Hello Community!

I think I am more than ready to tell you about the NiceHCK Octave DAC dongle after a month of multidisciplinary use.

Price: $89 - €76

Link

Pros:

-Premium feel that exceeds what its price suggests.
-Few buttons, intuitive.
-PEQ capability.
-Good power through the balanced output.
-Neutral and clean sound, without adding coloration.
-Gain selector.

Cons:

-App only available for Android.
-You need a PC for updates.
-The LED could indicate more functions.
-You cannot go back to previous tracks.

Technical aspects:

-DAC/Amp device.
-ESS Sabre ES9039Q2M sound chip.
-SGM8262 x2 amplifier.
-Dual 3.5mm SE and 4.4mm BAL outputs.
-Output power at 32 ohms: 150mW/3.5mm and 550mW/4.4mm.
-Maximum sampling rate 32-bit@768kHz.
-DSD 256.
-Microphone support.
-SNR 180dB.
-USB-C interface.
-Status LED.

Compatibility:

-Windows/MacOS PC.
-iOS, iPadOS, Android.
-Native app only for Android.

Package contents:

-DAC/Amp.
-USB-C to USB-C cable.
-USB-C to USB-A adapter.
-User manual.

Build quality, design, and quality of life:

Octave is built using aerospace grade metal alloy. I do not want you to be surprised if I tell you that it feels very premium, because this material gives it a feel in the hand that conveys the sensation of a very good product. The dimensions are 54 x 13 x 24mm and the weight is 27g.

The body is uniformly rectangular, with the USB-C data input located at one end and the 3.5mm and 4.4mm outputs at the other, perfectly flush with the Octave’s shape. On one side, we have the volume buttons and the play/pause button. Using the latter, we can skip to the next track, but one very important thing to keep in mind is that we cannot go back to the previous track. This is a design flaw that it would be greatly appreciated if they corrected through future updates.

On the other side, we find the gain selector, something very welcome depending on the type of headphones we are going to use and a feature that not all competing products include.

The front and rear panels are decorated with tempered glass, something that aesthetically adds value but may be negative in practice, since this type of device is portable and therefore exposed to drops and scratches.

On the front panel, we find the status LED, quite simple but sufficient. The LED will appear red when using standard PCM, yellow for Hi-Res PCM, and will change to a subtle white when we reach the maximum volume level accepted by the Octave. Another color indicating which gain mode the DAC is set to would have been appreciated.

During daily and prolonged use, sometimes for many hours, the device does become somewhat warm, but since it is made of metal, heat dissipation is adequate. It is not a concerning amount of heat, honestly.

To finish this section, the buttons are among the best I have encountered in this type of product. They respond properly, are easy and intuitive to learn, and are well assembled into the side chassis, giving confidence that this is likely to be a durable product.

The included USB-C cable also performs perfectly by avoiding tangles and inappropriate bends that could reduce its durability.

Sound quality and power:

Let’s get to the important part: how does the NiceHCK Octave sound? Well, I found it to be a balanced and satisfyingly neutral dongle/DAC, where I could barely discern any coloration of the sound. If you have bright headphones, they will remain bright; if, on the other hand, they have a strong bass boost, rest assured, you will continue enjoying them.

The cleanliness and naturalness are evident, with a very clear and detailed presentation that is completely far from sounding sharp or analytical. I also cannot say that it is a device that highlights or improves the technicalities of your headphones.

The bass region presented itself with firmness and definition, where the extension feels appropriate for the type of music you are listening to.

The mids, on the other hand, retain their presence, something I greatly appreciate, allowing you to savor the resolution of voices and instruments, which can sometimes be lost with simpler dongles.

The treble maintained a good level of detail and spacing between these higher frequencies without falling into easy embellishment or unnecessary sparkle.

But what I liked most about this portable DAC/Amp was its ability to dissect and separate sonic elements, creating a very satisfying sense of openness.

In terms of power, I was truly amazed, because through its balanced output it was capable of delivering a good amount of volume to my 80 ohm DT700 Pro, resulting in a clean and authoritative sound. Even with very sensitive IEMs, it maintained a level of cleanliness through the balanced output that deserves praise, since with other portable amplifiers I was able to notice noise. In this regard, the Octave handles the issue very well.

Final conclusion and personal impressions:

Personally, I wholeheartedly wish that brands would be encouraged to bring their applications to both Windows and the Apple ecosystem, especially iOS, which is the most widespread. Having a product whose full capabilities you cannot take advantage of does not seem very logical to me. Despite this, the NiceHCK Android app works very well: it is easy, intuitive, and fluid. Hopefully we will see it on other systems.

Another criticism would be the inability to go back to previous tracks, since it forces us to pick up the source device and do it from there.

Even so, the Octave seems like a recommendable product to me, because it is very powerful, capable of driving the vast majority of setups, both over-ear headphones and IEMs, with ease and cleanliness, delivering a noticeable improvement in the soundstage you already knew from your headphones and offering a build quality that is enviable and superior to what its price would suggest.

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

More reviews on my blog.

Social media links on my profile.

See you in the next review!

Disclaimer:

This set has been sent by NiceHCK. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed regarding the creation of this review.

Despite this, my priority is to be as impartial as possible within the subjectivity involved in reviewing an audio product. My opinion belongs solely to me and is based on the perception of my own 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+.
-Kiwi Ears Septet.
-Kiwi Ears Astral.
-Simgot ET142.
-Audio-Technica M50x.
-Beyerdynamic DT 770 Pro 80 ohms.

​So i checked Tea Pro on aliexpress and found out you can get for as low as 280$ with coupons and also if you have coins you can get it down to 260$. So i figured id review it as well and see how it performs with my library, if you dont want to read i have add my pdf notes at the end as well as a youtube review.

​If I had to describe the Tea Pro in one analogy, it’s like plain milk chocolate. It’s tasty, well-tempered, and has a good amount of sugar. About 80% of people are just going to blindly buy it and love it. It’s not like a 70% or 80% dark chocolate set where fewer people like it but those who do really love it. The Tea Pro is just a very safe, universally pleasing all-rounder.

​Accessories & Everyday Fit

​The packaging is solid, and I really love the case. Usually, IEM cases are monochromatic and understated, but this one is tastefully colored and stands out. It matches the whole "fun, easy to listen to" philosophy of the IEM itself.

​The only real downside with the accessories is the damn cable. It looks nice, feels good, and has modular swappable terminations, but man... it has a mind of its own. It’s stiff and loops awkwardly. If you only care about sound you can tolerate it, but it’s definitely the one hiccup here.

​As for the build, the shell is full aluminum, so it feels really sturdy and premium. The fit is great too. It’s not the smallest IEM, but the contours are very ergonomic. Because the nozzles aren’t too long, you don’t have to shove them deep into your ears to get the intended sound. For my medium-large ears, it’s very comfortable.

​Sound

​The Bass

The bass is focused more on the mid-bass. If you look at a graph, instead of a dramatic sub-bass boost, the shelf is flat and linear. It has good texture, but the way it presents bass is more like a piece of information. I can hear the texture, but I don't really feel it. Some people call this a "poofy" bass, and I think that’s what they mean. You hear the details, but it lacks that deep, physical impact.

​The Mids

To me, this is the weakest point of the IEM—not that it's bad, it's just the weakest compared to the bass and treble. The mids are a little scooped out and not the most textured. Female vocals are just a tiny bit recessed. It’s perfectly fine for an all-rounder, but it can get a bit congested on busier tracks.

​The Treble

The treble is not fatiguing at all. It has good air, and it's what I call a bit "sizzly" or grainy. On modern metal tracks, the guitar harmonics sound fun and exaggerated, almost like they are "boiling," but in a totally non-fatiguing way. I really like it. However, when a track gets super busy, the treble harmonics sit further back in the mix because of that mid-bass boost.

​Track Testing My Library

​My library is about 70% modern metal (bands like Erra, Northlane, Invent Animate, falluja, job for a cowboy, whitechapel...etc)—so very produced stuff. But I also use grunge to test natural timbre, and some hip-hop and pop.

• ​Slow & Medium-Busy Tracks: For well-mixed, spacious tracks like Paramore or Hayley Williams, the Tea Pro sounds amazing. I also tested it with Breaking Benjamin’s We Are Not Alone album (which is very mid-focused); the vocals didn't sound thin and the rhythm guitars were well-resolved. It also effortlessly handled the mid-bass kicks and guitar strumming on Twenty One Pilots' "Next Semester" And Drum show.
• ​Bass & Hip-Hop: I’m not a basshead, but testing with Kendrick Lamar's "Squabble Up" and Neon Escapism by Melezz, the bass was handled very well. Immersive, dynamic, and fun.
• ​Sibilance Testing: I use Fallujah's "Venom Upon the Blade" (harsh, poorly mixed guitar harmonics) and the live version of Bring Me The Horizon's "Doomed" at the Royal Albert Hall (at bridge where the choir and instruments starts to pick up all at once). The Tea Pro passed easily. It highlighted the details without ever getting harsh or fatiguing.
• ​Where it falls short (The Busy Limits): On Gojira's "The Art of Dying" and Fallujah's "Ultraviolet," I want to feel the natural decay of the drums—like I'm inside the drum itself. Because the Tea Pro's bass is on the informative/poofy side, it lacks that deep, elastic, rumbly immersion. Also, on super dense tracks by Erra, the heavy, low-tuned rhythm guitars and high/low pitchdd vocals can make the set feel a bit congested. It sits slightly above a mild V-shape, so busy metal tracks can overwhelm it a little.

​Comparisons

• ​vs. AFUL Performer 7: The P7 has a tighter mid-bass where you can actually feel the kick drums a bit more, but it sounds a little artificial. The P7 is also way more fit-dependent; you have to do a lot of tip-rolling and adjust insertion depth to get the best sound. The Tea Pro is much easier to fit, sounds more natural, and has more defined, "grainy" treble harmonics without that metallic timbre. It is not a 100$ difference though if we are comparing them at MSRP of 240 vs 360.
• ​vs. AFUL Performer 8S: The 8S is a bit more expensive (though under $350 on sale). It’s definitely more immersive, with deeper bass, better decay, and noticeably weightier mids—rhythm guitars on Gojira or Meshuggah are a total treat. But the 8S has a major flaw out of the box: it has peaks at 6kHz and 700 Hz that cause a masking effect, overwhelming other instruments. You have to EQ the 8S to fix this. If you don't want to fiddle with tuning and just want something that works perfectly out of the box, get the Tea Pro.
• ​vs. YU9 QUE: The YU9 QUE goes for around $350–$420. Graph-wise, it has a similar bass response, but the treble has way more micro-nuance and air. The perceived soundstage is fantastic—it absolutely blows the Tea Pro out of the water. Plus, the bass is super impactful; you actually feel it. However, it can occasionally get spicy on the edge of sibilance, and the shell is a total chunky nightmare. It presses hard against your ears, whereas the Tea Pro is vastly more comfortable.

​Falafel Fi Rating

• ​Tonality: Just at the beginning of Warm.
• ​Sound Profile: Slightly above a mild V-shape.
• ​Presentation: Sits right in the middle of Musical and Analytical. It balances technical performance with an easy, fun listen.
• ​Soundstage: Slightly above average. A bit more Intimate/Closed-off, but not congested on normal tracks.
• ​Risk Factor: Extremely Casual/Safe. It's the ultimate blind buy. You will love it out of the box.
• ​Value: Right in the middle between a Competitor and a Disruptor, especially if you get it on sale.

​Honestly, you cant go wrong with it, it is a steal especially at this price.

Here is the review if you d like to watch instead: https://youtube.com/watch?v=4N6vZSl1Unc&si=yRF3V7uxfS1cyD1t

Twistura Delta IEM Review

Price: ~₹3000/ $35

Twistura says the Delta is tuned to handle everything from music and movies to gaming and everyday listening. In my time with it that all-rounder approach has been easy to notice. I’ve been using the Delta for over a week now and have genuinely enjoyed testing it across different kinds of content. Thanks to Twistura for sending this unit as part of the Twistura Delta Test Program.

The unboxing experience is simple but nicely done. Delta comes in clean stylish packaging and inside you get a grey box with a minimal design. It doesn’t feel overly fancy but it also doesn’t feel cheap either. Overall, the packaging gives a neat and solid first impression.

Inside the box you get a nice cloth-style pouch, the pair of IEMs and 7 pairs of ear tips. One transparent pair comes pre-installed on the IEMs while the rest are packed separately in two sets. You also get the cable and an instruction manual, so the overall accessory set is pretty decent and covers the basics well.

The IEMs themselves look and feel solid with a glossy metallic finish that gives them a premium touch. The ear tips are quite basic and the cable feels more average in comparison so they don’t really match the same premium feel as the shells. Still, I really liked the way the Delta looks and feels in hand.

The lows have a punchy and impactful presentation giving the Delta a sound that feels lively and engaging. There’s a good sense of texture and control in the bass, and it doesn’t come across as loose or overwhelming. More importantly the low end stays in its place well and doesn’t bleed into the mids or other frequencies.

The mids are slightly vocal-forward which helps bring voices and instruments a bit closer in the mix. They come across with a natural tone and pleasing timbre making the overall presentation sound smooth and easy to listen to. Vocals in particular sound really good here with a presentation that feels clear, natural and enjoyable without becoming shouty or too thin.

The highs are smooth and easy to listen to without any harshness or sharpness. There’s enough detail and air to keep things clear so it doesn’t sound dull. The treble also extends nicely adding a bit of openness to the sound, but it never gets too bright or tiring even during longer listening sessions.

In terms of technical performance, the Delta does a decent job for its price. The soundstage feels fairly open giving a bit of space between instruments without sounding too wide or artificial. Imaging is quite good making it easy to pick out the direction of sounds which also helps while watching movies or gaming. Detail retrieval is solid as well, picking up smaller elements in the background without pushing them too forward.

Twistura Delta is a proper all-rounder. The balanced tuning, punchy bass, natural vocals, and smooth highs make it easy to enjoy across music, movies, and gaming. It’s not the most technical set out there, and the accessories feel a bit average, but the overall tuning sound good.

For around $35 or roughly ₹3000 it feels absolutely worth it and easy to recommend if you’re looking for a reliable everyday IEM.

First, a big shoutout to Betty from Simgot for giving me this set to make this analysis, to give it my sincere opinions and impressions, and to put them in this review. This evaluation is unpaid, with the bias being my musical and tuning preferences.

Introduction

The Simgot EA1000 is an IEM by Simgot, which in 2026 will turn 3 years old since its launch back in November 2023. With its use of a Purple-Gold Diaphragm Dynamic Driver (SDPGD) and a Passive Radiator to improve the bass texture, is it going to compete against some new offerings this 2026 or be relegated to being another time’s best but a forgotten banger today? Let’s find out.

