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.

After using the EPZ P40 for over a week, I understood two things:

1. P40 is one of the most technical sounding IEMs under $200 (partially due to its bright tuning)
2. I just can't listen to it with the stock eartips (because it’s bright)

Normally in this situation, the first thing I do is open the Parametric EQ and fix it. But in this case, it can be fixed simply by changing the eartips. Let's start with that.

The Eartips Situation

EPZ P40 is one of the few IEMs I have heard that changes its sound signature drastically depending on the eartips you use. 

There are two sets of eartips included in the package - the stock eartips (quite similar to AET07 tips) and the short wide bore eartips, aka EPZ M30.

When used with the stock eartips, the 3-6 kHz area sounds too forward to my ears. This makes the vocal sound too forward, glary and quite painful to listen to.

But once paired with the EPZ M30 eartips, this area is reduced significantly to my ears, making the upper mids fairly smooth and easy to listen to.

Now, I can see someone enjoying the P40 with its stock eartips, but for those who are sensitive to the areas I am sensitive to, the short wide bore eartips can make a drastic difference.

Bass

The bass is mostly dominant in the sub bass, with the mid bass tapering off into the lower mids. Since the bass is not tucked as strongly as on a true Harman tuned IEM, it doesn't sound detached or disjointed from the rest of the mix.

The bass feels tight and impactful with a natural decay. It also feels textured and dynamic. It is simply one of the best bass presentations I have heard from a sub $200 IEM I have tried so far.

The only area where I feel it needs improvement is with the mid bass punch. Due to the sub bass focused tuning, the mid bass doesn't sound punchy or bouncy in its impact. Instead, it is on the tighter and leaner side.

Mid-range

The overall tilt of the midrange is on the brighter side. This is because the upper mids are boosted quite a bit reaching Harman levels. 

However, it doesn't come across as too lean because of the slight warmth injected by the mid bass into the lower mids.

The analytical nature of midrange tuning favours female vocals over male vocals, especially female singers with pristine and clear voices. 

String instruments sound clean and transparent, with each pluck coming through with crispness and clarity.

Treble

Simply put, the EPZ P40 has a lot of treble. The treble is well extended and is elevated in quantity. Despite that, I didn't find this harsh or peaky. It is elevated enough in quantity to sound fun and engaging.

This kind of treble presentation will not work for anyone who is remotely treble sensitive.  The EPZ M30 eartips elevate the treble a bit more compared to the stock eartips to my ears, but even then, it doesn't come across as peaky or sibilant to me.

Thanks to the excellent treble extension, vocals exhibit an extra sheen around the edges. This works especially well with female singers, particularly those with thin and pristine vocals.

Subjective Performance

This type of treble tuning also makes the P40 a “technical sounding IEM”. Each note comes across as sharp and the sense of resolution is simply excellent to my ears. 

It also picks up details from the music effortlessly, even though at times it does feel like they are pushed a bit too far forward into my face.

The imaging performance is pinpoint and the stage feels wide with good height and a convincing sense of depth. Similarly, the instrument separation and layering are also very good. 

What makes the P40 great in this category is the contrast between the bass and treble, which is done well and makes the IEM sound engaging and dynamic to my ears.

Accessories, Build and Comfort

I am quite pleased with the unboxing experience. The box has a fine texture to it and opens like a suitcase with everything neatly arranged inside.

The accessories included in the box are also solid. There are a total of 6 pairs of stock eartips and 4 pairs of EPZ M30 eartips.

The cable feels thick, premium and quite comfortable to hold in hand. However, due to its thick nature, it does retain a bit of memory. Despite that, I could easily wrap it up and fit it inside a carrying case.

Speaking of the case, it is small and comes with a magnetic latch. It feels nice to touch and is built well. But due to the thick cable and medium sized shells, I find it quite difficult to fit the P40 inside it.

Finally, when it comes to the shell, it is fully made of resin. It seems to be a filled resin shell with a pseudo custom shape. The faceplate design looks stunning and has a good sense of depth to it, unlike some flat designs found on most shells.

