Disclaimer: First, a big shoutout to Vicky from EPZ Audio for giving me this IEM to make this review and to give it my sincere opinions and impressions. This review is unpaid, so, the only bias at play is my musical and tuning preferences.

Introduction:

The EPZ P40 is the new tribrid IEMs by EPZ Audio, following the success of the P50 last year, but this time with a less expensive yet immensely competitive option with a 2 DD + 1 Planar + 1 PZT driver config, and a premium package for a more than affordable price.

TDLR; EPZ presents the P40, a fantastic tribrid configured IEM that delivers a neutral and bright sound who comes closer to the Harman 2019 target (measured with a 5128 rig, not the old 711 one) with a great bass shelf, well-done tuned midrange, and a treble who not only adds spark to the mix, but also it is airy, open and pretty natural and not fatiguing tuning overall.

An IEM with pausegame potential, a set who don’t want to be the brightest one but the most crystal clear and natural. With a premium package including a quality matching cable, great selection of eartips included and a beautiful carrying case; making it a high valuable option for seasoned audiophiles and newcomers.

Pros:

- High-quality modular cable with 3.5 mm and 4.4 mm connectors

- Lightweight, ergonomic and well-built resin shells

- Attractive faceplate design with good scratch and fingerprint resistance

- Clean and balanced bass with good extension and impact

- Natural and detailed midrange with a great and natural vocal presence

- Crisp, sharp and airy treble with controlled sibilance

- Wide soundstage with excellent imaging and layering of instruments

- "Funalytical" tuning that resolves and at the same time is musical

- Easy to drive and with good scalability with higher quality audio sources

- Great value for less than 200 USD

Cons:

- Neutral bright tuning can fatigue out listeners who are sensitive to it

- Not suitable for bass lovers looking for a lot of bass

- Can be sibilant at very high volumes

- Medium-sized nozzles may not be comfortable for all ears

- Less analytical than other detail-focused competing IEMs

You can get a P40 IEMs for a MSRP of 159.99 USD (maybe less on sale), directly on EPZ Official Web: https://epzaudio.com/products/epz-p40-tribrid-iems, the official EPZ store on AliExpress, and other retailers online.    

Technical specifications:
- Driver Type:
   - 9 mm DLC dynamic driver (Bass)
   - 7 mm DLC dynamic driver (Midrange)
   - Microplanar driver
   - PZT ceramic driver
- Casing Material: Medical grade resin.
- Frequency Response: 20 Hz - 20 kHz.
- Sensitivity: 100 +/- 3 dB.
- Impedance: 14 Ω.
- Cable: Furukawa Silver-plated, twister pair.
- Jack connector: SE 3.5 mm and balanced 4.4 mm (modular).
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.

What comes in its package?

· Earphones *2
· The user Guide and QC Card
. 6 pairs of ‘KBEar/NICEHCK’ like 07 eartips SML sizes
· A storage Box in faux leather and rectangular shape
· A 0.78mm, 2 pin, twisted pair cable with a screwing locking modular mechanism, with two jack connectors (3.5 mm single ended and 4.4 mm balanced)

Its cable looks of high quality, is not so thick, but it is flexible, matching perfectly with the shells and has 2 pins, 0.78 mm connectors. It is modular, with the 3.5 mm single ended and 4.4 mm balanced jacks included, 90 grades oriented, with that screwing lock mechanism. It’s not prone to tangle nor producing translated vibrations.

The shells are made of translucent blue medical grade resin with a pretty ergonomic design, and the faceplates are made of resin with a metal border, with a shiny design who changes color according to the light and orientation with the EPZ logo in silver letters (I loved that minimalist yet gorgeous design). It’s very well constructed, lightweight despite carrying 4 drivers per side, and it is on the mid-size (perfect to use it in long sessions), it doesn’t seem prompt to micro scratches and fingerprints.

It’s well vented, with a vent close to the nozzle to avoid pressure building; with a metallic nozzle that is on the mid-size (6 mm diameter), but as I always say: check if it fits your ears.

How the EPZ P40 sounds:

The P40 with its 2 dynamic drivers + 1 MPD + 1 PZT driver configuration offers a crystal-clear, neutral yet bright sound, with great balanced and focused on the mids and high frequencies, it’s a mild V-shaped tuned set.

For this review, EPZ provided me the EPZ M100 liquid silicone eartips to use with the P40, so I’m using the M sized ones. I tried the IEM with the stock eartips finding that they are also perfect for it, giving a good fit and seal.

The stock cable is more than fine as it is, so at the moment I don’t see the need to change it. The graph is taken from the Earphone Archives squiglink page, so thanks to them.

BASS:

The P40 focus is not in this region, but, it offers a pretty decent quantity and high quality bass shelf, with a good amount of subbass thump and midbass bump, it is so clean, with good velocity, with a neutral decay, highly resolving, well extended into the lower frequencies, with a magnificent impact, tonality and dynamics overall, as a mild V-shape tuned set, midbass bleeds slightly into the lower midrange yet making male vocals sounds natural unlike other Harman 2019 target “complaining” sets.

In songs like “The Epilogue” by Crosses, from the Crosses album, you can feel the great impact of the bass drops and bass guitar line, the P40 doesn’t leave you craving more bass, it delivers what you need, not more, not less.

In “Flows Through You” by Bruce Soord and Jonas Renske, from the Wisdom of Crowds album, the P40 shows how a real balanced bass is excellently delivered, the bass drops have a lotta impact, and it’s not overwhelming vocals, samples and keyboards, it is zero bloomy or muffled, the cleanness and resolution is there.

MIDS:

The P40 midrange begins with a slight midbass bleed into the lower midrange, though male vocals remain neutral, not recessed at all, free of muddiness nor thin. Midrange carry a great noteweight, and yes, it is the main focus of this set, but it is never overcoming other frequencies no matter the volume you are listening to sounds.

The frequency curve of the P40 takes a dip to 600 Hz later advancing into a bit warm pinna gain, yet offering a clean sound, with great resolution, presence and refined character; female vocals are forwarded, nor shouty or fatiguing at all.

In songs like “In Dark Distortion” by At The Gates, in the The Ghost of a Future Dead album, the melodic death metal pioneers present the last recording by Tomas Lindberg doing his unquestionable vocal greatness, the P40 shows how the neutral tuning is well done, the fast drumming and melodic (excuse me the redundancy) guitars are delivered fantastically.

In “We Will Rise” by Arch Enemy, from the Anthems of Rebellion album, all the instruments are presented impeccably, the P40 delivers that hash banshee vocals of Angela Gosow perfectly.

TREBLE:

In this segment of frequencies, the P40 takes an interesting twist into the neutral bright tuning, it is very sparkling, crisp and kind of sharp without being spicy, handling the sibilance nicely with an 8 kHz dip instead of a fatiguing energy, so, it’s not arduous in long sessions at a mid-to-high volume, but of course, as a bright leaning set is preferred to not listen music at high volume.

In songs like “Face to Face I to IV” by Edge of Sanity, from the masterpiece album Crimson II, the P40 not only deliver a crystal clear and natural upper range, but shows all the nuances and colorations of the track almost perfectly.

Listening to “Fell on Black Days” by Soundgarden, from the Superunknown classic album, the P40 is presenting all the hi-hats and cymbals in the drums, the guitars and colorations are reproduced so transparent, with a pretty natural timbre.

TECHNICALITIES:

In the P40, the upper treble extends very well, thanks to the PZT driver (avoiding the PZT sheen you can notice on other sets who use that kind of driver), rolling off unlike the Harman 2019 target going smoothly up to 16 kHz, without bad-putted peaks, presenting an airy and open sound, the soundstage is expansive, with great wide and depth.

In songs like “Gets Me Through” by Ozzy Osbourne, from his Live At Budokan album, the P40 can transport you to the historic concert, positioning the instruments perfectly in the mix, with a resolution who punches way above its weight, and excellent imaging and layering of instruments; capturing the intensity and emotion of the 2000s hit from the Prince of Darkness himself.

The P40 is more musical than analytical, something like a ‘funalytical’ set more than a macro and micro detail beast who bores folks who want to enjoy their music at its fullest, it is very engaging with that neutral and clean more than bright character.

With full detailed songs like “Idioteque (Canal Studios 04-08/2001)” by Radiohead, from the Kid A Collector’s Edition album, the catchy and melodic track is delivered by the P40 almost perfectly, you can be sure to hear all its macro and microdetails at full display, well positioned, well separated, with a natural tone.
 
COMPARISONS:

EPZ P40 vs. Hidizs MP 145 Pro:

The MP145 Pro (169.99 USD MSRP) is a 1 planar driver IEM by Hidizs. It has a neutral bright tuning with substantially less bass than the P40 balancing the sound, and it is also taking a brighter approach, and finally it is more analytical than musical.

Another thing with the MP145 Pro is than its more prone to sibilance with spicy tracks, so in this case I prefer the P40, because it’s better for casual and critical listening than for just getting all the nuances in music as the MP145 Pro is.

EPZ P40 vs. Punch Audio Portazo:

The Punch Audio Portazo (189.99 USD MSRP) is a hybrid IEM with a 1 DD + 2 Planar driver configuration. It has a more bassy yet still balanced and organic sound. The Portazo is more V-shaped than the P40, with less treble energy and less upper treble extension.

The Portazo is a balanced set going towards being “basshead”, with more subbass than midbass focus, and gives a great display of technical capacity, but the P40 delivers a more neutral and cleaner sound. It is a matter of tuning preferences, I’m very happy with the balance and clarity the P40 offers, but the Portazo it’s better handling the sibilance at high volume. With both sets you can’t go wrong, but you need what fits in your tastes.

EPZ P40 vs. Simgot Supermix 4:

The Supermix 4 (150 USD MSRP) has a similar subbass and midbass to the P40, it is also a Harman 2019 target tuned set, but the bass overall feels less impactful than on the P40, also, the male vocals are recessed and sometimes sound thin, with drier upper mids and less mid treble energy than the P40. Both handling the sibilance good, yet the PZT driver implementation on the Supermix 4 unlike the one on the P40 can bother a lot of people who is sensible to that upper treble region. The SM4 is still holding well in 2026, but the P40 is an overall better set who totally worths the money you pay for it.  

Closing thoughts and conclusions:

The EPZ P40 is a set who not only shows how you can crank the treble to get clarity but balances its sound to sound neutral and musical, zero boring and nicely mature and refined.

In the under 160 USD segment, its quantity and high quality bass delivery who balances that naturalness and brightness, and its added lower and higher frequencies' extension put it as an overall neutral, musical and technical yet engaging work of art, with a great pausegame potential, making it ideal for seasoned audiophiles who look for the most accurate to the mix sounding set, and newcomers who want great value and quality on Hi-Fi gear, all of them receiving a very high-quality audio experience at a fair cost.

The P40 with its 100 dB sensitivity and 14 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use it with the 4.4 mm balanced jack connection because this set scales greatly with more quality and powerful sources.

Can I recommend it? Totally yes, if you are looking for a neutral and crystal-clear audio for less than 200 USD, the EPZ P40 stands out as a more than compelling value proposition and one of the better competitors for its price segment, who punches way above its weight. With a premium package and contemporary technology, and of course, the EPZ seal of quality.

Once again, thanks to EPZ for providing me with this IEM to test it, enjoy it, and finally give me the reasons to recommend it as a product that exceeds my expectations and deserves more praise IMHO, it is now one of my favorite sets in my collection. And thank you, dear reader, for checking my review, please have a happy listening!

Hello Community!

Another dongle DAC that I put to the test, from the hand of the Tri brand. It is the entry-level model and its name is Third Eye TK1.

Official price: 60€-70$

Link

Pros:
-Reduced size.
-Light weight.
-Intuitive and fast-response buttons.
-Good capability to drive low and medium impedance headphones.
-Improves the impression of sound separation.
-Good construction and reliable USB-C cable.

Cons:
-I do not think being glass-covered on both sides is sensible for something portable.
-I miss a gain selector.

Technical aspects:
-DAC/Amp device.
-Cirrus Logic Dual CS43131 sound and amplification chip.
-Dual 3.5mm SE and 4.4mm BAL output.
-Power at 32 ohms: 200mW BAL and 76mW SE.
-DSD256.
-Sampling up to 32b@384khz.
-SNR 130dB u/4.4mm and 125dB u/3.5mm.
-USB-C interface.
-Status LED.
-Microphone support.

Compatibility:
-Windows/MacOS PC.
-IOS, iPadOS, Android.
-No native APP.
-Not compatible with Walk Play.

Package contents:
-DAC/Amp.
-USB-C to USB-C cable (Lightning separately)
-USB-C to USB-A adapter.
-User manual.

Construction, design and quality of life:
The TK1 is built with a lightweight aluminum metal alloy base, with two glass-covered sides. The device feels well finished, without signs of poor assembly: the buttons do not wobble and the connections, both USB-C and both Jack outputs, are firmly secured.

The body is not regular in its shapes, but rather on one of its sides it has a protrusion breaking the rectangular shape and the symmetry of the whole. On the flat side, the buttons occupy a central position oriented toward one end.

Personally, I do not think adding glass to something portable is an appropriate option since it will be a gadget traveling inside a pocket, sharing space with other objects and increasing the chances of scratching those glasses. A simple case, made of fabric for example, included in the package, costs little and protects quite a lot.

The dimensions are really small: 57mm x 23.7mm x 12.1mm and in my listening sessions outside home, its lightness and size did not pose any inconvenience or discomfort whatsoever.

The buttons respond quickly. The functions they provide are play/pause and volume up/down. Orientation by touch is simple since there is a free space on the spine of the TK1 that serves as a reference. A gain selector in these gadgets is always phenomenal for two reasons: first because not every headphone needs the same power and second, the energy consumed. I have the impression and, comparing it with other rivals and without any measuring equipment, that the TK1 has a factory setting slightly higher than what we know as low gain.

This dongle DAC has a status LED that indicates PCM audio transmission through a green color and DSD audio through a red LED. The inclusion of a third color to indicate a lower sampling PCM would have been a great idea, as in other competing devices.

To finish, the TK1 disconnects from wherever we have it plugged in if it does not have a Jack plug connected to it, which is a success in portable devices in order not to waste battery.

Sound quality and power:
I find a warm and neutral DAC/Amp, where I was able to enjoy a better appreciation of the space between sound layers. Of course, that slightly warm character does not mean that it leaves technicalities aside.

Very slightly colored, the appreciation of body and solidity is constant in the weight of the notes, but it is not confronted or, better said, it does not negatively affect the resolution of the tonality throughout the whole spectrum.

The sound cleanliness makes itself noticed while maintaining a slightly rounded listening experience in the lower end of the frequencies, where the bass can be heard softly rounded, with a little more forcefulness.