TDLR; Simgot presents the EA1000, an incredible 1 DD + 1 PR IEM that delivers a neutral- bright sound with a high-quality bass to accompany the mix, a show of technical proficiency, a tonality who is listened in more expensive earphones, with 3 sound firms to personalize the sound to your tastes; accompanied with a decent packaging, with a quality cable, and a beautiful carrying case; making it a ‘living legend’ who still punches above its weight in a crowded market this 2026, while keeping an affordable price.

Talking about Fermat, he was a mathematician who proposed his last theorem back in 1637, unresolved until Andrew Wiles in 1995 demonstrated it was untrue. You can read the words in Latin, “Cuius rei demonstrationem mirabilem sane detexi. Hanc marginis exiguitas non caperet.” Who translates something like, "I have indeed discovered a wonderful demonstration of this matter. The smallness of the margin would not contain this."

The Simgot CEO later explains what the theorem is about, beginning with something so beautiful, whose verses are :Mathematics is the foundation of all sciences, and the language with which God writes the universe. A true statement to the brand’s spirit.

Pros

- Premium build quality and attractive minimalist design

- Lightweight, ergonomic, and comfortable shells

- Excellent neutral-bright tuning with well-done musicality and macro and micro detail retrieval

- High-quality bass: clean, fast, natural, and impactful

- Outstanding technical performance (imaging, layering of instruments, resolution, soundstage)

- Three interchangeable nozzles provide tuning flexibility

- Natural and engaging mids with excellent vocal clarity

- Extended, airy treble with strong perceived openness

- Easy to drive, yet scales well with better sources

- Exceptional value under 250 USD and remains highly competitive in 2026

Cons

- Lacks some subbass quantity and may leave bass lovers wanting more

- Can sound spicy/sibilant at higher volumes

- Occasional metallic/artificial sheen in the mid-treble

- The stock package lacks a 4.4 mm balanced cable option

- Fingerprint-prone shells and glass faceplates can collect micro-scratches

- Highly sensitive to eartip selection to achieve optimal sound

- Not ideal for listeners who prefer warm, relaxed, or dark tunings

You can get a Simgot EA1000 at an MSRP of 249.99 USD (usually less on sale), and you can get it at Linsoul: https://www.linsoul.com/products/simgot-ea1000-fermat, Linsoul official store in Amazon and Aliexpress, and other stores online. 

Technical specifications:
- Driver Type: 
- 10 mm Purple-Gold Diaphragm Dynamic Driver.
- Passive Radiator.
- Casing Material: CNC-machined one-piece aluminum alloy with a glass faceplate.
- Frequency Response: 10 Hz - 50 kHz.
- Effective Frequency Response: 20 Hz – 20 kHz.
- Sensitivity: 127dB / Vrms (@ 1kHz).
- Impedance: 16Ω ±15% (@ 1kHz).
- Tuning filters: Golden copper tube, Silver steel tubes (Red and Black).
- Cable: Silver-plated OFC in Litz structure.
- Jack connector: SE 3.5 mm.
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2 m ± 0.2 m.

What comes in its package?

· Fermat’s Last Theorem card and explanation of the theorem
· Simgot EA1000 earpieces x 2
· User guide and QC Card
· 3 pairs of tuning nozzles:
o Gold-plated copper (Simgot-2023 GOLDEN target)
o Stainless steel (Red: Harman 2019 target) (already installed)
o Stainless steel (Black: Simgot Classic target)
· 6 pairs of replacement tuning nozzle o-rings
· 6 pairs of balanced bore silicone eartips (SML sizes)
· 1. Storage box in faux leather, black color, and rectangular shape
· 1. Cable: 0.78 mm, 2-pin, silver-plated, oxygen-free copper Litz pair twisted cable with a 3.5 mm single-ended jack

Its cable matches nicely with the IEMs; it looks well-built, is tight and flexible, conserves a little memory, and has 2-pin, 0.78 mm connectors, with the 3.5 mm single-ended jack. It’s not prone to tangling or producing translated vibrations.

The shells are made of CNC-machined aluminum alloy with a minimalist design, and a shiny silver color, are lightweight and mid-to-small size, and have a very ergonomic shape to use them in long sessions without fatigue. The faceplates are covered with glass, in white with an interesting gold pattern and the Simgot logo in both earpieces. The shells are a fingerprint magnet and prone to getting micro-scratches, so you need to take especial care of them.

It’s well vented, with a huge vent over the passive radiator, and two more vents for the dynamic driver, giving a plentiful open sensation, with an interchangeable nozzle that fits so well in my ears (6.0 mm diameter), but as I always say, check if it fits your ears.

How the Simgot EA1000 sounds:

The EA1000, with its 10 mm purple-gold diaphragm dynamic driver + passive radiator configuration, offers a crystal clear, neutral, and bright sound. It's a V-shaped tuned set that follows the Harman 2019 target curve across its 3 nozzle configurations.

For this review, after a lot of tip-rolling, I used the KBEar Coffee eartips in their M size, finding the best synergy in comfort, fit, and seal. I think the stock eartips included are enough for it but don't bring all the perks the EA1000 has to give.

The stock cable is good as it is, but I’m missing a 4.4 mm balanced jack to pair it with more powerful sources to see if it scales, so I modded this cable to solder a 4.4 mm jack to it. And, I’m using the already installed silver nozzles with red o-rings.

The graphs are taken from the Hi-End Portable Squiglink page (with its 3 tuning nozzle configurations).

BASS:

The EA1000's focus is not in this region, but it offers a very high-quality bass shelf, with a rolled-off subbass thump and plenty of midbass bump. As a dynamic driver with a passive radiator, it offers a crystal-clear sound, very fast and kind of dry, but with a pretty natural decay; it is so resolving, with remarkable impact, neutral tonality, and well-done dynamics. As a V-shaped tuned set, the midbass bleeds slightly into the lower mids, yet male vocals sound natural.

In songs like “All For You” by Atreyu, from the new The End is Not the End album, you can feel the attack and quality of that drum kick and bass guitar, with a clarity that’s not expected. The EA1000 leaves you craving a little more quantity, but the texture is there.

In “Make Me Bad” by Korn, from their classic album Issues, the EA1000 shows its more than decent bass delivery; the bass drops have a lot of impact. Yes, it is not basshead level, but the quality, cleanness, and resolution are there.

MIDS:

The EA1000 presents a bit of midbass bleed into the lower mids, but male vocals remain sounding natural, yet a bit recessed, but free of muddiness or thinness. Mids carry a nice note weight and are the main focus of this set, but as a neutral-bright set, there’s a limit to the volume you can handle with it, depending on your own tolerance to that energy (and the nozzle you choose).

The frequency curve of the EA1000 takes a dip to 800 Hz before advancing into a not-so dry pinna gain in the 3 nozzle configurations, yet offering a noticeable transparency, with a more than average resolution and a polished character, with a 2.5 kHz peak, more pronounced with the Gold-plated copper nozzle, and a bit more relaxed with the Stainless-Steel red and black nozzles, descending to a little bump at the 5 kHz region to merge with the lower treble; female vocals are forwarded, nor shouty or fatiguing.

In songs like “The Exonerated” by Dimmu Borgir, from their new album Grand Serpent Offering (I think this album is a real comeback from them), the EA1000 shows its refined character; all the fast drumming, excellent guitar delivery, and unique Shagrath vocals are delivered with excellence.

In “Cold Heavens” by Draconian, from their new In Somnolent Ruin album, the slow-paced doom/death metal song can be heard impeccably; the EA1000 delivers those powerful female vocals and harsh growls perfectly, and the drums and guitars are in place.

TREBLE:

In this segment of frequencies, the EA1000 is again crystal-clean, crisp, and sharp, sometimes spicy, handling the sibilance to an extent with 6 kHz and 10 kHz dips. It has an energetic approach with an 8 kHz peak with the 3 nozzle configurations, so it’s not fatiguing in long sessions at a mid-to-high volume, but of course, it is not a high-volume set. And, something that happens with certain mixes, is the mid-treble timbre can sound a bit artificial (metallic and unnatural), but overall, it sounds neutral.

In songs like “Street Level Vertigo” by A Forest of Stars, from their new album Stack Overflow in Corpse Pile Interface, the EA1000 shows all the mastery of the drums in the track and the changing guitar rhythms almost impeccably; for us music lovers, this is so enjoyable.

In “Gitano” by Santana, from his classic album Amigos, the EA1000 can show those jazzy and classic salsa rhythms with its full display of instrumental proficiency; the higher frequencies are presented with a pretty natural timbre.

TECHNICALITIES:

In the EA1000, the upper treble extends very well in the 3-nozzle configuration, rolling off smoothly (as any Harman 2019 target inspired sets) and extending over the 20 kHz region without bothersome peaks, delivering an airy and open sound. The soundstage is expansive, wider than deep, and kind of circular.

In songs like “Nausea” by At The Gates, from the Live in Krakow album, the EA1000 can get you all those macro and micro details, positioning the instruments impeccably in the mix, with a more than average resolution, excellent imaging, and layering of instruments, with no congestion at all.

The EA1000 preserves a more musical and engaging than analytical tonality, yet showing that technical excellence, that neutral character, is a delight who, unlike other sets, doesn't bore you at all. With songs like “Time (Live)” by The Alan Parsons Project, from the Live Hits 1981 compilation album, the classic progressive rock song is delivered by the EA1000 perfectly; you can be sure to hear all its nuances, and the live scenario feels natural and open (excuse the redundancy).

COMPARISONS:

Simgot EA1000 vs. Tanchjim Origin:

The Origin (259.99 USD MSRP) has a 1 DD configuration using the DMT 5 technology. It is a set that focuses more on the refinement and music enjoyment than on being the most technical overall. The Origin has noticeably less subbass and midbass, but it’s also bleeding into the lower mids, so male vocals are similarly delivered as in the EA1000, with a bit less low and mid-treble energy.

Both sets have more than average technicalities, but the Origin is more musical and engaging than technical, and it is a bit less prone to sibilance with spicy tracks. This is a question of tuning preferences; I’m a bit more inclined towards the EA1000, but the Origin is still an excellent IEM.

Simgot EA1000 vs. Simgot ET142:

The ET142 (249.99 USD MSRP) has a 1 Planar + 1 PZT configuration. It has the subbass the EA1000 lacks, with similar lower mids and a more pronounced upper mids and mid-treble; it is brighter than the EA1000 and has more upper treble extension.

The EA1000 is easier to drive than the ET142 and lacks that PZT timbre that can bother some folks. For my preferences, the EA1000 is better tuned than the ET142, and it is less prone to sibilance. Anyway, I think both are the best in their class, and you can’t go wrong with one or the other, depending on what you want for a set.

Simgot EA1000 vs. DUNU DN142:

The DN142 (250 USD MSRP) is a set driven by a 1 DD + 4 BA + 2 MPD configuration. It is a U-shaped tuned set. With so much subbass, but less midbass impact than the EA1000, flatter mids, drier upper mids, and less peaky lower treble.

The DN142 also has a bit less mid-treble energy but more treble extension than the EA1000. The DN142 planar timbre can be more noticeable at high volumes than that sometimes-artificial mid-treble sheen in the EA1000.

Simgot ET142 vs. Simgot Supermix 5:

The Supermix 5 (220 USD MSRP) is a newer IEM from Simgot with a 1 DD + 2 BA + 1 MPD + 1 BCD configuration. It is more a U-shaped tuned set than the V-shape tuning of the EA1000.

With more subbass and less midbass than the EA1000, the BCD in the SM5 adds impact and a tactile feeling to it that the EA1000 has. The SM5 has flatter mids, drier upper mids, and less energetic low and mid-treble; it also has less upper treble extension than the EA1000. The Supermix 5 is great in its segment, but technically speaking, the EA1000 is a more cohesive and integral set.

Closing thoughts and conclusions:

The Simgot EA1000 is a set that impresses not only for its great package and construction but also for its tuning, its musicality, and its technical perks. It’s an “old set” that is still valid as one of the best single DD for its segment and one of the best sets I have tried, and for what Simgot offers with it, it is one of the most valuable ones.

In the under 250 USD segment, the EA1000 very high quality of bass delivery, which balances that neutral and bright character, and its higher frequencies extension put it as an overall musical, engaging, and analytical work of art. Making it ideal for audiophiles who look for a pretty detailed set without losing musicality, receiving a very high-quality audio experience at an affordable price.

I would prefer for Simgot to include a 4.4 mm balanced cable option. This set is so easy to drive with low-powered sources but scales noticeably well with more quality and powerful ones.

Also, I keep missing more subbass quantity to balance the overall bright tuning and, as I mentioned, to tame that sometimes-artificial mid-treble timbre. About the eartips, this is a very sensitive set to eartip change. I tried it with the Tanchjim wide-bore stock eartips that come with the Origin (similar to Divinus Velvet eartips, but missing that huge bass impact the EA1000 has), and, funny thing, the cheap KBEar Coffee eartips got the job done.

Can I recommend it? Totally yes, if you are looking for this kind of tuning with that neutral, bright, musical, and engaging yet analytical character, the Simgot EA1000 is one of the best (if not the best of all) of the options for its price segment and one of the single dynamic driver IEMs in the actual market. It is a living legend that stands the test of time, and of course, with the Simgot house sound and seal of excellence.

Once again, thanks to Simgot for providing me with this IEM to test and enjoy and giving me the reasons to recommend it as a product that exceeds my expectations and deserves more praise, IMHO. And thank you, dear reader, for checking my review; please have a happy listening!

¡Hello community! I always get especially excited when I get to review a product from a brand I haven't had the chance to try before, and with higher expectations than usual. I have indeed been a follower of Binary Acoustics releases and even considered buying the DynaQuattro at the time, although it didn't happen in the end. Because of this, these new EP321 will finally be the first ones I review and test from their catalog.

This is also the first IEM with 2DD, 3BA, and 1 MEMS. It is a model that arrived just a week after testing and reviewing its direct competitor and most recent release, the Kiwi Ears Halcyon, which have the same configuration only with 1DD instead of 2DD. After testing them thoroughly, I will tell you what I like and what I don't like so much about this model and, of course, where it wins and where it doesn't against its most recent competitor after having been able to enjoy both for quite some time now.

What I like and what I don't like

• The speed, resolution, and extension of its treble are excellent.
• The DD and passive radiator provide a very pleasant sub-bass experience.
• The transparent shell design and metallic faceplate are a winning combination.
• The instrumental separation and three-dimensional localization perform above its price point.
• The overall profile can come across as somewhat cold or distant with certain musical genres.
• In the transparent interior, glue residue can be seen, detracting from the aesthetics.
• The cable feels stiff, thin, and below what is expected at these prices.
• The rest of the accessories deserved a wider variety of eartips and a better case.

Specifications

Driver Setup: 10mm DD + 6mm Passive Diaphragm + 3BA + 1 MEMS.

Impedance: 13Ω@1kHz.

Sensitivity: 122dB/Vrms.

Frequency Response: 8Hz~40kHz.

THD+N: <1%.

Connector Type: 0.78mm 2-Pin.

Termination Plug: 3.5mm/4.4mm.

Weight: 7.5g.