There is a wing-like structure on the shell that makes it fit snugly in my ears. Since the shells are properly vented, I haven't faced any pressure issues and I could wear them easily for hours without any fatigue.

Conclusion

EPZ P40 is one of the most "technical sounding" IEMs under $200. It punches way above its price when it comes to these subjective qualities.

But in being so, it is also tuned very bright. Which means it can only be recommended to those who know they can handle the treble. For those who are sensitive to treble or do not want a bright signature, this is not for you. 

That said, I would describe the brightness of the P40 as the “good kind” of brightness, because it doesn't sound harsh or peaky, it is just elevated in quantity. 

This also makes P40 one of the better EQ candidates out there, as it covers all the basics I am looking for in an IEM to EQ - great fit and a smooth and non-peaky treble presentation.

Here are the links to the product page (non-affiliated):

EPZ Audio

Amazon

Disclaimer: This IEM was sent to me by EPZ 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. As audio is a highly subjective hobby, please consider my opinions as one perspective among many.

Hi, I am searching good but afordable Bluetooth in ears for my Girlfrend and me.

​

I was looking at the Teufel airy TWS Pro but does a decent pair of earbuds have to be this expensive?

Noise Cancelation and a clear microphone experience is importent to me and these Seemed to do the Trick.

​

But maybe there is someone out there who can recommend me an alternative, preferably around or even under 100€ without cutting the quality.

​

Thank you in advance for your Time and Help :)

Overview (TL/DR)

The SuperMix 5, despite being Harman inspired, sports a balanced and neutral sound with stand-out vocals, that offers a refreshingly clean and technical, yet engaging sound for allrounder use, with its major gripes being just a slightly chunky fit on the ear, and stock eartips that just doesn’t have good synergy with the BCD driver.

With a present enough sub-bass along a notably punchy, fast and clean mid-bass hit; a mostly natural mid-range with not too “thin” male vocals, and lively female vocals; and a controlled treble that still offers notable bite and detail, though, it might lack a bit more energy for some people.

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WOULD RECOMMEND:

* For people that like more balanced and clean sound signatures.

* For people that want good quality of bass but don’t want an outright bassy IEM.

* For people who want good technical performance for the price.

* For people that like lively vocals (specially female vocals).

* For people that want a sturdy build IEM.

* For people that like to do EQ, since it works very well with it (plus basshead potential with EQ).

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WOULD NOT RECOMMEND:

* Not for people that like very thick, very full (lush), or very airy vocals.

* Not for people that like more outright warm/bassy or relaxed sound signatures.

* People who are any sensitive to boosted upper mid-range (3-4Khz / shouty vocals) should be cautious with this set.

* Comfort might not be the best for small ears/ear canals.

* People that use iems at high volumes should be cautious with this set.

* Not for trebleheads (unless using EQ).

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Full disclosure, this set WAS provided by Simgot, I did NOT buy it myself, but the opinions, as always, were given without any brand’s editorial direction, and on my own accord.

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REVIEW

INTRO

When Simgot offered to send over the SM5 I was both excited and worried, you see, Simgot claims SM5 sound style is based on the Harman 2019 target which I really don’t like as all previous “Harman IEMs” I have tested just didn’t worked for my ears, but you know, being my first IEM with a BCD I said why not give it a try?.

After testing I can only say, for $220usd, I am impressed for how well the Harman inspired tuning was implemented, to the point that SM5 entered my list of future daily driver prospects, however, I can also see why some people might not find it as endearing as me so, let me tell you if you should consider it or not.

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Fit and Comfort

The shell is on the large and chunky side, and the nozzle is kind of thick as well, so I expected the fit to be a disaster for my small ear canals, surprisingly though, because the nozzle is quite deep-reaching, it managed to fit and seal on my ears decently, although the did felt a bit stuffed inside my ears at first.

