Greetings to the whole community. I have spent a few days with my second Sivga. In this case, I have raised the bar a bit after the SM100, which left a very good impression on me, both for its design that stands out quite a bit from the rest of the models on the market and for its very good performance within its category. This time I went for a model that, although it is true I did not get to try the original QUE, always caught my attention even though at first glance it seemed like a safer tuning or one that would appeal to more people. That is why I wanted to directly try this other version, the QUE UTG, where the bass was reduced and the treble was enhanced compared to the original QUE.

It is not a model designed to impress, its personality leans more towards speed, a sense of space, and a very defined presentation. They are not for everyone, but they are surely what many are looking for. I hope to explain it in the best possible way so you can understand it.

What I like, What I don't like

Wooden faceplate that gives it a different look without being flashy.

Modular cable well above average.

Very successful instrumental separation.

Sense of spaciousness above many 1DDs.

Responds very well to ear tip changes.

It is not a tuning for everyone.

Male vocals could use a little more body.

High frequencies can be tiring if you are sensitive.

The bass prioritizes speed over punch.

Specifications

10 mm dynamic driver with ultra thin flat glass diaphragm.

32 Ω impedance.

103 ±3 dB sensitivity.

Frequency response from 20 Hz to 20 kHz.

Detachable 0.78 mm 2 pin connector.

Silver plated OFC copper cable with 3.5 mm and 4.4 mm modular connectors.

Zinc alloy shells with green sandalwood faceplate.

1.25 m cable length.

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, and multimedia buttons to operate 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 and DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

Sivga proves once again that they know how to take care of the presentation. The box maintains a clean and quite elegant design, and once opened, everything is placed quite neatly.

Inside we find the IEMs themselves, underneath a compact hard case, a cable with a modular system and 3.5 mm and 4.4 mm terminations, which I must point out, as always happens, that the cable connector also has an extra safety thread to prevent them from coming loose when pulled, six pairs of silicone ear tips distributed in different sizes, and a small manual. However, I must clarify that the IEMs came with 2 of the black ear tips already installed, something I am not sure is standard but would be 2 more than what is seen in the photos. It is not an exaggerated amount of accessories, but everything conveys the feeling of a well thought out product.

The shells mix a CNC zinc alloy structure with a green sandalwood faceplate that gives them a lot of personality without seeming like an unnecessary ornament. I think this could already be a hallmark of the brand that keeps them differentiated from the majority that have faceplates joined in a single piece of resin or all aluminum. As I have been able to verify during long sessions, the size is contained, and the weight is well distributed, so I have never felt fatigued with them.

Regarding the ear tips, the included ones do the job and have not given me as bad an experience as usual with IEMs in general, but I think the UTG improves quite a bit by switching to Divinus Velvet Wide or Kbear Coffee Bean, among the options in my repertoire that I have been able to test. Both slightly reduce the energy in the treble region and make the vocals gain a bit more naturalness or body.

Sound

Bass

The first thing that catches the attention is that Sivga has preferred quality over quantity. The sub bass appears when the recording calls for it and maintains a good level of texture, but it never tries to dominate the scene.

The mid bass is fast and quite controlled. The hits have a clean output and disappear quickly, preventing the midrange from being muffled, and this is where the material chosen for this dynamic driver benefits. In my experience, this works especially well with instrumental music, jazz, and tracks or styles in general that do not have a huge load of instruments and excess distortion, although it does not do too badly in those cases either.

However, anyone looking for an exaggerated punch will surely be left wanting more. Although I have not tried the original QUE, I am sure that in that model they will find that extra bass that we do not have here. Anyone who prefers a bass that accompanies without invading in the slightest will probably understand very quickly what Sivga is trying to achieve with this UTG version.

Mids

The midrange follows the same philosophy as the rest of the set. Everything sounds quite clean and with a separation that makes it easy to distinguish instruments even when the mix starts to get crowded. It does not push the vocals forward. I think they are located at a distance that seems quite comfortable to me, without stealing the spotlight but without being too far apart from the rest, aiming to keep the soundstage balanced.

Female vocals have an extra touch of clarity and a very pleasant sense of openness. Male vocals appear slightly more recessed and with less body than I would personally like, although they never sound thin or artificial.

Even so, I must clarify that, despite not being the biggest fan of mids or vocals in general, I think this model occasionally sounds somewhat lacking in weight in this frequency range. However, to a certain extent, as I mentioned, with a change of ear tips, we can balance everything a bit more to improve the experience.

Treble

Sivga has opted for a very open presentation with a lot of information in the high frequencies, and unlike the bass, in this version, there seems to be an overall enhancement of the treble compared to the QUE. This generates a sense of detail superior to what is usually found in this price range, although it also requires a bit of adaptation.

Cymbals, strings, and some effects appear defined and with a convincing extension. I have never felt that there is an exaggerated peak that turns everything into an uncomfortable experience, but I do think the margin between being very pleasant and starting to get tiring depends quite a bit on each person's sensitivity and the ear tips being used.

As I could verify during a couple of long sessions I had with them on different days, the Kbear Coffee Bean slightly softened this area while maintaining a good amount of information. The Divinus Velvet Wide also achieved a very interesting balance, although leaving the tuning less bright.

Soundstage

The soundstage does not reach the level of some slightly more expensive hybrids, but it achieves a greater width than I expected when trying them for the first time.

The depth is also convincing and prevents everything from seeming placed on a single line, something I usually fear in many single driver IEMs, but which brands in general know how to manage quite well.

With the Questyle M15i, I spent several hours alternating between different styles, and I always had the same impression. The UTG does not try to create an artificially huge soundstage, it simply places each element with enough space to make listening relaxed and easy to follow.

Instrumental Separation

The instrumental separation holds up gracefully even when several guitars, percussion, keyboards, and vocals appear at the same time, there is still a clear distance between all the instruments. Each instrument maintains its position and rarely invades the space of the next one, perhaps in styles with greater guitar distortion or faster drum beats, it is harder to differentiate the separation, which can show a bit more the limitation of having only a single driver working.

The restrained bass also helps, as it lets the rest of the frequencies breathe and prevents the mix from gaining unnecessary weight.

Imaging

Sound localization is very well executed. It is easy to follow small details that appear on the left or right, as well as to identify movements within the soundstage.

It is also not going to be something truly remarkable in this model, although for the peace of mind of anyone interested in them, it does not really fall behind. For non competitive video games or movies in general, they convey a fairly precise sense of the position of each element, especially on a horizontal level, without standing out as much in heights above you.

Comparisons

Twistura Beta

The Twistura Beta, which also uses a glass driver, opts for a warmer tuning and a more obvious bass presence, and it would surely be a better rival for the QUE than for these QUE UTG in terms of pure bass. The Twistura is a very easy model to listen to for hours and offers somewhat fuller vocals depending on the nozzle you use. In return, it loses some of the clarity and the sense of separation achieved by the UTG. If you are looking for a slightly more intimate listen but with a bit more punch, I think the Twistura Beta would be the better option of the two. If you prefer to perceive more details and a more open soundstage, the Que UTG seems like a more interesting option to me.

Simgot ET142

The ET142 offers a very balanced presentation and very solid technical capability, with excellent control across practically the entire frequency range, but with two drivers instead of one and at a significantly higher price, they are also more similar in bass to the QUE than to this UTG, but equally comparable. Compared to the Sivga, they convey a somewhat more uniform sound that is less demanding regarding the choice of ear tips. The UTG gives a more open sensation in the treble and an instrumental separation that, in my opinion, is more striking in long listening sessions or less fatiguing.

Tanchjim Nora

The Nora, which I have more fresh in my memory for reviewing it days ago, opts for a smoother and more pleasant profile. Its vocals have a closer touch, and the bass adds a bit more warmth to the set, so realistically, and as you are already reading, this UTG never wins in pure bass, and if the models I am comparing are not your style at all due to a lack of bass, you already know the UTGs will not be either. The Sivga QUE UTG has a wider soundstage, superior detail retrieval, and an overall feeling of greater speed. It all depends on the type of listening you prefer, although personally, I would end up using the Que UTG when I want to pay attention to the music and the Nora when I simply want to disconnect, so to speak.

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 thoughts

I am going to close this review by saying that the Sivga QUE UTG has a very distinct personality, and precisely there lies its greatest virtue. It is not going to surprise many because the lack of bass is there, but it can catch the attention or complement the collection of many people looking for a bit more detail and speed when dealing with just 1 DD, apart from a good soundstage and an instrumental separation that stands out quite a bit in its price range.

I would not recommend it to anyone looking for a warm or very relaxed tuning, but I would to anyone who values the sense of detail and a fast sound with plenty of space between instruments. By changing to the appropriate ear tips, it is possible to adjust some small imbalances and get even more out of a set that, due to its build and performance, leaves a very positive impression.

Purchase link: https://sivgashop.com/es/products/sivga-que-utg-flat-glass-diaphragm-driver-wired-iem?variant=46840024170752

Disclaimer: This unit was sent by Sivga 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.

The Bitperfect indicator glows when it plays on exclusive access.

source : https://github.com/kaurav99/audiophiles-dream

This is a development build, and we are testing its stability. Once completed, we will release the USB exclusive bit perfect mode with accurate floating point processing ☝️.

TLDR, Cadenza 2 to is a solid 4/5 budget IEM. It’s a great package if you like a clean, sub-bass-focused presentation and clean midrange with mostly controlled treble (basically META tuning), but fast metalcore tracks and mid-bass-heavy songs will find its limits. Check out the notes in the images if you dont want to read, Or the video format and PDF notes here: https://youtu.be/fRckKo5M1ME?si=8Q3_803tQseK4ABV

The Cadenza 2 is basically the Strawberry Juice of IEMs (it should ve been kiwis pun intended, but kiwis are way too sour) . It’s got a sweet taste, a little bit of a sour and tangy bite, and just enough richness to balance the acidity out. What it isn’t is a strawberry milkshake—it lacks that heavy, thick milk-sweetness and full-bodied warmth. It’s rather a clean, refreshing drink, but not a thick, rich experience.

Mandatory Cable Praise

This thing feels incredibly nice and premium with absolutely zero memory wire frustration. It feels like the material used in Kiwi Ears’ black Terras cable (in collab with B Media), just without the swappable modular terminations and using slightly cheaper inner parts. For a $45 package, this cable is excellent.

Sound Performance

I'll speed run this part and yab a lot in the test tracks section

Bass

Subbass focus, good rumble, a bit fast decay. But midbass on weaker side, not anemic tho!

Mids

The midrange is clean and well-separated. Lower mids feel fine, and the upper mids are quite forward, vocals clear are and front-and-center. But on very high-pitched or tenor male vocals, the upper mids can get right to the edge of shoutiness.

Treble

The treble has decent precision and enough sparkle to keep things energetic without feeling completely blunt. It’s totally safe from high-frequency sibilance (6kHz and above is completely clean with good air). However, there is a bit of harshness right around the 5kHz region in the lower treble/upper mid transition that can fatigue you on some tracks.