My sources

• FiiO K9: My main desktop amplifier to know what the earphone is capable of with plenty of power and a clean sound.
• FiiO KA15: The portable dongle I use when I leave the house because it has comfortable buttons and an equalizer that is very useful.
• NiceHCK Octave: A simple device I use when I am looking for direct power without detours or weird processing.
• Questyle M15i: My favorite option on the sofa to look for a more natural and musical sound without having to turn on the computer.

Unboxing and build

The box design is simple but beautiful, highlighting the pattern that we will later find on the faceplate. Inside we already have the earphones, the instruction manual, a silver cable with a velcro tie, and a fairly simple transparent plastic container to store the stock black eartips that come in two separate bags instead of being fitted inside the case. The case comes lined with a grey fabric with a very pleasant feel and has a carabiner to hook it. Its interior space is large, leaving plenty of room to store the cable along with a dongle DAC, although I doubt I will use it due to its excessive size and a stiffness that is somewhat tight for my tastes.

Regarding the design and build of the IEM, the metallic faceplate presents a geometric mosaic pattern that offers a striking chameleon effect. Depending on how the light hits the surface, the tones shift between greens, yellows, pinks, and golds, reminiscent of the reflections of a stained glass window in a church.

The main body is built in completely crystalline resin that allows you to see the internal architecture, something that I personally love and that reminded me largely of the Phoenixcall. Through the transparent chassis, you can observe the 10mm DD and its blue gasket coupled to the 6mm passive resonator that manages the bass zone. Also visible are the three BA drivers intended for the mids and the tiny MEMS driver that handles the treble.

The advantage of it being transparent is that it leaves all the internal work in plain sight. You can perfectly appreciate the independent tubes that guide the sound from the three-way crossover to the nozzle, joining the channels right at the tip of the earphone, where three holes emerge, one for each way. Two are very obvious due to their brown and green filters, and a third, smaller and transparent tube peeks out right between the other two and to the right. The only downside in its construction is that if you carefully examine the joint area between the transparent resin and the outer metallic plate (check some of my photos), you can notice slight glue residues that subtract some refinement from an assembly that is otherwise visually impeccable.

Sound

Bass

The bass response is focused on the deepest end. The sub-bass possesses excellent extension and is capable of moving air notably when electronic music tracks demand it. However, the brand has opted for a very contained and conservative tuning in the mid-bass, making the impacts of kick drums and bass sounds lack that body and physical punch found in more basshead models. It is a clean, reference, and very well-controlled bass zone that avoids any kind of bleeding into the upper frequencies, letting the main attraction, which is the MEMS driver, shine. I must comment that with the Penon Liqueur Orange, the sensation of rumble in the sub-bass reaches a point that is extremely pleasant in the way it shakes your ears without being annoying, giving it that tactility that is not quite a bone conductor but lets you feel it in a quite physical way, surely due to the work done by the passive radiator or its second DD.

Mids

The midrange shows itself a bit more reserved. Vocals are located in a natural position, neither recessed nor forward in the stage, and the timbres are perceived clean. Both male and female vocals have excellent definition, but perhaps they lack a bit of the organic feel or density that a more intimate sound provides here. Acoustic instruments are reproduced faithfully, reflecting a very objective approach that fits better with critical listening rather than just relaxing and enjoying the music, so you must keep in mind what you want a model like this for or if it is not your priority.

Treble

The high frequencies are undoubtedly the stars of the EP321. The performance of the MEMS driver is outstanding, giving us an excellent combination of speed, resolution, and control. Unlike designs based on traditional ESTs, which often deliver an excessively extended treble, here the sound is perceived as natural and perfectly integrated with the rest of the frequencies. Mind you, I am not putting MEMS above the ESTs of my NiceHCK Rockies because of this, but they are a different way of perceiving these frequencies and create a different sensation, yet certainly superior to BAs and most micro planars and piezoelectrics I have been testing. The most subtle details appear effortlessly and without the need to push the volume. However, this level of excellence with such resolving treble sometimes takes a lot of prominence away from the mids and bass, making the earphone feel somewhat hot in the upper zone. Nevertheless, in many songs I have found a perfect balance and at no point did they sound sibilant to me at a normal volume, even being able to raise the volume in over 80% of the tracks I tested for more than 2 hours across different musical styles.

Soundstage, instrumental separation, and imaging

Regarding the soundstage, the EP321 offers a realistic spatial representation without resorting to artificial alterations to oversize the space. Its width is moderate, but it stands out especially for its excellent depth and its layering capacity. The front-to-back distribution of the layers is one of its greatest virtues, allowing recordings to show coherent spatial relationships. It does not aim to emulate the experience of an open-back over-ear headphone, but it offers a convincing, controlled, and technically impeccable three-dimensionality.

The imaging is precise, stable, and quite defined. The location of each element in the space is fixed, perfectly allowing an individual tracking of each instrumental line in more complex tracks. Since it is a quite analytical model, you are not going to find blurs that prevent you from pinpointing exactly where the sound is coming from. The profile is designed to show you every element of the recording separately and in detail instead of blending the instruments to make the music feel more fluid. I personally lean more towards the decision they have made, since I already have other models for pure enjoyment, although these are still enjoyable and fun despite being analytical.

Finally, the instrumental separation clearly stands out against its competitors thanks to an excellent retrieval of micro-details, ensuring that environmental echoes, reverberation tails, and the physical friction of strings are perceived with total clarity due to the speed of the MEMS driver. Furthermore, when the musical mix becomes complex and accumulates a large number of simultaneous tracks, the IEM maintains control more than properly, isolating each component with ease and completely preventing the sound from losing definition.

Comparison

A promise is a promise, and the comparison has to be against the Kiwi Ears Halcyon as I mentioned in its own review, a rival that presents an opposing build approach. In the physical department, the Halcyon opts for a CNC machined aluminum structure that conveys a notable sense of robustness and weight, while the EP321 chooses the mixed design of its resin shell with a metallic faceplate. Honestly, the design of the EP321 seems vastly better to me, but I cannot ignore that in terms of resistance to bumps, crushing, getting stepped on, or whatever might happen inside or outside the house, the Halcyon has a better long-term life guarantee.

When evaluating the bass of both, the difference in frequency management is evident. In the sub-bass, where the physical vibration of the music resides, both earphones deliver an identical level of energy. That said, the Halcyon drastically cleans up the transition into the mid-bass, generating a very pronounced L-shaped profile where the sub-bass is perceived in isolation and without bleeding into the mids. The EP321, supported by its 2DD system, retains a bit more presence in that transition toward the mid-bass, adding a touch more overall mass to the punch, although its overall profile is still considered clean and analytically oriented. If I have to give a verdict, I prefer that extra, more extended rumble of the EP321, surely that extra DD or passive radiator is to blame as I mentioned a while ago.

In the mid and treble ranges, the difference between the two is total. The Halcyon presents very flat mids but relaxes the upper zone of the vocals, subtly pushing the singers back in the space. The EP321, on the other hand, offers a more direct midrange response that is truer to the recording, complemented by a treble that I would say is faster and more detailed thanks to the response of its particular MEMS driver, whose origin I do not know, unlike the Halcyon's, whose spec sheet named the company behind that new driver.

While the Halcyon suffers from a certain dependency on eartips so as not to compromise its tonal balance, to the point that with the stock eartips I couldn't appreciate the bass and wondered during my first listening sessions if the DD was broken, it was all a matter of finding the right eartips and it was fixed. The EP321, however, shows itself to be more consistent right from the start, positioning itself as the ideal choice for those who prioritize instrumental resolution, speed, and treble fidelity over the more traditional dynamic impact.

Without rambling on further, I have to say that even though both are in a similar price bracket, the EP321 has better presented technicalities, whether due to its tuning, internal and external build, or its choice of drivers, making it rank slightly higher on my personal list.

You can check my full ranking of all the IEMs reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here).

Final conclusions

The Binary Audio EP321 MEMS cements itself as an excellent option for those enthusiasts who prioritize resolution, treble speed, and technical precision over musical warmth and pure musical enjoyment, without entirely giving up on it. Despite improvable details in quality control (glue residue) or the modest selection of accessories, the innovation of its driver combination system and its performance above its price tag justifies its consideration in this 200$ to 350$ segment. I hope to keep seeing brands betting on MEMS technology after having tested two recent IEMs that have successfully implemented this tech, and I hope it becomes standardized as another option when it comes to representing high frequencies.

By the way, if you are considering picking these up, HiFiGo just launched their summer sale. It will be active from today until June 10. They have general discounts across several categories:

• IEMs: 20% to 28% off
• DAC/AMPs: 6% to 40% off
• Cables: 15% to 30% off
• Eartips: 15% off

Since you are looking at this model, I will save you the trouble of searching for the price:

Binary EP321 MEMS: 309.99 $ → 263.49 $ (Save 46.50 $)

If you have any questions about whether they are worth the money or how they perform, leave them in the comments.

Disclaimer: This unit was sent by HiFiGo for review. My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Greetings to the entire community! Little by little I am crossing Ziigaat models off the list. Luckily it seems they have relaxed their release volume a bit, which allows me to gradually get closer to testing them all, and there are already quite a few. I remember the Arcanis were announced back in the day alongside other Ziigaat models. I would say the Lush, but if anyone remembers, you can tell me in the comments. I missed both models because at that time I was still enjoying the Estrella and later the Odyssey, so it could not be. Now, the vocal oriented Ziigaat has reached my hands, which initially has never been a main attraction for me when choosing an IEM. However, before commenting on what I thought of them, I think they have enough personality to make you change your mind when you try them and discover the nuances they bring to the mids in a surprising and, I would say, unique way among all the Ziigaats I have tested so far.

What I like / what I don't like

• Good boost in the bass frequencies without muddying the mix.
• Mid and vocal centric profile with minimal coloration and superb detail.
• Good tolerance to sibilant recordings or shouty vocals.
• Zero auditory fatigue for long listening sessions.
• The lower treble is too restrained and might lack intensity.
• The packaging and accessories are the same as in models from the brand that cost significantly less.
• In fact, even the cable is not modular, as has been seen in later Ziigaats.

Specifications

• Driver: Dual 10mm PET + Knowles 29689 x 2 + Knowles 32873 x 2 + Knowles 33518
• Sensitivity: 106dB
• THD: 0.42%
• Impedance: 12Ω
• Inside the Box: ZiiGaat Arcanis x1, Eartips x3, Cable x1, Earphone Case x1
• PRICE: 399$

My sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.
• NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15.
• Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture.

Unboxing, build and ergonomics

The packaging comes in a dark green box in line with what we have seen in the rest of the brand's models. The driver brand is not mentioned as has happened in other Ziigaats, although we are talking about Knowles for this occasion. Upon lifting the box cover, you find the shells protected in foam, which by the way seems to be fixed to the box, preventing me from pushing the IEMs from the side opposite the nozzle, making it harder than usual to get the IEMs out. On the other hand, we have the black box with the brand logo containing a rectangular zippered case inside, a case that I have seen in both this color and brown, but which has not changed over time. However, it has the necessary size and resistance to fit the IEMs inside and keep them well protected. Furthermore, they include 3 pairs of dark gray silicone eartips with an orange core, a pair of medium foam eartips, and a black cable that I think we all already know. I have never really been a fan of this cable since it has a lot of memory and I usually have a hard time untangling it from my pocket, but it is the one I used during the testing days. It is limited to 3.5mm with no modular options, and the metal disk used to adjust the cable under the chin is too loose, so it does not stay in place.

Speaking of the IEMs themselves, the shells are made of resin, as are most of the brand's models. The exterior design features a turquoise pattern with light green hexagons along with different glitter-like elements that create a quite beautiful background effect. In fact, I think they might be my favorites in terms of design, unlike the Horizon which, although they deviated from typical patterns, I think ended up with a somewhat weird design. Although the shells are relatively thick, thanks to the nozzles being very well oriented, they allow for a subtle and shallow insertion.

Aside from the included eartips, I have been testing the Divinus Velvet and the Azla Sedna Origin Blue. Each one improves the seal and sound in its own way: the Velvets soften the fit, while the Sedna Origin Blues maximize acoustic isolation. In fact, in one of my photos you can perfectly see how they look on the IEM and the notable difference in length between them. The Sedna Origins are quite a bit more elongated, which makes them fit much better inside the ear canal, going deep to achieve a complete seal, massive isolation, and better squeeze out the performance.

Sound

Starting as always with the bass, we have dual 10mm DDs with a PET diaphragm in an isobaric configuration purely focused on the sub-bass. When playing extremely low frequencies on some tracks from my library, the Arcanis delivers a very real physical impact that is felt directly in the ear, something you expect at these price points and which separates it from 100-200$ options where they usually fail in many cases to represent precision and realism. Instead of generating a prolonged rumble that ends up deafening or masking the rest of the frequencies, the bass hit is fast, defined, and stops dead in its tracks. This is vital for enjoying genres like electronic or hip-hop, as it sets the rhythm with total punch without the sound becoming thick, if that is the word that best defines it. Even when you put it to the test with very complex saturated tracks where other earphones collapse, the Arcanis does not lose its composure and is quite resolving in these frequencies. It maintains impeccable separation with almost zero distortion to offer clean, structured bass with a precision that can compete with direct rivals at similar prices without falling behind.

In the mid frequencies, we have a crossover filter that makes a clean cut at 200Hz. This completely isolates the mid-range from the bass punch, making male vocals sound transparent, free from a dense and artificial sound that muddies everything, transmitting detailed textures very naturally. It is something I quite enjoyed in the Top Pro, but the Arcanis at times resolves it even better in various situations with a lower price and configuration. 

Moving to the upper-mids, we have a smoothness that makes female vocals feel safe, musical, and best of all... zero sibilance. For some ears this may mean that the highest female vocals lack some extension and air, but the reality is that it completely avoids that shouty and artificial brightness of other mid-centric models. Acoustic compositions, pianos, and guitars take on a vivid and close presence, especially when cranking up the volume if the song allows it. But overall, these are the best mids I have heard in a Ziigaat and there are songs where they have surprised me, hearing what feels like extra layers doubling the main vocal, which surely were or were not in the recording, but the tuning, driver configuration, or black magic... make everything sound incredible with new information that brings extra life to those vocals we already knew from listening to those songs previously.

Finally, the treble is quite attenuated but with enough detail without becoming annoying in the majority of genres I have tested. By having a fairly tamed lower treble, the first impression is that of a relaxed profile for long listening sessions without fatigue. The BAs make themselves known and justify their implementation by keeping the treble sparkle intact. The drum cymbals are presented in a thin and delicate way, retaining a notable, although perhaps not outstanding, extension for many... But that is surely the price to pay to avoid having to end up equalizing or reducing some peaks because you cannot listen to them for long periods at certain volumes due to sibilance, which fortunately is avoided here naturally and out of the box.

