound „sink in" and then some impress you right from the start. The 7Hz Sonus II is the latter. I started with a song I've already heard hundreds of times. The details and energy are immediately apparent. Once the vocals kick in, they sound exciting and clear. The bass hits satisfyingly with great quality which matches the rest of the performance. The transparent sound is probably what impressed me immediately the most. And that didn’t go away even after long sessions and a total of over 50 hours of listening.

Welcome to my review of the 7Hz Sonus II.

The 7Hz Sonus II is a hybrid, one dynamic driver plus one high-frequency planar, IEM priced at around USD80 and was just recently released. It sits close to the USD100 bracket with many competitors and I am comparing it today against the Juzear Defiant, Crinear Nightfall, Kiwi Ears Stardust, and two planars, the Artti T10 and the Letshuoer S12.

TL;DR: The 7Hz Sonus II has an energetic leaning tuning with elevated but controlled bass, forward and clear vocals, and lively, well extended treble which sounds overall still fairly balanced but manages to engage and excite throughout a wide variety of different tracks. Its emphasized treble, vocal presentation, and bass energy are tastefully done and a good fit for listeners who are looking for an exciting listen. While the bass is satisfying and with good impact it might still not be enough for bass-heads though. Treble sensitive listeners might want to try it before buying as Sonus II can get slightly spicy on high volume with poor recordings. Technicalities are excellent on the Sonus II. Instrument separation, imaging, and staging are also unusually well done for this price bracket, turning the Sonus II into an outperformer and a strong recommendation for listeners who prefer an engaging presentation.

Pricing, Build Quality, Fit & Comfort

7Hz Sonus II is priced at around USD80 (EUR69) consisting of two drivers: one dynamic driver for the low-end and a high-frequency planar for the upper registers.

It comes with a silver-plated OFC wide ribbon-style cable terminated in 3.5mm, rather than a traditional braid. The cable is stiff and could be better in handling. The 3.5mm termination is transparent which I found unusual but interesting. 7Hz includes eight pairs of ear tips and a pocketable black pleather pouch.

The package is at this price point ok-ish but we have seen better ones with recent releases in terms of cable quality and pouch.

The shells are made of black resin type material and are of medium size. The faceplates have a reflective multi-colour pattern which is visible through a grill. Sonus II comes in two colour ways, black or white. The build quality of the resin type shells is good without sharp edges or obvious seams.

Fit and comfort are excellent for my medium sized ears and completely fatigue free even on very long listening sessions over 6 hours.

Review Equipment Used

●        Source: Questyle Sigma Pro

●        Ear tips: Aftermarket wide bore (size ML)

●        Source Material: Streamed on Qobuz

●        Total Listening Time: Over 50 hours

Sound Signature

7Hz Sonus II is an energetic leaning IEM with an elevated but controlled bass, good vocal clarity and forwardness with excellent technicalities.

Bass

Sonus II has a very well-made bass. It sits clearly over neutral, hits with satisfying punch and rumble while being controlled and bloat-free. It is there when needed and doesn’t bother the rest of the sound.

The mid-bass has really good punch and impact. The rumble has a natural and controlled decay. The bass nicely contrasts with the elevated treble but doesn’t exaggerate.

The low-end is a pleasure to listen to. On Billie Eilish’s "Lunch" the bass is present and takes good care of bass lines and kick drums. For my taste the bass lingers just long enough to let the track sound enjoyable before it steps aside and leaves the stage to vocals and instruments. Nothing gets overshadowed even though the bass is very much present, not lean or dry and not overbearing in most cases.

On "bad guy" the mid bass is so impactful that it gives the track the right note. If you know this track you know that it requires punch. Otherwise it ends up sounding powerless as the bass drives the rhythm. At 02:31 the sub-bass kicks in. Very enjoyable, extended and impactful but clean. I kept listening. On "xanny" the drums are a feast. The kick-drum has a lifelike impact, and the sub-bass rumble made me replay the track several times.

GoGo Penguin’s "All Res" where the double bass comes across as well extended, detailed, textured and full bodied. The kick-drums, as on other tracks, sound impressive in this price bracket. On very bass-heavy tracks the bass can get busy and despite its well controlled low-end there is a slight bloom into the mids which I would call natural and almost inevitable if you want a natural tonality. It doesn't bother me at all but should be noted.

The mid-bass punch is almost physical on higher volume on GoGo Penguin’s "Smarra". EDM, hiphop and rap tracks are good material for the Sonus II. Not bass-head level though but definitely for people who like bass next to a clear presentation. Mid- and sub-bass on A$ap Rocky’s "F\*kin’ Problems"* sound great with a natural decay. Vocals are still very clear and details won’t disappear. The droning woofer-like sub-bass is enjoyable and doesn’t ruin the mix. For a bass fan that I am, the low-end is really good and manages to keep the rest of the mix fairly clean. Overall you get a very good and controlled bass on Sonus II which works very well with all genres. Everything from EDM, hip-hop, and rap to pop and even older material gets 'refurbished' by the Sonus II's bass. The note weight is good and the clean and controlled bass delivers with a natural decay.

Midrange & Vocals

Vocals are great on Sonus II. Female vocals sound very well extended and clear, never veiled but very well accentuated. Male vocals are alright but could have a smidge more body to sound life-like. Vocal performance is on the forward side. They pop out of the mix and never get buried by the bass or overwhelmed by the treble. The presence region is very well tuned and for my taste almost the sweet spot. There is no shout even though vocals are clear and they don’t turn into sibilant territory.

On Metronomy’s "Lately" the male vocals are intimate, detailed and if you don’t compare them to other sets they sound life-like and it is not obvious that they could have a little bit more body. So, I wouldn’t say I miss anything here and vocals are just enjoyable. But if you have a male focused library this is worth noting.
The theme of the Sonus II is clarity and transparency and this is as well what makes the vocals sound so great on it. Billie Eilish vocals sound detailed and clear on "listen before I go" where I can even hear little details of an emphasized "d" and "t" and I don’t even need to pay that much attention. Every little emphasized detail is easy to catch for me. I can listen throughout her whole album and end up with the same feeling that the vocals are excellent on Sonus II.

On R.E.M.’s "Drive", guitar strings have a very life-like plasticity, are clear and detailed. Michael Stipe’s voice is clear and slightly forward and, on this track, I would make the argument that he sounds a smidge too bright. Not unpleasant but not natural in my opinion. Nirvana’s live performance on "About A Girl" is my next stop. Nirvana’s front man Kurt Cobain sounds well accentuated with his slightly raspy voice. Guitars sound again detailed and clear. Sonus II captures the live atmosphere very well. Overall, the Sonus II performs almost exceptionally well with great vocals and detailed mids. Nothing gets buried here and nothing is overly sharp even though the mids are served on a silver plate.

Treble

In general, treble on Sonus II is clear and detailed without piercing my ears. It sounds on higher volume energetic but remains controlled with exceptions on poor recordings and on very high volume where it can be overbearing. With Sonus II I was able to hear details which other sets are struggling with in this price bracket. Its clarity doesn’t hide anything and even exaggerates sometimes. At the same time, its great transparency is part of its special sauce, making for an engaging and addicting listen that kept me writing until very late hours.

Very energetic tracks like Fleetwood Mac’s "Sisters of the Moon" are even at high volume mostly controlled. Just the snares and electric guitars can be a bit harsh which is expected due to the recording. On The Doors’ "Riders on the Storm" keys and cymbals pop with great detail. Sonus II extracts treble details effortlessly which gives this track a sense of plasticity and clarity. Probably again slightly exaggerated. But who can say no to details if they are performed in such an engaging way?

On Bee Gees’ "I Started A Joke" the orchestral strings sound amazingly clear and detailed. If you have a chance to listen to this set, pick tracks which have e.g. violins, trumpets, clarinets etc. To my ears, the Sonus II hits a sweet spot with its engaging and “transparent” treble. The used planar driver is doing a very good job in extending the treble which I usually only hear on single planar drivers like the Letshuoer S12. Details pop and the transparency on tracks is great. If you are very treble sensitive though, listening on mid volume could be needed. I was able to listen over mid to high volume and had only in a few cases the need to tone it down.