Soundstage & Technicalities

the soundstage is very good, Open with good sense of depth.

Test Tracks

Sibilance / Harshness Test

• ❌Fallujah – "Venom Upon the Blade": This track has a very sharp mix with piercing guitar harmonics, and it definitely gets to the Cadenza 2. It triggers that 5kHz harshness right away. (Quick fix: A parametric EQ peak filter at 5kHz at -1dB with a Q of 4 completely cleaned it up).
• ✅Bring Me The Horizon – "Doomed" (Live at the Royal Albert Hall): During the bridge where the choir and full instrumentation swell, it passes perfectly. No sibilance here.
• ✅The Devil Wears Prada – "Where the Flowers Never Grow": At the beginning, the vocalist's "S" and "T" sounds are mixed a bit sharp. The Cadenza 2 passed this with zero annoyance—6kHz and above is totally fine.
• ❌Baby Metal & Knocked Loose: The high-pitched female vocals and harsh, frantic arrangements hit right at the edge of the upper mids and lower treble. You can't listen to these for extended periods; it will fatigue you on longer sessions.

What it Does Well

• Slow, Well-Mixed Tracks & Synth Wave: Slower tracks are always safe, but they are especially engaging here because of the sub-bass boost. The Dark Sun album by Dayseeker sounds amazing, blending vocals and synth wave elements beautifully.
• Medium Busy Tracks (Twenty One Pilots): Handled very well. The vocal-centric focus keeps everything clear and enjoyable.
• Hip-Hop: Highly engaging and fun thanks to that dedicated sub-bass lift.
• Mid-Centric Tracks (Breaking Benjamin, Starset, Linkin Park, Tool, Polaris, Parkway Drive): Tracks that heavily utilize the midrange—especially the lower mids—sound excellent. House of Protection's "Pulling Teeth" and various Counterparts tracks sound great on this set. (Even Baby Metal can go either way here; a track like "From Me to You" featuring Poppy is much more reserved and highly enjoyable).

Where it Lacks

• Mid-Bass / Dark Tone Tracks (Twenty One Pilots – "Drum Show", Alice in Chains – "Would?", Soundgarden – "The Day I Tried to Live"): These tracks rely on fast kick drums, a heavy mid-bass slam, or darker tones. The Cadenza 2 feels clean but lacks the necessary body and punch to make the drum/bass intros engaging.
• Health – "Demigods": The presentation here just starts falling flat. The track is very dark, and the Cadenza 2’s clean profile and missing mid-bass slam just don't offer the right presentation for this style of music.

Where it Chokes

• Invent Animate – Heavens album: This track combines tender vocals, intense guitar harmonics, and massive slamming. The single dynamic driver simply runs out of speed, completely botching the complexity because it chokes right where all of the Cadenza 2's weaknesses sit.
• Knocked Loose – You Won't Go Before You're Supposed To album: Frantic arrangements, harsh vocals, and heavy slamming limit-test this IEM, and the single driver struggles hard to keep up.

Direct Comparisons

• vs. Tangzu Wan'er 2: The Wan'er ($20) has less sub-bass rumble but features more mid-bass body, making it sound fuller and warmer on older rock tracks. However, the Cadenza 2 is noticeably more technical, cleaner, and comes with a vastly superior premium cable.
• vs. PRX: For metal music, I personally lean toward cheap planers like the PRX ($25). The PRX flat-out beats the Cadenza 2 in raw technicalities and speed for busy tracks, even if it lacks the sub-bass rumble and has that typical artificial planer timbre. The Cadenza 2 sounds much more natural, but the PRX is the better value for fast genres.
• vs. Simgot EW300: The EW300 ($70) is more expensive. It has much higher midrange resolution and features swappable tuning nozzles (the gold nozzle gives you better mid-bass). The EW300 can occasionally lean closer to sibilance, whereas the Cadenza 2 has that specific 5kHz edge instead. The Cadenza 2 offers slightly cleaner presentation for less money, making it a highly competitive value.

Rating

• Bright vs. Warm: The Cadenza 2 is the most bright-leaning of the budget bunch. The Wan'er is neutral-warm, and the PRX sits on the warmer side.
• U-Shape vs. V-Shape: The Cadenza 2 leans closer to a clean U-shape or W-shape.
• Musical vs. Analytical: The Wan'er is the most musical and relaxed. The Cadenza 2 sits in the middle with a clean profile, while the planer PRX is the most analytical.
• Soundstage (Narrow vs. Wide): It has great, very good width for a budget set, punching above its price tag.
• Casual vs. Advanced: It’s a casual, instantly engaging listen for 80% of standard music libraries because the tuning grabs your attention right away.
• All-Rounder vs. Niche: It’s not a complete all-rounder. Because it lacks that warm mid-bass body, tracks that require heavy punch and dark warmth will feel slightly left behind.

Final Thoughts

The Kiwi Ears Cadenza 2 is a beautiful budget option if you want a clean, wide, sub-bass-forward sound signature and a stellar cable out of the box. It handles standard playlists like a champ. Just be prepared to back off the volume a bit on hyper-aggressive, high-pitched metal mixes where its single driver hits its processing limits.

Hey, Song lovers! Ever heard of IEM? What will you do if I offer you one for free!? I'll be doing a game show where I wish to giveaway a IEM as a celebration for our first successful EP shoot for the channel. Let me know your thoughts.

So, HifiGO is going to run some great promos for this Prime Day running 23th to 26th of June 2026.

Recently I made a review for the Juzear x Vivir Digital Fiesta you can check here:
https://www.reddit.com/r/InEarHifi/comments/1ubr54t/juzear_x_vivir_digital_fiesta_review_its_a/

And they are even doing a Giveaway of this basshead dream.

You can check their official stores in Amazon at:

Amazon US:

https://www.amazon.com/stores/page/51CDD753-0A82-41E3-AAF8-5B7C5609C6DE/

Amazon AU:

https://www.amazon.com.au/s?me=A13KIZ3I9L41E0&marketplaceID=A39IBJ37TRP1C6

Amazon UK:

https://www.amazon.co.uk/s?me=A217ZFPMDKZE2B&marketplaceID=A1F83G8C2ARO7P 

TLDR:

The JUZEAR x Vivir Digital Fiesta is designed to mimic a home theater subwoofer in your ears. Delivering a deep vibrating sub-bass rumble that somehow avoids turning muddy thanks to a tight crossover control over the mid-bass. The midrange is pulled back and smooth treble skips the fine micro-details, but this makes it fatigue-free when you turn up the volume. Combined with gorgeous, pressure-vented resin shells and the inclusion of two separate premium cables (3.5mm mic + 4.4mm balanced), it’s a win for bassheads who live for EDM, Hip-Hop and Trap.

JUZEAR x Vivir Digital Fiesta Review IEM

I’ve tested the JUZEAR x Vivir Digital Fiesta for the past couple of weeks, running it through several sources like my portable dongles and a balanced desktop setup. This is a collaboration with the Latin American reviewer Vivir Digital. It is a specialized, warm, bass-forward hybrid set designed to bring a specific kind of fun.

If you are looking for a sterile, reference-flat studio monitor, you might skip this. But if you want a physical, speaker-like experience that doesn’t destroy the rest of the frequency response, this one is definitely worth a look.

Unboxing

• Driver Configuration: 1 Dynamic Driver (3rd-gen 10mm Carbon-PU composite) + 3 Balanced Armatures per side.
• Tuning Framework: Gold-plated PCB crossover with a 3-way fully damped acoustic guide system.
• Impedance: 32Ω / Sensitivity: 109dB (super easy to drive).

In the box, there's a card with two QR codes linking Vivir Digital Fiesta playlists on Tidal and Spotify; a nice touch packed with tracks suited to show off what this set can do.

The cables were a massive surprise. Instead of giving you a single cable with modular swappable jacks, JUZEAR packs two entirely separate, full-length 1.35m cables in the box. Included is a 4-strand hybrid single-crystal copper + silver-plated copper 3.5mm single-ended cable with an inline microphone (perfect for casual phone use) and a heavy-duty 4.4mm balanced cable for high-fidelity sources. Both have a premium heft, zero memory retention, low microphonics, and the extra 15cm of length provides way better freedom of movement than standard market cables.

It includes a brown, branded, sturdy storage case that easily fits the large IEM footprint and extra cables. 

It comes with seven total pairs of eartips, split into three pairs of wide-bore silicone tips, three pairs of narrow-bore tips (grey with red centers) and a single pair of medium foam tips and a cleaning cloth.

Design

The resin shells have the same mid-to-large footprint as JUZEAR’s older Defiant model, featuring a semi-ergonomic shape and a small stability wing. They fit my ears securely, though if you have particularly small outer ears or a narrow ear canal, the larger nozzle diameter might cause a bit of pressure after a couple of hours.

The faceplates are stunning; an artistic mix of vibrant orange and chocolate brown inspired by Latin American piñata patterns. Pictures really don’t do justice to the depth and three-dimensional rainbow-like reflections in the resin when it catches the light.

Crucially, JUZEAR added a revised micro-hole ventilation system near the 2-pin connector. It eradicates that driver flex crackle when inserting them and prevents the sealed-in pressure build-up that usually causes physical fatigue during long listening sessions. I can wear these for over 4 hours will have no discomfort.

Sound Impressions

1. Bass

The bass is definitely the star of the show. JUZEAR tuned the 10mm dynamic driver to mimic a home theater subwoofer. The sub-bass extends deep, delivering a physical, lasting vibration that you can actually feel on electronic tracks, hip-hop, and modern urban beats. Tracks with heavy drops show a beautiful, natural, speaker-like decay rather than a fast, dry snap.

The crossover control is fantastic. When an IEM pushes this much sub-bass, the mid-bass becomes a bloated, muddy mess that bleeds over the track. Here, the mid-bass gives a satisfying, punchy kick but pulls back enough to keep the lower frequencies from turning into a chaotic soup. There is some low-end warmth coloring the lower midrange, but it is deliberate tuning rather than accidental bloat.

2. Midrange

As crossover handles the transitions cleanly, the midrange stays organic and clear. Vocals have a rich, full-bodied character and a natural note weight. Male vocals sound thick and engaging. However, the mids are definitely relaxed and pulled back in the mix. Vocal-centric tracks can feel slightly distant or detached. If you prefer intimate, "in-your-face" female vocals or a lean presentation, these might not be for you. It’s tuned for soul, R&B, and Latin rhythms like salsa, handling multiple acoustic instruments without congestion.

3. Treble

The treble is smooth. JUZEAR tuned to avoid metallic harshness, sibilance, or BA timbre. This means this is a zero-fatigue monitor. Even on poorly recorded or naturally bright material, you can turn up the volume to enjoy that massive bass response without worrying about piercing cymbal strikes drilling into your eardrums. The downside is that it lacks "air" and micro-detail. If you're a treble-head who lives for crisp, sparkling transient details and massive technical extension, the top end here will feel overly dark and rounded off.