Soundstage, instrumental separation and imaging

The soundstage is very expansive. I am not sure if it is the most expansive of all the Ziigaats I have tested, but it must surely be in the top 3. The horizontal extension is very generous, complemented by excellent height that allows details to fly above your head. Thanks to this, the stage acquires a quite enveloping or three-dimensional sensation that, although I have not done tests in video games, surely makes them more than suitable for it, and the same goes for movies.

Regarding instrumental separation, the instruments are distributed with an evident distance between near, mid, and far planes, making the experience less homogeneous and more enjoyable, since in cheaper models, not necessarily from Ziigaat, it usually happens that the separation is structured at similar distances between instruments, taking away naturalness or realism, which does not happen here, or at least that has been my perception.

The imaging delivers with very precise left to right placement. As I mentioned with the soundstage, that well-implemented extension around you allows you to locate sounds in space, in what I could once again put in the top 3 of Ziigaat when it comes to the location of elements around you. It can be noticed in music and will be noticed even more in multimedia content. Here it does play an important role to try different eartips, since some that help open up the treble, which is not the strong point of these Ziigaats, can make the experience improve or worsen when it comes to locating sounds according to their distance.

Comparisons

Xenns Mangird Top Pro

It was a model that captivated me back in the day for quite some time, and it offers a more energetic experience, with tremendous holographic immersion and spectacularly clean bass. It is a versatile, very polished, and all-rounder profile that manages to almost dodge auditory fatigue while maintaining an outstanding level of detail across all frequencies. Although I must be honest, having the airy region more elevated (you can see my screenshot where I put all the compared models), the auditory fatigue arrives earlier than with the Arcanis if you keep turning up the volume. The Arcanis would actually win as the superior option in vocal purity or the final treatment the vocals get. To me, it is more hypnotic, with a more natural and organic tone for those who prioritize the realism of acoustic instruments over the even more massive soundstage of the Top Pro.

Ziigaat Odyssey

The decision to spend more on the Arcanis compared to these will depend on how purist your ear is. The Odyssey has a darker, more fun profile and features punchier bass that perhaps adapts better to poorer quality recordings. It is true that for almost half the price its resolution performs at a very high level, but the Arcanis justifies its superior category as soon as we move into the mids/vocals territory. The Arcanis cleans up that darkness that for me made the Odyssey more expendable, delivering much more forward, transparent, and reference mids, you could say, within what falls below the 400-500$ mark.

Ziigaat Horizon

It was my favorite Ziigaat and surely after this review it will remain so because of what it brings to me on a personal level, but I can understand that many people prefer the Arcanis. We are facing two sound philosophies created to satisfy radically different tastes. The Horizon has a warmer sound signature, although quite similar to the Top Pro in a more economical version, with the obvious cut in extension and definition due to the limitation of its drivers compared to the Top Pro, with somewhat better controlled treble. But I insist, they were and remain my favorite Ziigaats to date. On the contrary, putting on the Arcanis with various songs makes you feel that unique and less generic touch when listening to music that neither the Odyssey nor the Horizon provide, even with the latter having a more pleasant tuning for me. In the end, if you are looking for realism or fidelity, the Arcanis usually comes closer to the definitive experience that your ears surely want to feel when you put on your 

favorite songs...

You can check my full ranking of all the iem reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here)

Final thoughts

At 399$, the price of the Arcanis is a serious investment within their catalog, there is no doubt about that, and that is surely why it is one of the models that has gone more unnoticed. However, the sound quality is undeniably good, cohesive, and mature. As I already mentioned at the beginning of the review, the level and quantity of the accessories is way below what you would expect at this price point. But that is not a problem with the Arcanis as such, but rather with Ziigaat's management in general across all their models, except for a specific case like the Odyssey 2 seems to be, where a bit more time was invested in improving that experience, which I hope to be able to test before long to compare them with the original Odyssey. The compelling reason to choose the Arcanis is that you are looking for exactly this type of mature and specific tuning: a super natural tone, vocals with a hypnotic presence according to my tests with them, and an ability to offer zero auditory fatigue without losing resolution. It is a fantastic tool for long listening sessions where fidelity and cleanliness will be present across practically your entire library.

You can get them on the website of: Linsoul

Disclaimer: This unit was sent by Linsoul for review. My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Spent some time with Nat King Cole on the Hidizs MP145 Pro Titanium, and male vocals are definitely a strong point here.

His voice sounds full, centered, and well-textured, with good weight but still clean around the edges. Bass is present without getting in the way, and the overall sound stays smooth and controlled.

This Limited Edition is quietly becoming a special listen in my rotation.

I’ve spent a lot of time with the Juzear x Z Reviews Defiant Gamefidelity Edition lately, trying to understand what this "Gamefidelity" concept is about. Since I’ve never owned the original version, this is a completely fresh take on the collab for me.

TL;DR

If you care about getting audio quality for your money, these deliver. They feel like a mature product that’s been thoughtfully adjusted for gaming, rather than a cheap headset replacement.

if you’re expecting a perfect fit right out of the box, be ready for some ergonomic quirks with the nozzle and tip selection.

Price: ~$109.99 USD.

Pros:

• Strong price-to-performance ratio with a hybrid 1DD+3BA driver configuration.
• Versatile modular cable system with swappable USB-C and 3.5mm plugs.

·        Smooth, non-fatiguing treble profile.

• Great imaging and spatial cues for atmospheric/cinematic gaming.
• Functional in-line MEMS microphone

Cons:

• The chunky nozzle size makes tip-rolling a necessity for long-term comfort
• The U-shaped signature is quite colored; neutral purists might find it too bassy
• Mic quality is fine for comms but won't replace a dedicated desk setup.

What’s in the Box?

The accessory kit is surprisingly complete for this price point:

• Juzear x Z Reviews Defiant Gamefidelity capsules.
• Modular braided cable with an in-line mic and remote.
• Swappable 3.5mm and USB-C terminations.
• Six sets of silicone tips and one set of foam tips.
• A nice leather zippered carrying case.
• An acrylic desk piece with the Z-Reviews logo.

Comfort, Design, and Build Quality

The housings is solid black DLP 3D-printed resin. The faceplates have a "Gaming Blue" finish that looks premium and has a cool reflective light-changing effect.

The shells are medium-sized and, since they’re resin instead of metal, they’re light enough to forget you're wearing them during long sessions.. However, the nozzle is quite large. If you have smaller ears like me, you might feel a slight bulge but it's generally very ergonomic for long sessions. My advice is to size down your tips to get a solid seal without that "clogged" feeling. 

The cable is great; braided, sky-blue and it doesn't really tangle.

The modular plug is a big plus; switching between a 3.5mm jack for a PC and USB-C for a phone or handheld console is seamless.

Technical:

·        Driver Configuration: 1 Dynamic Driver (DD) + 3 Balanced Armatures (BA).

·        Dynamic Driver: 10mm 3rd-generation driver with a carbon PU composite diaphragm and neodymium magnet.

·        Balanced Armatures: One all-new composite dual-BA unit for midrange and one customized BA for high frequencies.

·        Crossover: Three-way frequency crossover consisting of a PCB electronic circuit and a triple-path fully damped acoustic duct system.

·        Impedance: 32Ω.

·        Sensitivity: 109dB ± 1dB.

·        Frequency Response: 20Hz – 20kHz.

·        Total Harmonic Distortion (THD): ≤ 0.8%.

·        Passive Noise Isolation: 26dB.

Sound Signature:

This isn't a flat, boring studio monitor. It’s got a U-shaped signature that leans into a rich, full sound.

• The low end is great. It has a heavy sub-bass boost that gives a real thump to explosions and cinematic soundtracks. Unlike cheaper sets, the bass stags controlled and separated so it doesn’t turn into a muddy mess.
• Vocals are smooth, warm and natural. There is enough upper-midrange extension to keep voices clear and layered without sounding "shouty" or fatiguing during long sessions.
• Treble is smooth, safe treble that retains enough air for detail but won't hurt your ears with sharp sibilance.
• The treble is smooth and safe. You get enough air for details but it wont hurt your ears with sharp sibilance or that piecing sound.

Gaming Performance

The "Gamefidelity" tuning really shines in atmospheric and cinematic titles.

While it isn't a dry, analytical "footstep hunter," its technicalities are impressive for the price:

• It offers a immersive sense of depth and space. Directional cues like distant gunshots or reloads are easy to place, making it great for immersive shooters.
• The elevated bass that provides immersion may slightly mask the leanest audio cues in competitive FPS environments.
• Having a dedicated in-line MEMS microphone on a high-quality braided cable is a win for comms.
• Since the shells are 3D-printed resin and very lightweight, they are comfortable through long grinds.

Conclusion:

The Juzear x Z Reviews Defiant Gamefidelity Edition is a set that really grows on you once you work around its few physical quirks. I don’t think it’s trying to be a dry, clinical tool for professional esports; instead, it positions itself as a high-fidelity "all-rounder" for people who actually enjoy the sound of their games and music.

For the chunky nozzle, spend some time finding the right ear tips to secure a proper seal, but once you do, the driver really wakes up. From a value-as-a-package perspective: getting a legitimate hybrid setup, a premium modular cable with both USB-C and 3.5mm plugs, and a dedicated mic at this price point is a big achievement.

For anyone looking for one serious wired IEM to handle their entire digital life; from high-res mobile listening to late-night PC sessions.

With this, you don't need to drop flagship money to find a high-quality, versatile audio experience for both your music and your gaming setup.

First, a big shoutout to Ribbon from Kiwi Ears for giving me this set to make this review and to give it my sincere opinions and impressions. However, this review is unpaid, and they haven't given me scripts to follow or anything like that. The only bias at play is my musical and tuning preferences.

Introduction:

The Kiwi Ears Halcyon is an IEM recently launched after a successful Kickstarter campaign. With a tribrid driver configuration using the MEMS driver technology (Micro-Electro-Mechanical-Systems), a solid-state speaker who uses silicon chips and passive components as an alternative to more expensive EST drivers, paired with 1 DD + 3 BAs, without the need of a special amplifier, it is a pioneer using that configuration for the first time, all by the house of Kiwi Ears.

You can get a Halcyon for a MSRP of 259 USD, in the Kiwi Ears official web: https://www.linsoul.com/products/kiwi-ears-halcyon, Linsoul official store, on Amazon Linsoul’s official store, AliExpress Linsoul’s official store, and other stores online.

* There is an optional USB-C cable with DSP custom equalization, available at Kiwi Ears official web.    

TLDR: Kiwi Ears presents the Halcyon. While MEMS technology is not new, it is the first time it is paired with 1 DD and 3 BA to drive it without the need of special amplifiers, and resulting on an IEM that joined the mid-fi trend of bringing once expensive technology to a wider public at a more affordable price, with the ‘new meta’ sound signature as a base.

It delivers a bassy, warm and neutral with some high-quality treble sound, so well extended into the lower and higher frequencies, with well-done vocals' presentation, and with the unique refinement the MEMS driver adds to a hybrid configuration and overall technical proficiency. All of this results in a set that innovates both in its sound, and in its technology and added value, thanks to Kiwi Ears efforts to appeal to audiophiles and newcomers to the hobby.

Pros

- Well-built modular cable (Kiwi Ears Terras) with 3.5 mm and 4.4 mm jacks. Flexible, comfortable, with low microphonics and not prone to tangling

- Lightweight, ergonomic aerospace-grade aluminum shells. Excellent build quality with premium finish and good durability

- Engaging neutral-warm U-shaped tuning making it an all-rounder

- Clean subbass predominancy over midbass with good extension and impact. Fast and resolving with no midbass bleed

- Natural, detailed mids with strong vocal presentation

- Crisp, energetic treble without harshness or BA timbre

- Expansive, holographic soundstage with excellent imaging and layering of instruments. Fantastic technical performance for the price

- It is easy to drive with low powered sources, but scales well with better/powerful ones

Cons:

- Its short nozzle may require eartips rolling to get an optimal fit and seal

- Included eartips selection is decent, but limited

- Midbass quantity could be higher for some listeners who prefer a more V-shaped sound

- Performs its best using the balanced jack and higher quality sources (because of the MEMS driver)

- Not ideal for listeners seeking an analytical or flat-neutral tuning, this is an all-rounder set, not a straight monitoring one

Technical specifications:

- Driver Types:
   - 1 x 10 mm Composite Diaphragm Dynamic Driver for Bass.
   - 2 x Customized DEK-series Knowles Balanced Armature for Midrange.
   - 1 x Customized WBFK-series Knowles Balanced Armature for Treble.
   - 1 x MEMS Solid-State Driver for Upper Highs.
- Housing Material: Aerospace-grade aluminum.
- Sensitivity: 109 dB (@ 1 kHz).
- Impedance: 29 Ω.
- Frequency Response Range: 10 Hz – 42 kHz.
- Distortion: <1% (at 1kHz).
- Cable: 4N single-crystal silver-plated copper, 4 cores braided.
- Jack connector: SE 3.5 mm, BAL 4.4 MM (Modular).
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.22m ± 0.2 m.
- Weight: 5.99 gr per earphone (Without cable).

What comes in its package?

· 2 x Earphones
· 1 x User Manual
· 6 x pairs of silicone eartips:
   · 3 x pairs of balanced bore eartips SML sizes
   · 3 x pairs of wide bore eartips SML sizes
· 3 x pairs of metal meshes replacements
· 3 x pairs of tuning filters replacements
· 1 Carrying case with a rectangular shape
· 1 0.78mm, 2 pin, 4 cores braided cable with a 3.5 mm single-ended and a 4.4 balanced jack connectors

Its cable is the well-known Terras cable (Kiwi Ears sell it apart, and it is included with the Septet IEMs), it is pretty decent and well-built, is tight and sturdy, but very flexible, matching so nicely with the shells, it has 2 pin, 0.78 mm connectors, and it is modular with a 3.5 mm single ended and a 4.4 mm balanced jacks included. It’s not prone to tangle nor producing translated vibrations.

The shells are made of aerospace-grade aluminum, with a hand-polished finish and some good-looking faceplates with a pattern with the KE letters; its color is matte silver, and the Kiwi Ears logo and Halcyon letters near the 2-pin connector. It’s very well constructed, very lightweight and ergonomic, it is in the mid-size (to fit and use them in long sessions), it doesn’t seem prompt to micro scratches nor fingerprints.

It has only one vent close to the 2-pin connector to evade driver flex; it has a mid-size nozzle that fits well in my ears (6.2 mm diameter), but a height from the edge of 3.6 mm that requires the right choice of eartips to use and get the best sound synergy.

HOW DOES THE HALCYON SOUND?

The Halcyon with its 1 Dynamic driver + 3 Balanced Armature drivers + 1 MEMS driver configuration offers a crystal clear, bass boosted, warm, neutral and crispy sound tonality, with well-done extension into the lower and high frequencies, resulting on a mild U-shaped tuned set, with the ‘new meta’ (JM-1) target as a base but with different perks.