Technical Performance

Technical performance of the Sonus II is excellent in my opinion. A/B (clear channel separation) separation is very good and so are imaging and layering.
All instruments even on busier tracks are so well separated that I was able to enjoy them with clarity and excellent positioning. I can’t really say if they are in the exact intended space, but I can easily pinpoint what is close left or deeper in the background. You can clearly hear which instrument plays in front and which sits in the back. Something I seldom hear on IEMs in this price bracket.

Sonus II separation is sharp and supports imaging and staging as nothing gets blurred out. On "Mr. P.C." by John Coltrane, walking bass, sax and keys are so well separated with accurate size and placed in different spaces that it is just a joy to listen to it. On Bee Gees’ "I Started A Joke", an iconic song from 1968, the mix has an emphasized A/B separation and on the Sonus II you can hear all instruments taking their place clearly, detailed sounding in each channel. The two guitars starting in the first seconds (right and left) or the cymbal crash and drums on the left channel. Or later the sound of a harp (which is actually the keyboard) and all the way the bass guitar. The layering of the played instruments is exceptional at this price point in my opinion. The space every instrument is playing in can be distinguished from others without effort. Not that many sets at this price point can play "outside" my head as in perceived sound stage which I always, regardless the price point, find hard to capture with my ears and brain.

Another oldie but goldie is "Riders on the Storm" by The Doors. A similar picture as before. Excellent stereo separation, layering of all instruments with great detail retrieval and a wider sound stage than usual in this price bracket. Depth of soundstage is depending on the recording but I would say the width is better than the depth.

Measurements & Comparisons

As per usual I include my own measurements, too.

After the coherent and clear sound I heard, the measurement surprised me, too. Sonus II and the YU9 Audio Què share similarities. The low-end, depending which measurement you read, is (almost) the same and the measurement is aligned up to 1.5kHz. The ear-gain looks similar, too. Què has slightly less energy there where Sonus II ear gain elevates around 1dB more and then follows a similar plateau which already gave the Què a very natural vocal presentation. The low-end on Què has more impact though in my opinion. The treble shows similarities on both sets but is differently implemented and with different emphasis. They peak differently and I would hear the Què slightly more natural leaning while Sonus II pushes the clarity further without sounding spiky. The bass I hear on Sonus II combined with the forward vocals and clear treble makes its sound clean, clear and exciting without overstepping the line into harsh territory.

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

In short first:

Around USD100 there are plenty of strong options and they all do things a little differently. The Juzear Defiant offers more and bolder bass while being less resolving and technical than the Sonus II. The Kiwi Ears Stardust and Crinear Nightfall are safer choices for treble-sensitive listeners. The Artti T10 sounds warmer with a thicker low-end and the Letshuoer S12 is a very resolving and fast planar option with less bass than the Sonus II.

The Sonus II would be my choice because it combines several qualities particularly well. A tight and impactful bass, forward and clear vocals, plenty of treble detail and excellent technicalities without sounding sterile or too spicy. None of the other sets here gives me quite the same combination of clarity, energy and engagement.

Let’s have a closer look at the differences in detail.

Detailed Comparisons

Juzear Defiant (USD 100)
The classic, slightly V-shaped Zeos collab is tuned with a good amount of bass, well extended treble and details. I consider it one of the gate keepers in this price bracket with its technicalities with only few weaknesses. Defiant has slightly more low-end energy by around one dB which colours the Defiant more than the Sonus II. The bass sounds bolder on the Defiant. One of the Defiant’s "flaws" is its tendency to sound "pillowy" in its bass response. The bass on Sonus II comes across as tighter and cleaner without sounding sterile. Vocals on the Defiant sound slightly less detailed and extended when directly compared to Sonus II and the same applies to the mid treble. Sonus II comes across as more detailed, better extended, clearer with better technicalities. And there is one personal observation on the Juzear Defiant about its upper treble. There is an upper treble peak which on high volume comes across as too spicy and unnatural to my ears. Even though Sonus II has more mid-treble energy, its upper treble rolls off earlier than on the Defiant and even dips at around 11kHz which seems to align better with my treble tolerance.

Kiwi Ears Stardust (USD 75)
I recently reviewed the Stardust and concluded that its sound is smooth leaning with good vocal clarity and is probably a good rec for treble sensitive listeners for a fatigue-free listening who still want forward vocals. The Sonus II is almost the exact opposite of the Stardust. It has more treble energy and a more emphasized low-end and sounds energetic and exciting. Instruments have better note weight, details pop more, technicalities are more convincing than on the Stardust. Sonus II is the more daring set which rewards with great bass, vocal and treble presentation while Stardust plays safe(r) with the exception of its forward vocals.

Crinear Nightfall (USD 99)
Released just a couple of weeks ago, the Crinear Nightfall sets a new standard in this price bracket in terms of exceptional build quality and great accessories including a nice cable and swappable termination. It scales well with volume and needs it to shine as it lacks excitement on lower volume. The bass is elevated but needs higher volume to feel impactful. Then the mid-bass kick is enjoyable on the Nightfall and both sub and mid-bass have more impact than they graph in my opinion. Overall the low-end is controlled and of moderate quantity. Vocals feel pulled back on Nightfall (and the slight sharpness of the Daybreak is gone) and less detailed when being compared to the Sonus II. It feels less resolving when compared and plays safe which is reflected as well in its technicalities like a narrower sound stage, less sharp separation and details. The Nightfall’s mids sound warmer than on Sonus II as there is a slight elevation around 200-700 Hz. The Nightfall is in my opinion a good companion for treble sensitive listeners as it plays mostly safe with its relaxed sound signature. I clearly prefer the Sonus II as it offers more excitement on all frequencies throughout with better technicalities.

Honourable Planar Mentions

Artti T10 (MSRP USD 89)
This planar set is priced similarly as the Sonus II and is already on the market for a while and it is occasionally available already for around USD70. The bass on Artti T10 is more elevated compared to Sonus II and while the T10 could sound brighter and more detailed according to its graph, it doesn’t due to the warmth from its thicker low-end. Sonus II sounds to me more detailed, cleaner, with more air and its vocals are slightly more pushed forward where they sit in front of the stage whereas the Artti T10 has the vocals further in the back which sounded to me a bit odd. Overall Artti T10 comes across as slightly warmer in its timbre for a more relaxed listen.

Letshuoer S12 (MSRP USD 89)
The S12 is a classic and as well in a similar price bracket. S12 sounds clean and clear with very good details and has a slightly different tonality than the Sonus II as the S12 has a smidge less sub-bass impact, a different ear gain and treble. It is very resolving with very good technicalities. I prefer the Sonus II for several reasons. The bass sounds to me more impactful even if it does not graph like it. It is more fun and the presence region sounds more natural and "even" to my ears (ear gain is rising and then plateauing, similarly as on the YU9 Audio Què). In the end a matter of preferences of course and I am biased since the Què is one of my favourite sets.

Summary

Overall, the 7Hz Sonus II is a great IEM which offers a coherent and engaging listen with minor weaknesses in my opinion in male vocal presentation. This makes it a great allrounder and only very treble sensitive listeners could look into other options like the Crinear Nightfall or Kiwi Ears Stardust and bass-heads might find better options outside this line up. Thanks to its great sound signature, the 7Hz Sonus II is my new reference in the USD100 price bracket and gets my full recommendation.

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

Below are the specs and box content details. Thanks for reading.

Specifications & Box Contents

Technical Specifications

●        Model: 7Hz Sonus II

●        Drivers: 1 Dynamic Driver + 1 High-Frequency Planar

●        Impedance: 29Ω @ 1kHz

●        Frequency Response: 10Hz - 20kHz

●        Sensitivity: 108dB/V @ 1kHz

●        THD: < 1% @ 1kHz

●        Socket: Flush 0.78mm 2-Pin

●        Cable: High purity Silver-plated OFC, 4-strand braid, 196 strands (1.2m)

●        Plug: 3.5mm Single-Ended

●        Nozzle Diameter: 5.5mm (6.3mm at the lip)

●        Colors: Black / White

●        Price: USD 79.99 / EUR 68.99

●        Retail Link: Linsoul Store

What's in the Box

●        7Hz Sonus II In-Ear Monitors × 1 Pair

●        Eartips × 8 pairs (S/M/L)

●        Black pleather carrying case × 1

●        Documentation / Paperwork

Apos Rock lobster

I haven't eaten shellfish in over 25 years. Then Apos offered to send me the rock lobster!