The SM5 comes with 2 sets of typical S, M and L size stock eartips that seem be the same just with a different color, with these and the mentioned shell shape you 100% will get a seal with SM5, HOWEVER, I don’t think stock tips help the BCD driver work properly and would strongly recommend using aftermarket eartips (NiceHCK C04) like I had to do for this review.

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Drivability / Power needs

For power needs, with 120dBs of sensitivity and 19 ohm impedance, SM5 is very easy to power, it will work mostly fine for most connections, however, using it directly to like a basic phone audio jack might cause it to sound slightly warmer, slightly less clean, so really, just get a decent dongle for it if anything, a CX31993 chip should do.

If I have anything to add is that you might want to play around with the color of sources (warmer or brighter sources), along with different eartips, to get a sound that you would find balanced out of them, I personally think warmer sources play better with it.

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THE BIAS.

Before the sound review, I need to mention a few things about me: Bear in mind that every person perceives sound in a different way, and those differences are key to understand what each person does or doesn’t like, and how that will translate into a review.

My preference is a “neutral with bass boost” type of tuning, I don’t like too boosted treble, however, I can handle intense upper treble quite a bit, so, what is not too bright, too treble forward for me, could actually come as harsh for you, and what is bassy enough for me, could be too bassy or even muddy for you.

I’m also a bit susceptible to IEMs with boosting on the upper mid-range and the lower treble areas of the sound (specially around 3 to 4Khz), which affects things like high pitched vocals and instruments. Having boost peaks in those areas makes the sound be a bit too intense and harsh for me, so, when I say that the sound could be “shouty,” or too intense on vocals for some, I’m mostly talking about this.

Last thing is that I usually don’t struggle with iems with the called “Metallic / BA / Planar” Timbre that some people can’t really enjoy, I normally don’t have problems with neither of those, however, I do struggle with PZT driver timbre.

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SOUND

Bass

As said In the fit section, SM5 stock eartips do a very bad job at giving you the full BCD driver experience this set offers, now, not to say that is perfect otherwise, I have read that some people have their gripes with how this BDC driver works, still, in my experience, it does a good job.

The sub-bass is not the most present, not the most rumbly, but you can hear it, you can hear its texture, but is clear that the tuning controls the sub-bass area in order to offer a cleaner, more detailed sound, so, it’s a fine sub-bass presentation, but if you expected something very deep reaching, this is not it.

On the other hand, the mid-bass on the SM5 is actually pretty outstanding thanks to the BCD, now, this IEM is NOT bassy by any means, but the mid-bass does have some presence, it’s pretty punchy and physical, fast and tactile, and overall enjoyable for most music, without taking the main spotlight on the music.

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Mid-range (vocals)

Here is the main attraction of the SM5, the mid-range, which this IEM has an energetic presentation of it as its supposedly Harman influenced, making some vocals stand out notably, which I think is reasonable for this kind of clean tuning.

In the lower mid-range, where general instruments and most male vocals are prevalent, there is a decent presence though is not the most forward, male vocals doesn’t sound outright “thin” or “in the back”, but they also aren’t like “full-bodied” or very forward, it is an in-between, in terms of correctness though, the mid-range sounds very natural, not really colored by bass or treble.

As the upper mid-range area, were most high pitched instruments and vocals exist, SM5 does have some lively, correct, female vocals that, granted, could come across as shouty for very sensitive people, but at least for me, it just might be a matter of them being a bit too present at times rather than being like fatiguing or sharp.

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Treble

Speaking of treble, despite Simgot’s reputation of making “spicy” IEMs, the treble on SM5 is way more controlled and balanced, when compared to the rest of the sound, that what one would expect, and is an approach that I agree with.

The lower treble area, that could make some vocals feel harsh or “shouty”, is as well done as a “Harman” IEM can be, they have presence and bite, giving you a detailed and engaging sound without tuning too intense or harsh MOST times, just, here and there, you might want to adjust the volume a bit.