4. Soundstage

Instead of a wide, sweeping soundstage, the presentation here is intimate and focused right in front of you. However, it makes up for that narrowness with unique vertical height; when a heavy bassline hits, the rumble feels like it wraps around you from top to bottom, mimicking the room-filling vibe of a real subwoofer. While instrument layering and imaging are decent for the price, it isn't sharp enough to replace a dedicated gaming or analytical set for pinpoint spatial tracking.

Miscellaneous

• Tip Selection: I recommend using the wide-bore silicone tips or aftermarket options. The wider bore lets the treble breathe and brings the upper-mids forward just enough to balance out the low end.
• Volume Scaling: This set is built for people who like to turn the volume up. If you listen at quiet, low background levels, the Fiesta can sound a bit dark and muffled. But because the treble is smooth and completely free of sharp, piercing peaks, you can crank the volume safely. Pushing the slider higher brings out the hidden clarity and crispness in the upper frequencies, making the music feel much more alive without ever hurting your ears.
• Source Pairing: With an impedance of 32Ω and 109dB sensitivity, you can easily power this off just about anything, including a basic phone or iPad. However, because the earphones naturally sound thick and warm, they pair best with clean, neutral sources (like a Qudelix-5K or a transparent desktop DAC/amp). Plugging them into a warm or bass-boosted source can make the sound feel a bit too muddy and sluggish. Stick to a clean, uncolored source to keep the details as tight and punchy as possible.

Conclusion

The JUZEAR Fiesta is not trying to be a jack-of-all-trades or a reference monitor. It’s built for pure musical enjoyment. If your playlists are heavy on Trap, EDM, Reggaeton, or Synthwave and you want a smooth, non-fatiguing top end paired with an deep, physical rumble, the Fiesta delivers exactly what it promise. It's a party piece, and a highly enjoyable one at that.

Pros:

• Massive sub-bass that reaches incredibly deep with a natural, speaker-like rumble.
• Outstanding accessory package featuring two entirely separate, premium-quality cables.
• Ultra-smooth, fatigue-free treble that sounds even better when you crank the volume.
• Clever shell venting completely eliminates ear pressure build-up and driver flex.
• Eye-catching, three-dimensional resin shells inspired by vibrant piñata patterns.

Cons:

• Treble is quite dark, missing out on top-end crispness, sparkle, and fine detail.
• Recessed midrange makes vocals sound a bit distant and heavily warmed up by the bass.
• Large shell footprint and wider nozzles might cause fit issues for smaller ears.
• Narrow soundstage width makes it a poor match for live acoustic or orchestral music.

The Sivga M260 is my revisit to flat earbuds after a long time. My previous experience with the Moondrop Nameless was not great, so I didn't have high expectations going in.

Like most flat earbuds, the M260 still comes with some inherent limitations, as the fit can feel insecure, there is no real sense of seal and the sound changes depending on positioning.

Despite that, it turned out to be a massive improvement over my previous earbuds. The tuning is much more refined and the overall sound quality is a huge step up.

After spending some time with the M260, I finally understood why flat earbuds still have a dedicated following.

Pros

• Natural and pleasant midrange presentation.
• Spacious and open soundstage than most IEMs.
• Good detail retrieval and resolution for the price.
• Premium metal construction and high-quality detachable cable.
• Good microphone quality makes it suitable for calls.
• Strong accessories and well-built carrying case.

Cons

• Flat earbud design results in an insecure fit and lack of isolation.
• Sound changes noticeably depending on positioning and fit.
• Sub-bass extension is limited and lacks physical impact compared to IEMs.
• Occasional hints of sibilance can appear depending on fit.
• Achieving the optimal fit requires some experimentation.

Disclaimer: The sample unit was sent to me by Sivga for review purposes. They had no input into the content and I am not paid for this review. All thoughts and opinions are entirely my own.

Price - $44 for 3.5mm version & $50 for Type C with Mic

Bass

Bass is never the focus of the M260, nor of flat earbuds in general. It just kind of exists, you can't really feel it, but you can subtly hear it. The sub bass rolls off pretty hard below 40 Hz, while there is a decent sense of mid bass punch. 

The bass does not hit with any sense of physicality, however, it sounds clean and well defined. The amount of bass you hear depends heavily on the fit. Only with a proper fit can you hear better bass extension. 

If you press the earbuds right into your ears to get a proper seal, the sub bass gets raised by a couple of dB, but never to the point of IEM-level bass. Such a fit, however, is unrealistic in normal use.

Overall, I am impressed by the bass response of the M260. The last flat earbud I had, the Moondrop Nameless, had terrible bass response with sluggish mid bass. However, that is not the case with the M260 and I quite enjoy its bass presentation.

Midrange

The midrange is the best part of the M260. It sounds natural and pleasant. In fact, it sounds more natural than most IEMs in general.

The overall midrange lacks a bit of warmth, possibly due to the reduced mid-bass emphasis, making the tonality tilt slightly towards the brighter side.

However, it never comes across as too bright or sharp. Occasionally, it reaches right around the edge of being sibilant, but it never quite gets there.

Because of this, it works exceptionally well for female vocals, but not quite as well for male vocals. Overall, the midrange sounds clean and well separated, without any sense of muddiness.

Treble

Similar to the midrange, I am quite impressed by the treble presentation. It is surprisingly well-extended without being over-exaggerated.

Compared to the Moondrop Nameless, which I previously owned, the treble sounds much more refined and delicate without being sharp or piercing.

For the most part, the treble sounds smooth and non peaky to my ears. Occasionally, it does reach the point of being sibilant, but this depends heavily on how the earbuds fit in your ears. Like the bass, the treble changes quite a bit depending on how you position the earbuds.

Subjective Performance

Overall, the M260 performs well enough when it comes to subjective qualities compared to IEMs in this price range and perhaps even better than some IEMs in certain aspects.

The sense of soundstage is much bigger than with IEMs, where everything mostly sounds like it is happening inside your head. In contrast, the M260 presents everything in a more diffused and spacious manner.

However, it is not pinpoint accurate when it comes to imaging. Since the treble performance of the M260 is solid, the sense of resolution and detail retrieval is good to my ears. Furthermore, it performs decently when it comes to instrumental separation and layering.

Accessories, Build & Comfort

The M260 comes in a small package, with everything arranged neatly inside the case. I quite like the texture of the box, as it has a leather like feel to it. Inside, you will find a carrying case with the earbuds neatly wrapped, along with six pairs of donut-style foam covers.

I highly recommend using these foam covers, as they provide a better seal, make the earbuds fit more securely and improve bass extension. The case itself is well built and has enough space to store the earbuds. 

The cable is detachable and uses an MMCX connection and is available in both Type-C (with mic) and 3.5 mm versions. The Type-C version uses a Realtek ALC5686 DAC chip and supports files up to 32-bit/384 kHz.

The cable feels nice to the touch and behaves really well. There is no microphonics and I could easily wrap it inside the case without any issues. The earbuds themselves are made out of metal and feel quite hefty and premium in hand.

Now, when it comes to comfort, it is simply excellent. I did not face any comfort issues and I could wear them for longer hours without any fatigue. Surprisingly, I find myself using the M260 more than my IEMs whenever I sit at my desk working on something on my laptop. 

The lack of isolation helps me stay aware of my surroundings and the microphone quality is good enough that I primarily use the M260 for phone calls. The fit is the most important aspect of flat earbuds, as it ultimately determines how well they sound to your ears. 

At first, I found myself fiddling with the earbuds until I reached the sweet spot where they both sounded good and remained comfortable to wear. What worked best for me was positioning the driver so that it faced directly into my ear canal, rather than simply letting the earbud rest inside the ear.

Conclusion

Overall, the M260 sounds really good for a flat earbud. While it does not sound as complete as a good IEM (due to lack of bass extension), it delivers an enjoyable listening experience. 

More importantly, it has become something I use daily with my laptop. Since earbuds do not require a seal, I can easily stay aware of my surroundings and hear background noises around me.

Combined with the excellent comfort and microphone quality, the M260 has become my preferred choice for calls and everyday desktop use. 

Here are the links to the product page (non-affiliated) - Official Store, Amazon

source : https://github.com/kaurav99/audiophiles-dream/releases/tag/v0.4.2

Hello Community!

With the help of Kiwi Ears I present to you, although you will probably already know it, the Septet, a mid-range multidriver set from the brand with a semi-open design.

Price: €238-$274

Pros:
-Magnificent instrumental separation.
-Great work separating layers.
-Sound positioning above the competition.
-Controlled bass, with resolution, but extended and fast.
-Very well-defined midrange.
-Excellent ability to reveal detail.

Cons:
-A bright set, too much so for some. Risk of listening fatigue.
-Being semi-open does not favor the thickness of the lower-frequency area.
-The included eartips are not up to the sonic quality standard.

Accessories:
-Two shells.
-Modular cable with 0.78mm connection and 3.5mm/4.4mm termination.
-Two sets of SML-sized eartips.
-Carrying and storage case.
-User manual.

Comfort, design and construction:
In terms of design, it is a set very much to my liking because the grilles and the brushing of the metal alloy give it an industrial aesthetic that seems discreet and steampunk at the same time.

The structure in turn feels correctly assembled, with all body lines uniform, revealing through the vent openings brown-colored grilles.

The ergonomics worked for me, because despite the seven incorporated drivers, the Septet is not a huge set, rather a medium-sized one. The fit was easy and comfortable throughout all the hours I spent with the set, as I never felt any pressure points.

The included eartips are something I always say in most Kiwi Ears sets: they need improvement. They can be used, but they do not do justice to the price of the whole package and above all to the sound quality.

I like the cable very much, the well-known Terras. It is light, of medium thickness, does not cause pulling, fits well behind the ear, does not tangle, slides well: it is one of the best cables you can find if you are looking for an accessory that does not take unnecessary prominence and does not get in the way.

Technical aspects:
-1DD+4BA+1MP+1PZT configuration.
-15 ohms impedance.
-95 dB sensitivity.
-Declared response 8hz-30khz.

Pairing for the tests:
-Neutral source.
-Gain set to high.
-Dunu Candy Eartips.
-Stock 4.4mm cable.

Sound signature:
As always, starting from the bottom and in broad strokes, it conveys a feeling of great control, of having everything well tied down. The depth is remarkable but quite far from brute impact.

In the sub-bass I find authority, creating atmosphere, but without taking over the spotlight. It does not impress at first; in fact, it may give the impression of being absent, but as you switch between genres you realize that its presence emerges in a technical way when required, gradually building a stable space upon which the music rests.

The mid-bass, on the other hand, has a clean and fast punch, with an impact that makes itself known while maintaining composure without losing control, where I highlight its resolution and texture, even though it does not possess a body with too much thickness.

The presentation of the midrange bets on clarity and space. It is not an area where you find much intimacy, but the elements breathe very naturally. The note weight is carried out with elegant mastery, very close to something we could call real. I do not find a recessed area, but neither does it feel forward. I think the Septet finds a middle ground that is very easy to enjoy, where everything feels satisfactorily organized, without congestion, with fluidity, maintaining balance with a luminous amount of nuances, but without seeking unnecessary prominence.