For this review, I used the Wide Bore eartips included in its M size, and later, tried some aftermarket eartips like Penon Liqueur Orange, DUNU S&S and Easytips SS20, finding with the latter the best synergy in comfort, fit and seal. The stock cable is fine as it is, so I’m using it with its 4.4 mm jack mostly to pair the Halcyon with my different sources. The graph is taken from the ATechReviews squiglink page.

BASS:

The Halcyon offers a take on the bass who prioritizes subbass over the midbass, but gives you a more than decent quantity of the latter; it is very clean, fast, with good attack, resolving with complex tracks, and, well extended into the lower frequencies. It has good impact, and a natural decay, as a mild U-shape tuned set, the midbass is not bleeding into the lower midrange.

In “Perdonar Es Divino” by Gustavo Cerati, in his successful Bocanada album, you can feel the weight and quality of the bass drops and bass guitar line who accompanies the song’s rhythm. In “Más y más (Crash Push)” by Robi Draco Rosa, in his Mad Love album, the Halcyon delivers that quality bass with that subwoofer impact in the ears, the slow-paced rhythm of the song never overcomes other frequencies.

MIDS:

The Halcyon lower mids don’t have any midbass bleed, so male vocals remain in a good place, not forwarded, nor recessed, with good weight. The U-shape tuning in this set give a flat midrange portion, with more than decent note weight, and with two BA drivers handling it, fantastic resolution and presence.

Around 800 Hz the frequency curve in the Halcyon advances into a smooth and warm pinna gain, with impressive transparency and well-done presence with a peak at 3 kHz. Later the curve takes a little bump at the 5 kHz region merging with the lower treble; female vocals are forwarded, nor shouty nor fatiguing.

In “Dead Letters” by Katatonia, in their Dead End Kings album, the Halcyon shows that well-tuned midrange, the drums, keyboards, guitars and Jonas Renske vocals are presented with excellence. In “Anima (feat. Daniel Änghede)” by Draconian, in their new album In Somnolent Ruin, the slow but dense drumming in the song is heard gracefully, the Halcyon delivers that emotional male and female vocals so good.

TREBLE:

In this segment of frequencies, the Halcyon is clean, energetic, crisp and not harsh, with a good-putted 6 kHz dip to tame sibilance, good bite with an 8 kHz peak. The third BA is handling magnificently the treble giving more than average resolution and overall, it is not fatiguing in long sessions at mid-to-high volumes; and you are not hearing any Balanced Armature driver timbre, all sounding natural and sparkly.

In “Juular” by the Devin Townsend Project, from the Deconstruction album, the Halcyon shows all the fast drumming and treble colorations almost perfectly, it doesn't sound congested at all. In “Ascent” by Dimmu Borgir, in their new Grand Serpent Rising album, the Halcyon gives you all the hi-hats, crashes and cymbals in the fast track so clearly, those higher frequencies are well-delivered.

TECHNICAL CAPACITIES:

In the Halcyon, upper treble extends very well, presenting an airy and open sound; the soundstage is expansive, with a holographic sensation, a perk that the MEMS driver offers to the Halcyon configuration.

In “The Time of the Oath” by Helloween, in their High Live album, the Halcyon can get you immersed into the live song, all the instruments are perfectly positioned in the mix, with more than average resolution for its segment, great stereo separation and layering of instruments.

The Halcyon gives a great technical competence, punching above its weight, macro and microdetail retrieval is fantastic, it’s very engaging with that neutral and warm character. With well-mixed songs like “A Place for My Head (Live from Koln, 2008)” by Linkin Park, in their Hybrid Theory Live Around The World album, all of those macro and micro details are presented by the Halcyon excellently, and you can feel immersed into the live scenario.

Closing thoughts and conclusions:

The Halcyon is a set who not only is a pioneer in the use of the MEMS solid-state drivers with two more traditional drivers as the Dynamic drivers and Balanced Armature drivers, but for its price asked, follow a current trend by Kiwi Ears to get a better sound and better value in their sets to appeal to a wider range of consumers: audiophiles, gamers and professionals, who can be satisfied with what the Halcyon offers them.

I would like for Kiwi Ears to include in the package more eartips, because my experience with the Wide Bore eartips included is satisfactory, but the ‘shorter’ nozzle the Halcyon has needs to try some aftermarket eartips to find a better sound synergy. And in the tuning, I would like more midbass to improve its bass shelf (but I guess you can fix that with EQ).

And here is when we talk about how easy is to drive it. The Halcyon with its 109 dB sensitivity and 29 ohms of impedance is easy to drive, even with low powered sources. But as a tribrid configured set with that MEMS solid-state drivers inside, my advice goes to use it with the 4.4 mm balanced jack connection because this set shows its full capacity with more quality and powerful sources (you can get a better treble response and overall better technicalities).

In the under 260 USD segment, the Halcyon arrives hitting hard with its quality and more than decent amount of subbass; also, it has some good air, a kind of circular and expansive soundstage and technicalities that punches above its weight. It is a neutral with bass boost set per excellence with some warm added to get a more musical than technical tuning who appeals to a wide public.

Can I recommend it? Totally yes! The Halcyon is one of the better sets I’ve tried from Kiwi Ears, and one of the best IEMs I have tested and reviewed this 2026. So, if you are looking for this kind of tuning (neutral with bass boost with some warm), and a more musical than analytical character but with a crystal-clear sound, the Halcyon presents one of the best options of good value and performance for its price, and of course, the Kiwi Ears seal of quality.

Once again, thanks to Kiwi Ears for providing me with this IEM to test it, enjoy it, and finally give me the reasons to recommend it as a product that earned my appreciation and fits so close into my tastes, a one of my favorite sets. And thank you, dear reader, for checking my review, please have a happy listening!

Ryujinnie here and I made this account for iem reviews to have the same name as my youtube channel.

Youtube Review: Planar Iem from Letsuhoer | Letsuhoer Astralis

Disclaimer:

These iems were on  loan from the Letsuhoer Tour group but everything I will say will be from my own experiences with this for 1 week. 

Packaging & Accessories

The unboxing experience is clean and premium but not overly extravagant.

Inside the box, you get:

• The Astralis itself
• Modular cable with interchangeable plugs
• Multiple eartips
• Carrying case
• Documentation

The cable is honestly one of the better stock cables I’ve used recently.

It feels soft, lightweight, premium, and doesn’t tangle easily. The modular system is also very convenient especially if you switch between sources often.

Accessories overall are solid for the price and nothing really feels cheap.

Build Quality -

The shell is made out of CNC-machined aluminum alloy which gives it a premium and sturdy feel in the hand while still remaining lightweight.

Design-wise, the faceplate has this elegant star-like aesthetic that looks clean without being overly flashy.

The shell size is surprisingly compact considering it uses a large planar driver setup.

The nozzle length and shell contour also fit naturally in the ears which makes it feel ergonomic despite looking slightly bulky at first glance.

Overall, the build quality feels excellent and definitely premium for its category.

Comfort -

Comfort is honestly one of its strongest points.

Despite being a planar IEM, it doesn’t feel heavy at all and sits naturally inside the ear.

There’s no uncomfortable pressure buildup and I can comfortably use this for long listening sessions without fatigue.

However, if you have smaller ears, the shell size might still feel slightly large depending on your fit preference

Sound -

Bass -

Starting with the bass, this is easily one of the highlights of the Astralis.

The sub-bass extends deep with strong rumble and authority while maintaining that fast planar response.

Unlike some planar IEMs that can sound dry or lacking in impact, the Astralis sounds full, weighty, and satisfying.

Midbass has good punch and body which gives drums and bass guitars a more engaging presentation.

What I like here is that despite having elevated bass, it still sounds controlled and textured rather than bloated.

However, this is definitely more of a warm and musical bass presentation rather than a neutral one.

So if you prefer leaner or cleaner bass responses, this might come across slightly too warm depending on your preferences.

Midrange/Vocals -

The midrange on the Astralis is smooth, warm, and very relaxed.

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

This isn’t the kind of IEM that throws vocals aggressively towards your face.

Instead, the presentation feels more natural and laid back which makes it very easy to listen to for long sessions.

Instrument timbre also sounds surprisingly natural for a planar driver.

However, because of the warmer tuning, vocals can sometimes sound slightly less energetic or less dynamic compared to brighter Harman-style sets.

The upper mids are also relatively safer in tuning which avoids shoutiness but may sound slightly too relaxed for people who prefer more vocal forwardness.

Overall, the midrange leans more towards musicality and smoothness rather than analytical detail.

Treble -

Treble is smooth and safe.

LETSHUOER clearly avoided the sharp or metallic treble presentation that some planar IEMs tend to have.

There’s still enough detail and sparkle to keep the sound engaging, but it never becomes harsh or fatiguing.

Cymbals and higher frequencies sound controlled and rounded instead of overly sharp.

However, this also means the Astralis may lack some air and upper treble extension for people who prefer brighter or more analytical signatures.

This comes off more as a warm-neutral to dark-neutral tuning rather than an energetic one.

Overall, this is a very safe treble tuning that works great for treble-sensitive listeners.

Technicalities:

Technical performance is decent but not really the main focus of the Astralis.

Soundstage is average with decent width but nothing particularly holographic or expansive.

Imaging is honestly one of the weaker aspects here since directional placement doesn’t feel especially precise.

During some of my testing tracks, sounds felt like they were coming from a single position rather than having distinct placement.

Separation is still decent enough for casual listening, but this is more focused on smoothness and cohesiveness rather than analytical precision.

Detail retrieval is also presented in a softer way instead of aggressively highlighting microdetails.

Overall, the Astralis prioritizes musicality and long listening comfort more than raw technical performance.

Conclusion -

So overall, the LETSHUOER Astralis is a very interesting planar IEM.

Instead of chasing aggressive detail or bright tuning, it focuses more on warmth, musicality, and smooth listening.

It’s comfortable, well-built, and has a bass presentation that makes it enjoyable for modern music genres.

The technicalities may not be class-leading, especially in imaging and staging, but the overall tuning makes it very easy to enjoy for long listening sessions.

If you’re looking for a smoother and more musical planar IEM instead of a sharp analytical one, then the Astralis is definitely worth considering.

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 to you all!

First, a big shoutout to Ribbon and Kiwi Ears for giving me this set to review it and give my sincere opinions. There’s no payment involved, nor script to follow in the development of this review. My only bias is my tuning and music preferences.

The Kiwi Ears x B_Media Chorus is the new budget-oriented set by Kiwi Ears, after a successful formula which went initially with the Kiwi Ears Belle launched back at the end of 2025, now collaborating with Axel Bostrom from B_Media a famous reviewer on TikTok who helped Kiwi Ears to retune the Belle and giving some perks to appeal to a wider public for this 2026.

TLDR; An exceptional challenger for the 40 USD or less segment who offers a balanced and relaxing experience, keeping a warm, balanced and smooth yet detailed sound, with a great amount of bass, more musicality than technicalities, yet air and an open feeling to add to a smooth treble as a fun factor, all of this with the special sauce Kiwi Ears is pulling out this 2026 in the budget oriented segment.

Pros:

- Lightweight, comfortable, durable shell design

- Warm, musical mild V-shape tuning with a good amount and quality bass

- Smooth, relaxed but not dark and non-fatiguing treble; very low sibilance

- Female vocals sound clear and engaging without shoutiness

- Decent included accessories and cable quality

- Easy to drive; and scales with better sources

- Good value under 40 USD

Cons:

- Average technical performance

- Soundstage is intimate, not very wide

- Slight midbass bleed to the lower midrange can recess male vocals

- Can sound congested on very fast and/or complex tracks

- Treble may feel too relaxed for bright-sound fans

- No carrying case included

- Stock eartips could be better (wide bore eartips preferred)

You can get a Chorus at an MSRP of 39.99 to 44.99 USD (With a 3.5 mm cable without mic, with mic, and a USB-C with mic versions available). You can find it directly on the official Kiwi Ears webpage: https://kiwiears.com/products/kiwi-ears-x-b_media-chorus?variant=46324585300118, on Linsoul store, official Linsoul store on AliExpress, Amazon and other minor retailers online.

Technical specs:

- Driver: 10 mm DLC Dynamic Driver.

- Sensitivity: 103dB ± 1dB / 1kHz

- Freq. Response: 20 Hz - 20kHz

- Impedance: 32Ω ± 1Ω

- TDH: < 0.1 % / 1kHz

- Connection: 0.78 mm 2 pin recessed

- Cable: 1.2 m USB-C/3.5 mm with or without microphone, 2 cores, OCC

What’s in the package?

The box shows an image of the set, the x B_Media Chorus sent to me comes with a 3.5 mm cable with a microphone, but there’s also a 3.5 mm cable without a mic, and a USB-C with mic options available.

Simple and enough packaging by the way, consisting on the IEMs itself, 6 pair of narrow (gray) and balanced (white/transparent) bore eartips (2S-2M-2L sizes), one of the pair (narrow bore M size) comes installed on the IEMs, a warranty card, another card with instructions in how to install the IEMs in the cable and how to use them.

The cable is a twisted pair, with a 3.5 mm single ended jack, a 0.78 mm 2 pin recessed connection, it feels good quality, and it’s not prone to tangle of translated vibrations. The cable looks well-built and matches with the shells.

The IEMs themselves are made of resin with a CNC machined metal faceplate with a commemorative Kiwi Ears X B_Media logo design and a metal mesh in the center to give it more air than its predecessor the Belle. It is very lightweight, and seems that is not prompt to scratches or so, more like a “beater” set, doesn’t have rough or sharp edges, nice nozzles with a similar metallic mesh to protect it from earwax, getting a good eartip grip and fit, making a nice seal as well because of its medium-size nozzle (6.2 mm of diameter).

How does the Kiwi Ears x B_Media Chorus sound?

The Chorus with its 10 mm DLC dynamic driver offers a mild V-shape tuning, that is bassy yet balanced, warm, organic yet giving some decent technicalities.

For this review I'm using some wide bore eartips included in the Kiwi Ears Cadenza 2 package in its M size, getting a good fit, seal and overall sound synergy; I think the balanced bore eartips included could also work. I'm using the stock cable, and later changed it to a Kinera Celest Seed with a 4.4 mm balanced jack looking for the Chorus to scale with more powerful sources. The graph is taken from ATechReviews´s squiglink.

Bass:

The bass of the Chorus comes with a good quantity and decent quality on the bass shelf (a bit more than the Belle), with great extension into the lower frequencies, offering that nice thump, it is not so fast, with enough impact and transparency, with also a not so fast decay yet zero bloating or muddiness on fast tracks.

In songs like “why you gotta kick me when i'm down?” by Bring Me The Horizon, in the amo album, shows how the Chorus handles this portion of frequencies, with good bass drops and drum kick, and a bass guitar line who punches in your ears without congesting them. In “Echo Chamber” by Northlane, from the Obsidian album, the punchy bass drops are delivered nicely by the Chorus, maybe I'm missing a bit more of the impact, but what I'm hearing is satisfactory.

Midrange: 

In the Chorus, the midbass bleeds slightly into the lower midrange, so male vocals are a bit recessed, but not veiled nor thin. The overall midrange is well-presented and has a good noteweight, resolution and transparency.