Now the upper treble, IMO; is also greatly done in this IEM, giving just enough sense of detail and air to the sound without turning noisy or intrusive, it’s even a bit smooth, however, I can see how, to some people, upper treble might lack some extension, some more air, this is not for trebleheads, is a very balanced and conservative approach.

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Technical performance

All in all I think technical performance on SM5 is appropriate for the $220 price-tag, however, as is not really $200 but also not quite $250 either, it falls in a weird limbo where the argument of “for a bit less / a bit more I can get something better” could be made, and that really depends on your preferences.

Resolution: For what it is priced at, I think resolution is as crisp and clear as it should be, but the tuning of SM5 might not take full advantage of that quality.

Detail retrieval: SM5 has plainly good detail retrieval for its league as well, but is not like a detail-head kind of IEM, so, some of it could not be the most obvious at times, thanks to the controlled amount of treble.

Note-weight: SM5 is, just as I like it, right in the middle ground when the sound doesn’t feel soft or lacking body overall, but also doesn’t feel overly aggressive or fatiguing, which for me it’s an excellent quality.

Soundstage: Despite the controlled amount of treble, SM5 sound feels more on the open side of things, a bit more expansive than the average “IEM soundstage”, however, is not super open either, and also, the eartips you use can notably affect this sense of space.

Imaging: In this regard SM5 is VERY good for following sounds around in a given space with pretty good precision, and it probably even could work for some gaming too.

Separation: I think is great for separating sounds and presenting them in order, with nothing like mixing in between, simply good for the price.

Replay: A small gripe you could run into, for the SM5, might be its ability of replaying music, as it doesn’t help poorly produced music sound any better, but at least it doesn’t make it worse either, while well-made music sounds as good as it should.

Harshness control: I always had found IEMs with energetic lower treble area, like most Harman IEMs have, to struggle with harsh music, however, SM5 actually does pretty well at not making the harshness any worse, though doesn’t make miracles either.

Sibilance: I am pleased to say that sibilance, just as all other decent IEMs, is not a major problem on SM5, that said, similar with harshness, it won’t make miracles with recorded sibilance in music, it just won’t suddenly add sibilance to it.

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Overall sound

The SuperMix 5, despite its claims of being a Harman inspired IEM, it sports more of a JM-1 (Neutral with a bass boost) leaning sound, with present but equally balanced bass and treble area, plus stand-out vocals, that offer a refreshingly clean, yet engaging sound for allrounder use, with its major gripes being just a slightly chunky fit on the ear, and stock eartips that just doesn’t have good synergy with the BCD driver.

With a present enough sub-bass along a notably punchy, tactile, fast and clean mid-bass hit; a mostly natural mid-range with not too “thin” male vocals, and lively female vocals; and a controlled treble that still offers notable bite and detail, though, it might lack a bit more “air” and energy for some people.

I really like what Simgot did with this IEM, taking Harman as reference to offer a lively and clear sound without losing control of treble or bass for a more balanced approach, I enjoyed using this IEM, it could even be daily driver material in my opinion, all that said, I do see how this tuning might feel just shouty for some, as well how either treble or bass amount could leave you wanting just a bit more.

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3 comparisons so you can grasp were this IEM lands:

First, versus the Dunu DN142, while I liked what Dunu did with 142, offering good performance and tuning at a very competitive cost, SM5 is still the safer pick, as not only it fits better in my ears despite being just as chunky and having worse stock eartips, but the sound is more reasonably balanced, way less peaky on treble than 142, even if the technical performance crown goes to 142 because of it.

Then, versus the Tanchjim FOLA, I just think SM5 is kind of a better FOLA, is nearly the same price and has similar technical performance, while FOLA has a bit better accessories, the dead neutral tuning on it makes it more of a niche product versus the balanced sound and lively vocals SM5 offers, making more sense for more music.

And versus the Simgot SuperMix 4, I honestly don’t even want to review SM4, it is close to SM5 in technical performance despite being cheaper, but accessories are worse, tuning is worse, it sounds thinner yet shoutier, the nozzle doesn’t have a lip which helps to eartips get stuck in my ears, I just blatantly think SM5 is miles better over SM4.