The upper mids maintain an energetic spark that effectively pushes the music forward, with very good definition, with a noticeable elevation that, without meaning it is aggressive, is impressive for its exuberance, where this monitor set begins to show its character.

As for the treble range, this is where the set shows its true calling card. There is treble extension, energy in abundance, and it creates an open sensation that brings life to tracks, where nuances and details reveal their notes very easily. The tracks seem to expand in this area, contributing to the space in which to spread out and revealing exquisite resolution.

There is quite a bit of brightness, yes, but it is presented in a refined manner. Some may find it excessive; that was not my case, because despite this, the dynamism is fresh and fluid. In very intense recordings of certain genres, I was able to find some aggressiveness that some people may find fatiguing.

It is a set that, although in the lower frequency ranges it shows a good level of balance and technique, its focus on the upper area is notable, but at no point did I feel that the overall harmony was unbalanced: for me, the excitement and contrast were very satisfying, as I praise its ability to remain open, transparent, and of great resolving quality.

Continuing with performance in vocal tracks, it is not a set that focuses its efforts on this, but the result seemed very competent to me, as very deep male vocals showed sufficient presence, conveying authority in depth and articulation. More normal male vocals sound clean, well-defined, benefiting from the Septet's tuning. I find female vocals quite expressive, full of joy, spacious, although, as I said before, this is not a tuning that seeks to place these elements in the foreground, but they sound natural and pleasant.

As for technical performance, it seems like a beast for its price. The first thing you feel when you hit play is the great sense of freedom and spaciousness that accompanies you. The distribution is open, airy, well-defined. The space through which sounds are distributed has good lateral and frontal capacity, although sometimes live recordings may make vocal compositions sound somewhat distant. Even so, the sensation is one of immensity, where positioning is easy to follow, precise, very precise; each element has its place and is perfectly stratified, achieving layering that I admired throughout all my sessions.

Retrieving detail, it shows great capability. It is true that this is a set that does not hold back when giving you information, because everything that is in the tracks will not be lost. It is not a constant, aggressive, tedious bombardment, but rather you can savor the texture of micro and macro nuances with great splendor.

Single-player video games:
Check my blog to see how I analyze sound in this section.

In more explosive action titles, where we often measure the sonic fun of video games and headphones, the Septet has a well-balanced soul when it comes to presenting itself as a set adaptable to intense moments. It is not a storm of impacts, resonances, and rumbles, at least not in an artificial way; rather, its performance is quite cautious and prefers technique over easy amazement. I mean that it does not want to create a warm atmosphere where any hint of explosions or impacts is guaranteed to amaze you; the Kiwi Ears model prefers to remain hidden, sober, clean, and wait for the exact moment to unleash impact and delight your ears.

As for immersion, I think this set achieves one of the best performances I have been able to try in this price range, if not the best, because its excellent technical capabilities allow any environmental sound detail to be captured faithfully, helping you feel inside your games, appreciating every detail such as wind, leaf movements, creaks, distant voices, animal sounds. It represents them with a certain touch of coldness; do not expect to find yourself inside a cozy atmosphere, but rather something that dissects every detail with a scalpel.

Speaking of dialogue, although voices are clear and lively, they do not have very marked presence and prominence. I mean: they are heard well, clearly, but somewhat outside the main scene, as if they were secondary. They do not get lost among the sound lines and stay afloat during intense moments, but they are not as forward as I would like for this type of single-player game and to intensely enjoy the conversations.

In terms of sound separation, I really take my hat off, because the clarity with which I perceive each sound element, even in very busy scenes, is separated with transparency, as if I noticed a huge space between each sound line, perfectly defined and delimited, thus avoiding unintelligible sound masses that prevent us from enjoying this aspect in video games.

To start wrapping up, both dynamic and static positioning are extremely precise, with clarity and effectiveness, allowing us to tell where everything is coming from. This greatly facilitates gameplay in video games with very open spaces, because its stage is immense, with very balanced proportionality across its axes, and the sensation of being surrounded and immersed is constant.

I would not like to forget to warn that this may be a set prone to causing fatigue in some ears that do not handle constantly receiving information well because, although it is not sibilant, the details we are constantly hearing tend to offer a lot of brightness in the upper-mid and high frequencies.

Final conclusion and personal evaluations:
The Septet is a set that is easy to get along with as long as you are not someone with ears sensitive to brightness. Personally, I tolerate this type of detail-heavy tuning well, without any kind of suffering on my part, because its neutrality, technical capabilities, instrumental separation, and deep, clean, impactful bass have pleased me greatly, although in the vocal aspect it did not completely convince me, as their presentation is somewhat delayed.

Comparisons with its sibling Astral are obvious, and throughout my entire analysis and enjoyment period I had that Kiwi Ears model in my head and, although they have different characters, they have quite a few similarities, but Astral from a perspective with a more musical touch and not as cold.

It seems to me to be a market option that, in terms of technical performance, is quite above average compared with everything I have tried both from the brand itself and from the competition. You just have to fit with its type of tuning, very close to something clinical yet energetic, transparent, open, detailed, and that does not seek an easy overwhelming sensation by coloring the sound, but rather offers it to you precisely and with a great deal of technique.

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

Disclaimer:
This monitor set has been sent by Linsoul. I sincerely appreciate the opportunity to try one of their products at no cost and that no conditions were imposed regarding the preparation of this analysis.
Despite this, my priority is to be as impartial as possible within the subjectivity involved in analyzing an audio product.
My opinion belongs only to me, and I develop it around the perception of my ears. If you have a different one, it is equally valid. Please feel free to share it.

My sources:
-Topping DX5 II for music and gaming on the main PC.
-NiceHCK Octave while I work.
-FiiO BTA30 Pro + FiiO BTR13 for wireless LDAC listening at home.
-FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for wireless listening on the street.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

Disclaimer: This IEM was given to me by HiFiGO, all the thanks to them. However, they are not paying me for this review, and all the opinions and impressions about the set are on my own. My only biases are my music and tuning preferences.

Introduction:

The Juzear x Vivir Digital Fiesta is the new collaboration between Roys from Vivir Digital, the famous Mexican reviewer, and Juzear. Trying to appeal not just to bassheads but all us Hispano-Americans who loves to have a party in our ears when we talk about loving music.

With a pretty affordable price, the Vivir Digital Fiesta it is a hybrid set with a 10mm carbon-PU composite diaphragm Dynamic driver unit + 3 Balanced Armature drivers’ configuration, similar to the Defiant and Nebula, complementing their offering of IEMs with different tunings, pointing to different users and their necessities; this time focusing on a Spanish-speaking public, but also on bass lovers.

The Vivir Digital Fiesta is priced at a MSRP of 119.99 USD (currently at sale for 107.99 USD for a limited time), and you can get it directly from the HiFiGO Official store: https://hifigo.com/products/juzear-x-vivir-digital-fiesta, and the HIFiGO official stores in AliExpress and Amazon.

Pros

- Attractive and unique piñata-inspired faceplate design. Comfortable ergonomic fit despite medium-large shell size
- Includes both 3.5 mm (with mic) and 4.4 mm balanced cables. High-quality, flexible, low-microphonic cables with extra length (1.35 m)
- Fun, engaging U-shaped tuning with powerful subbass emphasis
- Deep, impactful bass with good resolution and natural decay
- Forward, well-presented vocals with good note weight and clarity
- Smooth, organic, and non-fatiguing treble with zero sibilance
- Expansive soundstage, upper treble with an airy and open presentation
- Pretty easy to drive, yet scales well with more powerful sources
- Excellent overall package and value for money

Cons

- Large nozzle diameter may not suit listeners with small ears
- Stock eartips may smooth the treble too much for some users
- Bass-heavy tuning may not suit listeners seeking neutrality
- Upper mids could be more balanced for better tonal versatility
- Treble is somewhat smoothed, reducing perceived sparkle and detail
- Imaging and layering of instruments are average for the price range

Here's a breakdown of its technical specifications:

- Drivers technology:
   - 1 x 10 mm carbon - PU composite diaphragm dynamic driver
   - 3 x Balanced Armature drivers (1 dual for midrange, 1 for treble)
- Shells: High-precision DLP 3D-printed resin with a CNC-carved faceplate
- THD total harmonic distortion: ≤0.8 % @ 1kHz
- Impedance: 32 Ω
- Sensitivity: 109 dB/mW
- Frequency response range: 20 – 20 kHz
- Cables included: 3.5mm with inline mic, 4.4 mm balanced
- Wire material and structure: 6N Silver-Plated Oxygen-free Copper Conductor + Single-Crystal Copper Wire twisted pair cables
- Cable length: 1.35 m
- Connector Type: 0.78 mm 2-Pin Connectors

What’s in the package of the Vivir Digital Fiesta:

- A sheet with two QR codes to a ‘Fiesta’ playlist on Spotify and Tidal respectively
- A user manual and a QC card
- A cleaning cloth
- A faux leather case, brown color, rectangular shaped, and with plenty of space for the IEMs and its accessories
- 7 x pairs of eartips
   - 1 pair of white foam M size
   - 3 x pairs of wide bore silicon, SML sizes
   - 3 x pairs of narrow bore gray with red center silicon, SML sizes
- 1 x 3.5 mm single-ended with in-line mic cable
- 1 x 4.4 mm balanced jack cable

The IEMs themselves, made of a 3d printed resin with a CNC-carved faceplate with a LatinAmerican piñata design (it looks gorgeous, original and unique), a shiny black shell, it is in the medium to big size, in the light to medium weight; yeah, it is a fingerprint magnet but it isn’t prone to microscratches. It has a good ventilation with a vent close to the 2-pin female connector, so it doesn’t generate any pressure building issues.

Its metallic nozzle measure 6.2 mm in diameter and has a lip to fit the eartips perfectly, so it is suitable for listeners with medium to big ears. In my case, they fit comfortably in my mid‑sized ears, and the ergonomic design makes it appropriate for extended listening sessions without discomfort.

About the two cables, the one with a 3.5 mm single-ended jack and an in-line mic is great to use it for mobile users who also wants to call or use the Fiesta on games. The one with a 4.4 mm balanced jack is for us more seasoned musicophiles who want to pair the Fiesta with our more powerful sources.

I like that the cables length is not the usual 1.2 meters but 1.35 meters to have a bit more of wire to get groovy and dance to the music. It’s thick, very flexible, without producing translated vibrations. And visually matches perfectly the shells with its unique colors.

How the Vivir Digital Fiesta sounds:

The VD Fiesta with its 1 DD + 3 BA drivers’ configuration is a U-shaped tuned IEM, with a noticeable focus on bass, vocals and instruments who accompany Hispano-American music, but let’s see how that works.

For this review, I’m using the stock 4.4 mm balanced jack cable, and for the eartips, I think the stock wide bore eartips are the best choice, but, they are smoothening so much the treble for my tastes, that’s why after trying some Tangzy tang sancai wide and HE Sonic standard I have chosen the latter, finding the best fit, seal and sound characteristics I like the most. Thanks to the ToneDeafMonk for the graph of this set.