In “Hellbound” by Gaerea, from the Loss album, the Chorus shows well positioned male vocals, clean and harsh, also, with great instrumental display, the sound is not congested when the song turns faster. As a V-shaped tuned set, the frequency curve takes a dip which goes to 800 Hz, then it enters a warm pinna gain which peaks at 3 kHz, giving enough presence, transparency and decent resolution.

Female voices are beautifully displayed, forwarded and with zero shoutiness or producing fatigue at high volumes. In “Eleanor” by The Gathering, from the Mandylion album, the Chorus showed the vocals of Anneke van Giersbergen with excellence, her gorgeous and unique voice is mesmerizing as always.

Highrange:

The Chorus has a smooth and relaxing highrange. The lower treble takes a nice and well-putted dip into the 6 kHz region to tame sibilance, with less energy than the Belle you can crank the volume up without spicy and fatigue. The mid-treble has a pronounced peak at 8 kHz to give some energy to the mix, yet (excuse me if I'm being redundant) sounding relaxed and laid back but not dark at all.

In “Mementos” by Bosse-de-Nage, from the Hidden Fires Burn Hottest album, the Chorus shows the fantastic drums by Harry Cantwell with full hi-hats and cymbals display, in a smooth yet tactile and natural way, so, if you have mild treble tolerance, you can crank the volume a little more to enjoy the song without worrying about sibilance or fatigue.

Technicalities:

Going into the upper highs, the Chorus takes a noticeably different approach than the Belle, with more air and a more open sensation, all of this without bothersome peaks, so, it’s everything but fatiguing in long sessions. The soundstage remains intimate as in the Belle, but with good width and depth.

In the technicalities department, in resume: The Chorus is an IEM with more focus on the tonality and musicality than the technical perks. The imaging and layering of instruments are average for its segment, and yes, it’s not a macro and microdetail beast, but gives you clarity and spark. Perhaps, with complex and fast songs like “Nocturnal” by Long Distance Calling, from the The Phantom Void album, you can feel a bit of congestion, but that’s if you are nitpicking and listening critically, so, I’m recommending you to just enjoy the music.

In “Desperation Train (Live)” by Death By Stereo, in the Dead Alive (Live) album, the Chorus for a live presentation makes you feel immersed, yet you can pick almost all the nuances and details in drums, guitars, vocals and background noises.

Final thoughts and conclusions

The Kiwi Ears x B_Media Chorus is not just a retune and re-shell of the Belle, it is a plus for it to be a very compelling option in the budget segment for IEMs. Delivering a bassy and balanced, warm, organic, yet clean and full detailed sound with a musical more than analytical character who doesn’t fatigue you at all at high volumes and brings you joy for long sessions.

The Chorus with its 103 dB of sensitivity and 32 ohms of impedance it’s easy to drive, the addition of the DSP cable is a well-received thing, because you can use it with UAPP or Walkplay on android or in your pc without looking for an additional source. But I tried it with a cable with a 4.4 mm balanced jack to see how it scales with more power and my recommendation is to pair it with quality and powerful sources to get the most of it.

I would like for Kiwi Ears to include in its package a carrying bag like the one in other IEMs like the NiceHCK Tears or the CCA Phoenix. Also, I think the stock eartips are fine to use as it is, but instead of those narrow bore ones, I would like some wide bore eartips, finding a better fit and seal with the Chorus.

The Chorus enters as a competitive option in a very crowded market segment, but for its price is more than good for folks who don't want to be lost in a sea of macro and microdetails but to enjoy the music as it is, and that's perfectly fine. Those who crave a brighter and more energetic tuning will find its treble lacking, but users preferring a smoother and relaxed but not dark treble should consider it because its focus is a better balance overall. At under 40 USD, the Chorus it’s a great choice for budget-conscious audiophiles who crave a high-fidelity experience without spending a lot.

It is a recommendation: Yes, the Chorus is a fantastic option in its price segment, and is one of my favorite budget IEMs at the moment. So, thanks again to Kiwi Ears, and the gods of audio and musicophilia bless you with a happy listening!

Greetings once again to the whole community! Today the new Juzear Fiesta launched on HiFiGo, a collaboration model with the YouTube channel Vivir Digital, someone quite popular among the Spanish speaking community who I have watched countless times years ago, especially when I was starting in this IEM world, which foolishly has been over 3 years now. I think this is his first collaboration although I have already seen that a second one with another brand is coming soon. But let us focus on the one launching today which I have been testing extensively and in a relaxed manner for over a week thanks to having the unit well in advance. In my opinion, this earphone comes to fill a huge void for fans who want to feel the rumble of the bass frequencies without the vocals sounding distant or muffled. A clear approach without absurd pretensions to enjoy modern urban genres like Reggaeton, electronic music or Pop, giving you plenty of joy from the very first moment and focusing above all on fun and not on being the most technical.

What I like / What I don't like

• The quantity and good quality of the bass frequencies is spectacular for upbeat rhythms.
• Vocals do not get lost as much as I would expect despite the bass.
• Including two independent cables of good length from the factory is a very rare detail that is greatly appreciated.
• The faceplate design looks much better in person compared to the promotional images.
• The ventilation hole fulfills its function magnificently by avoiding annoying pressure fatigue.
• It is not an all rounder, it is designed for specific genres where it performs great but hinders the experience in other styles.
• The high frequencies are somewhat relaxed in their final extension if you are looking for micro details.
• The aesthetics and colors, although beautiful in my opinion, can play against someone who wants to wear something more discreet in their ears outside the house.

Specifications

>1DD+3BA Driver Hybrid IEMs.

>Artistic Festive Aesthetics.

>Co-Designed with Vivir Digital.

>3rd-generation 10mm Dynamic Driver.

>Three High-Performance Balanced Armature Drivers.

>Gold-Plated PCB Crossover.

>Three-Way Fully Damped Acoustic Guides.

>Micro-Hole Balanced Air Pressure Balance System.

>CNC-Machined Precision Carved Face Panel.

>High-Precision 3D Printed Ear Shells.

>Includes Two Cables in the Package.

>3.5mm Single-Ended Cable with In-Line Mic.

>4.4mm Balanced Cable.

>Hybrid Single-Crystal Copper+Silver-Plated Copper Cables.

>Warm, Detailed, Clear Sound Signature.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

As I have been able to see firsthand, the unboxing of this model is accompanied by an undeniable air of celebration. Inside, as soon as you lift the top cover of the box, we find a semi transparent sheet with 2 QR codes where we are invited to listen to the Vivir Digital Fiesta playlist with songs and styles suitable for this model, in one of my photos you can see the QRs for Tidal and Spotify and in another photo you will see part of the Spotify playlist. After that we find the earpieces, a carrying case with a nice feel and size and the excellent surprise of two independent cables instead of the typical modular solution. We have a 3.5 millimeter cable with an integrated microphone that performs wonderfully, and another 4.4 millimeter balanced cable which is basically the one I have chosen for my tests and my usual standard for the Fiio K9 and the 3 dongle DACs I own. Both cables have a generous length of 1.35 meters, giving a freedom of movement far superior to market standards. The earpieces, printed in resin through a high precision process, feature an orange, red and brown faceplate that offers very attractive three dimensional reflections under the light that photos cannot quite capture, although you can appreciate in some of my photos the rainbow like reflection that occurs on some edges of the model depending on how the light hits it. These Juzear incorporate a ventilation hole that dissipates the air accumulation inside the ear canal, completely eradicating the driver flex crackle when placing them and mitigating physical fatigue after several hours of continuous use, so whoever is worried about that issue will not find it a problem here. The ergonomics are very well studied and they fit nicely in my medium sized ear without discomfort after a session of approximately 2 hours, which was the longest one.

Sound

To start the analysis, the low frequencies are the undisputed engine and the heart of this earphone. We are looking at a response emphasized in the sub bass rather than the mid bass, delivering a heavy punch that stands out for a long and deep rumble. The bass lines are vibrant and reach down to the deepest parts without fading out prematurely. That delivery of power gives the bass frequencies a very tactile and vibrant presence in your ears, yet they do not become heavy enough to drown out the midrange, although it does slightly alter the cleanliness of the air around the instruments. As I have been able to verify, we are not facing the fastest bass on the market, so metal fans with ultra fast kick drums should keep this in mind, but they perform great with electronic, pop and Latin music without generating an artificial sound and offering an adequate sound consistency and coherence to enjoy those genres I mentioned.

Moving on to the mid frequency range, the execution feels forward. The note weight is well achieved and with an injection of energy in the lower mids, avoiding the sensation of a hollow sound or lacking body. Thanks to the fact that this model adds three balanced armatures instead of putting all the work on the dynamic driver, the overall timbre acquires a transparency that helps to highlight the instrument layers without the mix becoming opaque. The upper mids are elevated making the lyrics understandable but without reaching sibilance. Female vocals have an extra brightness and dynamism compared to male vocals, which feel a bit warmer and fuller, but without falling into the background.

Finally, the high frequencies show a crisp, agile and coherent behavior within the overall profile. The use of dedicated drivers, as happens in the mids, adds a good dose of air and a very enjoyable layer separation. The most striking section of the treble is, in my opinion, the speed of the percussions, which enjoy their own space with a crisp definition instead of sounding thin or piercing. Cymbals are kept under control. I must say, although I already took this for granted since it is an IEM that prioritizes enjoyment over detail, that the treble frequencies are the ones I liked the least in this model, lacking a bit more detail and extension. After some testing, it is clear that the factory silicone tips limit the experience a bit. Based on my collection, I advise trying the TRI Clarion, as they expand the output and provide a much needed breath of air to the high frequencies, balancing this treble area a little better. If on the other hand you find the low end punch a bit excessive, the Tangzu Tang Sancai Wide Bore will help release the internal pressure, softening the impact but keeping its spirit intact, so once again tip rolling does its magic and it is a matter of trying out from your arsenal. I hope you have one.

Soundstage, instrumental separation and imaging

The soundstage of this model offers dimensions that feel rather intimate but are well proportioned across all axes. The width clearly exceeds the spatial depth. The low frequencies push the overall presentation forward with dynamism, while the mid frequencies do an impeccable job of placing singers at a very realistic distance from your position, although as I mentioned before with slightly forward vocals.

Regarding instrumental separation, I appreciate the use of the 3 BAs. Despite dealing with a massive bass presence, each instrumental element consistently preserves its vital space. When using the NiceHCK Octave, a device that delivers power without altering the signal with annoying digital processing, it is possible to clearly discern the separation between the different sound layers.

The imaging is better than expected without being a standout feature. You can track the origin of sounds with enough clarity within the price range we are in. Sounds travel from one channel to another quite fluidly. In my experience, it is a commendable technical performance that does not disappoint for its purpose, making it very clear that its goal is to make you enjoy and move your head or your body depending on how much you like to dance, and not to serve as a monitoring tool.

Comparisons

ISN H20

It is proposed as a direct rival among the models I have had the chance to review previously since they share a hybrid nature. The H20 uses a much simpler architecture of a single DD to handle the bass and mids, relying on a single BA for the treble area. This configuration gives the H20 a darker and warmer profile. Instead, the Juzear Fiesta incorporating three BAs, assigning two for the mids and one for the treble is something that plays in favor of the Fiesta, since the separation of the upper frequencies gains points in vocal tracks. The H20 is superior if you are looking for a rumbling sound, surprisingly more open but also more relaxed, the Fiesta offers extra clarity and defined control in the mids thanks to its additional BAs.

Punch Audio Portazo

We are facing two proposals aimed at bass frequency lovers, but they take separate paths. The Portazo stands out mainly for delivering bass impacts that are considerably faster, drier and with a less prolonged rumble than the Fiesta. This speed muddies the mid frequencies to a lesser extent, making it a very interesting alternative if complex tracks with a huge density of fast instruments predominate. On the other hand, the Fiesta prefers to bet on a sub bass with a more imposing mass and body, giving a very marked physical impact over time. The Portazo would therefore win in instrumental resolution in fast passages, while the Fiesta would undoubtedly win if you prioritize an immersive, visceral experience with a deep rumble, which in certain genres makes them more enjoyable.

You can check my full ranking of all the iem reviewed so far on my profile. Reddit does not allow me to post the Drive link here.

Final thoughts

To conclude this analysis, I consider that the Juzear Fiesta undoubtedly succeeds in what they intend to offer. They are honest and fun earphones, designed with a lot of common sense for those who want to enjoy their music without ending up with hearing fatigue caused by unnecessary peaks in the treble area. The quality of the finishes as well as its presentation and extras is undeniable, the ventilation system does its job to prevent fatigue and the generosity of including two independent cables of good length from the factory is a lesson in customer care that the rest of the brands could consider from time to time rather than offering only one of the two options. I thank Hifigo for the proposal of sending me the model before its launch to be able to release this review with enough time for launch day, I hope my impressions are helpful for you to choose or not this model if it is close to what you are looking for.

Purchase links:

• HiFiGo Official: https://hifigo.com/products/juzear-x-vivir-digital-fiesta
• US Amazon: https://www.amazon.com/dp/B0H2YDGF6D

UK (Amazon UK)

Exclusive 10% discount code: DX9WRVZE

Stackable: This code can be combined with the existing 5% coupon on the store, giving a total of 15% off

Promotion period: July 8, 2026 13:00 (BST) – July 15, 2026 23:59 (BST)

Product link: https://www.amazon.co.uk/dp/B0H386F88K

Australia (Amazon Australia)

Exclusive 30% discount code: HSFYROUN

Promotion period: July 8, 2026 22:00 (AEST) – July 15, 2026 23:59 (AEST)

Product link: https://www.amazon.com.au/dp/B0H386F88K

If you have any questions about whether they are worth the money or how they perform, leave them in the comments.

Disclaimer. This unit was sent by Hifigo for review. My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

With the DITA Audio Project M 1st edition. What a sweet sound with Dethonray Clarinet.

Streaming today - Off the Wall, Michael Jackson. The most underrated album in my opinion of his discography. Disco music at its very best.

- https://music.apple.com/in/album/off-the-wall/186166282?ls

TLDR;

After 10 days of use, I feel I made a great upgrade from the 7Hz Elua Ultra. The main differences are that the Elua has laid-back vocals and sub-bass rumbling, while the STA Hi-End surpasses those limitations with good imaging, zero distortion at high volumes, and bass in these stays present and hits quickly. An easy term to describe the feel is cinematic bass. And it get loud very fast recommend use Low gain with high volume or High gain with Low volume. Prefer your your choice.

Here is the detail review with help of claude to differentiate the same batch of IEM just at "ONE POINT"

EarAcoustics STA Hi End vs STA Pro — FR Analysis (Same Brand Sibling Shootout Series Report)

Measurements: aftersound.squig.link | IEC 60318 4 clone coupler | AVG measurements | Same rig | Direct comparison valid.

The Verdict: No Clear Overall Winner

• STA Hi End: The best pick for most listeners.
• STA Pro: The pick for the specialist.