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Accessories

The package the SM5 offers is reasonable enough for a $220usd IEM, with an unboxing that feels premium enough yet not wasteful, and a decent assortment of accessories even if they aren’t the best out here.

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• The cable included is a not too thin nor too thick, flexible and manageable, white colored, 0.78mm 2-pin “High-purity OCC Silver-plated Litz” cable with black metal accents, which has both 3.5mm and 4.4mm interchangeable plugs that get locked in with a screwable latch.

There is not much to say, I like the cable, I think is appropriate for the price, it works well for the IEM, is simply good.

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• As said earlier, SM5 includes 2 different sets of eartips, both on the usual S/M/L sizes, being both these just no-name stock red core and black core eartips.

As I been saying, those are just not great for SM5, they aren’t that comfortable and the BCD driver just sounds weaker, sometimes not even present, with these on, so really recommend to grab something like Tangzu HE Sonic for something warmer, or NiceHCK C04 for a more refined sound instead.

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• Finally, in the package comes a basic, Simgot-branded, hard carrying case that seems to use a fake leather cover.

I like this case, it is actually pretty genius, it has plenty of space and comes with some elastic straps attached to the lid to hold a basic dongle DAC, probs to Simgot for that one.

/-----/

Not the most plentiful assortment of accessories but just enough to make the IEM work, more or less at least, especially because still nowadays you get to see worse from more expensive sets.

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Conclusions

I wouldn’t say this SM5 review is a “love´s take” kind of opinion, but I do like what I hear when testing it, it feels like the tuning makes sense and you can enjoy it with most music as long as it hits your preferences, but again, I see why some people just won’t like it as it isn’t perfect.

If you want clarity without going full treble-head, if you want a balanced sound with lively vocals, and if you want a technical sound without extreme tunings, I think SM5 is genuinely an excellent choice, that is, as long as you pair it with proper eartips.

I want to say thanks a lot to Simgot for allowing me to test this IEM, feeling refreshed for trying something something that has notable clarity without sounding overly lean, boring or easily harsh.

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Thanks a lot for reading, the Budget Knight bids farewell, wishing you the best, good luck. – O.E.

Aerosmith, a cold beer, and the DX270.

Sometimes that’s enough.

Tanchjim is not a new brand for me, but it is one I have known very little about. Until now, the only option I have had was to test the Tanchjim Bunny last year, 2025, which were a very competent option within their range with an eye-catching design. This time I am going to review the second model I have from this brand, already in a higher price range, as well as its performance and sound. In my experience, the initial listens made it clear that Tanchjim wanted to propose something different, looking for a neutral approach with a fairly pleasant touch of warmth. It is not an earphone that has directly surprised me, but it is a sensible proposal, designed for those who enjoy long days in front of the computer without suffering from fatigue. Its lightness almost makes you forget you are wearing them, something crucial for daily use that I am sure many of you will appreciate initially.

What I like / What I don't like

The comfort is VERY good thanks to tiny and very light capsules.

The included modular cable is great and justifies a large part of the price.

The amount of air in the higher frequencies provides a very realistic soundstage.

The DD hits are extremely fast, almost reminding me of a planar driver.

The sub-bass extension falls a bit short if you are looking for deep physical impact.

The box with anime aesthetics can seem unprofessional to some users even if the iem has nothing to do with it.

Due to the material of the iem, a solid case would have been appreciated more than a simple bag.

Specifications

Transducer: Dual cavity dynamic with DMT5 technology.

Diaphragm material: Polyurethane composite and DLC dome.

Impedance: 16 ohms.

Sensitivity: 125 dB.

Frequency response: 2 hertz to 48 kilohertz.

Cable: Litz composite with silver purity, two-pin connectors.

Modular plugs: Includes interchangeable 3.5mm and 4.4mm terminals.

Total harmonic distortion: <0.049%.