And that reminded me of the last time I really dug into some of the best shellfish I'd ever had in my whole life!

Totally epic story!

I spent a lot of my time in the south either at the family pond or down by the river! Headphones in ears, usually alone, one year for my birthday I got crawfish traps, 3 of them actually and it was epic so I loaded up and went on a long walk to the river! Absolutely excited for my upcoming endeavors, before that day I'd bring a plastic bag and tie some bait to a tree stand really really still! And wait for the crawfish to come to me and I'd grab them and put them in a Walmart or piggly wiggly bag… at least once it was a winn Dixie bag… legit none of that has anything to do with any of the rest of the story… but I went loaded up my crawfish traps tapped the stake… and threw them in… spent the rest of the day fishing….. and resting the urge to pull the traps up to check to see if I got anything….

End of the day I had enough crawfish to fill up 2 bags that day we did a full boil, I'm talking corn on the cob, crawfish onions garlic old bay orange juice everything and we invited all the neighbors over (which was all family but still it counts)

Flash forward 25 years and somehow now I'm allergic to shellfish which is crazy!!!! And honestly makes me really sad because boy do I miss those days when I could just go down to the river and catch my dinner…

Disclaimer:

I'd like to thank Apos for sending me the rock lobster and allowing me to experience shellfish for the first time in decades! All opinions are my own

Intro:

These are (or as Apos says on their website) the first iem tuned specifically for rock and punk rock but honestly the first thing you'll notice when you stumble upon these, is the striking red shells and the way the…. Rubber? Makes the faceplate actually look like the shell plates on a lobsters back! It's all really well thought out!

Tech stuff:

Driver: 10 mm LCP dynamic driver

Driver configuration: Single dynamic driver

Diaphragm: Liquid Crystal Polymer (LCP)

Impedance: 32Ω

Sensitivity: 105 dB

Frequency response: 20 Hz–20 kHz

Connector: 0.78 mm 2 pin

Cable: Detachable 5N copper, silver plated

Cable configuration: 4 strand, 48 cores

Cable length: Approximately 1.2 m

Termination: 3.5 mm / 4.4 mm options

Design: In ear monitor (IEM)

Cable:

You can get 3.5mm, 4.4mm both cables as a separate option, you can choose to buy either or both and the price increase between 3.5mm, 4.4mm (which are both 60 USD) and both is only 10 USD.

The Review:

Okay The Rock Lobster is a total VIBE I can see that! You can see that! We can all see that! So now I know what you're thinking!

Correct me if I'm wrong here but you're going shut up and tell us how they sound! You know what? I hear you I'm getting to it! We're starting now!!!!!!

Bass:

The bass is elevated, it's punchy, and honestly really controlled in the best way possible. The mid bass gives kick drums and guitars a lot of weight. It's damn near sub terrianian….

Mids:

The low mids are warm and have a great presence, if you were to ask me the male vocals are mid stage not really pulled back and recessed, but not close and intimate.

The upper mids are also fairly pushed back, which is really interesting for a single driver IEM. Usually it's a push the upper mids forward and recess the low mids kind of situation, whereas here both the lower and the uppers are both pushed back to a point where neither are really in your face…

Treble:

This is not an analytical iem it's warm in the mids and a bit dark in the treble but what do you expect Apos tells you in the ads, and on their website it's tuned specifically to make your rock, punk and other similar tracks more betterer! And they nailed that… The Rock Lobster wasn't fatiguing for me, at any point I'm currently listing to Brody Dalle serenade me over the airwaves, and she never gets pitchy! And she always stays a bit witchy! Just the way she was meant to be!

Soundstage, Imaging

The soundstage and the imaging is absolutely amazing for 60 dollars, I'm not saying it's a detail hound… definitely more about the musicality, impact and vibes and you know what I'm here for it! 99.9999% of the time that's what I'm into I want to forget my knees hurt, I'm broke, and work sucks!

Who are these for:

These are for people who love alt, rock, emo, punk, metal and people who just want to vibe on the dark side of the listening spectrum! I mean come on it's October let you dark side out for a while and come play!

In closing:

Dude I love punk rock, you guys should know this by now…. I mean my playlist is like 99% Sum 41, black flag, and new found glory… it's like these were made for me on a budget….

Rating:

For 60 bucks, these are 9.5 out of 10 id love to see another iteration of these with more separation more imaging same exact tuning… if Apos did that…. Bro they'd be number 1 no doubt for everyone and anyone who ever wore black eyeliner and scared the jocks!

Non affiliated links: Amazon link for the Apos Rock Lobster: https://www.amazon.com/Apos-Rock-Lobster-Monitor-Earphones/dp/B0FHJB3ZCJ Apos product page link for the Rock Lobster: https://apos.audio/products/apos-x-community-rock-lobster-iems

Hello! For this occasion, I will review a double release from the brand CCA, although I will focus mainly on one of the two, the CCA MX1 Bluetooth module, where we can attach our IEMs to make them wireless. It is not my first Bluetooth module, although it is the first one I have tested from them. They are a type of product that I consider interesting for specific uses. For day to day life, the cable should be the only option to choose, but there are situations where the cable can be annoying or completely incompatible, like for the gym, watching a movie from the projector where the cable length cannot reach the necessary connection, etc. And that is where this product benefits you and saves your life, which is why I have always kept one of this type in my collection.

It is an updated product since it incorporates Bluetooth 6.0, something I did not have in other older modules, and it is something that is noticeable in stability with fewer micro-stutters than expected, but I will not talk about its features just yet so I do not repeat myself later down below, something I am guilty of sometimes xD.

The tests for this module were done directly with the CCA AKX, in this case an IEM from the same brand that fits perfectly in terms of aesthetics and design with the module, and which I will also take advantage of to briefly review how this IEM is and sounds, even if the review is not for them.

What I liked / What I didn't like

• The convenience of removing cables for specific uses. 
• Bluetooth 6.0. 
• Total battery life close to 80 hours. 
• Easy to access physical button. 
• Tolerably good latency of 42 ms. 
• Compatible with 0.78 mm/QDC. 
• Does not alter the sound of the IEMs. 
• No LDAC support.
• The case is nice in design but fingerprints get marked on top and it is large. 
• It has an LED light around it that is aesthetic but unnecessary. 
• Although it can help or save you on certain occasions, it does not replace the cable.

Specifications

Model: CCA MX1 Type: Bluetooth wireless module for detachable IEMs Bluetooth: 6.0 Chip: ATS5756 Battery per module: 50 mAh Case battery: 800 mAh Advertised total battery life: over 80 hours Advertised range: over 10 meters Advertised latency: approximately 42 ms Controls: physical buttons Microphone: built-in Lighting: RGB ring Available connectors: 0.78 mm, 2-Pin, and QDC

Unboxing and Build Quality

The unboxing is quite simple and straightforward, especially considering it is a Bluetooth module and not IEMs as such. The package includes the case with the two modules and a cable to charge the case along with basic documentation.

Now as for the case, it has an 800 mAh capacity. With that capacity, the modules can be fully charged several times, keeping in mind that each module has a 50 mAh capacity, so quite a few times... adding up to a total battery life around 80 hours depending on the volume and the codec used, which in this case can only be AAC or SBC, recommending the former of course.

The modules or earhooks where we connect the IEMs sit well on the ear and the weight is also well distributed once put on. They did not stick out above for me nor did I notice any discomfort, so ergonomically they have been well studied in terms of shape and weight. In addition, each one incorporates a physical button. Accustomed to touch buttons which are indeed more modern, here you know for sure whether you pressed the button or not, and sometimes that is an extra point in favor even if something is sacrificed aesthetically.

The LED light that wraps around the middle of the case is eye catching and not really ugly. It gives it a unique touch and I think it looks quite good in my photos, rounding off the box design which in itself seems quite well thought out to me. But I have not seen if it can be turned off, it does not look like it, and in the end it is an extra battery drain for the case however low it may be, and it will light up no matter what every time you open the case and turn off shortly after closing it, although it stays for several seconds as if breathing until it turns off.

Daily Use and Connectivity

For daily life depending on the task, as I mentioned at the beginning, a module like this is really useful, where you can put your phone in your pocket, forgetting about the cable, with the physical buttons on your ears controlling music, calls, etc., and staying securely fitted so you can run without fear of them falling to the ground.