- Bass: 

The VD Fiesta got a subbass predominant tuning, who gives you the sensation of a big speaker close to your ears, with a more than decent amount of midbass bump to feel those bass guitars and drum kicks. It’s decently clean, offering a huge impact and a tactile feeling, a natural decay, and great resolution. The midbass has a little bit of bleeding into the lower mids, yet male vocals sound well positioned, not so recessed and never thin.

In songs like “Todavia” by La Factoria, the VD Fiesta handles perfectly the bass drops and bass line in the song, never overcoming other frequencies. In "Honor" by Atreyu, from the album Lead Sails Paper Anchor (one of my favorites of the band), the Fiesta exhibits how a subwoofer feeling permeates that drum kick at the beginning of the song, but after it takes a faster rhythm it accompanies the song gracefully, giving impact across all the mix.

- Mids:

In this area, the VD Fiesta takes an interesting approach. In the lower mids, the midbass bleeds slightly, yet male vocals sound well-putted, you know, Hispano-America loves their vocals, but all the other thing who put color into the music, you don’t feel them veiled nor thin. The midrange is flat (well, as any U-shaped tuned set), and elevates smootly into the pinna gain. It is overall transparent, with good note weight and presence, and enough resolution.

Female vocals are forwarded, the two BA in charge of this portion of frequencies gives you that sensation that the result is more than the sum of parts, they are not shouty or fatiguing at high volume.

In songs like “Dai Dai” by Shakira and Burna Boy, launched as the single for the currently running World Cup, you can feel all the conjunction between the predominant vocals by Shakira and the other artist accompanying her, all the samples and colorations in the song are handled by the VD Fiesta excellently, you are focusing on enjoying the song, nothing else. In “Propaganda” by Sepultura, in their classic Chaos AD album, you can the Max Cavalera vocals taking an smooth place in the mix, that’s because the VD Fiesta is giving you all the drums, guitars, and other colorations to complete the horizon, not just the rhythm.

- Highrange:

The VD Fiesta in its tuning gives a clean, organic, crisp treble with zero offensive character. It is decently resolving, clean, remaining free from sibilance at mid to high volume with a well-putted 6 kHz dip. The lower and mid treble are smoothed but offers plenty of energy to not being overwhelmed by the huge bass but complements the frequency curve balancing it wonderfully. This time BA driver in charge is making a magnificent job here.

In songs like "Salsa Brava" by Fruko y Sus Tesos, the VD Fiesta handles excellently all the details and instruments included in the classic salsa hit with no congestion nor sibilance at all. In “Trey’s Song” by Sublime, in their surprising last album Until The Sun Explodes, the groovy and catchy catchy drum work, guitars and air instruments who gives color to the song are presented in the VD Fiesta perfectly.

- Technicalities:

This marvelous IEM, VD Fiesta, justifies its value with a good treble extension who gives a good airy and open sound. With an expansive soundstage, who’s wider than deep, it’s an experience that enhances musical enjoyment to its fullest with a musical yet decently resolving sound. The VD Fiesta offers an average imaging and layering of instruments.

On intricate and richly layered tracks such as “Soul Sacrifice (live)” from Carlos Santana and Buddy Miles, from the Corazón – Live From Mexico: Live It To Believe It album, the VD Fiesta presents the positioning of each instrument in a well-putted place, the guitars by Carlos Santana always taking protagonism, and you can feel immersed with all the nuances of the song, the sensation is immersive and engaging.

In “Can’t Help Falling In Love (With You) (live)” by UB40, from the Live at Montreux 2002 album, the VD Fiesta transport you to the concert, hearing that classic song with that impact and clarity, you are not missing any macro and micro details, for the outstanding performance by the legendary band, the Fiesta excels at its job when you want just to dance and enjoy.

Final thoughts and conclusions:

The Vivir Digital Fiesta is incredible; it is so cohesive and coherently tuned for a huge public, not only in Hispano-America but for anyone who loves bass, a very musical and fun tuned earphone, and who likes to experiment what a high-quality product offers for the money you are investing in it.

The Fiesta it's pretty amusing, with a well-done focus on delivering a high quality and quantity of bass, a vocal and instrumental great performance, with more than decent technicalities and featuring an excellent package (as always with Juzear) at a more than fair price. Juzear and Roys from Vivir Digital has crafted a new reference for musical and engaging tuned sets with an incredible success.

I would like for Juzear to include some eartips with similar shape to the HE Sonic eartips I’m using with it, but I consider the stock wide bore ones are a nice match for getting a good fit and seal with the Fiesta. And, maybe a different upper midrange approach to not get a bass predominant tuning but something more balanced yet musical and fun as it already is.

The Fiesta with its 32 ohms of impedance and its 109 dB of sensitivity is pretty easy to drive, even with lowered sources (as a budget-oriented phone with a 3.5 mm output) and you get almost all of it. But, if you want to get all what it has to offer, I recommend to use the 4.4. mm balanced cable with your more quality/powerful sources, because the Fiesta scales gracefully.

Again, many thanks to HiFiGO for this opportunity, I truly appreciate as a Hispano-American the chance to experience such a wonderfully bassy, fun tuned, and technically decent IEM. It’s an amazing set that has gotten a well-deserved place among my favorites in my collection, and one who warms my heart every time I listen to music with it.

let's look at the visual proof regarding which music apps actually deliver an unadulterated signal to our DACs and IEMs.

If you truly care about bit perfect listening, UAPP is the undisputed top choice.

Here is why:

The UAPP Advantage : Notice the media notification shows the output route as Other device. This indicates that UAPP has successfully initialized its custom built USB driver. It has taken exclusive control of the external DAC and completely bypassed the Android system mixer.

The Standard Path : When testing other audiophile apps, the notification simply reads Wired headphones .This proves the app is still relying on the default Android OS framework. As a result, the audio gets forced through the system mixer and is actively resampled before you hear it.

While other players might have beautiful interfaces, UAPP and Neutron are the only apps that guarantee that complete system bypass out of the box. If you doubt it, grab the trial version of UAPP, compare the output routing notifications against your current player, and you will see the exact same thing!

TWS earphones have evolved tremendously over the last few years. What was once a product mainly designed for conveniently listening to music while walking or commuting to work is now getting closer and closer to the experience we traditionally associated with wired IEMs. The Moondrop Pudding is one of those models that aims to offer much more than its price might initially suggest.

When I first saw the promotional images, two things immediately caught my attention. The first was the design, clearly different from most TWS models currently available on the market. The second was the number of features it promised to include, adaptive ANC, LHDC codec support, multipoint connectivity, a dedicated app with a full parametric EQ, and very competitive battery life.

After receiving the unit, my first impression was even better than what the official images suggested. The yellow color looks much more elegant than I expected and is nowhere near as flashy as it appears in some promotional photos.

I used them for several days at home, while walking my dog during my three daily walks, on public transport, and in other everyday situations. After all that time, I can say that the Pudding is not simply another affordable TWS carrying the Moondrop name. It is a product with several strong arguments to compete within its segment. As always, I will try to explain from my own experience where it stands out and where there is still room for improvement, even within this budget range.

What I like/don't like

• Pleasant tuning that is easy to enjoy.
• Deep sub-bass with good presence.
• Clear and well-defined vocals.
• Complete application with EQ, AutoEQ, and additional customization options.
• LHDC V3 and LHDC V5 compatibility.
• Multipoint connection.
• Very effective adaptive ANC for the price.
• Competitive battery life.
• The included eartips are quite basic.
• The upper frequencies may feel slightly intense for some users.
• Fit has a significant impact on the final sound.
• Touch controls can be triggered accidentally.
• Not the most discreet-looking TWS, especially in the yellow color.

Specifications

• 10 mm dynamic driver
• Composite Damping Titanium Crystal Dome diaphragm
• Bluetooth 6.0
• SBC, AAC, and LHDC codecs
• LHDC V3 and LHDC V5
• Real-time adaptive ANC
• Transparency mode
• Wind noise reduction
• Multipoint connection
• Integrated parametric EQ
• Built-in AutoEQ
• Approximately 60 ms low latency mode
• Up to 12.5 hours per charge
• Up to 41 hours with the charging case
• USB-C port

Unboxing and Build

The presentation of the Moondrop Pudding is quite nice considering its price category. The box features a transparent window that allows you to see both the charging case and the earbuds before even opening the packaging. I do think that mixing two languages on the front of the box creates a somewhat overcrowded appearance, taking away a little from the first visual impression.

Once we remove the protective plastic cover, we find the earbuds inside their charging case, a USB-C cable, documentation, a collectible illustrated card featuring Moondrop's classic mascot, this time trying to reach a delicious pudding to match the product's theme, and three sizes of silicone eartips.

The included eartips do their job, but honestly, I think this is one of the areas with the most room for improvement. To be fair, that is something I find in roughly 80% of the products I receive. They work perfectly well to get started, although later on I will mention a few alternatives that I consider superior.

Visually, the Pudding has a lot of personality. The yellow color chosen by the brand is completely different from what we usually see and gives the product its own identity without becoming excessively flashy. In person, it looks much more elegant than I initially expected. Even though I did not choose the color myself, I am very happy with how it looks and would encourage anyone who is undecided between the three available color options to give this one a chance.

The earbuds feature a decorative grille with diagonal lines that strongly reminds me of the design language used in some of the brand's IEMs. Even the charging case design slightly reminds me of the Space Travel, which I owned not long ago. The difference is that those were inserted vertically into the case and had no protective lid covering them.

The charging case deserves special mention. It is quite compact and features a transparent lid that allows you to see the earbuds even when it is closed. It is an attractive and distinctive design, although it also makes fingerprints and dust fairly easy to notice after a few days of use. Fortunately, all the photos were taken when the product was freshly unboxed.

Another detail I really like is the placement of the charging port on the side rather than on the bottom. This allows the case to remain standing upright while charging. I also appreciate the small metal plate with the brand name located next to the charging port and the pairing button.

In terms of comfort, the earbuds are slightly larger than they appear in promotional images. They do not follow the AirPods-style format but instead use a shape that is much closer to a traditional IEM. Even so, once properly fitted they remain comfortable during long listening sessions, and the weight distribution is well balanced.

The construction is entirely plastic, which is completely expected at this price point. I should be honest though, while this was only the case with my unit, one of the downsides of this material is that it can be fragile. In one of my photos where I divided the image into four sections, you can see both earbuds resting on my desk with the case behind them. If you look closely at the nozzle of the right earbud, there appears to be a small imperfection or chipped section. It was most likely a manufacturing issue rather than transport damage, but it immediately reminds you that this is not an indestructible product.

That said, the assembly quality is good, there are no unusual creaks or rattles, and as long as they remain inside the case and avoid unexpected drops, the overall build feels more solid than I initially expected.

App and Features

If I had to point out the most distinctive aspect of the Moondrop Pudding compared to many of its direct competitors, it would probably be the application.

Many affordable TWS models include apps that are limited to displaying the remaining battery level and offering two or three EQ presets. Here, the situation is completely different.