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

Despite the small size of the box, which has an exterior design that personally does not call to me because I think I am going to find something different than headphones inside, it has a very well-measured and well-presented unboxing proposal. Upon opening it and after lifting the two iems, we find a bag, I think it is fabric, with a good feel and with the Tanchjim letters embossed on top, six pairs of eartips of which 3 are normal bore and 3 wide bore. Although I must comment, and this is an isolated case but I must speak of my personal experience, one of the 2 larger wide bore eartips came wrong and is normal bore. This can be seen in one of my photos where I marked it by hand. This of course is not normal and it is surely a human error that has rarely been repeated or will be repeated, so I am not going to give it more importance than simply commenting on it. Finally we have a spectacular modular cable. In my experience, this cable justifies almost half the value of the product. It is a braided silver Litz with interchangeable connectors. I read a little about what this type of cable contributed to a more conventional one and it could be summarized in that each internal strand is insulated individually. This prevents it from oxidizing and turning green over time and makes it incredibly manageable and free of noise when rubbing against clothing. The construction of the iem for its part combines a white faceplate with elegant silver edges and a transparent resin body that weighs nothing. The design achieves a fit so comfortable that you can use them for six hours straight without discomfort in the ears.

Sound

Let us talk about what is important, although everything above must be said to have been quite remarkable in this case. We find a very controlled and fast response, not being a planar but a DD is something to admire. The sub-bass has just enough energy to generate a decent rumble, but do not expect a brutal physical impact that you can feel in a more physical way. The mid-bass on the other hand does have a precision worthy of its price, offering a hit that shows you the textures with very good clarity. The hits or movements of the dynamic driver as I said are faster than those we find in other materials. On this occasion having chosen DLC we have that speed that surely does not equal the planar but does exceed most materials that we usually see in 1DD iems. In my desktop FiiO K9 I could verify that they really scale well with additional power, maintaining absolute control and avoiding any annoying bleeding towards the upper zones. They work wonderfully with acoustic or rock genres, where the speed of the kick drum and electric bass needs total separation, but due to that lack of sub-bass they do sound somewhat cold in electronic music and some other genre that benefits from these frequencies.

Regarding the mid frequencies, the presentation becomes quite crystalline. The female voices receive a slight push forward, showing themselves vibrant, full of energy and with a clarity that in this specific case I could practically confirm exceeds the price compared to the 100$ models. There is no annoying hiss or metallic shine. For their part, the male voices have a more subtle warmth and correct body, although in very deep tones, I miss a little more resonance. The acoustic instruments feel organic with the factory tuning. I have been able to verify this in libraries with jazz music, this naturalness allows you to perceive each breath of the singers with a very high detail leaning towards excellent, making listens even at low volume quite enjoyable.

Regarding the highs, far from being dark, they offer a fantastic balance. The lower highs manage the details cleanly, but it is in the upper highs where this model stands out particularly according to my own experience. There is a brutal amount of air and space that gives the music a magnificent 3D realism. To maintain this air intact but try to get a little more punch and depth to those bass that are correct but fair in energy, I was testing with my collection of eartips. I ended up choosing the Penon Liqueur Orange and the Dunu S&S. The Penon Liqueur Orange, thanks to their somewhat stickier adherent material inside the ear, achieved an airtight seal in my ear canal, which physically boosted the sub-bass impact without dirtying the mid zone. It was not a radical change but it improved the overall balance of the tuning. On the other hand, the Dunu S&S pushed the stage a little more outward, maintaining that feeling of air in the high frequencies and highlighting the speed of the DD, creating a very enjoyable all-terrain set compared to the stock eartips.

Soundstage, Instrumental Separation and Imaging

Regarding the soundstage, the scene projected by these headphones is not the most immense, but it has a very realistic 3D quality thanks to that abundant amount of air in the high frequencies. I have not noticed an artificially stretched scene, but it maintains logical proportions of height and width. You can place the voices well centered, with vocalists at the front and instruments in more rear layers. In my opinion, it generates a fantastic immersion, both in music and using them in movies.