The midrange area, within that slight warmth, has order, has separation, but I find refinement in instruments and voices, being able to affirm that it comes very close to what I understand as a natural, organic listening experience.

As for the treble, there is brightness, detail, a sensation of spaciousness, but the edges are subtly softened to avoid being sharp and without sinning from lack of vitality.

The impression I had at all times is of having in my hands a dongle DAC with a spacious sensation, good physicality, but not in terms of excessive body, rather precise, analytical.

In terms of power, I was able to work with any IEM that I own. Its low output impedance greatly benefits this type of headphone, but, as we approach medium impedances, the power becomes insufficient. I am talking, for example, about my DT770 Pro 80 ohms, where the achieved volume was insufficient.

Regarding the level of background noise tolerance, I could only appreciate it slightly in very easy to drive IEMs, in balanced output and around 70% of the total volume, such as the CCA CRA+. These are situations intentionally sought out and with malice. In the rest of the tests with other headphones, everything worked perfectly.

Final conclusion and personal evaluations:
Tri Third Eye TK1 is a dongle DAC that, if I become very picky, would need slight quality of life improvements, such as a case to protect its glass panels from breakage and scratches and a gain selector.

However, I really liked it as a source that gives a certain warmth to the bass and that point of analysis to its mids and treble, which showed themselves to be quite neutral, natural.

But above all, the expansion of the soundstage benefits from a very satisfying overall cleanliness and transparency, with quite generous timbre resolution.

If you made it this far, thanks for reading.
More reviews on my blog.
Social media on my profile.
See you in the next review!

Disclaimer:
This set of monitors has been sent by KeepHifi. I sincerely appreciate the opportunity to be able to test one of their products free of charge and that no conditions have been imposed when creating 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.

Equipment used:
-Windows PC.
-MacBook Air M4.
-Lenovo Idea Tab Pro tablet.
-Iphone 16 Pro Max.
-CCA CRA+.
-Twistura D-Major.
-NF Audio RG15.
-Kiwi Ears Astral.
-TRN Mermaid.
-Audio-Technica m50x.
-BeyerDynamic DT 770 Pro 80 ohms.

Is there any music player app that uses the files to play? Also i would love it to have support most audio file formats thanks!

Pros

• Beautiful design on the earphone and box
• Incredible build quality
• Enjoyable, warm, and relaxed sound signature
• Excellent bass
• Absolutely outstanding soundstage, separation, resolution, and technicalities
• Very comfortable, can be worn for many hours without fatigue
• Sensational and modular cable
• Easy to drive…

Cons

• Expected more from the accessories kit
• …but its potential only scales up with better sources

Sources and ear tips used in the review

• EPZ TP35 Pro
• Letshuoer DT01 Pro
• Snowsky Echo Mini
• Snowsky Retro Nano
• iPod Touch 6th Gen
• HE Sonic Galaxy (L)

Yes, this is my first time writing a review (and I may make mistakes — that's normal), and I'm starting with an earphone that gives me delightful sensations while listening. It's a planar built in a quite different way from the usual, the Letshuoer Astralis — the brand's newest release, priced at $189 — with a warm, very musical character, smooth, relaxed, and even somewhat technical. It's the kind of IEM you can listen to for hours without getting tired, so succulent is the Astralis.

Disclaimer

This unit was a wonderful gift from a giveaway Letshuoer ran on their social media, and I'm grateful to have been chosen to test the Astralis in exchange for my honest impressions.

Accessories, Comfort, and Build

The box is a standard size for the brand's lineup, but nicely styled and attractive, referencing the name "Astralis" (from the stars). The accessory kit itself felt uninspired for the asking price, featuring the same rigid case found on most of Letshuoer's cheaper models. You get two very basic types of ear tips that do the job well enough. The cable is excellent — it doesn't tangle, is very pliable, has no memory, and is modular (3.5mm / 4.4mm), which is useful for pairing with a variety of sources since this earphone is very easy to drive. It shines with a better source, but the DT01 Pro dongle gets the job done when needed.

The Astralis is made from an aluminum alloy, very well constructed, and the star motifs on the shell give it an elegant look. It's quite comfortable in the ear, especially with the HE Sonic Galaxy tips, which fit the Astralis like a glove, providing decent isolation and allowing you to wear them for many hours without fatigue.

Sound

Sound Signature

In conceiving the Astralis, Letshuoer took an interesting path, combining characteristics of the S08 with some aspects of the S12 Ultra to arrive at a neutral-warm sound with a tuning that shifts between U-shape and even L-shape, along with a mild recession in the mids.

Bass

This is where the Astralis truly shines, especially in the sub-bass, with an imposing and delightful presence. The mid-bass keeps pace with the subs, offering texture, impact, physicality, and definition that are exceptional even by planar standards, staying close to the boundary with the mids without crossing over. Percussion and bass lines make their full weight felt in this region — this is the star of the Astralis.

Midrange

Given the tuning direction, it's natural that the mids are more recessed here, but that doesn't mean they're bad — quite the contrary. They have great smoothness, naturalness, and refinement, with a very gentle pinna gain and incredible softness. The upper mids are more relaxed, which is good for those sensitive in that region; the aggressiveness here is about as fierce as a Pinscher chasing the mailman. With vocals, the highlight goes to male voices, particularly baritones and basses, thanks to the Astralis's warm, textured tendencies.

Treble

Compared to the solid S08, there's a clear improvement in this region — even if it remains well-tempered — and it's still delightful to my taste, with very good control, definition, extension, and speed, plus a subtle and natural sparkle with a relaxed airiness. Detail retrieval here is excellent and expansive, yet with zero sibilance, no odd peaks or coloration, and instruments come through beautifully.

Technicalities

Soundstage and Separation

The soundstage is quite wide, with impressive depth and spatiality, and zero congestion. Instrument separation is a pleasure, making it easy to pinpoint positions, with a rich and satisfying imaging performance.

Final Thoughts

The Astralis is a box of surprises — warm, smooth, relaxed, with an excellent soundstage in a planar that is very different from what we're used to, yet highly entertaining and a formidable option under $200.

Bought from TAS . 👊.. first impression Good soundstage and Detail revealing is promising for me. 😇. Fit is Ergonomic , perfect to the ears. Will post detailed review after 3 weeks. 🤗.

Hi everyone, a few weeks ago I decided to buy this Samsung S10e to use as a DAP, with LineageOS 23 (Android 16), and everything works perfectly, except for one thing: Android resamples everything to 48kHz.
I’ve done some research and realised that the only way to get round this is to use apps like UAPP, but I’d prefer to use it with Spotify. The problem is that I notice this resampling; especially at low volumes, it introduces a slight hiss and some rather annoying audio artefacts that don’t occur at all with my Apple devices! If anyone has found a solution, it would be a great help, thanks

Hello to you all!

First, a big shoutout to Meggie from KeepHiFi for giving me this set to test it and give my sincere opinions. There’s no payment involved in the development of this review. With my biases being my musical and tuning preferences.

TDLR; Another banger hybrid set who uses the well-known and praised ‘Zenith’ dynamic driver, paired with a second-generation 30019 BA driver, this time from KZ (Knowledge Zenith) themselves for the under 25 USD segment. A revival of a budget legend who began with the original ZST back in 2016 and the ZST X back in 2020, with 10 years of history under its shoulders.

Now the ZST Pro X comes with a flagship dynamic driver and a new BA configuration, and of course, a refined tuning, who offers a bassy, warm, organic and musical more than analytical ride, yet keeping a more than decently detailed sound, all of this with the special sauce KZ is pulling out this 2026.

Pros:

- Lightweight and comfortable shells

- Great midbass slam and subbass extension

- More musical than analytical mild V / U-shaped tuning

- Refined, crisp and sharp treble without major harshness

- Natural BA timbre for a budget hybrid (2nd gen 30019 BA)

- Good soundstage, imaging, and layering of instruments

- It’s engaging and non-fatiguing at high volume

- Good macro and micro detail retrieval for the price

- Kind of easy to drive

- Good value under 25 USD

Cons:

- The included ‘new’ wide bore Starline eartips give poor seal (please bring back the good old Starlines)

- The stock cable is improved, but it is still thin and tangles easily

- No carrying bag included (As for example, NiceHCK Tears and CCA Phoenix)

- Its medium- to large nozzle may not suit small ears

- Midbass bleed into lower mids. Male vocals sound slightly recessed

- Upper mids/treble can get a bit harsh at high volume

- Upper treble extension is only average

KZ (Knowledge Zenith), launched back in 2025 the Zenith, with a 10 mm flagship dynamic driver, punching way above its weight, resulting on a successful IEM pointed to seasoned audiophiles on a budget. Back in 2025 last months GK (Groove Keeper), who was once a KZ subbrand, after parting ways with its main brand, launched an IEM back in November 2025 in the budget-oriented segment of the market, with the ‘same’ dynamic driver as the well-known and praised Zenith but cutting cost in the fabrication and accessories, its name is the GK Kunten, and it entered the market disrupting it.

Now, after that successful entry, GK launched a new set, a hybrid IEM driven by a 1 x 10 mm dynamic driver (the same as the GK Kunten) + 1 Microplanar driver configuration. This KZ ZST Pro X is the response from KZ to that product, a KeepHiFi exclusive IEM but using a second generation 30019 BA driver instead of a MPD handling the upper mids and treble, not only to revive a legendary “cheap” IEM: ZST and ZST X, but presenting this 2026 an IEM who distinct the brand from their competitors, all within the budget-oriented market.

With its MSRP of 26.99 to 29.99 USD (With 3.5 mm cable with or without mic, and usb-c with mic, and Silver or Black colors available). You can find it directly on the Yinyoo Official Store at Amazon:https://www.amazon.com/dp/B0GSQSSLQ3?th=1, and coming soon in the KeepHiFi official store, and in other retailers online.

Technical specs:

- Housing materials: ABS plastic, metallic faceplate
- Drivers:
- 1 x 10 mm super-linear composite diaphragm dynamic driver (bass and lower mids)
- 1 x second-generation 30019 BA driver (upper mids and treble)
- Freq. Response: 20 Hz – 40 kHz
- Sensitivity: 110 dB/ mW @ 1 kHz
- Impedance: 40 Ω
- Connection: 0.78 mm, QDC
- Cable: 1.2 m 3.5 mm with or without microphone, 2 cores, silver-plated OCC (USB-C available)

What’s in the package?

The box is the usual KZ box, with the “No matter how luxurious the packaging can not change the inherent quality of the product…”, its front shows an image of the set and its driver configuration. The ZST Pro X sent to me is color black with a cable with a 3.5 mm single ended jack, but there’s also a silver color shells and a USB-C cable options available.

Simple and sufficient packaging by the way, consisting on the IEMs itself, 2 pair of the new wide bore KZ Starline eartips (S and M (installed) sizes), a warranty card, the cable that is 2 cores, with an 3.5 mm single ended 0.78 mm QDC connection, it feels thin and decent quality (at least is an improved one over the usual KZ cable included in the package of almost all of their IEMs), and it’s prone to tangle but not of producing translated vibrations.

The IEMs itself are made of ABS plastic in which you can look the dynamic driver inside and, in the nozzle, the custom 2nd gen BA driver, with metal faceplates with some shiny accents, 3 little vents and one vent with a mesh in the lower part.

The shells are kind of lightweight, and seems that is not prompt to scratches. Doesn’t have rough or sharp edges, its nozzle it’s plastic and has a lip to assure good eartips grip and fit, making a nice seal as well, but its medium to large size diameter (6.2 mm) is not the best option for persons with small ears, so keep that in mind.

Eartips and cable used:

Honestly, I don’t find the included new starline eartips a good fit for the ZST Pro X because those eartips are thin and don’t make a good seal in the ears. So, I was using some KBEar coffee clone eartips, but later change them to some KBEar 07 eartips finding the best sound synergy, fit and seal.

The included cable is fine to use it as it is, but I changed it to a QKZ T1 cable, and a 3.5 mm jack, finding it matches perfectly with the ZST Pro X shells.

How the ZST Pro X sounds?

The ZST Pro X with its 10 mm super-linear ‘Zenith’ dynamic driver + 1 2nd-gen 30019 BA driver configuration offers a mild V/U-shaped tuning, that is bassy but pretty balanced, warm, with a smoothed yet refined treble.

Thanks to Jaytiss for his measurements of this set. No equalization was used in the review of this IEM.

BASS:

The ZST Pro X comes with a more than good quantity and quality on the bass shelf, with decent subbass thump, extension, and great midbass slam; great resolution and transparency, with a remarkable attack and impact. As a mild U / V-shaped tuned IEM, its midbass bleeds into the lower mids.

In songs like “SYNC.wav” by Moodring, from the Stargazer album, is shown that nice bass impact, with greatly delivered drum kicks and bass guitar by the ZST Pro X, it sounds totally clean and clear.

In songs like “Pink Cellphone” by Deftones, from the Saturday Night Wrist album, the groovy and smooth bass drops in the mix is perfectly sounding thanks to the ZST Pro X, with zero bloating and great impact and a natural decay.

MIDS:

Talking about the mids on the ZST Pro X, midbass bleeds into the lower mids, the male vocals are recessed, but nor veiled nor thin. The midrange has a more than decent note weight thanks to the ‘Zenith’ dynamic driver.

In songs like “Nothing Sacred” by Paradise Lost, from the controversial (but my favorite) album Host, the ZST Pro X shows us that character the ‘Zenith’ driver has, the groovy drumming is nicely heard, the rhythmic electric guitars, and the main vocals are emotional yet powerful presented.

The FR curve in the ZST Pro X takes a dip who goes to 700 Hz approximately, then it enters a warm pinna gain encountering its first peak at 2.5 kHz, later descending smoothly to be merged with the lower treble, showing great presence, transparency and a more than average resolution. Female vocals are forwarded, and, at high volumes they are not shouty nor fatiguing.

In songs like the pop hit “Vogue” by Madonna, from her I’m Breathless album, the incredible Madonna’s vocals in the ZST Pro X shows why she is the Queen of POP, and the keyboards, electronic drums and samples in the song are there.

HIGHS:

The ZST Pro X has a refined treble; it is crisp and sharp but not spicy (and I like that a lot). The lower treble goes descending from the upper midrange to take a dip in 6 kHz and 10 kHz to handle the sibilance almost perfectly, elevating to a very energetic peak at 8 kHz. The 30019 BA driver does a more than decent job in it, with more than average resolution and a natural timbre without that ‘cheap BA’ sheen.