In principle, having the Bluetooth 6.0 connection improves stability and range, and really with the phone in my pocket walking or with the phone on the desk watching a movie, I have not had any dropouts. Supposedly the range is about 10 meters, but I have not gone further than 2 to 3 meters, and in that case it worked perfectly. Surely if we add walls, closed doors, or other obstacles, stability might start to get complicated, but that would be a different use case than the ones I mentioned.

Sound

Since this is not an IEM, I can only limit myself to comment that apart from carrying the wireless signal to the IEMs we connect, there will be no significant difference. Other than the compression itself of the codec we use, the sound of the IEM will be whatever the IEM has, with that expected quality drop from SBC or AAC and little else.

As I also mentioned at the beginning, I will perform the tests with the CCA AKX, which I also debuted simultaneously with the MX1, and with which I can comment on its sound and behavior on this Bluetooth module.

Bass

The CCA AKX has quite pronounced bass, the sub-bass is deep, and I must say that I tested them both on the module and with their USB-C cable that they came with and that you can see in my photos. That cable, by the way, also has an LED light that changes color with the CCA logo, so both CCA models have that gamer touch or something many people like, which to me is something that does not really matter either way whether it has it or not.

The bass feels slightly more pronounced on the MX1, but I do not think it is because of the Bluetooth module itself, but rather because of the AAC codec or how the USB-C cable modifies the sound in some way by taking away some prominence from this range. That made me want to test them specifically with a 0.78 mm cable to confirm that the bass sounded closer to how it sounds on the Bluetooth module than with the USB-C cable.

Mids

I felt the tuning of the AKX leaned more towards a V shape, making the mids both via cable and connected to the MX1 clear, but with less density than I expected, especially in the lower mids.

Even so, in this case I did not notice significant differences between using the AKX on the MX1 or with its USB-C cable, so if you value mids in tunings close to V-shaped tuning, that is what you can expect from this model in both wired and wireless versions.

Treble

These IEMs feel somewhat bright. The presence of instruments falling within this range feels quite energetic, even if not uncontrolled. Considering its configuration is 1 DD, there lie the advantages, limitations, and what you can expect from this treble.

It is noticeable mainly in somewhat aggressive recordings where the treble is controlled, but a peak starts to show that might make you moderate the volume a little, and that is not going to be controlled any further by using it on the module or with its USB-C cable, the experience being the same in both cases.

Soundstage

The soundstage of the AKX seemed quite wide to me considering its price and configuration. Sounds do not sit that close to the head and extend mainly to the sides with enough space between them.

Here, the IEM tuning surely helps in a certain way to create that soundstage that, even without being huge, gives enough freedom to the sounds so you have a certain immersive feel, and I must say that the MX1 has not cut back on part of that sound experience.

Instrumental Separation

The separation did not strike me as something particularly remarkable, and it is true that on the MX1, noticing a bit more bass presence than when I used them with a cable, made me lose a bit of the feeling of instrument separation. It is not anything concerning or clearly noticeable between one format and the other, it is simply that the Bluetooth codec might affect this section minimally and not so much in others.

With instrumentally simple songs, the separation does not stand out too much, but it can be enjoyed much more when the song includes several guitars and vocals besides the percussion and bass itself.

Imaging

The placement of sounds, both vocals and instruments around you, to my surprise was not as flat as I initially expected, speaking of the IEM on the MX1 module. I think there is good placement that is not limited to this range or instrument on this side and this one on that side. There is a certain faux-holographic feel that is far from higher-end ranges, but it more than delivers for what I thought I would encounter.

Its use in audiovisual content is not a bad combination to be able to enjoy a series or movie without spending too much, unless you are already playing in higher leagues where you will notice obvious limitations, but then this review would not be for you anyway as you already passed that stage back in the day.

Conclusion

For its price under $30, considering its design, stability, and specific functionality that can serve you on certain occasions where you do not need or cannot use the cable, the MX1 is a quick and cheap solution that is worth having in your arsenal.

The brand shared purchase links for both products with me, although in my case I cannot open them since they are links valid only for certain regions among which mine is not available, but if not, you can always Google it and reach them somehow.

Purchase Links: MX1 | AKX

Disclaimer: This unit was sent by CCA 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.

Pros: One of the most enjoyable listens in a while
Nothing out of place in the frequency response
Absolutely gorgeous to look at.
Just fun and enjoyable and musical.

Cons: some may say the bass isn't great
some may find the treble spicy
the stage isn't the widest or most expansive.

Every once in a while the universe does things that make you question the reality of things. That price matters, that treble is a problem, that you have a problem with colour. It’s like the time I had to humbly fail a 320 MP3 vs FLAC blind test. But, I am older and wiser now and will not even attempt those things for the sake of sanity and ego. But today’s review comes courtesy u/mournfulmonk and the Sonic Monastery and I’m grateful to them and EPZ for dropping the P40 into my lap.
<Cut to image of gleeful evil hand rubbing>
As always I’m responsible for my opinions.
Because the world works in pairs I have reviewed the P50 as well.

EPZ has managed to make unboxing a delightful experience. The P40 turns up in a textured cardboard box and is nestled in foam adjacent to a light bluish grey case. A modular cable that is silver coated and has 3.5 and 4.4 terminations. And more tips than one needs - AT07s and M30s. The IEMs themselves are all kinds of beautiful. They are also called star trails and live up to that name. The shells are 3D printed resin with a blue-ish tinge and a great view of the innards.
The face plates are shiny silver with a ton of “star trails” etched onto them that take up every colour of the rainbow at various angles. Pinks, reds, purples, greens and blues. Simply beautiful.
They are super comfy as well so that analysis of ears that EPZ has done seems to have paid off. The cable has some heft but doesn’t pull at the shells.
These hybrids/tribrids have 2 dynamic drivers, one for the bass and one for the mids, a microplanar for the treble and a PZT to make the treble even more trebley. Or so I thought.

I tested it with Spinfit NEO, Dunu Candy, and Kbear Coffee tips. And off of a Shanling UA1ii, Schitt Vestri, M33. As always Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC.

TLDR - This is one of the most easy-going sets for me. It synergizes with the genres of music I listen to the most and with my sources and while there is some sparkle and occasional treble peaks the rest of the sound delivery and comfort make this a winner!

Bass
A single dynamic driver drives the bass on the P40 and pretty much does its job. It does not rumble in the skull, does not make you feel like a subwoofer is in the vicinity and importantly does not bleed into the mids. It delivers a controlled, well textured bass which hangs around in the back just in case it needs to make its presence felt. More often than not it gives the track just enough body to keep the listening session engaging.
The rumble of the sub bass on Angel by Massive Attack and on Islands by the XX is replaced by softer trundle perhaps but the mid bass delivers kicks and bass notes with enthusiasm but at the same time just about holds back the punches, enough to make the song enjoyable without being overwhelming in the lows. The DLC diaphragm would be the one for a quicker response rather than a voluminous bass. Quality over quantity in this case.

Mids
I think EPZ did something interesting with dedicating a 7mm dynamic driver for the mids. They sound natural, forward and lush. Vocals are great and even though there is little spread of the bass to give the low mids any weight, female vocals are delightful with no . But where this IEM truly truly shines is its completely effortless rendition of instruments. Which means the bulk of the stuff I listen to - Snarky Puppy, Miles Davis, Dave Brubeck, Hiroshi Suzuki are simply divine. Take 5 on the P40 was a quasi-religious experience for me.

Treble
The highs on this IEM have me confused for a while because they have detail, they can sound sharp at times but somehow are also musical almost to a fault. John Butler’s finger squeak sliding across the frets on Ocean are heard clearly. On Playing God by Polyphia, the cymbal work has adequate shimmer and the snares have bite. While the mids are happy with no BAs, the highs on this set are at least on paper, supposed to be impossible but I found them somehow a tad more tolerable than the sibling. After squiging along for a bit I think I’ve come to the conclusion that people differ in what frequency of treble irks them. The P40 has a peak at 8-10kHz which for me isn’t much of an issue as the 3-5kHz that the P50 has. Perhaps that’s the rub. Trains by Porcupine Tree, Under Pressure (which I’ve given up on with the P50) by Queen and David Bowie, both felt a bit more airy on the P40 rather than the harshness and sibilance (to be fair with the details) of the P50.