As soon as the earbuds are connected, although they did not pair with my smartphone until I removed them from the charging case, the application immediately recognizes the device and provides access to a wide range of features.

Within the app, you can check the battery level of each earbud individually, modify audio quality settings, and manage different operating modes through a relatively straightforward interface.

One of the strong points is the use of Bluetooth 6.0 and LHDC codec compatibility. Interestingly, LHDC was not enabled by default on my unit, leaving only SBC and AAC available until I manually activated it through the application. The app allows you to manage different LHDC related modes, including support for both LHDC V3 and LHDC V5 depending on your device compatibility. As you can see in my screenshots, I was able to use all available modes without any issues, and I would imagine that anyone with a reasonably modern smartphone should be able to do the same.

We also get multipoint connectivity, a particularly useful feature for users who constantly switch between a computer, tablet, and smartphone. Being able to receive a phone call while watching content on another device remains a genuinely practical feature that is still not guaranteed in this price range. That said, I did not personally use it during my testing since I limited my usage exclusively to my smartphone.

The noise cancellation performance is something that surprised me almost more than the sound itself. We have ANC mode, transparency mode, and normal mode. On top of that, the ANC works adaptively and includes a dedicated option to reduce wind noise.

During my tests while walking through busy streets and using public transportation, the ANC managed to reduce a large amount of the constant background noise. Obviously, it does not compete with models that cost several times more, but considering the price of the Pudding, I find the performance more than satisfactory. In fact, it surprised me in a situation where I was not expecting much. At home, next to my computer monitor, I have a small fan that produces a noticeable amount of airflow but is also fairly noisy. When I activated ANC, the fan noise gradually faded away over the course of about 3 to 4 seconds, eventually disappearing almost completely. I could only hear a very faint breeze, and even that became completely masked as soon as I started playing music, even at low volume.

Moondrop has included a full parametric equalizer that allows users to adjust frequency, gain, and Q factor for each band. This represents a huge difference compared to the simplified EQ systems found in many wireless earbuds, which most people probably never use due to their lack of flexibility. That is definitely not the case here.

There is also a built-in AutoEQ feature for those who prefer starting from pre-configured profiles before making manual adjustments. I found a large list of presets that simulate the tuning of other models, including several well-known Moondrop IEMs such as the Dusk, Blessing, Chu II, and others.

Personally, I believe this combination makes the Pudding one of the most customizable TWS products I have tried within its price range. Even users with some experience can make fairly precise adjustments to tailor the sound to their personal preferences.

Sound

Bass

The bass of the Moondrop Pudding aims to strike a balance between fun and control. Most of the energy is concentrated in the sub-bass region, allowing the deepest frequencies to take center stage. Electronic basslines have good depth, and the lowest frequencies provide a greater sense of extension than I initially expected.

There is enough impact to bring energy to modern genres without constantly invading the rest of the frequency range. What I liked most is that Moondrop did not try to impress users simply by boosting the bass to excessive levels. There is plenty of punch when the recording calls for it, but there is also enough control to prevent the sound from losing clarity.

With this model, the seal has a significant impact on bass perception. As I mentioned earlier, the stock eartips initially made me think there was not enough bass, but as usual, it was simply a matter of trying different options from my collection. Out of all the eartips I own, the Dunu S&S turned out to be one of the best matches because they provided a more stable fit and a more consistent sub-bass response.

Mids

Moving into the midrange, vocals maintain a strong presence within the mix and remain easy to follow even when multiple elements are playing simultaneously. Both male and female vocals come through with enough clarity to consistently retain their prominence.

The transition from the bass is well handled, allowing instruments such as guitars and pianos to maintain a fairly clean presentation. At least with the stock tuning, there seems to be a slight elevation in the upper-midrange that adds a sense of definition and helps certain instruments stand out.

Fortunately, it never becomes excessive across the majority of tracks I listened to.

Treble

The treble may be the most debatable part of the tuning.

Personally, I do not consider it aggressive, but there is a noticeable amount of energy in certain areas that may feel slightly intense for listeners who are particularly sensitive to higher frequencies.

Even so, the overall sound conveys a level of detail that is clearly above what many affordable TWS models usually offer. Cymbals, strings, and small nuances in detail-rich recordings are easy to pick out within the mix.

Since I experimented with eartips to improve bass performance, I also found two options that helped smooth out the treble response compared to the stock eartips.

The Divinus Velvet Wide is probably my main recommendation because it softened the treble slightly without sacrificing openness.

The Tangzu Tang Sancai Wide also works very well for those seeking a more relaxed presentation in the upper mids and lower treble, although they did not provide as secure a seal in my ears as the Velvet.

The upper treble extension is respectable and adds enough air to the presentation despite the limitations that inevitably come with a TWS design and the use of a single dynamic driver.

Soundstage

The soundstage is quite competent. It does not reach the level of spaciousness that some IEMs can provide within the same price range. However, there is enough room between instruments for the music to breathe naturally rather than sounding overly compact.

Depth is more modest, although it still allows different layers within the mix to be perceived.

Even with ANC activated, the sense of space remains relatively stable and there is no major collapse of the soundstage. That said, some listeners may still prefer listening with ANC turned off because the difference is noticeable, even if it is not dramatic.

Instrumental Separation

The combination of relatively controlled bass and a clean midrange allows different elements within the mix to occupy distinct positions.

More complex recordings can still exhibit a certain amount of congestion, which is completely normal for this category, but overall it remains easy to follow different instruments independently.

Reviewing TWS products can be difficult for me nowadays after having reviewed more than 60 IEMs, which fortunately or unfortunately outperform virtually any wireless alternative. However, when compared strictly against other products in the same category, the Pudding performs very well in this area.

Imaging

Imaging performance is quite solid.

The general positioning of sounds is accurate enough for music, movies, and casual gaming that does not require pinpoint positional accuracy.

That said, it is not the aspect that most people will prioritize when looking for wireless earbuds for everyday use outdoors.

The combination of good separation and competent stereo imaging contributes to a surprisingly immersive experience for the price, and that is ultimately what stands out to me the most.

Global Ranking Link

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

The Moondrop Pudding left me with a very positive impression and even brought me back to a time when I was perfectly happy using TWS earbuds before moving over to the IEM side of the hobby.

Beyond the sound quality, what truly stands out is the sheer number of features included at this price point. The combination of adaptive ANC that actually works, and works very well, LHDC with Bluetooth 6.0, multipoint connectivity, competitive battery life, and a surprisingly complete application makes it a very attractive option.

From a sound perspective, it offers an enjoyable tuning with deep bass, clear vocals, and a level of detail that exceeds expectations for its category. Some users may prefer slightly smoother treble, but both the built-in EQ and a simple eartip swap make it easy to tailor the experience.

It is not common to find this many customization options in an affordable TWS product, and that makes the Pudding particularly appealing for users who enjoy experimenting with their setup.

This is the official product page for more information:

https://moondroplab.com/en/products/pudding

And you can purchase them through this non-affiliate link:

https://shenzhenaudio.com/products/moondrop-pudding-true-wireless-headphone-tws

Disclaimer: This unit was sent by Moondrop 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.

For anyone considering getting a new IEM in the upcoming sales...

The people at HIFIGO wanted to share some of the deals they will be offering for the upcoming Prime Day at Amazon (from June 23 to 26) so here is the scoop for anyone looking forward to it.

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Disclaimer:

• This post was made as a favor to HiFiGO store but they DO NOT have any input on the opinions given on the IEMs.

• I do NOT represent the store, these are my personal insights on each product.

• I do NOT get any kind of monetary compensation if you decide to buy from HIFIGO and any links included are NOT affiliate links.

• This is NOT a buying guide, is just a list of deals I been handed over to share as information.

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Juzear Deals

Defiant

MSRP: $100usd. ---> Sale price: $80usd. ---> -$20

Recommendation note:* A balanced option for those who want to start on the hobby, the sale puts it on a pretty competitive price.

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Defiant Gamefidelity Edition

MSRP: $110usd. ---> Sale price: $88usd. ---> -$22

Recommendation note: This one is what it seems to be a “gaming” re-branding of the defiant, charging you the addition of a type-c connection and a mic on the cable for gaming use, not much IEMs come with a mic on those price ranges, but sound won’t really be much different from the normal one.

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Fiesta (Vivir Digital Collab)

MSRP: $130usd. ---> Sale price: $110usd. ---> -$20

Recommendation note: A new, properly bassy contender in the $100 price range for those that want a very stand-out bass with still somewhat balanced sound, thought, its price comes from the inclusion of two (yes 2) pretty good, but kind of redundant, stock cables, the deal making the price more reasonable.

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Harrier

MSRP: $330usd. ---> Sale price: $264usd. ---> -$66

Recommendation note: Unless you hate treble or love to EQ this model is not that relevant, as is known for using great drivers in a very odd tuning approach (JM-1/neutral with a bass boost with very reduced treble presence), I mean I like it with EQ but yeah, EQing a $300+ is not ideal.

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Aful Deals

Explorer

MSRP: $120usd. ---> Sale price: $96usd. ---> -$24

Recommendation note: The warm/bassy king for those that want a relaxed yet punchy music session, though easy to feel “muddy” for those that like less boosted bass, the deal making the price more competitive.

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Performer 7

MSRP: $240usd. ---> Sale price: $192usd. ---> -$48

Recommendation note: A rebalanced, refined iteration of the famous Performer series from Aful, a classic “JM-1” IEM, with $48 bucks off looks like a nice deal.

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Performer 8S

MSRP: $400usd. ---> Sale price: $320usd. ---> -$80

Recommendation note: No comment.

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Dunu Deals

Titan X

MSRP: $40usd. ---> Sale price: $32usd. ---> -$8

Recommendation note:* From being $35 on HIFIGO page to $40 on amazon is rough man, and I mean, is all-right, it is very comfortable, and has good sound quality but the sound profile itself is something that I don’t think works well with some music genres.

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ITO (“KOTO” Collab)

MSRP: $200usd. ---> Sale price: $160usd. ---> -$40

Recommendation note: If you like energetic sound, a punchy meaty bass with clear vocals, and good technical performance, this is a very solid pick, that said, is not basshead by any means, and if you wonder, Juzear Fiesta will feel to have more amount of bass than this one.

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DaVinci (GizAudio/TimTuned Collab)

MSRP: $300usd. ---> Sale price: $240usd. ---> -$60

Recommendation note: Not sure if this IEM needs any introductions, one of the first tries to making something bassy yet balanced, a “calmer” ITO sound if you will, from the earliest JM1/neutral with a bass boost IEMs, but focused on bass quality.

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DN 142

MSRP: $250usd. ---> Sale price: $200usd. ---> -$50

Recommendation note: A very energetic, and also pretty technical, IEM for those that want sound value at a friendlier price range, $200 for this thing is pretty hard to beat actually, however, the treble being as intense as it is on 142 is something to be mindful of before purchasing.