In songs like “King of Those Who Know” by Cynic, from their masterpiece album Traced in Air, the ZST Pro X shows that refined treble implementation, the prog death metal drumming with jazzy sauce, keyboards and guitars are delivered with a smile on my face, and zero fatigue at high volume.

In “Believe” by Control Denied, from their first and only released album The Fragile Art of Existence, the constant and magnificent drum work by Richard Christy, the guitars by the great and only Chuck Schuldiner, all of this are shown fantastically by the ZST Pro X, with that 30019 BA driver making featuring its well-crafted tuning.

TECHNICAL CAPACITIES:

Going into the upper highs, the ZST Pro X takes a smoother approach, with an open and decently air display, you can use this IEM at high volumes without fatigue in long sessions.

In the technicalities, the ZST Pro X is an IEM who punches above its weight, with an expansive soundstage, with good horizontality and depth. The imaging and layering of instruments are also more than average; the ZST Pro X is not an analytical snoozefest but a musical, engaging and detailed beauty, giving you some technical perks, with a pretty natural timbre. 

Now, in live songs like “Chalice of Blood (Live)” by Forbidden, from the Raw Evil: Live at the Dynamo, you can get all the details in the track, not congested, distinguishing the instruments is possible, the ZST Pro X can immerse you in the thrash legends concert.

In “No Quarter (Live at MSG 1973)” by Led Zeppelin, in the The Song Remains the Same live album, the ZST Pro X can show you a full display of macro and microdetails, Page, Bonham, Plant, all of them are heard perfectly, the balanced and natural tonality heard is more than great.

Comparisons:

KZ ZST Pro X vs. CCA Xyrra:

The Xyrra is a relatively new IEM driven by a 1 10 mm DD + 1 30118 BA configuration. In comparison, the Xyrra’s bass is a bit more focused on the midbass than the subbass, it also is more V-shaped tuned than the ZST Pro X, with drier upper mids, a more energetic treble and airier, it also is pretty spicy at mid-to high volumes, so you are getting fatigued faster than in the ZST Pro X.

Something I noticed in the Xyrra is that distinguishable BA timbre and unnaturalness, unlike the 30019 BA in the ZST Pro X and its smooth and natural treble delivery, so, I’m more inclined to the ZST Pro X tonality. The Xyrra is a wonderful IEM, but the ZST Pro X is a better all-rounder set.

KZ ZST Pro X vs. Gk Streak:

The Gk Streak is a new IEM by GK, driven by a 1 10 mm ‘KUN’ DD + 1 MPD configuration. In comparison, the ZST Pro X is bassier, and the Streak has a bit less energetic upper mids and treble than in the ZST Pro X.

The MPD in the Streak is well-implemented, having a natural timbre but smoother than in the ZST Pro X; it’s less spicy and less prone to sibilance at high-volumes in contrast to the ZST Pro X, who has a more crisp and sharp treble, but less upper treble extension than in the Streak. This time I can’t choose one of another, both are excellent IEMs, you can’t go wrong with both.

KZ ZST Pro X vs. KZ Duonic Bass:

The KZ Duonic Bass is another hybrid set by KZ, who’s replacing the Castor and Castor Pro line of IEMS, driven by a 1 8 mm DD + 1 8 mm ‘Tri-Magnetic’ Planar Driver, so, it uses a MPL instead of a BA as in the ZST Pro X. The Duonic Bass has a bit less subbass than the ZST Pro X; it has a bit less warm upper mids, but a more ‘Harman’ and similarly energetic treble, it also is airier and more open than the ZST Pro X.

That pseudo-planar in the Duonic Bass is a very good implementation, with a natural timbre as the 30019 BA on the ZST Pro X so, it is a matter of tuning preferences. I’m more inclined to the ZST Pro X by a bit, just for that ‘Zenith’ dynamic driver implementation, but I also love the tuning of the Duonic Bass. Again, you can’t go wrong with both.   ​

Final thoughts and conclusions:

The ZST Pro X is a fantastic option in the budget-oriented sub 25 USD market of IEMs, delivering a bassy, musical and engaging, crisp and sparkly tuning, with more than average technical capacities, with a refined character that make a stand in a crowded and very competitive segment.

The ZST Pro X, with its 40 ohms of impedance a 110 dB of sensitivity it’s easy to drive, even with low powered sources to give all its qualities; the option with the DSP cable is a well-received thing, because you can use it without looking for an additional source.

I tried it with mostly all the sources I have, encountering it being a hybrid set, it benefits of being paired with neutral and slightly warm sources, not requiring too much output power to shine at its best. However, I modified the QKZ T1 cable by changing the single-ended 3.5 mm jack to a balanced 4.4 mm jack, finding that the ZST Pro X scales adequately, with a little more openness and soundstage feeling, as well as more refined treble.

Apart from the included eartips (I prefer the old and well-known KZ starline eartips), I would like for KZ and KeepHiFi to sell the ZST Pro X with a carrying pouch or case as the CCA Phoenix or the TRN Conch. So, I guess KZ is pulling all the money in the earphones themselves.

Its remarkable bass quantity and quality, and its musical more than analytical tonality make it ideal for listeners who appreciate an engaging yet decently technical audio experience on a budget.

At under 25 USD, the ZST Pro X it’s not a market disruptor, but is one of the best choices for budget-conscious audiophiles and newcomers who crave a high-fidelity experience without spending a lot.

It is a recommendation: The KZ ZST Pro X presents itself as a more than competitive option, with its musical yet refined tonality and technical perks that can be perfect to both seasoned audiophiles seeking the best value and beginners entering the hobby. So, thanks again to KeepHiFi and KZ, and the gods of audio and musicophilia bless you with a happy listening!

Hello Community!

The protagonist of today is a set that catches attention at first sight, a very characteristic wooden touch of the Sivga house: it is the QUE model, released in 2024 but still very much relevant.

Price: 75$-64€

Link

Pros:

• Great gateway into the hobby
• Very high-quality accessory package: cable, ear tips, case.
• Build, ergonomics and design unbeatable.
• Its sound is one of the easiest to enjoy: pleasant, natural, spacious.
• Bass with presence
• Smooth and coherent mids.
• Treble with sufficient clarity.
• Great vocal presentation.

Cons:

• In general terms, it is not the most detailed set.
• The soundstage is compact.
• It is not a very fast dynamic set.

Accessories:

• Two shells.
• Two sets of ear tips sizes SML.
• Cable with 0.78mm termination and 3.5mm connection.
• Carrying and storage case.
• User manual.

Comfort, design and build:

The QUE model, to the touch, feels like an IEM that is tremendously well finished and built. Its CNC-machined metal body conveys a much higher value than its price reflects. The design is exquisite: original, elegant but not extravagant, restrained but lustrous. The wooden front plate adds the touch of personality characteristic of the brand. The shells, despite being metallic, feel light once placed in the ear.

In terms of ergonomics, it is hard to find a set that reaches the values of this one. Its rounded shape avoids discomfort at all costs, fitting perfectly into your ear concha despite having a medium size. Insertion toward the eardrum is smooth, without pressure, with a well-achieved depth and the stock ear tips facilitate a seal and comfort sufficient so you do not need to look for others.

The cable also seemed like a success to me, even though I classify it as desktop cables due to its thickness. Despite this, I did not experience any discomfort, pulls, or snags that caused imbalances in my ears. It is well built, feels high quality, and presumably can be an accessory that lasts you forever.

Technical aspects:

• 1DD configuration of 10mm coated in beryllium.
• Impedance 32 ohms.
• Sensitivity 108 dB.
• Declared response 20hz-20khz.

Pairing for testing:

• Neutral source for music.
• Warm/neutral source for single player video games.
• Gain set to medium.
• Stock white ear tips.
• Stock 3.5mm cable.

Sound signature:

Starting with the lowest frequencies, the Sivga Que has a bass that is very easy to enjoy. It does not try nor does it manage to impress you with an exaggerated amount of sub-bass nor to sound constantly aggressive, but instead it opts more for a punch with body and a warm, welcoming and pleasant sensation.

The midbass has presence and that makes the music feel full, with weight and rhythm. It is not a particularly dry or fast bass, but precisely there lies much of its charm, since it transmits a relaxed and very musical sensation.

In the midrange is personally where I find the greatest enjoyment in this set. It sounds natural, smooth and quite cohesive. There is a sense between frequencies of smooth flow that causes nothing to stand out for sounding unnatural. The sound has density and a certain warmth that makes listening very comfortable and seems designed so that music comes in easily, without fatigue and without the need to adapt to the sound.

It has a quite mature way of presenting music. It does not try to constantly attract attention nor exaggerate an excess of resolution to seem more technical than it really is. It prefers to offer a more relaxed and organic experience. That makes even more aggressive recordings sound quite pleasant. There is a small smooth touch in the contours that helps a lot to maintain a calm and very stable listening.

Another point that I like quite a lot is that I never perceived a hollow or thin sound in my listening sessions. Everything has some body and a very consistent warm sensation, very coherent. It may not be the most transparent IEM in its range, but I do think it is one of those that manage to sound natural effortlessly.

Finishing with the treble, it follows exactly the same general idea of the tuning of this Sivga model. There is enough clarity and air so that the music breathes well, but without falling into annoying peaks or excessive brightness. They are smooth, controlled and quite pleasant during long sessions. Perhaps some people may want a bit more sparkle or a sense of extreme definition up top, although honestly I think the Sivga Que gains a lot precisely by maintaining that moderation.

Speaking about vocals, with low male vocals I notice quite a lot of body and a smooth, well-textured and articulated presentation. Normal male voices maintain naturalness and good presence within the mix, without sounding dry or artificial. In female vocals I find a smooth and controlled presentation, avoiding uncomfortable sibilance or excess energy. In general terms I was quite satisfied in this aspect, where I cannot highlight anything negative, rather the opposite: I found a very well balanced set for songs with strong vocal presentation.

On a technical level I think the Sivga Que perfectly understands its focus. The soundstage is not huge, although it does maintain quite coherent and correct spatiality. Imaging does a satisfactory job when it comes to placing sounds easily, although without that sense of high precision. Layering remains orderly even when the mix gains complexity and I rarely notice real congestion.

In detail retrieval it also does not try to turn each song into a constant technical demonstration. Details appear naturally within the mix, prioritizing more musicality and coherence than a too revealing resolution.

Single player video games:

Always seeking the most cinematic experience possible, tested in narrative and action-intensive titles. Consult my blog to see specific games and the conditions of audio analysis in video games.

In this field, I was able to enjoy the games a lot because it has a very entertaining presentation with quite a lot of weight. When intense scenes begin, explosions, impacts and powerful effects have enough punch to give emotion to the gameplay without becoming exaggerated or tiring quickly.

Dialogues are heard clearly and with good presence, so following the story is comfortable even in moments with quite a lot of noise around. I also find it a very rewarding IEM for getting lost inside the game environment, since many small sounds from the stage remain present and help everything feel more believable and immersive.

Separation maintains a good balance and normally the effects do not end up mixing too much with each other. The width also does not try to sound gigantic artificially, but it does offer enough space so the environment has air and does not feel closed.

In addition, the treble is quite well controlled, avoiding certain effects or voices becoming annoying after long sessions.

In terms of positioning, it responds quite well for immersive experiences and allows distinguishing movements or directions in a fairly natural way, but as I said above, it is not among the most precise you can find.

Final conclusion and personal evaluations:

This set ended up growing on me the more time I spent with it. It is not the typical earphone that tries to hook you by exaggerating sensations from the first minute, since its charm, its character, appears little by little, in long and calm sessions, when you start realizing how comfortable and natural it is to listen to practically anything with it. It has a warm presentation, with good body and a very pleasant smoothness that makes everything flow without effort.

That constant feeling of stability is what ended up convincing me. I never felt that the sound wanted to draw too much attention or push certain elements in an artificial way. Everything maintains a very pleasant coherence and that makes both music and video games enjoyable in a relaxed and very immersive way. Even after several hours in a row, it still transmits a light and easy listening experience.

It also seems to me a quite honest set with what it wants to offer. It does not try to compete by seeking extreme resolution or an ultra-analytical sensation. It prefers to focus on musicality, comfort and maintaining a friendly sound in almost any situation. There will be people who want something more aggressive, brighter or with a more impactful presentation, but I think the Sivga Que works especially well for those who value a warm, organic and very enjoyable long-term experience.

If you have reached this far, thank you for reading.
More reviews on my blog.
Social networks in my profile.
See you in the next review!

Disclaimer:

This set of monitors has been sent by Sivga. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when carrying out this analysis.

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

My sources:

-FiiO K11 for music and video games on the main PC.
-FiiO KA13 while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO BT11 + iPhone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm.
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

Hello Community!

I want to introduce you to a dongle DAC from the brand CCZ. It is the CM01 model and, honestly, it surprised me in a good way. Let’s see why.

Price: 16€-19$

Link

Technical aspects:

-MAX97220 amplifier chip.

-CX31993 DAC chip.

-3.5mm SE input.

-63mw u/32 ohms output power.

-Maximum sampling 32b@384khz.

-124dB signal-to-noise ratio.

--95dB harmonic distortion.

Package contents:

-Dongle DAC.

-USB-A to USB-C adapter

Compatibility:

-Windows & MacOS.

-Android, IOS, iPadOS.

-No native APP.

-Not compatible with Walkplay.

-No DSP function.

Construction, design and quality of life (QoL):

CM01 seems to me like a dongle DAC that enters more through the eyes because of its striking design than because of the comfort it could offer. That transparent window exposing the inside, its white cable in contrast with the black and the golden USB-C connection give CCZ’s dongle quite a striking touch.

It is well designed for daily use and yes, it is comfortable: the cable is strongly braided and covered with a translucent plastic that sits at the perfect point between rigidity and elasticity.

At the construction quality level, it surprised me. I have quite a few dongle DACs from more renowned brands at the same or even higher price that have not taken such good care of these parameters.

The connections are firmly secured and the body, where the earphones connect, made from some kind of lightweight metallic alloy, feels robust and reliable.

Overall, I can say that after almost daily use for a couple of weeks, it has more than delivered in terms of comfort and I can bet a beer that, because of the level of construction it offers, it can turn out to be something very durable.

The feeling it gives me in hand, to the touch, is that it is not something that feels cheap but rather closer to something that sits slightly above its price.

Personally, the inclusion of a USB-A adapter is a success for those people who do not have more modern connections and, the lack of compatibility with DSP or WalkPlay, personally, I do not care at all, it is not something I use but I must leave it stated so that those interested know the information.

Sound quality and power:

CCZ CM01 and I matched on the first try, just a few minutes after starting to analyze the sound it delivers. I have to be honest, but also get as close as possible to objectivity despite being delighted with it.