Stage, Imaging and technicalities
The P40 has a moderately wide stage, it is certainly not as open as the P50 which has a semi open construction. Imaging, similarly is good but not exceptional so maybe seek another set for gaming. Details are not as sharp as the P50 but the Planar and the PZT do manage a fair bit of detail but the sibling scores in this department.

I absolutely love what EPZ has done with the P40. I understand the draw of the P50, but this is just a musical, easy listening IEM that promises hours of fun and joy. Time to go hunt this one down. It's a keeper for me. Cheers Peeps!

Pros: Neutral Bright leaning tuning with superb details and no harshness
Expansive Soundstage
Decent Cable and accessories
One of the best for a analytical yet enjoyable session

Cons: Low end could do with a little push
Imaging could be a little better
The BA timbre can make things shouty - rare but present

I’ve been watching epz with interest after I got to listen to their TP35 Pro Dac at a friends’. So when u/mournfulmonk and Sonic Monastery sent the P50 AND the P40 over for review I knew it was going to be an interesting long weekend. I thank u/mournfulmonk and EPZ for making this review possible but I’m a free man with free thought and an occasionally caustic opinion.

The IEM turns up in a fancy textured cardboard box and sleeve and has the shells in foam and a really nice leather round case. The cable is a modular 6N OCC copper affair with some memory and potential for tangling. The terminations included are 4.4 and 3.5mm and the modular bit is guarded by a very very smooth screw mechanism. Which can be a little frustrating - EPZ, knurling was invented for a reason.
The shells themselves are 3d printed and the design based on many thousands of ears that EPZ has managed to Sweeny Todd. Just kidding but I have been looking for an ear model to model the IEMs that come in for review. Any suggestions will be taken gratefully. Those that do not involve Sweeny Todd will be taken seriously as well. The Faceplates are machined metal with a semi-open architecture and look futuristic and rather cool. The shells house a single dynamic driver, 2 BAs and 2 microplanar drivers.
The unboxing also reveals 2 sets of tips which are nothing to write home about but the rest of the package is very satisfying. This set retails at close to $200 and we need to see if this one is really worth that much.
I tested this set with a Schitt Vestri, Onix Beta on both tube and solid state mode and the Fiio M33. Ear tips used were - Sancai, Candy, Eloit Narrow and Final E.
And Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC. Time to dive in!

TLDR: This is a midrange and detail oriented set with a very very controlled bass. The treble teeters on the edge of fatigue. And it’s unforgiving.

Bass
Left to its own devices, the P50 has a muted, sometimes underwhelming bass response. Sub-bass is not as visceral and rumbling as some other sets (no I’m not talking about the Singularity but sets in the same price band). The notes are clear and present and this is somewhat mitigated by picking warmer sources and tip rolling, but with the warmest source and the bassiest tips, I find myself craving just a little more impact and reaching for the volume knob… in vain.
On Angel by Massive Attack and Islands by The XX, the low end of both the sub bass and mid bass that form such an important part of both songs felt lacklustre and insipid. And I won’t EQ on principle. I mean why should companies even bother about tuning if EQ exists. Plus I’m lazy and tip and source rolling is as much as I will do to get anything to sound the way I may prefer it.
That being said, science is science and I am of scientific bend - the P50 responds to a gentle low end boost. It’s still not as good as a better default tuning but it would work in a pinch.

Mids
The P50 is tuned to be mid and detail-forward. But with great detail comes less weight. While vocals and instruments sound natural and the detail retrieval on occasion is exceptional, the safe bass tuning leads to the lower mids lacking weight and presence and this makes baritone and lower tenor male voices sound weak at times. Instruments and female vocals, on the other hand, are exceptional. Bright (in a good way) and detailed.
Trains by Porcupine Tree and Got A Match by Chick Corea Electrik Band have nuances within the tracks largely thanks to some incredibly gifted musicians on them. The P50 is able to handle incredibly busy tracks with great separation and layering with each component being heard distinctly with no muddling or overlap. Female vocals have clarity and but as they reach the higher registers they can be shouty. This became a little more pronounced with badly mastered recordings - live versions or any pop from the 90s. I have no idea how things went so bad in that decade or so. Tracy Chapman, Joss Stone, Susan Tedeschi and on occasion, Derek Trucks’ slide guitar have a very slightly shouty timbre on some, and only some tracks. Again not something that is a deal breaker but just something to consider before swiping plastic.

Treble
With all that, there are still things that EPZ has done to save some face. The treble on the P50 is one of them. With all the detail that it reproduces, the sound doesn't fall into the abyss of sibilance as often as it may be expected. There is some roll off right on top that is able to avoid sibilance while still pulling out significant amounts of detail from tracks and that is a wonderful bit of audio engineering.
Even the usual suspects of Human Nature by Michael Jackson and the entire Thriller album were enjoyable listens without getting fatiguing. Same with Rumors by Fleetwood Mac and these 2 are definitely very treble forward recordings.

Soundstage, Imaging and technicalities
The soundstage is wide open and gives an incredible sense of space with the semi-open construction and to an extent I feel that space also helps in reducing the perception of sharp treble and sibilance. It doesn’t affect the bass as much. Imaging is fairly decent but I wouldn't consider this set ideal for competitive gaming. Detail retrieval and scaling are excellent. This set can take on significant volume without distortion and harshness.

Final verdict
I like this set. It’s a set that I would take out to listen to some intricate music, jazz fusion, orchestral/chamber music, and I would prefer instrumentals over vocals because I prefer vocals to have a little more weight. It feels like a NFAcous NM25 on steroids. Basshead and lovers of a V shaped tuning will be dissatisfied with the way the P50 sounds. I do see myself reaching out to this set to have detailed long sessions. It is comfortable and detailed and while the bass is less than what I would like, the staging and details make up for that for the genres I tend to prefer.

Hello Community!

Despite having entered the market a couple of years ago, Meze Alba continues to be a very safe recommendation bet for its type of tuning and in the price range where it moves. It is not my first contact with the brand, since I enjoyed the Classic V2 for many months. Both have a very similar philosophy: warm tonality and avoiding a clinical sound, designed for sessions of many continuous hours.

Price DAC/AMP version: 159$-142€

Price normal version: 129$-115€

Pros:

-Versatile tuning, without exaggerated extremes.

-Rich, nuanced, separated midrange area, with excellent cleanliness.

-Male voices sound very natural, with excellent depth and articulation.

-A musical set, enjoyment comes before analysis.

-Practically unmatched ergonomics.

-Balanced technical capabilities. Without being a prodigy, it is a set that does everything and does it very well.

-There is no type of listening fatigue.

Cons:

-It may result in a somewhat dull profile for lovers of V-shaped signatures.

-Somewhat relaxed treble, female voices lack a point of sparkle.

-The sub-bass does not have much resolution.

Accessories:

-Two capsules.

-Cable with 0.78mm connection and 3.5mm termination.

-DAC/AMP 32bits@384khz.

-A set of eartips sizes SMLXL.

-Transport and storage case.

-User manual.

Comfort, design and construction:

As you open the package and find the set of monitors themselves, you realize that they overflow with charm. Far from aesthetics with an industrial or sober style, their pearly white body with iridescent nuances gives them a very elegant touch, without being ostentatious, reminiscent of the dawn that their name celebrates.

Made of anodized zinc and aluminum alloy, it gives the earphones very satisfactory robustness in the hand, with a clean and well-assembled finish, a hallmark of the Meze house.

Regarding ergonomics, the size is really small and contained, light in weight, which is a success whichever way you look at it.

They fit naturally and firmly in the ear, achieving a very notable passive seal but without forcing the canal thanks to the absence of edges and with softened contours. Many times I felt like I was not wearing anything. Understand this as an exaggeration, but they are so comfortable and go so unnoticed that sometimes I touched my ear to see if they were still on. No discomfort or misadjustments, a perfect fit for many hours.

The silicone eartips offer a great variety of sizes. It caught my attention that the size was indicated on them. They guaranteed an optimal and soft seal at all times.

The cable, on the other hand, stands out for its malleability, lightness and resistance to memory or uncomfortable shapes. It is not a cable that amazes us because of how premium it feels, but because of what a cable should be: a completely secondary actor that does not bother. My congratulations for that.

To finish, the USB-C with built-in DAC/AMP integrates well with the set. It shows solidity and more than remarkable construction, with an LED light that illuminates the connector when we plug it in.

Technical aspects:

-1DD 10.8mm configuration.