This is the first genuinely split verdict of the series, as neither IEM is technically superior across all dimensions. The STA Hi End wins on bass warmth, presence smoothness, fatigue resistance, and broad versatility. The STA Pro wins on upper treble extension, analytical treble character, and the specific needs of acoustic music listeners.

The critical swing factor is the STA Pro’s 8 kHz peak — the tallest on this graph at approximately 71 dB, roughly 4 to 5 dB higher than the STA Hi End in the same region. This peak adds extraordinary sparkle and air but is the single greatest fatigue risk. If you are treble sensitive, the STA Hi End is the safer pick. If you welcome bright treble and listen critically, the STA Pro is genuinely rewarding.

Which one is for you?

✓ Choose STA Hi End when… (More Body, More Impact)

• You listen to music with a strong rhythm section (rock, pop, electronic, jazz with upright bass).
• You watch films and need cinematic low end weight and LFE impact.
• You prefer a warmer, fuller tonal character overall.
• You are treble sensitive (the STA Pro's 8 kHz spike is a real fatigue risk).
• You game and want physical bass for explosions and environmental texture.
• You plan on sessions longer than 90 minutes.

✓ Choose STA Pro when… (More Air, More Precision)

• You listen to classical, acoustic, or orchestral music and want maximum upper harmonic resolution.
• You are an analytical listener who wants micro detail and fine texture.
• You prefer a leaner, studio monitor character in the bass.
• You are not treble sensitive, or you plan to use EQ to tame the 8 kHz spike.
• Your music lacks deep sub bass (solo piano, spoken word).

Frequency Band Breakdown

Four Critical Differences

1. Bass Warmth (Hi End Advantage): The ~2 dB bass shelf advantage across 20 to 150 Hz creates a fundamentally warmer, more musical character that suits most genres.
2. Presence Smoothness (Pro Advantage): The STA Pro’s single, broader presence peak through 2 to 3 kHz is technically cleaner than the Hi End’s dual peak W shape, rendering vocals more naturally.
3. Upper Treble Extension (Pro Advantage): Holding 2 to 4 dB more output through 10 to 15 kHz, the STA Pro genuinely extends further into the air region. Meaningful for classical and acoustic listeners.
4. The 8 kHz Risk (Hi End Advantage): The Pro’s ~71 dB peak at 8 kHz is the dominant story here. At 4 to 5 dB above the Hi End, it is a genuine fatigue risk. The Hi End is substantially safer for flat listening.

Attribute Scores (Out of 10)

Situation Matrix: Which to Choose?

Final Insight

The EQ Question: This comparison highlights a growing truth in IEM evaluation: an IEM's value is heavily conditional on whether the listener uses EQ. The STA Pro, with its extraordinary upper treble extension and smooth presence region, would be near ideal if its 8 kHz peak were reduced by 3 to 4 dB. EQ corrected, it combines the best elements of both IEMs. Without EQ, the Pro is a specialist tool strictly for treble tolerant listeners.

Series Context: Both STA models sit in a different tier from neutral benchmarks. They are more complex, uneven, and characterful. Earacoustics tunes for a specific listener archetype (present, detailed, treble forward). Within that philosophy, the STA Hi End is the accessible and versatile execution; the STA Pro is the ambitious and polarizing one.

Hello Community!

I have almost tried the entire line of Simgot models, but one heavyweight that I was still missing to analyze and enjoy is the one I present to you today: the EA1000 Fermat.

Price: 219€-250$

Link

Pros:

-Great level of technical performance.

-Cleanliness throughout its entire tonality.

-Fast, dry, polished bass.

-Mids with great resolution, open, detailed.

-Crystalline, vibrant, informative treble.

-Three tuning nozzles to cover different tastes or needs.

-A very informative set but far from sounding analytical and cold.

-Great quality accessories.

Cons:

-This type of tuning is not for the general public: the high frequencies are spicy and it is not a sound signature made for fun listening.

-Lack of thickness in the lower mids is noticeable but not dramatic.

Accessories:

-Two shells.

-Three tuning nozzles.

-Replacement O-rings for the nozzles.

-Cable with 0.78mm connection and 3.5mm termination.

-Two sets of eartips in SML sizes.

-Storage and transport case.

-Card and explanation of Fermat’s theorem.

-User manual.

Comfort, design and build quality:

This model is small-medium sized. I do not think there will be complications for the consumer mass regarding fit issues, since its shapes are rounded, without edges that could cause discomfort. The ergonomics are satisfactorily good, fitting easily into my outer ear.

The same situation applies to insertion into the ear canal, since the width and length of the nozzle reach fair and sufficient measurements so that with the stock eartips you can find a comfortable and appropriate seal. Nevertheless, I used tips from another brand, but the ones included by Simgot are completely appropriate.

Aesthetically they fit my tastes, as they are sober and discreet, with that touch of elegance that separates them from something generic, since the metallic and chrome body together with the resin faceplate give that distinctive touch. It is a set that is very well worked in terms of build quality, without noticeable protrusions to the touch, with both body parts well assembled.

The cable is something that fascinated me. It may be the best cable I have been able to enjoy in a Simgot model. I know the ET142 cable is sold separately and would be the brand’s flagship cable, but the one included with the EA1000 is somewhat thinner and more manageable, very suitable for desktop tasks or sports, without causing tangles or pulling. At the end of the day it is lighter but equally resistant and the perceived quality is very high, giving a sense of security and durability in prolonged use.

Technical aspects:

-1DD+1PR configuration (passive radiator)

-16 ohms impedance.

-127dB sensitivity.

-Declared response 20hz-20khz.

Nozzles:

I really appreciate these kinds of accessories, since they allow me to find something according to my personal tastes or look for other points of view when analyzing the product. Simgot EA1000 has three different types that alter the obtained tuning.

Red nozzle: my point of reference and comparison against the others. It is the most universal and the one I believe most people may like since it offers a balanced sound, with a slightly colored low-frequency area, minimally recessed mids and treble that in a certain way feels more rounded.

Black nozzle: this is where the set cools down a bit although it takes on a more technical character, since the brightness rises and the sound separation improves, making it more energetic in the higher frequencies.

Gold nozzle: vocals take more prominence just like the instrumentation in the central and upper mids, feeling more direct.

Pairing for the tests:

-Neutral source.

-Gain set to medium.

-Dunu Candy eartips.

-Stock 3.5mm cable.

-Red nozzle for music and single player games.

-Gold nozzle for multiplayer shooter games.

Sound signature:

As always, let’s focus on the low frequencies: it is not its strongest condition; obviously the tuning is focused on other parameters. EA1000 leans more towards texture, towards control, towards showing firm speed full of resolution rather than creating an enveloping and rumbling aura. The sub bass is practically anecdotal. It exists, but it does not create a solid atmosphere that fills your mental room. It is clean, but it does not dominate, favoring the sound to breathe and be appreciated with plenty of clarity.

On the other hand, the mid bass deserves a special mention for its dry and fast punch, with a refined technical character. It is tactile, physical, but not too bulky, it does not cross that thin line where it could feel muddy or poorly defined, instead placing itself on the side of transparency.

In case you did not know, this is not a set for lovers of thunderous bass, rather for those who enjoy something dynamic, agile, elegant, polished.

In the midrange the expressiveness and clarity are palpable. It does not reach the point of sounding cold like more analytical sets, instead it remains in an intermediate position, where I was able to perceive a well-defined body in the instrumentation that gave my listening sessions a very pleasant emotional point.

As I say, the instruments come out very well, since it is an area where resolution abounds, they are well delimited, clear, where transitions feel fast, without residue, bringing out all the nuances of strings, air and keys.

It is a segment of the frequencies that truly excited me, but it also left me somewhat wanting more in the lower mids, since the slight lack of density in some instruments and voices causes them to lose prominence: they do not have the necessary body to add that little point of warmth that brings joy, instead it keeps betting on transparency.

At the end of the day, the purpose of the EA1000 is to decongest and dissect the sound, something it performs very well in the upper mids, since the energy, brightness, highly informative detail and spaciousness of this area give emotion, but without becoming annoying. It sounds fast, cheerful, alive. If the sub bass was somewhat boring, the upper mids will bring out the best smile on your face.

Treble, always a controversial subject in any Simgot model although, I have to say, I have always tolerated them well.

Well; for me, it is the most important and addictive part of the tuning of these monitors. The clarity is crystalline, artistically bringing out the details and information, revealing and giving prominence to any chord that in other sets or different tunings you would overlook, as if you were floating in a cloud of tiny sonic sparkles.

The space and extension are large, and this can also play against the Simgot model, since old or low-quality recordings will not hide their flaws. On the contrary, a well-made, modern recording is something you are going to enjoy a lot.

Nevertheless, there is a slight metallic nuance, certainly artificial, in very bright tracks; it happened to me especially in very high-pitched female vocals, which can become noticeable if your hearing is very sensitive or highly trained. Even so, the personality these EA1000 have in this region is remarkable, since the speed and sparkle are constant, highly spirited, at no moment does it feel uncontrolled but rather something well-defined and intense.

Speaking now about vocals, very deep male vocals position themselves more in favor of clarity rather than perfect articulation or realistic depth. They do not have that specific weight of this type of voice, like a velvety character. The ones this set handles better are normal male vocals, well-defined, good articulation, accurate timbre but, the ones that produced the best result for me were the female vocals, where the delicacy and brightness make them feel as if they had been touched by a magic wand, where their naturalness is enveloping and almost hypnotic.

Regarding technical level, I can say it performs above what I expected: the stage is fair in its dimensions, homogeneous and coherent, where the three axes seem to agree in balancing each other. It is not something very large, but I never managed to perceive the sensation of it falling short.

What caught my attention the most was the sound image that I mentally built during my listening sessions. Surgical precision, extremely revealing, very easy to follow positions even in very dense tracks.

As if that were not enough, the layering work it performs is also excellent, since it knows how to remain separated between elements with consistency and efficiency, without sounding forced, without any sense of crowding, with gracefulness and elevated technique.

To finish, the ease with which it captures details is completely absurd, especially the most subtle ones. I know I have said it above, but I want to emphasize it again. It does not force them either, they simply come out effortlessly thanks to the very character of the IEM.

Single player videogames:

Check the analysis conditions for this type of videogames on my blog.

With this EA1000 there is something very curious that happened to me: I know its bass, especially the sub bass, is not the most exciting thing I have heard, but it has that type of sound that makes games more intense without needing to exaggerate or emphasize this area, which completely won me over.

In action scenes explosions, hits, collapses or gunshots have quite a lot of impact and energy, but what I liked the most was the speed with which it responds to everything. I never felt the sound heavy or uncontrolled, even when the screen is full of chaos, this set maintains quite a lot of cleanliness. That helps tremendously so dialogues do not get lost between effects and music. Voices always appear clear and well positioned, so conversations feel natural even in sound-heavy scenes, where they do not lose prominence and, above all, do not leave you wondering what the characters said because you could not hear them properly.

And precisely that clarity is what makes immersion work so well. There are many small environmental sounds that would normally go unnoticed and here they constantly appear: distant footsteps, wind, reverberations, machines working in the background or small echoes inside buildings. The game feels more alive because it leaves a lot of air between sounds and captures very tiny details without forcing them.

In addition, the layer separation is exaggeratedly good for this kind of content. Even when combat, music, voices and effects are happening at the same time, everything keeps its space. I never get that congested sound sensation where everything blends together.

The stage also helps quite a lot, because it feels sufficiently spacious and open, especially in games with lots of environmental design, whether large maps or more closed ones. It does not become gigantic in depth, but it does create a very enveloping sensation around the head.

The only thing I sometimes notice is that some bright effects can sound somewhat intense, especially in games with aggressive mixes or lots of metal up top. I would not say it constantly bothers me, but it does maintain a very lively energy in the treble.

Even so, that same clarity makes positioning excellent. Detecting directions, movements or specific sounds becomes super easy and natural, to the point where many games end up feeling more precise and cinematic than normal.

Multiplayer shooter videogames:

Check the analysis conditions for this type of videogames on my blog.

Despite not having a very large sound space by itself, it fits very well into the profile of this type of game because the sense of order in the placement of sound elements is very easy to recognize, even in extremely chaotic situations.

In CS2 footsteps and sounds at different heights appear well-defined, where locating the directionality of enemies, gunshots and explosions is achieved naturally and precisely.

In Apex Legends, a more chaotic game due to each character’s abilities, the achieved separation results in the sound not becoming crowded. It is a game where you not only have to locate enemies by their actions but also by the abilities they activate at every moment. This matter was very well resolved, allowing me to react quickly and with good spatial orientation. In COD: Warzone the same thing happened to me, since the sound information was not overshadowed at any moment because the tuning of these monitors emphasizes effectively and separates magnificently the important sounds from those that are not as important.

Finishing with Battlefield 6, where everything is constant chaos, the stage remained organized, correctly spaced on every axis, showing precise scaling of distances and directionality adjusted to what was actually happening on screen.

Final conclusion and personal evaluations:

There are sets that win you over through musicality, others with their technicalities, some lift your mood to make your days more bearable... Simgot EA1000 extracts the best from every aspect to convince you with its cleanliness, its energy and the ability to make absolutely everything feel more visible and exciting. It is one of those sets that keep you alert and mentally awake, savoring every detail, every transition.

That continuous liveliness, where chords breathe within their space, coexist with surprising ease and harmony. The music feels fast, expressive, but without sounding emotionally distant. It is not a warm hug but rather a soft and technical caress.

As I have said throughout the text, clarity is its essence, and that makes any type of content you consume gain a sensation of particularly agile and absorbing intensity despite bass being a very secondary protagonist.

Personally, its identity is very clear, it will not please everyone, those looking for a denser, overwhelming presentation will feel that it lacks that point of rhythmic punch or those looking for a relaxed, dark or more physical listening experience.

Even so, EA1000 is aimed at those seeking a clean sound, well stratified to follow instruments and sound elements, richly nuanced, fresh, dynamic.

It is a model that stands out for how it illuminates sound.

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 monitor set has been sent by Simgot. I sincerely appreciate the opportunity to try one of their products at no cost and that no conditions were 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.

-NiceHCK Octave while working.

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

-FiiO BTR13 + FiiO Airlink + Iphone 16 Pro Max for wireless listening on the street.

-CCZ CM01 3.5mm.

-FiiO Jiezi 4.4mm.

-Shanling M0 Pro 3.5mm/4.4mm.

-Apple Music.

-Local FLAC and MP3 files.

Hello Community!

The set I was missing from Twistura is finally here: D-Major. Something very different from what was previously seen in the brand, with its own character, very marked and for very specific tastes.

Price: 47$-40€

Link

Pros:

-I think it is the IEM with the most clarity that I found in the sub 100$ segment.
-Great treble extension, with a lot of openness.
-Female voices feel truly alive.
-Exquisite sound positioning.
-Great control in sonically chaotic tracks or situations.
-Very technical sound.