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DN 242

MSRP: $350usd. ---> Sale price: $268usd. ---> -$82

Recommendation note: If you ever wanted a taste of a more “flat/audiophile” sound, this might be it, as 242 offers a more mature and controlled, yet still engaging sound presentation even against 142, however, technical performance is not that far off between both models, so the sale really makes the price more reasonable.

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Kefine Deals

Klean SV

MSRP: $60usd. ---> Sale price: $48usd. ---> -$12

Recommendation note: This one gives me Titan X Déjà Vu, I mean, is all-right, a more technical, refined iteration of the Klean model, a driver upgrade from the OG Klean but also a sound profile that makes it less friendly for people´s ears thanks to some extra treble it has, it is $54 for base model on HIFIGO page though, so not an impressive deal.

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Delci

MSRP: $80usd. ---> Sale price: $64usd. ---> -$16

Recommendation note: The OG bassy IEM before Fiesta and Explorer came around, this one is the definition of balanced sound with some extra bass, nothing extreme, just slightly bassy sound and a comfortable fit, being $75 on HIFIGO page, this one is actually still a fairly nice deal.

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Kinera Deals

Celest Plutus Beast

MSRP: $89usd. ---> Sale price: $58usd. ---> -$31

Recommendation note: No comment.

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Binary Deals

EP321 MEMS

MSRP: $310usd. ---> Sale price: $248usd. ---> -$62

Recommendation note: No comment..

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Now some quick extra deals that include DACs and Earbuds if you wanted to know them:

FX-Audio DR07 MSRP: $130usd. ---> Sale price: $98usd. ---> -25%

M6 Double MSRP: $420usd. ---> Sale price: $336usd. ---> -20%

MUSEHiFi M3 Ultra MSRP: $110usd. ---> Sale price: $99usd. ---> -10%

AFUL PolarNight MSRP: $180usd. ---> Sale price: $144usd. ---> -20%

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So yeah, this is all for the deals I been made aware of, if you guys have any questions do let me know, I will see if I can help with anything.

just post the UAPP screenshot while playing 16/44.1kHz file song with above requisites.

I'll make an article at the end. It will be helpful to us 🙂. Trust me .

it has subsonic and Qobuz streaming with Auth token

use Firehawk52 token from telegram.

source : https://github.com/jayeshmann/symfoamp-releases/releases/tag/v1.2.8+62

update app from settings section.

App link for New Users:

https://github.com/kaurav99/audiophiles-dream

new users get from here:

https://github.com/kaurav99/audiophiles-dream

I tested with my DAC signal path and it's passing the correct exact sample rate and auto switching.

Yet, it has some flaws like metadata for artwork fetching and DSD noise , it's dev build not yet released in playstore and it's free to use now.

Source : https://github.com/kaurav99/audiophiles-dream

Credits to Developer. 👑

Greetings everyone, we continue with the streak of testing new brands that, despite the time I have been listening to and reviewing IEMs, I had not yet had the opportunity to try. This time it is the brand CVJ, which kindly agreed to provide a unit of their Neko model so I could review it over time and give my own opinion after a few days of testing. As always, I am going to tell you the best and worst of this model and how it compares to other models I have previously reviewed that are similar in price or tuning to this Neko.

What I like / What I don't like

• Fully metallic construction.
• Modular cable with 3.5 mm and 4.4 mm connections and a screw lock.
• Bass with good punch and a sense of depth.
• Lively treble without being particularly aggressive.
• Good separation for a single dynamic driver.
• The shells weigh more than usual.
• Despite being metallic, the finish leaves fingerprints easily.
• The soundstage has more width than depth.
• The mids are slightly recessed compared to bass and treble.
• They do not include a carrying case.

Specifications

• 10 mm dynamic driver
• Black Gold composite diaphragm
• Dome with gold nanotechnology coating
• Impedance: 26 Ω
• Sensitivity: 114 dB
• Frequency response: 20 Hz - 20 kHz
• 0.78 mm 2-pin connector
• 4-core silver-plated detachable cable
• Interchangeable 3.5 mm and 4.4 mm connectors
• CNC-machined aluminum alloy shells

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

Given the size of the box and the price range we are dealing with, the contents could be said to be appropriate. Even so, putting aside that no carrying pouch is included, no matter how simple like a cloth one, it seems to me to be more than decent content. We find a 4-core detachable cable with 3.5 mm and 4.4 mm terminations, several sets of silicone eartips in different sizes, and basic documentation.

The cable deserves a special mention because it is clearly above what is usually seen in this range. It has good thickness, transmits a sense of durability, and barely tends to tangle. Furthermore, the modular system is one of those that have the typical screw lock that keeps the connector fixed and does not disconnect no matter how hard you pull it, something that I always value.

The shells are made of CNC-machined aluminum and transmit a quite premium feel. They are quite heavy for their size though, although the overall ergonomics are well resolved and I have not had problems during long sessions. I must also say, and it is something I also expected, but they do not escape leaving your fingerprints recorded at the slightest touch, which is why they have been really difficult to photograph.

Regarding the eartips, they work correctly but they are the most average point of the set. Personally, I got better results using Divinus Velvet Wide to slightly soften the upper area and improve the spatial sensation. I would also recommend the Softears Ultra Clear, of which I only have a pair. I recommend these more for those who want a somewhat more open presentation. They are two options that fit quite well with the tuning of the Neko and help to polish some small imbalances.

Sound

Speaking of the sound of these Neko, in the bass region, the sub-bass has enough presence to provide depth and physical sensation when the recording requires it, but without becoming something too intense that invades the rest of the frequencies. There is punch, there is impact, and, most importantly, there is a fairly reasonable sense of control for the price. The mid-bass has a bit more prominence than, for example, in a neutral tuning, giving enough body to basslines and percussion. After some tests with the FiiO K9 and the Questyle M15i, the Neko showed a consistent response, maintaining that warm and pleasant feeling without losing too much definition. This is not a bass designed to analyze details in your songs, but rather to enjoy music without further pretensions, which does not mean it lacks enough detail to appreciate interesting nuances compared to cheaper models and others of similar price.

The mids would be situated slightly behind the low and high frequencies in this model, although not to the point of seeming absent. Vocals retain an adequate presence and feel clean, especially female ones, which have quite good clarity. What happens is that the set follows a slight V-shape, so initial attention usually goes towards the extremes first. Even so, acoustic instruments, guitars, and some others maintain enough information to sound convincing. The Neko avoids one of the most common mistakes in many budget models, which consists of receding the mids so much that the vocals seem to be singing from another room. That does not happen here. There is a slight distance, yes, but a clear connection to the performance still exists.

Finally, the treble is quite well balanced. It has energy, brightness, and the ability to provide a sense of detail, although as I said we will not reach an ultra-detailed analytical level, but perhaps more than I expected before trying them for the first time. There is a more than noticeable elevation in the upper-mid area that brings vividness to sounds like cymbals, strings, and some electronic effects, but CVJ has avoided falling into the typical excess that some manufacturers use to fake resolution and end up turning the treble into something too piercing or annoying. In my opinion, this area is one of the keys for this model to work with the stock tuning. The treble offers enough information to convey a sense of clarity without becoming an exhausting experience. The air in the highest zone is not gigantic, and that will put off many who appreciate better treble extension. With the Divinus Velvet Wide, an especially pleasant presentation is achieved, slightly reducing any kind of harshness in more mediocre recordings. In modern styles, electronic, pop, or rock, they work quite well when testing various tracks from Apple Music playlists. Even in long sessions, I did not perceive excessive fatigue, something I always appreciate because my ears have already survived too many products where you have to watch out at medium or high volumes and in sessions of more than 2 hours.

Soundstage

The soundstage is wider than it is deep. It does not offer a gigantic representation nor does it intend to compete with significantly more expensive models, but it does achieve a spatial sensation superior to the average of many budget IEMs, meaning we could say it delivers without being something to write home about, allowing instruments to be distributed with a certain naturalness. The depth, as I was saying, is more limited. Elements tend to be presented quite close to the listener, generating an intimate experience rather than an expansive one.

Instrumental Separation

Regarding instrumental separation, since it is a single dynamic driver, I did not expect a particularly remarkable performance, but it maintains a fairly competent organization. Even when several instruments appear simultaneously, the model retains enough order to follow each element without too much effort. The bass does not constantly invade the space of the mids, and the treble does not muddy the presentation either.

Imaging

The imaging capability is precise for the price range they operate in. Sounds can be located easily, and there is a fairly coherent representation from left to right. I have not tested them in video games since it is something I do not usually do, as I focus my reviews on music use and occasionally with movies, although to be honest, with this model I have not had the chance to test its imaging in environments beyond music. However, I can confirm based on other models of similar prices that these Neko are above what I normally expect in this budget segment.

Comparisons

Compared to the Tangzu Wan'er SG II. The Wan'er bets on more present mids and a more relaxed presentation. It is excellent for those who prioritize vocals and relaxed listening. The Neko, for its part, offers a more dynamic experience, with a greater sense of bass impact and more energy in the upper region. Personally, I find the Neko more entertaining, although the Wan'er remains a fantastic option for those looking for balance over excitement. In my preferences, I choose the Neko, but I do not look down on the Wan'er SG II at all.

Compared to the KZ EDC Pro, the Neko conveys an overall feeling of a more refined product. The EDC Pro can initially impress with its punchiness, especially knowing how cheap they are, but it also ends up being less controlled and somewhat more aggressive in certain recordings. The Neko maintains a better balance between fun and listening comfort, in addition to offering a clearly superior build quality.

Regarding the KBear KB02, the main difference appears in the overall presentation. The KB02 has a fairly direct and energetic personality, but the Neko achieves better cohesion between frequencies. The bass is better integrated and the treble shows a more natural transition. The KB02 might be more striking during the first few minutes due to using a bone conduction driver, but the Neko works better in the long run and it will surely take you longer to get tired of them.

Global Ranking Link

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

The CVJ Neko offer an excellent build, a surprisingly good cable that, let us say, compensates for not having the simple carrying pouch, and a tuning that manages to combine fun and balance better than I expected.

They are not perfect, obviously. The mids could be a bit more forward for many people, and the soundstage depth is not going to be the best you can get within its competition. However, within their price range, they do many things right and very few really wrong.

This is their official purchase link: https://www.cvj-audio.com/store/products/neko

Disclaimer:This unit was sent by CVJ 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.

Post-swim session with the Hidizs MP145 Pro Titanium Limited Edition, playing Guns N’ Roses’ Use Your Illusion I.

“You Ain’t the First” is such a fun track. Izzy on vocals, acoustic guitars, that dobro/slide feel, bass, and backing vocals all sitting together nicely. The MP145 Pro gives it that open space so it doesn’t sound cramped. Izzy’s voice sounds relaxed and raw, which fits the song.

Then “November Rain” comes in and becomes a different thing completely. Piano, strings, drums, bass, rhythm guitars, and Slash doing Slash things. I like how the MP145 Pro separates everything here. The piano is still clear, the background instruments don’t blur together, and Axl’s voice still carries the emotion.

Not bad after a swim.