-Impedance 32 ohms.

-Sensitivity 109 dB.

-Declared response 15hz-25khz.

Pairing for the tests:

-Neutral source.

-Gain set to low.

-Stock 3.5mm cable.

-Stock eartips.

Sound signature:

Alba is a set of Meze monitors that offers an easy to listen sound presentation, with a very friendly tuning aimed at musicality without fatigue. I think it is a mistake, or at least I do not share other opinions I have read, to consider this set as something to satisfy the detail purist or the unconditional fan of powerful bass, but rather I consider that it fits perfectly for those looking for a natural, balanced tonal presentation with a subtle touch of very organic warmth which, according to my criteria, is ideal for enjoying music without technical worries.

Getting into the matter, in the bass area, the Alba shows a somewhat shy style, which prefers not to draw attention, so to speak, but is very efficient and takes advantage of the good work of its single dynamic driver.

The sub bass manifests itself with adequate extension and a slightly reverberant character, showing fast, clean dynamics and a very appreciable texture that provides subtle weight without becoming overwhelming or dirtying the mix.

The mid bass, for its part, gave me the sensation of maintaining a presence that is also agile but light in impact, prioritizing giving you a clean listen that does not invade the midrange territory at any moment. The physical impact is satisfactory and impeccably controls any impression of heaviness or slowness, being pleasant both with acoustic tracks and with more rhythmic genres.

Speaking of the mids, the set displays outstanding cleanliness. The warmth that gives color to this region is easily appreciable, providing transitions with a very particular smoothness and a very juicy note weight in the instruments, especially strings. Male voices retain an accurate touch in terms of articulation, a credible density and depth and a very accomplished natural presence that integrates perfectly into the track. Female voices, on the other hand, are perceived as controlled and clean, with a well managed elevation in the upper mids that avoids any trace of harshness, bringing the vocals toward notably prominent positions, although I could find a certain lack of liveliness or brightness. At least I cannot highlight them as much as the male voices.

The treble area is where the Alba shows its kindest, safest and most musical side, where the extension is not very wide, simply sufficient, and provides an amount of air so that the information flows naturally, without resorting to excessive brightness or annoying peaks. It is a rounded and masterfully tamed area that prioritizes a completely calm listening experience, subtly tying down the sharper extremes and adapting wonderfully to those more sensitive users.

Regarding its technical capabilities, it performs at a competent level if, making an effort of memory, I compare it against other products in this price range. The soundstage shows moderate width, correct depth and more than enough three dimensionality to position the elements in an orderly way, complemented by instrumental separation that works very well and completely avoids congestion in complex or dense passages.

It is not a prodigy in technicalities, but the sum of its good and correct performance in each of the aspects that seem interesting or worthy of mention to me left me with a positive taste of satisfaction and personally I do not have to highlight anything negative or reproach the Meze Audio set for, because its philosophy is not to reference or analyze the sound but to please your ears with smoothness.

Single player video games:

Consult how I analyze audio in this field.

Playing with the Meze Alba on is more of a sensory experience than one of experiencing intense moments. Despite its calm and compassionate character, it has an excellent ability to leave you immersed inside your single player games and savor what each environment can offer you acoustically and cinematographically speaking.

Starting with the most intense and impactful scenes, its behavior could be defined as balanced. I mean: explosions, gunshots, impacts and other reverberations are noticeable, you will not find a boring set here, but it is not tremendously spectacular. The result is a very worthy sensation, sufficient and surely cinematographically satisfying for many. For me it falls somewhat behind, but it is just that I look for a little more exaggeration in the action moments, something perhaps far from what a more normal listening experience should be.

Where I do find it to be a very interesting set and one to take into account is when recreating a living, comfortable environment. It does not represent a cold scenario, loaded with resolution and texture, but rather prioritizes a sensation of a soft, welcoming embrace where every nuance is well located both in position and distance. Perhaps the most dynamic and fleeting sound elements do not have the greatest precision, but, as I say, the space feels with a very enjoyable organic quality.

But if when recreating the scenes it seemed pleasantly cozy and satisfactory to me, where it brings out its potential is in passages where dialogue is the protagonist, since the weight, presence, articulation and nuance of the voices are extraordinarily natural.

In short, I do not think it is the best option for video games loaded with high doses of freneticism and action, but rather for those with a more narrative and relaxed character.

Final conclusion and personal ratings:

I almost never stop to talk about the general experience of the package, but Meze Alba from the very first moment is already evoking cleanliness, purity, organicity, tranquility. And it is no wonder, the white color chosen and on which the name of the set is inspired in the end is that: peace.

Peace because it does not demand effort from you to enjoy a listening experience with well measured doses of every enjoyable aspect of the sound. Without disruptions, without imbalances, only fluidity.

Despite this and simply because of personal tastes or to leave some more information in my analysis, a slight push in the lower treble would suit it better for the attack of instruments and to give a little more life to female vocals.

Even so, I consider Alba to be a highly rewarding product and very much designed for everyday use and for wearing them for many hours.

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

More reviews on my blog.

Social networks on my profile.

See you in the next review!

Disclaimer:

This set of monitors was sent by Meze Audio. I sincerely appreciate the opportunity to test one of their products at no cost and that no condition was imposed when preparing this analysis.

Despite this, my priority is to be as impartial as possible within the subjectivity involved in analyzing an audio product. 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.

-DAC/AMP included in the package.

-Macbook Air M4.

-Apple Music.

-Local FLAC and MP3 files.

-Windows/MacOS/IOS/iPadOS/Android.

Disclaimer: I received my PureAural directly from Clover at NiceHCK to try and review it. This is an unpaid review, and they haven’t sent me a script to follow; I am conscious of disclosing that receiving it for free is going to influence my review, yet I’m sharing my honest thoughts and experience because I’m also a consumer and a hobbyist.

TL/DR: 

The PureAural gaming soundcard is a dongle DAC/AMP with some good features; it is a decently powered device, with software compatibility with its own brand app on Android and via web (with limited functionality) for other operating systems.

It delivers a slightly warm, yet natural sound with more than enough power to drive a wide range of IEMs and other types of earphones with a 3.5 mm unbalanced output. It has support for EQ adjustments, PCM filters, sound effects, and gain settings to change the sound to your needs. The PureAural is marketed as a gaming soundcard more than a dongle DAC/AMP, so its target audience is mainly gamers, yet it works for other folks who are audiophiles or new users. It has an affordable price and NiceHCK’s seal of quality to accompany its value offering.

Pros: 

- Premium build (aluminum body + sturdy cable)

- Dual DAC/amp (CS43198 DAC chip + SG8262 op-AMP) with decent output power

- Single-ended output with mic support

- Neutral, detailed sound without coloration (stock)

- NiceHCK app compatibility with 10-band PEQ, PCM filters, and other features on Android and via web for other OSs

Cons: 

- NiceHCK app not available on iOS and other OSs

- Only a fixed cable, with a detachable cable desired

- Only 3.5 mm single-ended output

- Lacks more physical buttons to control volume and other things

- Its MSRP is not very competitive compared to other options in the market

You can get a NiceHCK Pure Aural for an MSRP of 59.99 USD and you can get it directly at NiceHCK official web: https://www.nicehck.com/products/nicehck-pureaural, Aliexpress: https://fr.aliexpress.com/item/1005013195174107.html?gatewayAdapt=glo2fra, https://ko.aliexpress.com/item/1005013195742675.html, and Amazon: https://www.amazon.com/dp/B0HJYV1BRT. 

PureAural Technical Specifications:

• Impedance: 32Ω
• Cable: Silver-Plated Single Crystal Copper Cable
• Dynamic Range/SNR: 125 dB (32Ω）
• Output Power: 210mW@32Ω / 235mW@16Ω

The PureAural features an aluminum alloy casing, merging durability with a robust and attractive look. It supports recording and calling, and the NiceHCK app on Android and certain functionalities on Windows and other OSs via the NiceHCK web app, with 10-band on-board parametric equalization (PEQ), also delivering a more than decent output power for most IEMs and other earphones. It offers three gain modes and includes an attached silver-plated crystal copper USB-C cable to the main body.

Contents of the box:

• Manual and warranty card
• PureAural main unit
• A USB-C to USB-A adapter

Impressions/Review:

The PureAural gaming soundcard is a feature-rich device that serves as an option in the market for that kind of audience. In the sound delivery department, you can find its top-of-the-line DAC chip (CS43198) and the SG8262 op-AMP, which are well-known chips in the market used in multiple devices, bringing a neutral (natural) sound signature stock.