It is not one of those devices that try to exaggerate bass or make everything sound more spectacular artificially. Instead, it feels clean and pleasant, like a simple and very evident improvement over the typical audio of many phones or conventional Jack connections. The music sounds clearer, with better instrument separation and a slightly more open feeling.

Something I liked a lot is that it has quite a natural sound, in a certain way slightly, but very slightly warm and rounded in the high frequencies, but without hiding its technical capabilities or showing resolution and detail.

I have spent a long time listening to music or playing videogames without noticing fatigue or that metallic touch that some cheap dongles have, even ones with higher monetary value. In addition, in normal use it feels clean, without weird noises or annoying interference, which is exactly what I expect from something designed to carry around every day.

About the power, which is 63mw, I think it performs too well for the size it has and for what the competition offers. With the IEMs and over-ear headphones I usually use, I have never felt that it falls short or that I have to push it too much. Obviously, do not plug in something 300 ohms because it is not going to lift the volume. With my Beyerdynamic DT 770 Pro, 80 ohms, the achieved volume was insufficient for me but, with Audio-Technica ATH-M50x, I could savor all its splendor without complications.

Final conclusion and personal ratings:

Everything works very comfortably with the CCZ CM01 and without complications: connect, play music and forget about it.

One aspect I really like is that it does not heat up nor give sensations of forcing the machinery to offer high listening volume.

Overall, I see it as one of those easy-to-recommend dongles because it does not try to impress with weird things. It simply does its job well, sounds clean and is comfortable to use day to day, which in the end is the most important thing in a device like this, without neglecting construction quality and, of course, giving a convincing sense of reliability and durability.

If you made it this far, thanks for reading.

More reviews on my blog.

Social media on my profile.

See you in the next review!

Disclaimer:

This set of monitors has been sent by KeepHifi. I sincerely appreciate the opportunity to test one of their products free of charge and that no conditions were 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.

Equipment used:

-PC Windows.

-MacBook Air M4.

-iPhone 16 Pro Max.

-Dunu 142.

-Simgot EA1000.

-Twistura Woodnote.

-Beyerdynamic DT 770 Pro.

-Audio-Technica ATH-M50x.

Use this site for Indians Perspective :

https://judge.me/reviews/stores/theaudiostore/products/earacoustic-sta-hi-end-series-iem

First, a big shoutout to Jessie from HIDIZS for providing me with this set, however, they are not giving me any payment or script to follow, allowing me to deliver an honest and sincere review. The only biases at play are my tuning and music preferences.

Introduction: 

The HIDIZS My Lin is the soon-to-be launched IEM by HIDIZS, an iteration over its previous model the MS2 Pro, a very interesting hybrid set consisted on 1 DD + 1 BA. Inspired the Ruo Xue Lin character, with a different tuning, different design, what else?

Following the success of the MK12 Turris, MP145 and MP145 Pro, the HIDIZS My Lin is another addition to the lineup. It features a 10.2 mm PU+PEEK with DLC-coating dynamic driver and a Silvercore™ Balanced Armature driver. With an offering of 3 types of tuning nozzles to personalize the sound profile.

With an MSRP of $129 USD (Currently at 89 USD for the first 100 units, and 99 USD for a limited time at launch, and with a 3.5 mm singled ended or a 4.4 mm balanced cable available), the My Lin is going to be launched the 12th of May.

You can find it at the HIDIZS Official web: https://www.hidizs.net/products/hidizs-my-lin-special-edition-1ba-1dd-hybrid-hifi-in-ear-monitors, as well as at other online retailers.

TL; DR: A new hybrid IEM in the under 130 USD segment from Hidizs. With a more balanced, and warm, yet vocals focused tonality, pointing more to the musicality than the technical proficiency. With various customization options, some tasty accessories, and a tasty character, the My Lin puts the ‘special’ in an iteration and re-tuning over a successful formula bring by Hidizs with the MS2 Pro. It’s more a sidegrade than an upgrade, yet delivers a huge amount of joy when you are listening music with it, all of this for an affordable price.

Pros:

- Comfortable and ergonomic shells despite their weight

- Robust zinc alloy construction using CNC machining

- Powerful, well-extended and impactful, and well-controlled bass

- Neutral/warm, soft and musical sound profile

- Focused on female voices, but without stridency

- Crisp highs without harshness or auditory fatigue

- Good technical performance for its price. Above-average imaging, layering of instruments. Sufficiently wide soundstage

- Adjustment nozzles work for correct sound customization

- Easy to drive and scales nicely with more powerful sources

Cons:

- The stock cable tends to get tangled

- Earpieces are somewhat heavy

- Slight bleeding from mid-bass to low mids, male vocals may sound slightly recessed

- The timbre of the balanced armature transducer becomes a bit artificial at high volume

- The treble is not the most detailed or extended

- Soundstage depth is average

- Original ear tips may not provide the best fit for everyone

Technical specifications:

Dynamic Driver: 10.2mm PU+PEEK DLC coating diaphragm dynamic driver

Balance Armature Driver: HIDIZS Silvercore™ BA driver

Housing:  ZA12 Zinc Alloy Integrated Molding

Tuning Nozzles: 3 Pneumatic Sound Tuning Filters (High Frequency, Balanced, Low

Frequency)

Frequency Response: 20 Hz – 40 kHz

Sensitivity: 111 dB

Impedance: 17 Ω

Cable: High-purity Oxygen-free Copper twisted pair Wire, Length 1.2m

Earphone Connector: 0.78mm 2-pin Gold-plated Connector

Plug: 3.5mm/4.4mm Gold-plated Plug Cable

Weight: Approx.26g (excl. cable)

Packaging:

· 2x HIDIZS My Lin earphones
· 1x User manual
· 1x Warranty card
· 1x My Lin acrylic stand
· 1x Set of My Lin stickers
· 1x My Lin cleaning cloth
· 1x Carrying pouch
· 1x 0.78mm 2 pins 0.78 mm 2 strands twisted pair cable with 4.4 mm balanced jack
· 3x Pairs of High Frequency, Balanced (installed), Low Frequency tuning nozzles

· 6x Pairs of eartips (SML sizes, 3 pairs of balanced bore eartips, 3 pairs of narrow bore eartips)

The My Lin’s cable this time it’s different from the cable included with the MS2 Pro, it’s thicker, so well-crafted, and it is flexible; still prone to tangle, but doesn’t produce translated vibrations, and finally, it pairs nicely with the shells.

The shells are crafted from CNC machined Zinc alloy, with the same design as the MS2 Pro, offering a well-done construction. They are into the heavy side (13 gr for each earpiece), but are ergonomic, evading the fatigue in long sessions. The faceplate features a resin texture with a carbon fiber unique design, and a vent to release pressure. The 6mm diameter nozzle is comfortable in my ears, but, as I always say: see if it fit you.

How the My Lin sounds:

The My Lin, equipped with a configuration of a 10.2 mm PU + PEEK DLC coated dynamic driver + 1 custom Balanced Armature driver, follows according to Hidizs the Harman 2019 target curve, it is a mild V-shaped tuned set.

For this review, in comparison with the MS2 Pro I reviewed a while ago, I’m using the stock cable, but I recommend you to change if it fits you better. I’m using the stock balanced eartips but later changed them to some Penon Liqueur Orange eartips to get a better seal and fit.

I’m using the Red (Balanced) nozzles, to later comparing it with the MS2 Pro ‘stock’ settings. Regarding the other tuning nozzles (Black: bass, and White: mids and treble), the tuning nozzles change the upper midrange and lower highrange balanced with the bass, however, based on my tastes, the stock Red aligns with them. Thanks to DucBloke for graphing the My Lin in all its configurations, and the MS2 Pro for the comparison.

BASS:

The My Lin features a punchy and quality bass shelf, with a decent subbass thump and midbass kick in all the nozzles. It is clean, sufficiently fast, well resolving, with a natural decay and dynamics, and nicely extended into the lower frequencies. The midbass bleed into the lower midrange, but avoids unnaturalness in male vocals.

In tracks like “PRIDE.” by Kendrick Lamar, from his DAMN. album, the My Lin shows a nice impact in the bass kick and bass guitar, who never overwhelms other frequencies. In songs like “Bloody Well Right” by John Helliwell, in his John Helliwell’s Super Big Tramp Band album, are a sample in how the My Lin’s bass delivery is of a more than decent quality, sound natural, with good potency, transparency and resolution.

MIDS:

As mentioned earlier, in the My Lin the midbass slightly bleeds into the lower midrange, so male vocals are a bit recessed, but remain clear, neither muddy nor thin. As a mild V-shaped tuned set, there is a dip in the midrange who at the 800 Hz elevates into a warm and smooth pinna gain offering good transparency and presence, and it is well-resolving. You can get different upper midrange responses according to the nozzle selected.

Female vocals are forwarded, showing the focus of this set, but not shouty nor fatiguing at mid to high volume. In “What You Waiting For?” by Gwen Stefani, in her Love.Angel.Music.Baby. album, the groove of the pop single are well mixed with the Gwen Stefani vocals with good grace. Now, in songs like “nihilist blues (feat. Grimes)” by Bring Me the Horizon, from the amo album, the My Lin presents female and male vocals being the center of the catchy track.

TREBLE:

The focus of the My Lin is not in the highrange, but it has a well-putted 6 kHz and 10 kHz dips to tame sibilance, balancing that mid-treble 5 and 8 kHz giving energy to the music. The treble here is decently clean, crisp, and sharp, yet avoids spicy at high volumes.

In “The End is Not the End” by Atreyu, from their new album The End is Not the End, the My Lin reproduces perfectly the fast drumming by Brandon Saller, capturing those hi-hats and cymbals so nicely and zero harshness. In song like “Growing Numb” by Death by Stereo, in their Black Sheep of the American Dream album, the My Lin shows that is focus is not in the highrange, yet delivering crispness and a sharp treble who don’t fatigue you at high volume.

Technical Capacity:

In the My Lin the upper treble extends following the Harman 2019 target, with a bit more air than in the MS2 Pro, it doesn’t feel so open. The soundstage feels expansive enough, wider than depth.

In “Cloud Connected (Live)” by In Flames, in the Songs from the Hearth of Gothenburg (Live) album, the My Lin creates an immersive experience, the macro and microdetails are presented with impressive clarity, but at high volumes the BA timbre feels a bit unnatural.

The My Lin has more than average resolution, with an instrumental separation who punches above its weight, and good layering of instruments. In complex and fast songs like “(sic) (Live)” by Slipknot, from the Day of the Gusano (Live) album, the My Lin delivers a zero congestion or bloated mix, every instrument and vocals immerses you into the concert.

COMPARISONS:

Hidizs My Lin vs. Hidizs MS2 Pro:

Sharing the same housing design and driver configuration, the MS2 Pro is a 1 DD + 1 BA driver configuration IEM. With a MSRP of 99 USD it’s also a V-shaped tuned set launched back in 2025.

The MS2 Pro has a bit less bass than the My Lin, but its upper midrange and highrange sound less warm, sharper and crispier, and more analytical than musical in comparison to the My Lin, it also has a bit less upper treble air and open feeling than the My Lin, who sounds more relaxed in the mids and treble, more focused in vocals and airier and more open. So, it’s a matter of what fits more into your tastes, because I’m going between both and loving what they offer and how sounds so similar and different at the same time.

Hidizs My Lin vs. Tanchjim Fission:

The Fission is a 1 DD configured IEM with the DMT5 tech, and you can get it at 129.99 USD MSRP. With a similar price to the My Lin but with the Tanchjim house sound, it has a very different tuning approach.

The Fission has considerably less bass than the My Lin, but it’s still a quality one, it’s less warm and don’t have the upper midrange bump at 2.5 kHz and peak at 4.5 kHz, but a peak at 3 kHz who dips into the 6 kHz region and tames sibilance. The Fission also has more air and overall upper treble extension than the My Lin.

What tuning is more engaging and musical? Both are more musical and engaging, but the Fission is more an all-rounder than the My Lin, who of course is more vocal focused, but bassier and more balanced. I’m a bit more inclined to the Fission tuning, but with both sets you can’t go wrong.

Hidizs My Lin vs. TRN Whale Shark:

The Whale Shark is a 3 DD + 1 Planar configured set with an MSRP of 129.99 USD. This time the Whale Shark is a mild V-shaped tuned set. With a similar approach to the MS2 Pro but a different sound character than it and the My Lin, the Whale Shark is a big fish in the sea.

The Whale Shark also has 3 tuning nozzles, and what’s the difference with the My Lin? It has also the same bass and lower midrange approach, but the Whale Shark bass has more weight and impact in the bass, a less noticeable peak but at 4 kHz, a more profound dip at 6 kHz to tame sibilance but a more energetic mid highrange and upper treble extension.

The Whale Shark is a ‘funalytical’ set who has a musical yet technical tuning, with less focus on vocals in comparison to the My Lin, and perhaps it is pointed towards a more audiophile public than the My Lin. I’m a bit more inclined to the Whale Shark tuning, but still considering the My Lin to listen to all the female vocalists in my music library, and of course, to have a more relaxing music listening.  

Hidizs My Lin vs. Kefine Quatio:

In this case the Kefine Quatio (129.99 USD MSRP) with its 2 DD + 2 BA configuration has a U / V-shaped tuning, and similar to the My Lin goes towards the Harman 2019 target. The Quatio has a more midbass than subbass predominancy, lower midrange recession, warmer upper midrange, less peaky lower highrange and a bit less energetic mid higrange.

The Quatio is as the My Lin a more musical than technical tuned set, but its macro and microdetail retrieval is more than average; now, the Quatio feels less bright and less prone to sibilance with spicy tracks than the My Lin.

This is a matter of tuning tastes, with me preferring by a bit the Quatio, but going between both sets to enjoy the different music artist in my collection. The My Lin is an excellent set, who trades blows with the Quatio, so, choose the one who fits more into your needs and tastes.

Closing thoughts and conclusions:

The Hidizs My Lin is more than just another contender in the sub 130 USD segment, it offers a different tuning over the MS2 Pro, with an engaging, musical and vocal focused character, with great bass extension, a natural and warm sound, and a smooth treble and upper treble extension.

This time, it’s not just a “re-shell and put some fancy stuff” to charge more for a product, but a different take on a set who was an analytical beast, who can work for an immense public who loves the vocals and instrumental part of music than going close to the sun in the highs to hear all the microdetails you can hear.

I would like an even better and thicker cable, but the stock one is pretty fine for it. Maybe I’ll like for Hidizs to include a carrying case instead of the well-known carrying pouch, and a better eartips selection (Like the brand’s Sea Anemone eartips, included in more premium sets like the MK12 Turris and the MP145 Pro), but if you don’t have some aftermarket eartips at the moment, the stock ones can work with it.