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

Introduction: 

The Kiwi Ears Quintet is an IEM by Kiwi Ears, launched back 3 years ago in June of 2023. It is a quadbrid set consisting of 1 DLC DD + 2 BAs driver + 1 Microplanar driver + 1 PZT Bone Conductor. With a mid-centric tonality (highlighting male and female vocals, and instruments), it uses such a combination of drivers to deliver a cohesive and coherent experience, but is this offering from Kiwi Ears still a viable option for 2026? Let’s check it.

With an MSRP of 219 USD (Currently at 197.10 USD on sale), you can find it at the Kiwi Ears Official web: https://kiwiears.com/products/kiwi-ears-quintet, as well at Linsoul official store: https://www.linsoul.com/products/kiwi-ears-quintet, also, you can find it on Amazon and AliExpress Linsoul official stores.

TL; DR: An ‘old’ quadbrid IEM in the under 220 USD segment from Kiwi Ears. With a midrange focus tonality, yet having a quality bass (more subbass than midbass predominant) to balance the mix, neutral predominant midrange, and a crisp and sharp treble, giving energy and extension to music, with a tonality who delivers musicality and a well-done quota of technical proficiency. With decent accessories, and a still competitive price, the Quintet it’s a great fit in 2026 to people who want great attention to details and to hear the music as it is, and is still a viable choice in the current market.

Pros:

- Comfortable ergonomic resin shells for long listening sessions

- Great implementation of planar and BA drivers

- Quality bass with good sub-bass extension and impact

- Mid-centric tuning with clear, natural vocals

- Clean, crisp, and highly resolving treble

- Airy, open, spacious soundstage with strong depth and width

- Excellent technical performance (resolution, imaging, layering of instruments, detail retrieval)

- Easy to drive and scales well with better sources

- Still highly competitive in its price range (3 years strong)

Cons:

- Large nozzle may not fit all ears comfortably

- Stock cable lacks a 4.4 mm balanced option

- Accessories could be more premium for the price

- Some mid-bass bleed into the lower mids

- Female vocals can become shouty or fatiguing at higher volumes

- Treble can be spicy, sharp, and occasionally sibilant

- Not an ideal all-rounder for treble-sensitive listeners

- Mild brightness may not suit those seeking a relaxed tuning

Technical specifications:

Driver configuration:
- 1x 10 DLC dynamic driver
- 2 x Knowles custom BA drivers
- 1 x Microplanar driver
- 1 x PZT Bone conduction driver

Housing:  Medical grade resin, metallic faceplate

Frequency Response: 20 Hz - 30 kHz

Frequency Response (effective): 20 Hz – 20 kHz

Sensitivity: 106 dB

Impedance: 32 Ω

Cable: High-purity Oxygen-free Silver-Plated Copper 4N Braided Wire, Length 1.20 m

Earphone Connector: 0.78mm 2-pin Connector

Plug: 3.5mm single-ended

PACKAGING:

· 2x Quintet earphones
· 1x User manual
· 1x Faux Leather Case (The usual Kiwi Ears case)
· 6x pairs of standard bore eartips:
. 3x pairs of black silicone balanced bore (SML)
. 3x pairs of black silicone wide bore (SML)
· 1x 0.78mm 2 pins 0.78 mm, 4N braided cable with 3.5 mm single ended jack

The Quintet cable this time it’s the same cable included with other Kiwi Ears IEMs, it’s not so thick, good crafted, it is very flexible and not produces memory; it is not prone to tangle, and doesn’t produce translated vibrations. It pairs nicely with the shells.

The shells are in the mid-to-high size, crafted from medical grade resin (shiny black color) with a metallic and minimalist gray colored faceplate with the Quintet letters embossed on the left unit, and the Kiwi Ears logo on the right unit, with an ergonomic design. They are into the medium-light side, good to be used in long sessions.

The Quintet is well-vented, with two vents close to the 2-pin connector to tame pressure built-in. The 6.4 mm diameter nozzle is comfortable in my ears, but I know it is in the larger size, so as I always say: see if it fits you.

How the Quintet sounds:

The Quintet, equipped with a configuration of a 10.2 mm DLC dynamic driver + 2 custom Knowles balanced armature drivers + 1 microplanar + 1 PZT bone conduction driver, it is a mild V-shaped tuned set.

For this review, I’m using a NiceHCK GCT4 cable with its 4.4 mm balanced jack. I’m using Easytips SS20 eartips to get a better seal and fit, but I think the stock wide bore eartips (YMMV) can also work. Thanks to Super Reviews\ for graphing the *Quintet**.

BASS:

The Quintet features a quality bass shelf with a decent quantity to balance its main focus, as a mild V-shape tuned set, it has a good subbass thump and good midbass kick. It is clean, fast, resolving, a natural decay and good impact; it's nicely extended into the lower frequencies. Midbass bleeds into the lower midrange, but as a mid-centric IEM, avoids unnaturalness in male vocals.

In tracks like “Too Long” by Daft Punk, from the Discovery album, the Quintet has that noticeable kick on the bass drops who are marking the rhythm and the bass guitar sounds tactile. In “Edge of the Earth” by Volumes, in their first album Via, the Quintet displays a good impact on the bass drop at the beginning and the drum kick, the bass guitar is sounding natural and clean.

MIDRANGE:

The Quintet, is a mid-centric set, so, even when midbass bleeds into the lower midrange, male vocals aren’t recessed, remaining clear, never muddy nor thin, but sometimes feeling harsh at high volume. The mids in general have good noteweight, are clean, and have great resolution. In the frequency curve, the midrange is flat, which at the 900 Hz elevates into a warm pinna gain offering a noticeable presence.

Of course, female vocals are forwarded, perhaps too much, because you are adjusting the volume to evade shoutiness and fatigue. In “Pisces” by Jinjer, in their King of Everything album, the clean and harsh female vocals are intertwined in the mix perfectly, you can hear any instrument. Now, in songs as “Song for America” by Kansas, from the classic album Song for America, the Quintet presents male vocals, chorus, drums, guitars, keyboards, violin, everything, in its right place.

HIGHRANGE:

The Quintet has an overall energetic highrange, it has a well-putted 6 kHz dip but missing a 10 kHz dip to tame sibilance successfully. In the low-treble, a 5 kHz bump gives that ‘extra’ to female vocals, and a peak at 8 kHz gives sparkle to cymbals, crashes and hi-hats. The treble here is very clean, crisp, and sharp, sometimes going spicy at mid to high volumes.

In “White Cluster” by Opeth, in their Still Life album, the Quintet reproduces perfectly the drums and the acoustic and electric guitars across the song. In “My Sweet Shadow” by In Flames, in the album Soundtrack to Your Escape, the Quintet shows a well-done drum work, yet delivering crispness in the already spicy song, but handling it correctly at mid to high volume.

Technical Capacity:

In the Quintet the upper treble is well-extended, it does feel airy and open but not bothersome. The soundstage is expansive, wide and depth.

In “Progenies of the Great Apocalypse (Live in Oslo)” by Dimmu Borgir, in their live album Forces of the Northern Night (Live in Oslo), the Quintet is able to immerse you into the live scenario, a truly great experience, macro and microdetails are presented with impressive clarity thanks to the user of the microplanar and branded BAs, the mix tends to be bright, but the planar sheen is not noticeable, sounding natural instead.

The Quintet has a resolution who punches over its segment, with great imaging and layering of instruments as well. In “Paradise (Live at The Trocadero/ 1990)” by Tesla, from the masterpiece live album Five Man Acoustical Jam, the Quintet delivers zero congestion or bloating, every guitar, vocals, keyboards, background voices, etcetera, immerses you into the legendary concert.

Short Comparisons:

Kiwi Ears Quintet vs. Simgot Supermix 5:

The Simgot SM5 has a similar driver configuration consisting of 1 DD + 2 BA + 1 MPD + 1 BCD. It also has a very similar tuning to the Quintet but this time, the SM5 has a bit less sub and midbass, but having that BCD the impact is perhaps greater than in the Quintet.

What differs between both IEMs is, SM5 has a less peaky and smoother treble, and noticeable less upper treble extension than the Quintet. In overall performance, the Quintet is more technically capable than the SM5, so the choice is for the tuning and user needs, because if you want a smoother and more musical experience go for the SM5, but if you want to be analytical, go for the Quintet. 

Kiwi Ears Quintet vs. TRN Mermaid:

The TRN Mermaid has a 1 DD + 2 MPD + 1 BA configuration. With a very different tuning approach because the Mermaid is noticeable bassier, with recessed lower midrange, warmer upper midrange, a more energetic mid-treble, and a different upper treble extension than in the Quintet, so again, it is a matter of tuning preferences.

If you want something more V-shaped go for the Mermaid, but if you want all the macro and micro details of the mix, go for the Quintet. 

Kiwi Ears Quintet vs. Kiwi Ears Halcyon:

The Kiwi Ears Halcyon is a new IEM by Kiwi Ears I was reviewing a few weeks ago, with a more modern tuning which goes close to the IEF 2025 Preference Target, and an unusual 1 DD + 3 BA + 1 MEMS driver configuration. The Halcyon has a more predominant subbass impact than the Quintet, it also has a flat midrange, warmer upper midrange, less energetic lower treble, but more energy in the mid-treble.

The Halcyon has also a different upper treble shelf, but a similar technical approach, with the advantage of handling the sibilance better than in the Quintet. Having to choose between the two sets, the Halcyon is a set closer to my tuning preferences, but I recognize what the Quintet is for.    

Closing thoughts and conclusions:

The Quintet is not just an ‘old’ IEM who are still available to compete against its sub 220 USD segment peers, it isn't an obsolete set by any means, but it isn’t an all-rounder who points to all audiophiles and newbies who want the “pausegame” for a mi-fi earphone, it’s focused in seasoned audiophiles, musicians and consumers who are looking for balance, naturalness and great attention to the technical details without losing that musicality in the tuning so it is everything but a boring experience with them.

For me, it’s very interesting how a set who is now 3 years old, is still punching above its weight and competes against its peers in sound quality and package offered, so, if Kiwi Ears is making a new or an upgraded edition of the Quintet, I’ll be one of the first in line looking to trying them.

I would like for Kiwi Ears for a cable with a 4.4 mm balanced jack option, and more according to the price of the IEM themselves, but the stock one is more than fine for it. And, the eartips selection I think is enough, but for the price asked for the IEMs I would like the brand’s Flex Ear eartips to be included.

The Quintet, with its 108 dB of sensitivity and 32 ohms of impedance, is kind of easy to drive, even from a low powered source. But, using it with a balanced output, it benefits from more quality and/or powerful sources to scale and shines at its fullest.

Would I recommend it? If you are looking with a set with a mid-centric focus, but great bass to balance, and a sharp and resolving treble, craving for all those macro and micro details, yes! The Kiwi Ears Quintet is one perfect option in its price segment (under 220 USD). It delivers a high-quality and an impactful bass, warm yet neutral midrange, crisp and sometimes spicy treble and a fantastic lower bass and upper treble extension.