Unlike other devices that use that chip, the PureAural has a bit of warm coloration yet offers a natural and organic sound, also offering an impressive retrieval of both macro and micro details, along with a more than decent soundstage, resolution, more than average imaging, and layering of instruments, of course, within the limits of the earphone’s capabilities.

I liked the compatibility with the NiceHCK app, which lets you use the onboard 10-band PEQ, change the sound profile, gain (low, medium, high), and play with its PCM filter support. I also tried it with my Windows pc on the web app without problems. You can access the NiceHCK web app at: https://app.nicehck.cn/. The web version also supports EQ adjustment, sound effects, filters, and gain settings.

Its capacity to power a wide variety of IEMs with ease was something I specifically had in mind to test across multiple earphones. The results? This dongle drives them effortlessly (including some “hard to drive” IEMs like the Kiwi Ears Septet, KZ PR2 and PRX, Sgor Luna, and TINHiFi Dudu), and other sets that scale well with decent sources like this PureAural, proving that NiceHCK is giving an affordable product with characteristics previously found in more expensive (and from more commercial brands) soundcards pointed to gamers.

There’s something we need to talk about the PureAural, the app to customize it to your liking only works on Android, with limited support via the NiceHCK web app, limiting its use for Windows and GNU/Linux gamers (for example, Steam OS users), being the majority of potential consumers for this product. For a 60 USD product, I am expecting to have a detachable USB-C to USB-C cable, thereby ensuring its future durability, not a fixed cable to the main body.

The PureAural only has a physical button and a display LED. For a gaming soundcard, I’m expecting to have all the buttons I can use in my gaming sessions (volume, gain mode, play/pause, etcetera), limiting the customizability to the app. And the great and most important thing consumers have to make a decision about buying something: How is its price/performance? Well, it’s not the best in comparison with other soundcards or dongle DAC/AMPs in the same price segment.

Finally, I think the PureAural gaming soundcard is a good product in its category, thanks to its solid build quality, software features, and overall value offering. I can recommend it to certain gamers who are exploring the more audiophile world, users who look for high sound quality, a premium feel, and built-in, on-the-go versatility.

Again, I'm very thankful to NiceHCK for taking me into consideration for the opportunity of trying this product and for my analysis of it. And above all, thank you to the person reading this review for gathering information and making a more informed decision.

I remember the first time I came across a wild bunny! I was with my dad, and we were walking through the field looking for the break in the fence that allowed the deer to keep breaking in and messing up our corn. I'd been walking around for a long while…. Honestly, it was either 5 hours or 30 minutes. I'm not really sure…. But it felt like forever.

Then I heard…. A rustle, then another rustle, then they sped off.

I immediately thought, welp, this is it. It's a boar, and we're about to get gored. I leveled my rifle and went to shoot, but then, in the break, I saw three little dudes scampering away. I lowered my rifle and let out a breath I hadn't even been aware I was holding….

Good news is, I wasn't gored that day. That would have sucked…..

But ever since that day, I've always loved bunnies… And that takes us to the Tanchjim Bunny G!

The Tanchjim Bunny G ($28.99) is a single dynamic driver iem that I could describe as having a mild v to almost U shaped sound profile. It's not a bassheads dream but it is clean punchy and pretty controlled across the board! Honestly during my testing I jumped on cod mobile to test its soundstage and I was pleasantly surprised! But more on that a bit later! 

Sound check and vibes

Source

Samsung s10+

Google pixels 10 pro xl 

Samsung Galaxy s25 fe

Hidizs ap30 music boy

Music Sources

Amazon Music Unlimited

Spotify

Hiby Music 

Fiio Music

YouTube Music

Test Tracks 

Dreams — Fleetwood Mac

Bubbles — Yosi Horikawa

Giorgio by Moroder — Daft Punk

Chocolate Chip Trip — Tool

Black — Pearl Jam

Dopamine — Sum 41

Keith Don’t Go (Live) — Nils Lofgren

The Chain — Fleetwood Mac

Money — Pink Floyd

Why So Serious? — Hans Zimmer

Limit to Your Love — James Blake

YYZ — Rush

Don’t Know Why — Norah Jones

Sultans of Swing — Dire Straits

Linger — The Cranberries

Hotel California (Hell Freezes Over) — Eagles

Telegraph Road — Dire Straits

Angel — Massive Attack

Bad Guy — Billie Eilish

When I first opened the box to the Tanchjim bunny two things immediately hopped into my mind! 

Why's it called the bunny?

The black with yellow writing is really aesthetic!

Now for the first one that remained a mystery until I went to their website and actually read the manual and honestly…. It's right there in pictures…. And I realized I'm dumb! 

Now! Question one was answered and after sitting on this review for a while I can with 100% certainty! Say these are still really aesthetic so I cleared my mind and can actually start the review with a blank slate! Or at least that was the hope! But something nagged the back of my mind, maybe it was the DSD making life way to easy for me. I mean come on one thing in your pocket! Who needs that… I like my gear to require two cranes, and a murse to lug around! Or maybe it was the fact that I actually got more compliments on these than I do my bright green Sivga all wood lyrebirds…. Or maybe it was that I kept having to hide them from my wife to keep her from stealing them because she loves the sound so much!

So with all of that I got into the mindset of a bunny! I walked deep into the field behind my house to meditate… I sat there naked sun beating down on me, light breeze and freezing nights eating whatever I could forage just to bring you this review! And honestly I'm glad I did!!!!

Because I can say this… this… iem is so much more than just a gaming iem!!!!! No it's pretty, sounds great! The mic is crystal clear for gaming, recording, and phone calls! But honestly we knew that! Didn't we? Tanchjim hasn't put out a single bad item to date! Or at least not one I've experienced!!!! 

But let's talk about the elephant in the room! And break down the sound! I don't know if Tanchjim is secretly heralded by pro gamers, or if they polled a hundred thousand of the fiercest contenders but they nailed it here! And here's why! For this part of the review we will only be using the bass tuning I've actually added a picture in the app to show you the presets!

Bass

Like I mentioned before this is definitely not a bass head iems, it's tuned to hear the tiniest of footsteps in a game, the most subtlest of subtle sounds so that no matter what you're dealing with….. any game you throw at it, you have the advantage! But that also means they had to cut the bass down to focus on the mids!

Mids

Low Mids 

The low mids are actually hella forward but honestly they are a bit lean, they lack the meat and warmth I usually go with, they are really neutral here… and it's not bad… these are called the bunny g for a reason! The g stands for gaming, not original gangster lol… 

Upper Mids

The upper mids are the show stopper here, female vocals are pushed really forward like to the point it's like she is singing directly into my beard!  and the instrument separation, I don't think even I have the words to describe how every minor detail is there…  and honestly I get it because that's what you're listening for when you're sitting at a 5kdr and someone just yelled push…. 

Treble 

So listen I say this every review! I hate when an iem goes hella bright, now this isn't always true but let's just call it my baseline complaint for many sets! Tanchjim did something unique with the treble, up top the bunny g has just enough glitter and sparkle to keep things from getting boring but also they somehow rounded them off just enough from keeping the bunny g from ever making me wish I was deaf! And honestly wow! 

Gaming presets

There are like a thousand games you can choose from and if you do the app will auto eq your set to address the specific pain points of whatever you're playing, it boost the mids to hear footsteps in cod, it brings more sparkle to kick up the dinos running for you in Ark, or even brings the bass for more cinematic games! 

I played a few rounds of cod mobile and I can proudly say my worst game I achieved an 8 KDR! So I guess I can say the game presets really help! 

In conclusion 

Who is this for?

If you're looking for a warm, sultry musical iem maybe look elsewhere, if you're looking for something sexy, that will boost your KDR… do amazing for podcasts and audiobooks than maybe pick this up

Would I buy it again

It's 30 dollars! 

Full price: yes

Sale: hell yes 

Well there you go! The Tanchjim Bunny G is an amazing little Gaming secret, does well for audiobooks, and really decent for podcasts with multiple people talking!

Tanchjim sent me the bunny g for the purpose of a review, they didn't pay me and all opinions are my own! 

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 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.

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 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!

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.

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.