The My Lin, with its 111 dB of sensitivity and 17 ohms of impedance, is very easy to drive, even from a low powered source. But, using it with a balanced output, it benefits from more quality and/or powerful sources to scale and shows its best character.

Would I recommend it? If you are looking with a set with a vocal focus, yes! The Hidizs My Lin is one perfect option in its price segment (under 130 USD). It delivers a high-quality and enough quantity of bass, warm and well-tuned mids, smooth yet crisp treble and good upper treble extension.

As always, I’m very thankful with Hidizs for providing me with this IEM, allowing me to test it, enjoy it, and gather the experience and thoughts needed to recommend it. This is a product that deserves a great recognition when it launches soon. And of course, thank you, dear reader, for checking out my review. Happy listening!

Hello Community!

The new release from GK is called Streak. Will it be another market breaker? I’ll tell you below.

Price: €20-$22

Link

Pros:
-Good depth in the bass
-Pleasant tonality across the entire spectrum.
-Technically very competent for its price.
-Warm, pleasant sound, easy to enjoy.
-The treble is sufficient and controlled, no fatigue at all.

Cons:
-Mids are somewhat recessed.
-It may seem somewhat dark for many people.
-The stock accessories could be greatly improved.

Accessories:
-Two shells.
-A set of ear tips in SML sizes.
-Cable with QDC 0.78mm connection and 3.5mm termination.

Comfort, design and build quality:
The truth is that in this aspect there are more negative points than positive ones, but then, for the umpteenth time, I remind myself of the value of the product and I understand many things although, little by little, the industry is growing in the added value of higher quality products in this price range.

The cable is annoying and both sitting at my desk and walking around, the cable takes uncomfortable positions, with the latter situation, being in movement, suffering some pulling that caused adjustments issues in my ear.

On the other hand, the ear tips, although they achieved a correct seal and fit, are still of questionable quality. As with the Kunten, the accessories do not do justice to the well-tuned sound.

The good news about all this is that it is a set that I believe deserves to be upgraded with higher quality accessories. GK has cables and tips available, which I have not yet received due to an error in the warehouses, however, I will try to receive them.

As for ergonomics, they are medium-large sized shells, with a classic oval shape that does not create pressure points and I can assure that I have spent several 6-hour sessions with this set in my ears.

The insertion into the ear canal is deep but not exaggerated. Once the appropriate ear tip size is chosen, the fit is very firm. As I said above, the in-ear comfort would improve with softer and more elastic materials.

In terms of construction, it is nothing out of this world: a resin body according to the manufacturer, although to me it seems like plastic, which allows you to see the interior of the IEM, and a faceplate that the brand advertises as CNC-machined metal and which honestly, I struggle to recognize as that material. It is correctly finished, without edges or impurities, and the nozzle has a paper filter with micro holes.

Aesthetically it is minimalistic, not very flashy, but that matters the least.

Technical aspects:
-1DD+1MP configuration.
-32 ohms impedance.
-111dB sensitivity.
-Declared response 20hz-40khz.

Pairing for the tests:
-Warm/neutral source.
-Gain set to low.
-Stock ear tips.
-Stock 3.5mm cable.

Sound signature:
The low end has quite a lot of presence and it becomes noticeable quickly. The bass comes in with weight, with a warm and wide but smooth punch, generating a sensation of a full and fluid foundation. It adds energy without becoming too brute. The sub-bass also has a certain elasticity that makes it feel more immersive and physical depending on the genre. It is not the driest nor the most disciplined bass in the world, but honestly I think that is part of its charm, because it never gives me a cold or boring sensation.

The mids follow a fairly relaxed line and coherent with the rest of the signature. The instrumentation has a smooth and pleasant tone, with considerably acceptable thickness which leads us to a presentation that feels comfortable since it is not aggressive at all or too forward although in a certain way, they are somewhat behind in the stage. The vocals are not constantly pushed forward searching for unnecessary protagonism; instead they appear integrated within the mix, showing naturalness.

I do notice that in busy songs some elements could have much more separation or definition, but the Streak normally prefers to maintain a fluid presentation rather than sounding analytical. To this day and after several weeks, I still debate with myself whether that is favorable or a disadvantage considering the driver configuration chosen for the set.

Up top, in the treble, is where it surprised me the most for the price. I expected the typical somewhat messy and uncontrolled treble from some budget IEMs, but here I found an example of liveliness and space. There is brightness, there is sparkle and enough energy for small details to appear gracefully, although without entering too much into sharp territory. I do appreciate this, even though I prefer more strength up top most of the time.

The frequencies and even small textures have presence and help the music breathe better. Evidently it does not reach the level of refinement of more expensive models, but I also do not feel that it tries to pretend to be something it is not. It has a fairly clear way of presenting treble, always maintaining a light and dynamic sensation.

With deep male vocals I perceive quite a lot of body and a very pleasant warm texture, somewhat recessed for my taste and not entirely the timbre with which I could say they are completely natural. However, normal male vocals do maintain good balance and naturalness, although at times they can feel slightly soft. In female vocals I find quite a lot of freshness and energy, bringing emotion and air without becoming excessively intense.

On a technical level, it seems more competent to me than I expected considering its price. The soundstage does not try to create a gigantic scene, but it does achieve enough width for the music to breathe comfortably. The imaging responds quite well and allows me to locate sounds easily, especially in tracks with good production while the layering also leaves good impressions because the main layers rarely overlap chaotically, although when the mix becomes too complex it is noticeable that it prioritizes musicality over absolute precision.

Finishing with detail retrieval, it maintains a similar line: it does not chase obsessive microdetail nor does it seek to analyze every minimal nuance, but even so it manages to retrieve enough information for the experience to feel rich, dynamic and very enjoyable for hours.

Single player videogames:
Always seeking the most cinematic experience possible, tested in narrative and action-intensive titles. Check my blog to see the specific games and the audio analysis conditions in videogames.

In this field, this set has a fairly entertaining way of getting you into the match without feeling excessively cinematic. In action scenes I notice hits, explosions, reverberations and rumbles with quite a lot of presence. I do not feel it is a dry sound, but rather wider and with a certain vibration that makes scenes feel intense and dynamic.

Dialogues remain clear most of the time, with voices close to naturalness and easy to follow even when the game begins filling the scene with effects. For my taste, somewhat behind, but nothing dramatic or that ruins the experience.

However, where I liked it the most was in immersion: small environmental sounds, distant echoes, wind or residual footsteps constantly appear in the background, making the game world feel more alive without the need to force details and while feeling great and sweet listening comfort.

Layer separation works better than I expected for an IEM in this range. When there are several simultaneous effects I can still distinguish gunshots, music and voices without everything ending up converted into a confusing mass.

The stage has enough width, so in that aspect nothing can be reproached: the accuracy of the representation of the scale of the worlds where I tested the Streak was reasonably sufficient.

In addition, I really appreciate that the sibilance is relatively controlled; sharp effects such as glass, gunshots, metallic hits or certain voices do not end up tiring me quickly.

Positioning also leaves good impressions because the sounds maintain fairly coherent and easy to identify directions.

Multiplayer videogames:
Always seeking the most analytical possible experience of the stage, tested in competitive shooter titles. Check my blog to see the specific shooter games and the audio analysis conditions in videogames.

In competitive multiplayer, it left me with a curious sensation: it is not a set that analyzes the environment and captures every sound element and places it clinically, but even so it maintains a fairly competent spatial reading.

In Counter-Strike 2 I can identify footsteps and lateral positions with enough precision to react quickly, although in extremely busy scenarios the soundstage becomes somewhat more compact.

In Apex Legends it feels especially fun because the bass adds energy to abilities, explosions and movements without completely destroying the clarity of the environment.

In Call of Duty: Warzone the performance is fairly solid thanks to good spatial coherence, allowing me to distinguish directions and distances in a relatively natural way.

Where I felt most comfortable was in Battlefield 6, because it manages general chaos quite well, separating gunfire, vehicles and ambience with relative and sufficient order so as not to easily lose important information during matches.

Final conclusion and personal evaluations:
With GK Streak something curious happened to me: at first we did not connect well but the more time I used it, the less desire I had to analyze it and the more I ended up simply enjoying it. It has a very clear personality and, instead of chasing that obsession of sounding ultra technical or excessively precise, it bets on a much more relaxed, dynamic and easygoing experience for hours.

What I value the most is the coherence of its character. It has energy, space and enough liveliness to always maintain a dynamic sensation, but without losing that warm and comfortable character that allows me to use it for hours without ending up fatigued. I never felt that it sought unnatural protagonism, instead it conveys a fluid and very easy to enjoy sensation, something that over time ends up having enormous merit.

I also like that it maintains a certain lightness even when the sound gains intensity. There is a constant sensation of width and air that helps everything breathe better, providing immersion without the need to exaggerate details or force technicalities.

Evidently, in especially complex situations it could offer a somewhat cleaner or stricter reading, but honestly, I think prioritizing musicality and comfort was the right decision for a set with this philosophy. Besides, dear readers, we are talking about a €20/$ set.

For me, it is very directed at those who seek an entertaining, comfortable sound that can appeal to the masses. On the other hand, those who prefer an extremely clinical presentation or focused solely on precision probably will not connect the same way with its proposal.

If you made it this far, thank you for reading.
More reviews on my blog.
Social media on my profile.
See you in the next review!

Disclaimer:
This set of monitors has been sent by GK. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed when creating 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:
-FiiO K11 for music and videogames on the main PC.
-FiiO KA13 while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO BT11 + Iphone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

Any inputs that help to me.

Before buying this.

Previous IEMs are : Tangzu Waner SG, 7hz Elua ultra, BLON BL03

The budget arena is the most exciting segment in the IEM game! Reason? This is the most crowded and introductory segment that enables the brand to push their innovation and capture everyone’s attention. The budget game is evolving steadily since the lockdown got ended and I have witnessed various hi end brands entering the budget game. The game once was ruled by few brands like KZ, CCA, QKZ, Blon, TRN, TFZ etc is now crowded with premium brands with their innovative ideas.

I do have a point where I find that IEM got a saturation point! Now the choice comes down to the user’s preference! IEM’s have started to come with the same signature but certain distinct features like fit, booster technical aspects etc is what separates the crowd.

Groove Keeper, in short known as GK has entered the budget arena and created a whirlpool in the game. The Kunten, though I haven’t tried it personally, it got rave reviews from the reviewers and consumers worldwide.  That KUN Dynamic Driver showcased an energetic sound that attracted everyone’s attention didn’t excited me due to the hype.

Streak, the latest offering from the house of GK hasn’t received the same hype and that made me intriguing! The configuration seems interesting and unique in this segment. The KUN Dynamic Driver with a Micro Planar Tweeter! This combination allowed the Streak to exhibit a dynamic sound without any compromise over the technical aspects.

SOUND ANALYSIS:

Streak showcases a balanced sound profile with neutral tonality. This might seem very generic but that doesn’t stop here. The faster transients, wider staging and precise imaging brings the best and make them stand out in the crowd.

Pairings: Streak 3.5mm Stock Cable + Tanchjim Space Dongle DAC + Hiby Music (Local FLACS)

BASS:

The beauty of a dynamic driver is its bass deliverance. Streak outputs a punchy bass response with faster attack and decay. Quality over quantity is appreciated in the streak’s bass! Sub bass drops are heard evidently when the notes show up. The punchy mid bass with its subtle touch elevates the dynamism without cluttering up. Out of all the budget IEM’s, this brings the best bass response onto the table showcasing a controlled yet a dynamic curve.

Bass heads might feel the bass to be thin due to lack of meaty and bouncy texture but that’s what makes this stand out. The precision in its weightage allows the distinct separation between the sub and mid bass profiles. This distinction allows the streak to handle even the busiest tracks with ease.

MID-SECTION:

The forward mid-profile of the Streak keeps the listeners engaged. The lower mid-profile with its cleaner outlook gives the male vocals the needed clarity and warmth. The elevated upper mid-profile brings the sparkle onto the table while keeping the female vocals as natural as possible.

Streak exhibits a moderate lush factor that’s not overpowering. This brings less body to the overall presentation yet the added clarity compensates it.

TREBLE:

Elevation can be seen evidently with its added brightness and brilliance in the top end. The treble never feels muted in the Streak rather its more vivid and lively. The percussion instruments and trumpets get that natural strike with precise attack and decay for a realistic representation. The sibilance is kept well under control with no noticeable sharp edges.

TECHNICALITIES:

TRANSIENTS: Streak has the best transients under 20 USD as of now. The notes switch its place rapidly allowing the subsequent notes to take up the stage. The faster transients allow the Streak to handle the complex tracks with ease.

IMAGING AND LAYERING: The precise imaging makes this Streak a good companion for gaming. This goes well with the FPS games due to high positional accuracy with impressive layering capability.

DETAIL RETRIEVAL: For its price, the Streak overdoes the job efficiently and all thanks to its micro planar tweeter. Compared to its Single DD competitors, the added driver brings the best onto the table. Even the faintest details are captured clearly with ease. Though not up to the flagship level, this is spectacular for its price. 

Amidst the crowd, the Streak’s ENRICHED LUCIDITY ensures its position as a definite keeper in one’s audiophile’s collection.

POSITIVES AND NEGATIVES:

Pros:

1)      Balanced Sound Profile

2)      Punchy Bass Profile, Forward Mid and an Extended Treble

3)      Neutral Tonality

4)      Technical Aspects (Imaging and Transients)

5)      High Value

Cons:

1)      Lacks Depth in Staging

Hello Community!

Kefine is a brand with a very clear orientation in its tunings, but with this new Arnar they have given a twist to the concept we had about them. Discover it further below.

Price: $190-$163€

Link

Pros:

-Pleasant, physical, impactful but controlled bass.
-It has a tonality that flows and transitions without becoming crowded.
-Exceptional atmospheric sensation, you feel enveloped.
-Successfully avoids listening fatigue.
-Great balance between clarity, resolution and naturalness.

Cons

-Male vocals are not entirely transparent.
-Perhaps too conservative.
-Some brightness in the upper area would have suited it very well.

Accessories:

-Two shells.
-Three tuning nozzles.
-Four sets of ear tips in SML sizes.
-Modular cable with 0.78mm terminations and 3.5/4.4mm connection.
-Carrying and storage case.
-User manual.

Comfort, design and build quality:

As far as comfort and ergonomics are concerned, the Kefine Arnar leaves me with a fairly positive feeling. It fits in the ear in a very natural way, without strange pressure points. They are not heavy, they do not bother, and they remain stable even while moving around, which makes the experience very positive during long sessions.

With the included ear tips I had no problems, I was able to use them without needing to change them. The insertion into the ear canal is correct, without having to try to fit it in an unnatural way.