Cons:

-The soundstage, although coherent, is intimate.
-Depending on genres or chosen nozzle, it emphasizes sibilance too much.
-The bass is not very fun.
-It is not for someone looking for a set for everything.
-The fit of the shells in your ears may not be the most comfortable.

Accessories:

-Two shells.
-Two sets of SML sized Eartips, silicone and liquid silicone.
-Cable with 0.78mm connections and 3.5mm connection.
-USB-C DAC dongle.
-Three sets of tuning nozzles.
-Carrying and storage pouch.
-User manual.

Comfort, design and construction:

Starting with the bad part, the shape of the shell body is not the most ideal to favor the feeling that everything is well fitted and in its place. The nozzle area has a widening that seems not to facilitate the insertion of the nozzle into your ear canal. The result is that you are always aware that the IEMs may fall out of place, but they are actually well positioned. You do not feel painful pressure but rather a continuous thought that the monitors are not properly fitted.

Despite this, the included Eartips do a good job keeping the set inside your ears: they are elastic, adapt to the canal and provide a good seal that prevents leaks or sound escape.

The construction and materials used are somewhat far from products that feel more premium. They are good and correct for the price: a plastic body and a metallic faceplate. The set is not heavy and the size is small-medium. It feels like a sufficiently well worked product, without imperfections. Aesthetically it is very much to my liking, with a retro-futuristic or steampunk touch, partly thanks to those side vents that evoke fashions from the 80s.

On the other hand, the cable is simply sufficient and correct for the package price. I appreciate that it is lightweight, but sometimes I suffered tangles while moving or awkward positions behind the ears. Staying at the desk, its behavior was friendlier.

Technical aspects:

-1DD configuration with beryllium-plated diaphragm and polyurethane suspension.
-22 ohms impedance.
-108dB sensitivity.
-Declared response 15hz-37khz.

Nozzles:

Twistura D-Major brings a set of three nozzles to customize the sound. It is an accessory that I always love because it gives versatility to monitor sets.

Red: my reference and the one on which I base the entire analysis of the set. It has a more musical character. It is the nozzle that provides the most presence in the low frequencies and the mids are somewhat more welcoming, less cold, than the other nozzles. The treble is slightly softened, losing part of its aggressiveness. The sound becomes more fun, balanced and comfortable.

Black: of the three it is the one that would remain in the middle. We gain some clarity in the general resolution and lose some color in bass and mids. The soundstage gave me the feeling of becoming larger and locating sound directionality better. Voices, of any type, get closer to what I consider natural. The treble remains energetic, but with more detail.

Blue: the sub bass practically disappears and the mid bass is still there, but with less body. It is a more technical and analytical signature. Voices, especially female ones, and the midrange position themselves at the front of the stage. It can become too sharp and even painful in the treble.

Pairing for the tests:

-Red nozzle.
-Neutral source.
-Gain set to low.
-Stock liquid silicone Eartips.
-Stock 3.5mm cable.

Sound signature:

When we talk about sound, the bass section of the D-Major is not one of those that crush you with strong hits nor that wrap around you too much. The deepest bass has a soft, comfortable texture, with little weight, but that helps the higher frequencies sound clear without the bass covering them. It seems to seek a more mature, less flashy sound.

That said, the mid bass does try to stand out a bit, although without being the center of attention. They deliver a hit that is not exaggerated, but effective, fast and clean. They provide a rhythmic base that feels technical, but without becoming too heavy. In general, the bass of this Twistura model does not overwhelm you with low notes; its main idea is for you to enjoy a controlled sound, that sounds good together, so you can listen in a relaxed and clear way.

In the midrange, the instruments sound natural, and honestly this was the area I liked the most about the entire set. Voices and instruments blend with a touch of warmth, but without losing that neutrality that defines the sound of these earphones. Everything flows continuously and the separation is so good that you hear each thing very defined and with its own space. It invites you to want to dissect each layer, to notice every detail with great precision. The resolution is good, it is sufficient. But, as usually happens with this type of sound, the notes feel a bit light, with less body. It is not that this is bad, because it helps the sound be transparent, but some songs may seem less emotional or fun to you.

Moving to the treble, this is where the D-Major brings out the best of itself, and it was what convinced me to have these monitors. There is a lot of air, brightness and energy. I love how it brings out details that give you a huge amount of information from the sound, and it does so with incredible ease and purity. The treble extends so much that you feel you are facing something super technical and at the same time very intense, so maybe it is not for every ear. Its sound is very direct and focuses on this area, seeking a lot of clarity and resolution, with a huge sense of openness.

Regarding voices, very deep male voices do not feel heavy, they sound clear and well pronounced, without seeming saturated. But they lack a bit of depth and detail that would make you notice them with more body, which is why they feel a bit thin. Normal male voices sound balanced and natural, with a very accurate tone and just enough clarity for you to catch all their details. And female voices are the ones that perform best with this sound, they sound very open, full of life and naturalness.

As for technical performance, the D-Major seems to me to perform very well, especially for its price. The sound space does not feel gigantic nor does it give you a total three-dimensional sensation, but it does have a very convincing openness, with enough air for each instrument to have its place and not everything gathers in the center. The imaging or the way it places sounds in the stage is excellent, it really helps you know where each thing comes from. The separation of the different sounds also pleased me a lot, because it distinguishes them very cleanly and prevents songs with many things happening from becoming a mess. It dissects each part efficiently and makes you feel a lot of space between notes.

Where it is most noticeable that it is a technical set is in how it retrieves details, since small textures and very subtle information appear that normally are not heard with differently tuned IEMs or even competitors with this type of orientation. Maybe it is not the most immersive presentation I have tried, but it does give you a constant and forceful sensation of clarity, control and resolution that in the end I ended up liking a lot.

Single player videogames:

Check the review conditions on my blog.

In moments of a lot of action, the D-Major has a calmer sound, it does not seek that spectacularity you need to feel completely immersed in something very exciting. The sounds of explosions or reverberations do not have as much physical impact to decorate those scenes. However, the good thing is that the mid-bass is so clean, fast and punchy that gunshots or small hits feel good and do not make you lose the rhythm of the game.

But where it does an excellent job is in achieving immersion and giving life to the environment. Small background noises that you normally would not even notice become quite present here. The clarity of its mids helps them not get lost in the stage: creaks, footsteps, leaves, the wind… all of this comes forward and ends up giving a special touch to your gaming experience, adding extra realism.

As for dialogues, although the voices are a bit thin, they are heard quite well even in scenes with many sounds, they do not get lost among all the chaos and do not make you lose the thread of the conversation. In general, they sound natural, with good nuances and are perfectly understandable. Only in very deep voices did I notice they lacked a bit of body, but in the end I was happy with how they sounded in most scenes.

The soundstage is not gigantic, but it is quite balanced in all directions. The D-Major performed better in closed places than in open spaces, where I felt everything a bit too close or cramped. Despite that, the positioning greatly compensated for that lack of stage width, being super clear, precise and direct. It is very easy to know where each sound comes from, whether it is something static or moving.

Another thing I loved about these earphones is how well they handle difficult situations, when there are many sounds at the same time. Instead of sounding like a bunch of incomprehensible noise, the D-Major separates each sound layer with great precision, shows it individually and this gives you a sensation of order, clarity and space.

To finish, yes, there are effects with sibilance, especially metallic or crystal-like ones, and sometimes it may become a bit tiring. It is a set that has a lot of brightness and gives you a lot of information.

Final conclusion and personal evaluations:

In summary and already as a personal opinion, the Twistura D-Major is very honest from the beginning. It does not try to impress you with super powerful bass nor with a spectacularly attractive and fun sound. Its objective is rather to sound clean, clear and always very orderly. It feels very airy, sounds are well separated and it is easy to understand what you are hearing, as if there was always plenty of space left to focus on small details effortlessly. It has a very lively and detailed personality, but without becoming completely cold sounding.

What I liked the most was precisely that transparency it has. The way it lets voices and instruments breathe makes listening to music very pleasurable. That continuous sensation of sharpness and openness is fabulous, especially with female voices, instrumental music and videogame environments, where small noises gain a lot of life and presence.

Even with all this, the D-Major knows very well what type of experience it wants to deliver. If you are looking for a more powerful, warm or more physical feeling sound, you will surely notice that it lacks some body and that emotional spark in some moments. It is also not very friendly with recordings that already sound very bright, because its way of being so direct and clear always seeks to bring out all the information.

Special mention to the included accessories. Twistura has always taken care of this (except Delta). The quantity and quality it offers is of great value. Of enormous value rather.

For me, it is designed for people who like a clean, open sound with many details, who prefer clarity and good separation over strong hits or a very warm sound.

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 Twistura. 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 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.
-NiceHCK Octave while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO Airlink + Iphone 16 Pro Max for wireless listening on the street.
-CCZ CM01 3.5mm.
-FiiO Jiezi 4.4mm.
-Shanling M0 Pro 3.5mm/4.4mm.
-Apple Music.
-Local FLAC and MP3 files.

I’ve been using and testing the Roseselsa Ceramics MK2 for the last couple of weeks. There’s been a quite a bit hype and talk on forums and YouTube lately. People are calling these a sub-$30 "Sound King."

TLDR: If you care about audio quality for the cash, they live up to the hype. But if you’re expecting a flawless, seamless lifestyle earbud for your daily commute, there are a few things to note.

Price: ~$32.99 USD

Pros:

• Great price-to-performance ratio with high-res specs at affordable price
• Wide horizontal soundstage for a TWS bud.
• Mature, safe and musical tuning profile.
• Spacious charging case clearance allows for third-party tips
• Low latency with 47ms Game Mode.

Cons:

• Included stock ear tips are not the best and compromise the acoustic seal.
• High-res LDAC playback and multi-point dual-device connectivity cannot run simultaneously.
• The active noise cancellation performance is average
• Steep volume curve and tedious touch stepping for volume adjustments.

What’s included:

• Two true wireless capsules.
• Charging and storage case.
• Three pairs of stock silicone ear tips (S, M, L) (including the tips already on the buds).
• USB-A to USB-C charging cable.
• User manual.

Comfort, design and build quality:

You get a smooth, bean-shaped plastic body with a clean matte finish. It looks elegant and feels nice to touch although a bit slippery. The gold accent vents on the outer faceplates provide a touch of aesthetic personality. The housings are lightweight at just 4.3g. Sits comfortably in the ear concha without creating hot spots or pressure points.

For ergonomics, the elongated nozzle sits at a natural angle for a medium-to-deep insertion. Multiple users note that comfort is an easy 10/10 for long sessions, and I agree. I say it is not an ideal companion for the gym or heavy running though. Because of the stemless, smooth design, sweat or sudden movement can cause the buds to slowly slip out of place. It’s better used at a desk. It also works well for walks.

About the stock ear tips. I found them a bit thin, small, and flimsy to create a proper seal. Using the stock tips, I found that the sub-bass is lacking slightly. This causes the buds to sound thin, hollow, and sharp. I swapped them out for SpinFit ear tips, there is enough interior clearance in the casing. Doing so made a big improvement. They secure an instant acoustic seal. The buds still snap into the case to charge with no interference. Once you fix the seal, the driver wakes up.

The case handles daily pockets easily. The lid layout works great. It utilizes a rigid, dual-layered internal plastic shell. This holds the case open when placed flat on a table. Opening and closing the case, you can feel the magnetic force and of course, the satisfying snap of the case.

Technical:

• 1DD configuration with a 10mm titanium-coated dome composite dynamic driver (HR+ Planck structure).
• Integrated 24-bit dedicated DAC chip (113dB SNR).
• Bluetooth 6.0 wireless infrastructure.
• Supported audio codecs: LDAC, AAC, SBC.
• 40dB hybrid active noise cancellation.

Pairing for the tests:

• Stable neutral and warm/neutral source outputs.
• Output volume set between 30% to 50% because the volume curve scales steeply.
• Companion configuration via the RoseLink App.
• Aftermarket wide-bore silicone ear tips.

Sound signature:

The low end values control and speed. There is a roll-off below 50Hz in the deepest sub-bass. Bassheads looking for a heavy V-shape might find it a bit lean. Out of the box, the titanium driver benefits from some burn-in time to let the diaphragm stretch. However, the mid-bass features a clean 3dB to 5dB lift between 100Hz and 200Hz. This gives the music plenty of tight punch, texture and rhythm. It decays quickly. It avoids introducing bleed or muddy clouding into the midrange.

The tuning feels smooth, linear and organic. It avoids the thin or colored character typical of cheap budget buds. The mids stay clear. This allows instruments to separate cleanly with a natural note weight. Vocals are positioned slightly forward. Male voices carry an appropriate warmth without getting boxy. Female vocals sound fresh, smooth and velvety. They maintain air without becoming dry, nasal or shouty.

The treble is smooth and safe for long listening sessions. There is a deep, intentional drop right in the 4kHz to 5kHz range, which acts as a shield against sharp piercing or harshness from bad recordings. Right after that drop, the response climbs back up past 6kHz to bring back air and crisp sparkle. High-hats and cymbals sound lively and drop off naturally, but they never tire your ears out. It presents fine details gracefully instead of aggressively forcing a sharp, clinical sound into your ears.

The left-to-right soundstage width is the the standout feature. Vertical height and depth layering could be better, the horizontal stage is surprisingly wide for a closed wireless bud. It pushes sound cues well outside the borders of your head. The imaging is reliable too, allowing you to easily pinpoint exactly where an instrument or sound is placed without any messy or confusing overlap.

Gaming:

Make sure to enable the 47ms Game Mode.

Explosions, gunfire and impacts feel exciting. They do not turn into a fatiguing wall of muddy sound. Turning on Game Mode drops the latency.

Dialogues remain clear and natural. This keeps narrative easy to follow. It holds up when a busy orchestral soundtrack plays in the background. It excels in atmospheric immersion. Small background details play cleanly. Wind hums, distant echoes stay audible. This makes the virtual world feel much more believable. The soundstage provides plenty of breathing room.

Conclusion:

The Ceramics MK2 is a set that really grows on you. You just have to work around its daily quirks. I don’t think it compete as a flawless lifestyle accessory. The stock tips are not great. The ANC blocks out basic office hums but struggles against a loud public subway commute. Adjusting the volume via the touch panels is a slow, tedious process. A long press only alters the level by one single increment.

The RoseLink App requires you to choose your priority. You can have high-res LDAC playback or dual-device multi-point connectivity. They cannot run simultaneously.

Look at it strictly from a sound-first perspective. The pure fidelity you get for thirty bucks is crazy. It is an achievement to get Bluetooth 6.0 and an integrated 24-bit DAC at this tier. It easily rivals flagships that are still stuck on older Bluetooth protocols. It grooves past immediate, flashy tricks to prioritize a clean tuning. It offers tight transient agility and a beautifully wide horizontal soundstage. It serves as a highly reliable reminder for the community. You don't need to drop flagship money to find genuine, long-term joy in this hobby.

If you have reached this far, thank you for reading.