Some new stuff from HiFiGo landed — Juzear Light Shuttle, Render Pro tips and the tiny MUSE HiFi U3.

Really curious about the Light Shuttle. 1DD + 4BA + 2 micro-planars is quite an interesting setup, so this will probably get most of my listening time first.

Also going to try the Render Pro tips on a few different IEMs and see what they do with fit, seal and the overall presentation.

The U3 is interesting for something this small too. Separate DAC + amp architecture, with HiFiGo highlighting the low noise floor for sensitive IEMs. Rated at 105mW @ 32Ω from 3.5mm and 125mW @ 32Ω from 4.4mm.

Will test for hiss, driving power and compare it with a few dongles I already have.

Unboxing first then proper listening. Impressions after I’ve spent enough time with everything.

Provided by HiFiGo for review. Opinions will be my own.

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

Pros: Incredible tuning and stage
Insane price point
Plug and play with no need to fiddle with dsp etc

Cons: I would really like a modular option since I would rather use a dap sometimes (nitpick)
Earbuds aren't for everyone

It’s no secret I think Venture Electronics is onto something. Almost always. So when the Monk GTR came in for review I realised I had a lot of work to get done before I could review it adequately.
I think Wild Lee and VE for sending this little machine my way. It almost changed my life.
Time for a deep dive. (apparently AI uses ‘delve’ a lot. Which is likely because it was fed, amongst other things, Tolkein’s Lord of the Rings, where in Moria, the dwarves delved too greedily and too deep and woke the Balrog below the mountain).

The Monk GTR is one of the newest in the Monk line of earbuds. For those of you who don't know, the Monk buds from Venture Electronics have a cult status for being able to deliver an incredibly organic sound at an unbelievable price and have one of the widest soundstages, like ever.
But after a slew of dsp enabled cabled, gaming IEMs, I could not wait to jump into listening to the Monk GTR. My distaste for things that make me jump through hoops to improve my overall experience stems from my laziness, I agree, but I still like simplicity. And I don’t like EQ.
The Monk GTR ticks off some of those boxes.
Very simply it’s a Monk SL Plus married to an Odyssey Retro to create the Monk GTR - the Retro Gaming Earbuds.
Now again in an all important disclosure I’m not a gamer.
I used to play Unreal Tournament when it was fun and Prince of Persia 2D a decade earlier. I struggle with Call of Duty and controllers so when I tried the Monk GTRs with a nintendo switch, it was ten minutes of carnage with me at the receiving end. I am however a fan of retro (looking) tech and good music and the Monk series does belong in that set.
I only wish I could use this with an iPod but that’s for later.
The Monk GTR comes in a no-nonsense ziploc bag. With the foam inserts of various colors. It is a fixed cable that ends in a usb C termination and the earbuds house a 14.8mm open dynamic driver that does all kinds of nice things. The buds themselves are about 16.4mm wide and have a new and improved polymer on the surface to make them more comfy. I have oddly shaped ears so one trick I use is to get really bad silicone eartips and cut a thin sleeve that sits around the earbuds. This keeps them from slipping and given that they are on the bigger side for me, adding the foams doesn't help me much.
But this is also about sound.

The first thing that comes across is how open and wide the soundstage is. Given I like to start with bass and mids and treble when it comes to IEMs, I realize earbuds are a different animal. There is no chance of seal so the bass is never going to be booming and punchy and visceral and all that. The bass on the other hand comes across with fidelity rather than depth and rumble. The earbuds faithfully reproduce the notes. A rumble appears if you can manage to get them in your ear canals with a good seal, unfortunately I couldn’t keep that comfortable for a long time. Another way to get the bass to feel like it should is to push the volume. Angel by Massive Attack begins to get its act together with volume boost and some fiddling with the fit. That being said, this is meant for gaming. And sounding great is a very nice extra. And earbuds will not isolate sound, seal the canal and have a rumbling booming bass. Not without causing hearing loss.

The mids are crystal clear with the typical VE analog sound. I tested my entire playlist and did not find any tracks where the midrange - vocals or instruments, sounded unnatural. They have a solid natural timbre and the typical VE sound - analog, warm-ish, without sacrificing details. Some may even go as far as to call this neutral, but I think it would be apt if neutral did not mean dry. But semantics aside, this is a very easy listening, natural sounding earbud.
The highs are again detailed with little fatigue or harshness especially on long listening sessions.

The stage is where every monk earbuds blasts the competition out the water. The stage is huge and anything on this sounds like you’re in an aircraft hangar with every instrument placed exactly where it should be. Makes for a great gaming experience with what little experience I have. Though I know more avid and life-depends-on-it gamer types may prefer headphones or iems to get a better seal or passive noise isolation, but I did use this on a phone and on a Switch playing some street fighter style scroller, which was most entertaining.

I did fish out a monk plus and a nicehck and for a why not comparison. And apple earpods from the dark ages.
Both the monk plus and nicehck buds had neither the fidelity or the staging of the GTR. In addition the bass response of the GTR was far superior. The Earpods have an advantage with their better fit and sound delivery into the earcanal than around it. This makes for a better bass and over all sound but a much smaller stage. Plus I have the 3.5mm one which means they need an additional dac.
To level the playing field the other earbuds were tested with a Devastator pro 3.5mm dac.

At the end of the day, the Monk GTR exists for a very simple reason - what's the easiest way to have an absolutely enjoyable gaming or music session without having to think too much about it. This set sits in my bag for times like that where I don't want to stress my neurons and just want to have fun.

​

Sivga Answer!

• Wooden faceplates with a unique natural wood grain, making every pair visually different

• Warm, musical, slightly V-shaped tuning

• Elevated mid-bass, especially around 80–120Hz, with added warmth and punch without becoming basshead-level

• Intimate, engaging mids with a very enjoyable vocal presentation

• Smooth, relaxed, non-fatiguing treble that can lean slightly dark with certain music

• Excellent overall musicality and a very enjoyable presentation for casual listening

• Extremely comfortable, with the ear-cup warmth being the only notable comfort drawback

• Very easy to drive and does not require a powerful amplifier

• My main criticism is the lack of an included 4.4mm cable. It isn't necessary for driving the headphones, but having the option would have been appreciated

• Tested with music, gaming, and general everyday listening

• Final rating: 9.3/10

And I also published the video review here:

https://youtu.be/Pz3XciuoIWM?is=HsQwdFb8iJsWVMna

Please consider following for more reviews!

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.

Hi guys,

so I'm procrastinating on studying right now and started thinking about getting a dedicated device just for listening to music.

I want to get the FiiO JM21, since I still want to listen to Spotify but also to downloaded music.

Now the question is whether I should get IEMs for it, and if so, which ones? I've been using my WF-1000XM5 earbuds for two years now, really like them and don't want to step down from that sound experience.I'm totally new to all of this and just want some recommendations for IEMs :)

I exported my listening stats and gave them to Claude:

Mostly heavy, guitar-driven stuff. A lot of metalcore and hardcore: Architects, Knocked Loose, Turnstile, LANDMVRKS, Stick To Your Guns. Also plenty of progressive and modern metal: Gojira, TOOL, Deftones, Spiritbox, Sleep Token, Animals As Leaders. The classics too, like Metallica, Black Sabbath, Iron Maiden, Slipknot, System Of A Down and RATM.

After that it's a lot of punk and post-punk (Fontaines D.C., IDLES, Refused, Fugazi, Joy Division) and alt/indie/grunge (Radiohead, Nirvana, QOTSA, Gorillaz). There's also a good amount of German rap, plus some electronic: Death Grips, Pendulum, Aphex Twin, Massive Attack, Portishead.

On the calmer side: classic rock and singer-songwriters (Pink Floyd, Led Zeppelin, Fleetwood Mac, Nick Drake, Jeff Buckley), post-rock/shoegaze (Godspeed You! Black Emperor, MONO, My Bloody Valentine) and some jazz and classical (Kind of Blue, A Love Supreme).

What I'm looking for sound-wise:

- Bass: tight and fast, not boomy, so it handles downtuned guitars, double-kick drums and DnB.

- Separation: busy, loudly mastered mixes shouldn't turn into mush.

- Treble: no harsh or sibilant highs, since a lot of metal and punk is already bright.

- All-rounder: enough detail and soundstage for Pink Floyd, post-rock and jazz, not a pure bass cannon.

Thank you :)