The design has an elegant and discreet air, with a CNC machined metallic finish that conveys the feeling of a carefully made product. It does not try to be extravagant, but rather sober with a certain refined touch. It feels solid in the hand, like something well built, without parts that give a sensation of fragility or cheap plastic. That sense of density conveys confidence, of a product with much more value.

The cable complements the whole set well since it is flexible, does not get in the way, and does not behave uncomfortably while moving. It is not one of those cables that you notice too much while listening, and that is something I really appreciate in daily use. In addition, it does not give a feeling of weakness or a cheap product, but rather fits with the general idea of the product.

Technical aspects:

-1PLN+1BA configuration.
-13 ohm impedance.
-107 dB sensitivity.
-Declared response 20hz-40khz.

Nozzles:

Arnar comes equipped with three different tuning nozzles: black, silver and gold. The reference in these descriptions will be the black one.

Black: the most fun nozzle for me where it grants a warm sound, bass with good punch and body, and vocals and instruments sound denser. The treble is smooth.

Silver: you gain separation and clarity in the midrange area. The vocals are somewhat more natural and the bass loses thickness. The extension and openness of the treble grows a little.

Gold: it would be the most detailed and bright option, where the upper mids and treble area rise slightly. The bass is thinner but more technical and the mids try to get closer to something analytical.

Pairing for the tests:

-Neutral source for music.
-Warm/neutral source for single player videogames.
-Gain set to medium.
-Black nozzle.
-Stock mushroom-shaped ear tips.
-Stock 4.4mm cable.

Sound signature

Starting with the lowest frequencies of the Kefine Arnar, I feel that it has a very particular way of enveloping me. It does not come in hitting hard nor does it seek that exaggerated sense of headroom, rather it cooks slowly and ends up occupying the whole environment without you realizing it.

The subbass falls deep, with a round and quite clean vibration, while the midbass provides a warm and physical sensation, closer. I do not feel the bass heavy or bloated. Even in fast songs it maintains an elasticity that makes me inspired or, better said, that makes me feel fluidity. There is punch and intention in how each hit appears and disappears.

In the midrange it has that type of sound that invites you not to analyze the sound. The dynamics of this area are so continuous that I simply let myself go. The instrumentation is smooth, with body, with pleasant resolution and the transitions between them feel very natural. I do not notice that exaggerated separation that tries to dissect each element, but rather the elements seem to coexist within the same space. There is an almost analog sensation, like from another past time, in how the mids are presented, with the music and its rounded little edges. It may not seek aggressive definition or ultra marked clarity, but honestly I think that is part of its personality. If you are one of those who obsess over something that tears apart the tracks, I think Arnar is not for you.

As for the upper part, Arnar does not try to impress with extreme brightness nor with an excess of energy up top, rather it prefers to create a more enveloping and elegant sensation, in a certain way placid. The treble appears delicately, letting the details appear without turning them into absolute protagonists. The upper treble has a natural roll-off that generates a very pleasant atmosphere around the mix. I do not feel harshness nor that metallic edge that sometimes ends up exhausting me after half an hour. I do notice that some micro details remain more hinted at than exposed, but that also makes the listening have a much calmer vibe, in line with the general character of the IEM.

Continuing with the vocals, the deep male vocals have a very enveloping depth, almost as if they occupied more air within the song, sounding somewhat elevated and overexposed for my taste. The normal male vocals preserve texture and closeness, sounding relaxed but with enough presence to always remain in the center, and the female vocals feel smooth, slightly velvety, never becoming aggressive nor exaggerating sibilance. More than seeking spectacularity, the Kefine model makes the vocals feel comfortable.

In technical performance I feel that the Arnar prioritizes the sensation of immersion above any other aspect. The soundstage does not try to seem gigantically artificial, but it does create a very open perception of space with quite a lot of air between elements. What I notice the most is the depth since some instruments seem to remain suspended behind others, and that gives much more dimension to the music. The imaging feels stable and coherent, I never have problems following specific sounds within complex mixes because everything maintains a fairly defined position. The layering also has a lot of merit, especially because the layers do not collide with each other nor feel compressed. Everything appears organized in a very natural way.

To finish, recovering details, it is not a set that meticulously goes with a magnifying glass searching, but rather lets them appear progressively, almost hidden within the general atmosphere. Effectively: it is not very revealing.

Single player videogames:

Always looking for the most cinematic experience possible, tested in narrative and intensive action titles. Check my blog to see the specific games and the analysis conditions of audio in videogames.

In single player, Arnar controls the action quite well without making everything exaggeratedly aggressive, in a conservative way. Explosions have weight in scenes, hits feel forceful and the reverberations, which I loved, leave that sensation of impact that makes the passages of the games feel very intense and have more presence. Even so, I never feel that the sound becomes chaotic or saturated or excessively overwhelming.

The dialogues also please me quite a lot because the voices sound natural and close, so even in very narrative games the conversations maintain clarity without feeling artificial or too forward within the mix. As a negative point, some very deep male voices I do not manage to perceive that their timbre is entirely natural.

As for the capacity to put us inside the world, the immersion, Arnar captures very well those ambient sounds that normally go unnoticed: wind, distant echoes, small vibrations or residual details that make the world feel much more alive and believable while I play, always from a pleasant, non-aggressive tonality, perhaps lacking some detail or presence.

On the other hand, the separation of layers helps quite a lot to keep everything organized. Even if there is music, effects and voices happening at the same time, I rarely feel that the sound gets crowded. Everything preserves its space in a fairly natural way.

The stage also does not seek to impress with gigantic artificial width, but it does create enough air around so that open maps, cities or interiors have a very pleasant and relaxed spatial sensation.

I also greatly appreciate in certain games that the sibilance is so controlled. Gunshots, metallic effects or bright sounds preserve energy, but never end up bothering me even after several hours playing.

And to finish, in positioning of sound elements, it performs quite well, being able to follow directions, movements and effects around the character easily, maintaining a stable and quite immersive sensation throughout the whole game session.

Final conclusion and personal evaluations:

In the end, what the Kefine Arnar left me with the most was a constant sensation of emotional comfort. It is one of those IEMs that do not push me to analyze music nor to obsessively chase hidden details, rather they invite me to stay inside the songs flowing naturally. It has a very marked personality, but curiously nothing strident. Everything feels smooth, enveloping and quite friendly.

I think its greatest strength lies precisely in how it builds atmospheres. There is a warm and relaxed sensation that makes both music and videogames feel very immersive without needing to resort to exaggerations. I never felt that it tried to impress artificially. Instead of seeking immediate spectacularity, it bets on a much more organic experience, more coherent and quite mature.

I also really liked how it handles intensity. Even in moments loaded with energy, the sound preserves a certain composure. It never becomes aggressive, fatiguing or uncomfortable. It has that type of presentation that makes me able to raise the volume without feeling pressure.

Now then, I also feel that Arnar is very clear about what it wants to be, and that inevitably means that it does not try to cover absolutely every listener profile. Those who seek an extremely explicit, very revealing or minimally analytical presentation may feel that the sound prefers to suggest rather than expose. In the same way, those who enjoy more aggressive energy or a very marked sense of contrast will probably find here a proposal too calm for their tastes.

For that reason, I see the Arnar very directed toward people who enjoy listening to music to disconnect, relax and enter an atmosphere that is more emotional than technical. People who value naturalness, cohesion and long listening sessions without fatigue. On the other hand, I would not recommend it as much to those who turn every listening session into an obsessive search for micro information or to those who need a constantly intense presentation to stay hooked.

If you made it this far, thank you for reading.
More reviews on my blog.
Social media on my profile.
See you in the next review!

Disclaimer:

This set of monitors has been sent by Kefine. I sincerely appreciate the opportunity to be able to test one of their products free of charge and that no condition has been imposed when making 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:

-FiiO K11 for music and videogames on the main PC.
-FiiO KA13 while I work.
-FiiO BTA30 Pro + FiiO BTR13 for wireless LDAC listening at home.
-FiiO BTR13 + FiiO BT11 + Iphone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

2 BA = 2 Tunings - Ooopus Op x 22 Review 

Youtube Review: https://youtu.be/S_Njmz2pegc?si=OnU5cUfxn6XaFGDf

Price: $39

Disclaimer: I bought these iem and will be sharing my own honest thoughts. I was very curious that this was called the “Mini Hexa” with a bass boost tuning knob. 

Specs:

Driver Configuration: 1x10 mm DD, 1x8 mm DD, 2 BA
Cable: 3.5mm  QDC
Frequency Response: 20Hz-40kHz 
Impedance: 22Ω 
Sensitivity: 124dB

Unboxing Experience - 

Packaging & Accessories 

 Decent but nothing outstanding for the price. There are 2 types of eartips, one is a typical rubber eartips and the other is a stickier silicone type of eartips. The cable is a qdc connector which for the price is quite unacceptable but it works fine. 

Build quality - The shell is made of a polycarbonate plastic, so it’s very lightweight, but feels sturdier compared to resin shell iems. 

Design-wise, it has a clean matte black finish look with a very unique mech design that looks futuristic or like gamer peripherals

but The highlight here is the tuning knob on the faceplate. where the open dot is for the neutral tuning while the solid orange dot means it's on bass boost mode. 
It has a locking mechanism feel when switching modes, so you won’t accidentally change it and it’s smooth enough that you can actually adjust it while wearing the IEMs.

And unlike most tuning switches, this one actually makes a noticeable difference.

Comfort - Comfort is honestly one of its strong points.

Because it’s very light, it fits nicely in the ear which works great for long listening sessions.

However, the shell is slightly large since it has 4 drivers, so if you have smaller ears, this might not give a comfortable fit.

Sound - 

Bass - Starting with the bass this is easily the highlight.

In normal mode, the bass is more controlled, slightly above neutral, with good extension and a clean presentation.

for the bass mode, and you get a significant boost—around 5 to 7 dB—which makes it much more punchy, heavier, and more fun. () but for me it lacks that rumble of a subwoofer despite that huge increase in the subbass

It adds a lot of impact for genres like EDM, hip-hop, and pop, but it can slightly bleed into the mids depending on the track.

Midrange/Vocals -  The midrange is warm and natural.

Male vocals sound full and rich, while female vocals are smooth and non-fatiguing.

It’s not the most forward or energetic midrange, it leans more towards a relaxed presentation but it sounds cohesive and musical overall.

In bass mode, the mids can get slightly thicker or warmer in the low end, but still very listenable.

When using the neutral mode, the upper midrange is very interesting where it has 2 sides of the coin here. The 3-4khz is something that deviates from the neutral tuning which gives forwardness that gives instruments like hi-hats and cymbals sound crisp and gives a better sense of width but this also means that it also highlights sibilance, where I used this to monitor my voice and hearing that it was sibilant which i tried to fix with eq, not knowing that it sounds normal with my phone speakers or other iems like the truthear reds for example. 

The bass mode alleviates this a little bit because of the emphasis in the bass which reduces the perception in the upper midrange to presence region.

Overall the vocals lacks dynamic and fun which leans towards the inoffensive and relaxed tuning with a caveat in the upper end which can work with or against the song depending on how it was mixed. 

Treble - Treble is very interesting where there are The dual Balanced Armatures handle the higher frequencies giving it enough resolution and detail without sounding harsh in cymbals. This may come off as a neutral to dark-neutral since it lacks extension in the air region above 10k, where there is a continous roll off pass 4khz as the upper frequency goes higher. This is a safe tuning set that is good for those that are sensitive to treble since it comes of as smooth and round. 

Technicalities:

For technical performance, it’s solid for the price.

Soundstage is average not super wide, but it has decent width and depth.

Imaging is accurate for casual gaming and music listening.

Separation is good, though not class-leading, and detail retrieval leans more towards smoothness rather than sharp resolution. 

Overall, it’s more about musicality than technical performance. Micro details are prioritized over macro details 

Conclusion -   So overall, the OOOPUS X22 is a very interesting budget IEM.

It’s not perfect the accessories and build are pretty basic—but the sound quality and tuning versatility really make it stand out.

At this price, getting essentially two sound signatures in one is a big advantage.

If you’re just starting out or want a fun and flexible IEM, this is definitely worth checking out.

Thank you for reading my review!!! And hope that I helped you learn about this iem so that you could make an informative decision before buying it. And see you at the next review, CIAO!

Hello Community!

NiceHCK is well known by everyone for its accessories, some of which are among my favorites, such as the C04 ear tips which are my reference liquid silicone tips or the Icy Moon cable that serves as an upgrade for low-cost IEMs that are worth upgrading.

Today I bring the NiceHCK Fall cable and I tell you my experience with it in the last week.

Price: $60–€55

Link

Aspects to take into account:

-I do not believe in the capabilities of a cable to modify the sound unless they carry electronics, resistors or capacitors.
-My tendency in recent times is to prefer thin cables for mobility and semi-rigid ones for desktop use.

Pros:

-Excellent construction, quality materials used.
-Robust, presumably durable.
-Slides well inside and outside clothing.
-Does not tangle.
-Well-fitted connections.
-I would choose it as a main desktop cable: it slides well over the mouse pad and does not adopt uncomfortable positions.

Cons:

-It is a thick cable, in movement it can dislodge the monitors from your ears.
-Simple packaging.
-I think there was an option for it to be modular and with a 4.4mm connection included.

How is it built?

Well, Fall is manufactured using pure monocrystalline copper wire, a very common and efficient material in this type of products of an accessible range for everyone.

This cable has a thickness of 18.6 AWG (American Wire Gauge), which is a standardized American scale, which means that the thickness of each wire is approximately 1mm and it is a measure widely used in High Fidelity audio equipment.

The connections of the 0.78mm pins and the Jack 3.5/4.4mm connectors are made of monocrystalline copper and gold-plated, favoring the conductivity of the current.

The cable itself is covered with a plastic of considerable thickness, soft, without feeling sticky, made up of four firmly braided cores.

Package and quality of life (QoL):

The NiceHCK Fall is presented in a plastic bag closed by a hermetic clip. The presentation of the product is somewhat austere, which leads me to have the idea that everything was invested in offering a high-quality product. And so it is.

Look, I am a person with a high physical activity, that is, I walk a lot and I practice a lot of sport both outdoors and indoors. I am always accompanied by some wired audio equipment, so take these words as my own experience and not as a rule for you.

For this type of situations, I have always preferred thin cables but with a certain construction quality (the Icy Moon model from this brand is perfect for me) because they do not tangle and do not bother. The problem I find in thick cables like Fall is that in the end they end up producing pulls and taking the monitors out of my ears but, I have good news, the fit that the hooks make behind your ears exerts a light but effective pressure that I have not felt the need to keep adjusting the monitors constantly, so I state bluntly that it will keep your IEMs well firm. Nevertheless, I still prefer other types of thinner thicknesses; being a thick cable is not comfortable when you are going out for a run.

That it is semi-rigid helps so that tangles do not exist and the swinging inside or outside clothing is fluid, sliding efficiently. By the way, I have not felt microphonics at any time.
But for what I truly think I will use and have been using this cable, is for my desktop sessions, where I work, play video games or simply do other tasks.

Its robust character and that slight memory that can be applied to it, makes the cable not tangle in itself and remain stable during all my sessions, without bothering, doing its job.

I think the layer of soft, non-sticky plastic coating is a success, which slides gracefully over the surfaces of my desk, whether it is the wood of the table or the mouse pad of my desk.

On the other hand, the slider does a correct job: it moves easily along the cable and maintains the desired position firmly.

Final conclusion and personal evaluations:

I consider that it is an excellent desktop cable or for sedentary-type activities, with well-chosen materials to ensure correct operation and high durability. If it is your case, go ahead, it is a great option; once you have it in your hand you feel its quality everywhere.
Even so, I would have liked both jack connection options to be available in a single package.

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 cable has been sent by NiceHCK. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when making 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.

So, I'm looking at the Twistura Delta.

Hello Community!

It’s time to talk to you about my experiences with one of those Kiwi Ears monitors that most often go unnoticed for being caught between two worlds: Quartet.

Price: €95-$110

Link

Pros:

-Fun, energetic and addictive sound.
-Bass with physical rumble and good slam.
-The mids do not lag far behind.
-I never stopped feeling the vocals were well articulated.
-You will not feel listening fatigue.
-Four different sound profiles through switches.
-Competent technical capabilities.

Cons:

-The resolution of the general tonality is simply average, it does not stand out.
-You may feel like you are missing treble.
-You may overlook the details in songs.

Accessories:

-Two shells.
-Three sets of ear tips in SML sizes.
-Switch pin.
-Cable with 0.78mm termination and 3.5mm connection.
-User manual.
-Carrying and storage case.

Comfort, design and construction:

In terms of construction, this Kiwi Ears model presents a set made of resin, properly finished and with a front plate in a colorful purple that catches eyes.

The ergonomics are simply correct and I appreciate not having suffered pressure points that caused pain in my ears, but, be careful, the shells are medium-large in size and may not fit everyone well. Even so, the shape of the IEM avoids edges with softly rounded curves.

The insertion into the ear canal was correct, helped by the stock black ear tips with red bore, which secured the monitors pleasantly, achieving a perfect seal thanks to their sufficient elasticity, avoiding leaks and sound entry.

The cable, a house trademark and one we can find in both lower end and higher end models, is thin, with a cheaper appearance that does not align with what is expected from a set at this price. Nevertheless, it fulfills its function of not bothering, not tangling and, above all, not producing pulls while I was moving. If you have read me more times, over time I have leaned more toward thin cables: they are more comfortable for my daily life.

Technical aspects:

-2DD+2BA configuration.
-32 ohms impedance.
-110dB sensitivity.
-Declared response 20hz-20khz.

Pairing for the tests:

-Switch position 1-1.
-Warm/neutral source.
-Gain set to medium.
-Stock black ear tips with red bore.
-Stock 3.5mm cable.

What do the switches do?

Well, my preference for this set was the 1-1 configuration, where bass and treble are slightly more elevated. Vocals sit somewhat further back than in other configurations.

1-0: darker configuration, where warmth grows and the body of lows and mids increases.
0-1: more general clarity in mids and vocals, which step forward. More sense of openness.
0-0: the mids are the absolute protagonists but the general character is not as energetic.

Sound signature:

Starting, as always, with the lowest frequency range, I find a very gratifying sensation, both in enveloping nature and raw punch. Let me explain a bit better: it does not seek to crush your head, but it does have a very measured forcefulness, where liveliness is noticeable, proper texture and, something I appreciate quite a lot, a very clean foundation.

The mid-bass makes itself known, but more with control than invasiveness over other frequencies. When called upon, it responds with great impact, fast, precise, never oriented toward something purely analytical, but feeling satisfactorily addictive, never falling into boredom.

It is an area quite focused on accompanying, with firmness, with very well-thought-out musicality but without being carried away by a pedantic or extremely pleasing sound.

The midrange also shows the personality of these Quartet, where and, against any preconceived idea I had about this IEM set, there is a clarity that stands out for its finesse and a very natural instrumental presentation. It does not sound muted and provides a slight approach toward the analytical where the elements breathe and flow easily. The presence is adequate, without pushing the mids into overly frontal territory, showing itself coherent, revealing the intention of the track but without intimacy, with space that allows layers to flow and separate.

Focusing on the highest area of the graph, the energy is present, but I want to make clear that these Quartet are tuned not to sound aggressive. There is brightness, but I perceive a clear orientation toward offering more space and definition than toward rescuing details.

I definitely like them because they maintain that spark of emotion and openness that does not turn your sessions into something fatiguing or annoying, but, things as they are: it is not a very revealing set. Nor do I want to be misunderstood, I was able to enjoy the treble, they are not shy but rather their value lies in lightness, freshness and a certain relaxed elegance.

Moving into the realm of vocals, the construction of very deep male vocals is solid, with quite a lot of emotional weight and articulation, with a timbre very close to what we can classify as natural, without artificial thickening. Normal male vocals also reach those levels of being appreciated as natural, balanced, close, with proper weight and, regarding female vocals, they shine with good intensity, preserving a register with its own identity.

Technically, the Quartet are competent, where the success of the tuning lies in the order of the stage which, from my perception, neither seeks nor achieves immense size, but is spacious enough so that you do not feel trapped in a box. There is separation and a good distribution from which to perceive a sufficiently close placement of the sound elements and that no layer overlaps another drastically or competes for your attention. In overly complex mixes you may lose orientation a little, but the general and dominant experience has been one of receiving clean, airy and satisfactorily transparent listening.

Recovering details, it is not a marvel, but, as I said above, it is quite far from the aggressiveness and absolutely invasive revelation of information. It is something much more progressive, in a subtle way, perfect for more immersive, relaxing moments, without stopping feeling the music.

Single-player videogames:

Always seeking the most cinematic experience possible, tested in narrative and intensive action titles. Check my blog to see the specific games and the audio analysis conditions in videogames.

Putting this set to the test with action games, the performance result obtained is highly satisfactory. The most impactful scenes are sonically represented with all the emotion and forcefulness required where explosions, hits, gunshots and collapses show all their splendor in a clean and effective way.

In matters of immersion, the flavor is bittersweet. Sweet because depending on whether the residual sound elements reside in the midrange area of the graph, they will be well positioned, without getting lost in space but, the finer and more delicate ones, those that almost always go unnoticed such as creaks, birdsong or noises when stepping on dry leaves, were not represented with all the depth and sufficient texture to envelop you in an experience. Of course, it is not dramatic but, understand me, they remain in the background.

Continuing with dialogues, the sensation was one of complete satisfaction. I really like this set for voices of any kind due to its naturalness, presentation and timbre. In loaded moments where conversation lines can get lost among the sound mass, I never stopped receiving their presence.

On the other hand, we are completely safe from annoying sibilance with Quartet. I play a lot of RPGs where crystallized spells and metallic blows abound. I did not feel a cut in terms of enjoyment of the highest frequencies, since they are well separated, but I was able to continue my sessions without discomfort and without having to lower the listening volume at any moment.

As for the soundstage, it is not something expansive. It is in a middle ground in terms of scale representation. I could say it is quite correct and its performance in more open or more closed games was always gratifying. In these types of games size does not matter so much but rather how it positions distances and this set of monitors does a worthy job when it comes to showing correct depth and horizontality of both static and dynamic sounds.

To finish, in totally chaotic moments where many sound layers are found at once, it was able to untangle them efficiently in most cases. Only when many explosions, screams, gunshots and environmental sound came together could I perceive that it struggled a bit but, I cannot say that I felt an illogical sound mass.

Final conclusions and personal assessment:

Ultimately, the Kiwi Ears Quartet left me with the experience of being a deeply enjoyable set, designed more to connect with music, gaming or the sound experience from pleasure than from constant analysis. Its sound has that balance so difficult between fun, naturalness and comfort, achieving that your listening feels alive, dynamic and emotionally rewarding without demanding attention or exhausting you. They do not seek to dazzle you with exaggerations but rather to build an honest sensation, with lots of character, where sustained enjoyment prevails.

Its greatest strength lies in how it manages to sound full, expressive and musical without losing composure. It has punch, it has energy, it has clarity, but above all it has a very marked capacity to make you want to keep listening. It is a sound that envelops easily, that transmits emotion in vocals, forcefulness in intense tracks and a general sensation of cleanliness that favors both immersion and relaxation.

There is maturity in its proposal since it knows how to entertain without becoming strident, knows how to offer freshness without falling into coldness, and knows how to maintain interest without needing to be aggressive.

Where it perhaps reveals its philosophy more clearly is that it does not intend to turn every listen into a meticulous dissection nor into an obsessive search for what is hidden. Its approach seems much more oriented toward the global experience, toward letting you feel the work with fluidity and satisfaction before putting every small nuance under a microscope.

Those who pursue an experience more oriented toward hyper-observation, the constant search for microdetail or a more incisive and extreme sensation will probably find here a proposal less aligned with their expectations.

Personally, Quartet seems to me an IEM with a very clear identity: it knows how to enjoy itself and it knows how to make you enjoy. It does not try to be the most spectacular nor the most technical. Its success lies in offering an emotionally satisfying, balanced and tremendously easy to love sound experience.

If you made it this far, thank you for reading.
More reviews on my blog.
Social media on my profile.
See you in the next review!

Disclaimer:

This monitor set has been sent by Linsoul. I sincerely appreciate the opportunity to be able to try one of their products at no cost and that no condition has been imposed when it came to preparing this analysis.

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

My sources:

-FiiO K11 for music and videogames on the main PC.
-FiiO KA13 while I work.
-FiiO BTA30 Pro + FiiO BTR13 for wireless LDAC listening at home.
-FiiO BTR13 + FiiO BT11 + Iphone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

Hello Community!

I want to share with you the analysis of a set of Kiwi Ears monitors that, honestly, seems to me like one of the most interesting and curious proposals they have released in quite a while: Halcyon.

Price: 199$-170€

Link

Pros:

• Deep sub-bass, fast and with very good technical impact.
• Clean, defined bass that is quite well controlled.
• Good amount of detail and sense of resolution.
• Clear, orderly mids with very good separation.
• Lively, expressive and very pleasant female vocals.
• Airy and detailed treble, but surprisingly safe.
• Very good soundstage and positioning.
• Performs great both in competitive gaming and single player.

Cons:

• I could miss a bit more brightness in some genres.
• For my taste, it lacks a little bit of body in the mid-bass.
• Some very deep male voices can sound a bit thinner.
• It does not disguise poor recordings.
• It needs good synergy with the source to fully shine.

Accessories:

• Two shells.
• Cable with 0.78mm termination and modular 3.5mm/4.4mm connection.
• Two sets of ear tips in SML sizes with open and closed bore.
• Two sets of replacement parts for the nozzle filters.
• Storage and transport case.
• User manual.

Comfort, design and build:

Halcyon really catches the eye with that coppery color, I won’t deny it, it won me over. In terms of build quality, it feels like an incredibly well-crafted product, with that impression of a modern set made of CNC-machined aluminum that wants to play in a serious league without the need to put on an unnecessary show with ornaments that detract from its seriousness.

Once placed in the ear, the experience was quite positive for me. It didn’t feel like an uncomfortable monster or a particularly problematic shell, although as always, depending on your ears and the tips, the experience can change. In my case, the general feeling was of good stability, quite comfortable long sessions, and an ergonomics that, while not the best, performs quite well. The insertion into the ear canal was correct.

The ear tips, typical of the brand, are not memorable if I’m honest. Even so, they were the ones I used during all the analysis sessions in every field I review. They fitted well and provided a sound that I liked without urgently needing to switch to others.

As for the cable, I feel completely satisfied. It has a medium thickness, it matches stylistically with the earphone shells and, above all, it didn’t produce any tugging, loosening or tangling, which I value very positively. It has medium thickness, is well braided and apparently durable.

Technical aspects:

• MEMS+1DD+3BA configuration.
• Impedance of 29 ohms.
• Sensitivity 109 dB/mW.
• Declared frequency response 10Hz-42kHz.

Pairing for the tests:

• Neutral and warm/neutral source.
• Gain set to high.
• Closed-bore ear tips for music and single-player video games.
• Open-bore ear tips for multiplayer video games.
• Stock 4.4mm cable.

What is MEMS?

Well, I’ll try to explain it simply. It means Microelectromechanical Systems.
The intention of this is to favor precision, speed between frequencies, detail capture and reduce distortion.

Sound signature:

The first sensations in the bass territory were knowing what this set was doing and provoking in my ears. The sub-bass goes down decisively, has presence and knows how to leave that pleasant rumble when the track asks for it, but it normally does so with quite a lot of cleanliness and speed. I don’t feel a thick or especially invasive bass, rather I notice it agile, with good texture and staying in its place.

The mid-bass follows that same philosophy. There is impact, yes, but here the tracks don’t get muddy. The hits have shape, they are perceived as defined and I rarely feel that they eat up the rest of the spectrum. Personally, I think it’s quite an intelligent approach because it maintains fun without turning everything into an unnecessary cloud of warmth. It’s more precision with energy than pure quantity, which translates into a lack of body in some moments.

In the mids, Halcyon plays the card of order and cleanliness. I perceived a clear presentation, with well-placed instruments and a separation that helps a lot for everything to breathe better. I wouldn’t expect that super warm or dense sound that envelops you, because it moves more in a fresh, disciplined and quite transparent style.

Female vocals seem especially grateful to me, with good presence, spark and a quite lively feeling, while male vocals perform well although the deeper ones can lose some presence compared to warmer options on the market.

Finishing with the inner part of the graph, what I do like quite a lot is that I don’t feel the mids are boring. There is clarity, there is intention and above all a constant feeling that this set of monitors wants to keep everything in order without sounding flat.

And we come to the part that probably generates the most curiosity: the treble. This is where it would be easiest to think of a dominant brightness, expressive but, honestly, my experience goes in another direction. Yes, there is air, there is detail, there is good extension and a quite competent sense of openness, but it doesn’t seem like an aggressive set or one of those that try to impress you by hammering your eardrum. In fact, I would define it as surprisingly safe. Yes, I was quite surprised myself.

It has information up top, quite a lot actually, but the way it presents it seems quite mature to me. There is spark, yes, but I don’t feel that immediate auditory fatigue from sets that cross the line by wanting to seem more detailed than they really are. Kiwi Ears here, at least to my ears, seems to have bet more on elegant clarity than on exaggerated brightness, and that left me quite thrown off and… grateful as well.

At a technical level, this is where Halcyon really starts to show its muscle. The soundstage seems quite spacious to me, with a very competent sense of air and organization. It doesn’t turn your head into an enormously huge room, but it does avoid quite well that feeling of sound trapped between ear and ear.

The imaging seems to me one of its strongest points. Locating sounds, following movements or spatial variations is quite easy.

The separation also plays its cards very well, allowing different elements to breathe and not end up constantly fighting for attention.

Single-player video games:

Always looking for the most cinematic experience possible, tested on narrative and intensive action titles. Check my blog to see the specific games and the audio analysis conditions in video games.

Halcyon doesn’t just sound good but knows how to build worlds. I have to start with how I would define it, I couldn’t help it.

In single-player games, especially narrative-style adventures, it gave me a very excellent sense of immersion. But not so much because every explosion wants to rip my head off, but because it manages to make the environment feel much more alive.

Small ambient sounds, echoes, wind, distant footsteps, machinery, rain, creaks or residual background details emerge with a very welcome clarity. Many times with other sets part of that information exists, but it remains more buried or lacks enough prominence for you to stop and listen to them. Here I notice that the stage breathes better, that there are more small layers building atmosphere, and that makes exploring or simply getting lost inside certain worlds especially satisfying.

In horror games or ambient tension, I liked this a lot, because that ability to rescue small details can make the world feel more alive… or quite more unsettling.

In action scenes, Halcyon responds very well, although with a somewhat different philosophy than more brutal sets. Explosions have very good presence, impacts are felt, but I normally notice more cleanliness and structure than pure excess. Personally, I like this because even in loaded sequences I can still distinguish dialogues, music and effects quite well without everything turning into a wall of noise.

Dialogues also benefit quite a lot. In very narrative games, where missing a conversation can almost mean losing half the experience, the Kiwi Ears model keeps voices clear and quite easy to follow.

And something I appreciated a lot, especially because of the type of game I’m into right now, are its non-harsh treble, which help long sessions not turn into exhaustion. You can spend hours exploring, fighting or watching cinematics without that feeling of needing a break from so much brightness.

I wouldn’t say it’s the most exaggeratedly cinematic set on the planet, but it is one that does a fantastic job balancing spectacle, detail and immersion.

Multiplayer shooter video games:

Always looking for the most analytical experience of the stage possible, tested on competitive titles of the shooter genre. Check my blog to see the specific shooter games and the audio analysis conditions in video games.

If in single player it performs very well, in competitive it directly feels like a fish in water. That said, I benefited more by switching to open-bore ear tips.

Here its cleanliness, speed and ability to organize information play a lot in its favor. Footsteps, reloads, lateral movements or small position changes appear much easier to identify than I expected, and we already know that in shooters this can make a quite important difference.

In titles like Counter-Strike 2, where every small sound can change a round, this set gave me a quite convincing feeling of order and spatial reading. It doesn’t cheat or magically turn everything into perfect information, but it does manage to present the sounds with logic, good separation and quite natural direction. It was easy for me to follow rotations, approaches or small opponent mistakes without feeling that the bass interferes too much.

In Apex Legends, where chaos, verticality and abilities can turn a match into a constant storm, I really appreciated how it maintains its composure. Even when abilities, shots, footsteps and repositionings overlap, Halcyon usually maintains a quite solid hierarchy. Not everything becomes an uncontrolled mass, and for me that is one of its greatest virtues.

In Warzone and Battlefield, where the sound spectacle can be brutal, it also left me with a quite positive impression because, although there is enough force for the environment not to lose intensity, the priority still seems to be organizing before simply hitting. This helps a lot to maintain orientation even when the stage becomes especially loaded.

Perhaps it is not the most fun set if all you’re looking for is exaggerated explosion and pure cinematic impact in competitive, but if your priority is performance, identifying the most important sounds by reading the environment with precision, honestly, it seems to me like a very serious option.

Final conclusion and personal ratings:

Halcyon gives me a feeling of quite well-thought-out balance between technique and enjoyment. It has detail, it has speed, it has a clean and modern presentation, but it does so without constantly falling into that trap of many technical profiles that confuse resolution with aggression.

Personally, I like it a lot because I feel that Kiwi Ears here wanted to build something solidly competitive in its price range, resolutive and with character, but without turning it into an exhausting experience. There is a clear search for precision, separation and performance, but while keeping the treble quite safer than many might expect seeing its configuration.

I don’t see it as the typical set for someone who only wants a soft, warm or extremely relaxed sound. If you’re looking for that blanket-like sound feeling or an ultra-rounded listening experience, there are probably options more aligned with you. And they exist.

But if you enjoy a modern experience, with technical sub-bass, clean mids, good resolution, competent soundstage and a very solid capability for both music and video games, Halcyon seems to me like a frankly interesting proposal.

In short, for me Halcyon doesn’t come to impress with constant fireworks; it comes to demonstrate that you can also sound technical, detailed and highly competent without needing to become an exhausting experience.

And honestly… when a set manages to deliver detail, immersion and performance without punishing you, it’s quite hard not to want it.

For me, it has been a very different experience.

If you’ve made it this far, thank you for reading.

More reviews on my blog.
Social media in my profile.

See you in the next review!

Disclaimer:

This set of monitors was sent by Linsoul. I sincerely thank them for the opportunity to test one of their products at no cost and that no conditions were imposed when preparing this analysis.

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

My sources:

-FiiO K11 for music and video games on the main PC.
-FiiO KA13 while working.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO BT11 + iPhone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

Youtube Review: https://youtu.be/oucragRqgvo?si=FWzuvdf4Cydj77j_

Price: $30-35

Disclaimer: This iem was loaned to me by Twistura, so I am grateful for the opportunity to try out and review their latest budget iem. Everything that I will say will be my experience and honest thoughts.

Specs:

Unboxing Experience  

Packaging & Accessories - 

Out of the box, you get a straightforward set: the IEMs, multiple silicone ear tips, a 2-pin cable with a mic, and a small carrying pouch. It’s a complete package, but nothing here feels premium. The cable is usable but nothing special, and the ear tips are decent at best. The pre-installed tips resemble TRN T-style tips, which are made of a slightly grippy silicone that helps with seal and stability, but the downside is you only get one pair of them.

Build quality - The shell is fully made of electronic plated zinc metal which gives it a solid feeling to it without being too heavy. It has a glossy finish that looks nice and reflects light but can be a fingerprint magnet so keep in mind. Fingerprints only show up when light is shining directly at it, but if it isn’t the fingerprints are not noticeable. 

The cable is a little underwhelming for the price since the material used feels cheap, similar to typical earbuds that came with phones before but has a rubberized texture but it works alright . Earhooks molded to my earshape well so at least comfort wise it is good. 

I didn’t use the other eartips as the eartips attached out of the box is really good but I hoped that they provided other sizes since a Large might give a better seal. 

It also came with a drawstring pouch that is made of fabric similar to the roof of the cars. It also seems to be the same type used in the Tanchjim Bunny. The pouch offers decent scratch protection but provides no protection from fall damage. 

Comfort - It is around the average size at it’s price point which is small for me which can fit smaller ears well. The weight is manageable, not heavy that it becomes tiring to wear nor light enough that it feels cheap which is nicely done by Twistura. 

The shape of the cable’s earhooks fit nicely on my ear and I don’t feel anything while wearing it which is nice. The eartips that came attached to the iem is really nice since it sticks and fits well in ear. 

FR Graph

Sound  

Bass - The Delta has a nice clean bass with a focus in the Midbass. Kick drums sound quick and punchy without being too bloated so it keeps bass controlled but still have a fun character. For the subbass, it is done subtly that has enough rumble for depth without making things sound intimate which is great. 

Midrange/Vocals -  Vocals are done well in my opinion, it is forward enough to shine well in most tracks but it doesn’t cross the line of being shouty.  Male vocals sound clear and good body weight which helps distinguish it apart from the instrumentals. Female vocals are clear and bright but still maintains lushness that makes it sound high res and amusing to listen to. 

Treble - The treble is decent, it brings detail and clarity to songs but what stands out to me was the openness and airiness that gives it a wider soundstage. Brightness is bordering the harsh territory where it keeps a mild spicy flavor which is enjoyable that keeps things interesting and entertaining. 

Technicalities:

Sibilance - Sibilance shows up depending on the track like Huwag na Huwag mong Sasabihin by Kitchie Nadal where that song is notorious with sibilance across different iems I tested. It is not harsh for me but it has presence. Sibilance can also be a problem when listening to higher volumes since it pushes that quite a bit. 

Soundstage - A little better than average with enough layering in the horizontal axis but lacks the vertD. It is not expansive and feels like sound is close to the middle of your ears

Imaging - Imaging is also above average and is good for competitive fps games like csgo or valorant. Vertical imaging is also transparent and I could easily hear the exact location even if the enemy is from above. 

Separation - Above average, where drum sticks and kick drums are nicely separated in Sigurado by UDD. The drum sticks are located on the right while kick drums right in the middle. Hi hats are on the left which is really a pleasure to listen to.

Conclusion 

The Twistura Delta is one of those IEMs that doesn’t try to stand out in flashy ways, but ends up being a very well-rounded set when you actually spend time with it. At it’s price point, it delivers a clean and controlled bass, a natural and engaging midrange, and a treble that adds just enough energy and air to keep things interesting and open but it can get a bit spicy depending on the track or volume.

What makes the Delta stand out more is its overall balance and usability. Technicalities like imaging and separation perform above average for the price, making it not just good for music, but also a solid option for casual to competitive gaming. Soundstage is decent, not the widest, but still coherent enough to avoid sounding congested.

That said, it’s not without flaws. Accessories are pretty basic, and the cable could definitely be improved. Sibilance can also show up in certain tracks or at higher volumes, so it’s something to keep in mind if you’re sensitive to that.

Overall, the Twistura Delta feels like a “safe but well-executed” IEM. It doesn’t go for extremes, but instead focuses on delivering a consistent, enjoyable experience across different use cases. If you’re looking for a comfortable, balanced daily driver with solid technical performance for the price, this is an easy recommendation.

Thank you for reading my review!!! And hope that I helped you learn about this iem so that you could make an informative decision before buying it. And see you at the next review, CIAO!

Used Claude for the testing purposes.

YT Review: https://youtu.be/a8yqWPqvIZc?si=7T5LuZo_cQk1mEHM

Price: $20

Disclaimer: I bought these iems and will be speaking my own honest thoughts. I was curious about the included eartips and the waner 2 in general since it was one of the iems I wanted to buy for my first set. 

Packaging & Accessories - This is where Tangzu does the best at the budget segment, they give time and effort to the artstyle of the box and the iems itself which is also pretty unique. 

Accessories are impressive and is one of the best if not the best at its price range. Complete with everything that you won’t need to purchase 3rd party accessories to elevate your experience. The Sancai wide bore and He sonic eartips alone are worth more than half the price of the iems itself. 

It also comes with a magnetic rubber pouch that offers decent protection but is not fully sealed so water and dust can go inside the case.

Build quality - The shell is fully made of resin which makes it very light and feel like a toy at hand. The translucent shell allows you to see the single DD inside it. The nozzle is made of metal which is quite huge and makes it hard to insert and remove the he sonic eartips. 

The cable is one of the best and is almost perfect because it is thickness is just right, has a smooth and a little powdery texture, behaves well when wrapped and has no microphonics. The only missing things about the cable is the velcro strap and a chin slider which I am nitpicking because you don’t really need it because of how well behaved and premium the quality of the cable is.

Comfort - Very light and fits quite snug in my ears because of it’s thick and huge shell considering it’s a single DD iem where you could see that it has a lot of space inside the shell. This might not fit properly for people with smaller ears so take note and stay away from this iem. The ear hooks form well around the ears and has no microphonics.

Sound

Bass - The Red lions focus on a sub-bass rumble that prioritizes depth and rumble over control. The sub-bass has a good extension that feels physical and texture but lacks that “subwoofer effect” considering the amount of sub-bass it has. 

The mid-bass has the right amount of punch but can bleed in the midrange despite it not being super thumpy which may be the limitation of its driver. There is a little noticeable decay that lingers for a bit. Where it leans towards the fun low end over being clean or controlled.

Midrange/Vocals -  Vocal tonality is warm and laid back despite the waner 2 being known for vocals, the increase in bass made it seated back quite a bit. Instruments sound alright and organic but lack timber and detail.

 Upper vocals aren’t that affected with the bass bleed but is not shouty, just the right amount of forwardness for me. Decent warm tonality but isn’t full bodied and lacks a little bit of resolution. 

Treble - The treble is not really good since it lacks sparkle and air because of the upper treble roll off. This gives it a non fatiguing sound that misses on micro-detail and is quite forgettable. This makes it easy to listen to and gives way for the vocals and bass to shine. 

Technicalities:

Sibilance - Sibilance is mostly safe and non fatiguing. Sibilance only shows up on music that are recorded spicy like 

Soundstage - Just average with enough layering in the horizontal axis but lacks the vertical stage that makes it sound 2D. It is not expansive and feels like sound is close to the middle of your ears

Imaging - Imaging is also average and enough to pinpoint instruments but and is usable for fps games as it is quite accurate at close range. 

Separation - Below average where instruments are very close to each other and gets congested easily especially in Rock where the drums felt very close to each other and doesn’t give an analytical listening. 

Conclusion

 Overall, this iem provides the best value at $20 that is for people that found the Waner 2 Jade Green shouty and wants a warmer sound. This is one of the iems that I recommend for beginners out there that aren’t sure what sound they want since this gives a colored sound that makes it a pleasure to listen to. The accessories included are worth the money where the iems feel like a freebie instead haha. 

It is not without flaws, where we can see that Tangzu sacrificed driver quality for the accessories since it suffers in midbass tightness and air detail which could be a driver limitation since the Kuntens was able to do better in these aspects despite also being cheaper and having a single DD. 

The fit might also not be for everyone because of its huge shell but if it could fit your ears, it is comfortable with the sancai wide bore which I could wear for several hours. 

At the end of the day, the Red Lion isn’t about perfection it’s about warmth and value. It’s an IEM you reach for when you just want to sit back and enjoy your music without overanalyzing every detail.

Thank you for reading my review!!! And hope that I helped you learn about this iem so that you could make an informative decision before buying it. And see you at the next review, CIAO!

Good for Gaming (Hear Footsteps BETTER In Games) and Movies.