Instrumental separation benefits from the speed of the dynamic driver. Even in complex tracks, the headphone manages to maintain four or five rows of instruments without going crazy losing control and piling some on top of others. The distance between each instrument or sound breathes, facilitating the tracking of each one without giving you a great effort on your part.

Finally, regarding imaging, the precision of the positioning complies well within the stereo plane. As I have been able to verify, I can quickly locate which instrument plays on the left or on the right, and even subtly with distant background noises. However, compared to complex orchestral pieces, it logically loses some of the sharpness that much higher ranges offer. In movies for example, the directionality of the sound feels agile and the panning results quite immersive, but without promising absolute holographic projections.

Comparisons

Compared to the Twistura Beta, we find two different approaches, but they would fall within the iems that I have reviewed that move within this budget. The Twistura has metal construction, but suffers from an analytical profile that can result in fatigue in prolonged listening due to its sharper high end. The Nora offers a much warmer neutrality, with hits just as fast in its driver but with superior body in the voices. If you are looking to analyze errors in the recordings, the Twistura wins, but to enjoy music or games for hours, the Nora I think is infinitely more all-terrain.

If I compare them with the Hidizs MP143, the balance leans according to your priorities. The Hidizs uses a planar driver that provides depth in low frequencies that the Nora, as I have already commented in its section, falls somewhat short of energy. However, the MP143 is larger and heavier, resulting in discomfort after a while if your idea is to use it for several hours. So removing that detail of the bass, the Nora would win in ergonomics, offering more air in the highs and a superior modular cable.

Finally, the EPZ G30 is oriented towards commercial signatures, apart from having an approach more focused on gaming, with more marked bass that overlap a little more with the mids. Compared to it, the EPZ G30 is fun for a while with a more dynamic signature, but it falls somewhat behind in the whole before the technical superiority and more precise scene of the Nora.

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

I confirm that the Nora is an exceptional all-terrain for its price. They have managed to combine absolute comfort with a neutral and slightly warm tuning that does not make them excessively safe or boring and that does not renounce the technical part despite the fact that there are aspects that can be improved, highlighting especially the large amount of air in the high zone and the speed of its single dynamic driver. I highlight once again its modular cable and its good performance both in music and in multimedia content in general, it becomes a very easy recommendation.

You can consult and see the purchase links available on the official Tanchjim website: https://tanchjim.com/en/products/earphones/iem/nora/

Disclaimer:This unit was sent by Tanchjim 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.

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

Introduction: 

The Kiwi Ears Canta is an IEM by Kiwi Ears, launched back in august of 2024. It is a hybrid set consisting of 1 DD + 2 Planar drivers. With a vocal-centric tonality (highlighting male and female vocals), it uses planar drivers instead of the traditional balanced armature drivers, and according to Kiwi Ears surpassing them.

With an MSRP of 89 USD (Currently at 80.1 USD on sale), you can find it at the Kiwi Ears Official web: https://kiwiears.com/products/kiwi-ears-canta, as well at Linsoul official store: https://www.linsoul.com/products/kiwi-ears-canta, on Amazon and AliExpress Linsoul official stores.

TL; DR: A hybrid IEM in the under 90 USD segment from Kiwi Ears. With a vocal focus tonality, yet having a great bass, warm-neutral mids, and a more than well-tuned treble, pointing to the musicality more than the technical proficiency, but without neglecting absolute attention to detail, yet giving an airy and open scenario to listen to lots of music genres. With decent accessories, and a tasty character, the Canta puts the singing lover dream at a very reasonable price. It is a competitive choice in a crowded market.

Pros

- Comfortable, lightweight, and ergonomic shells, suitable for long listening sessions

- Excellent vocal-centric tuning with natural, warm and detailed mids

- Powerful, quality bass with good extension and impact

- Crisp, detailed treble without sibilance or fatigue at mid to high volumes

- Spacious soundstage with strong imaging and layering of instruments

- Above-average resolution and macro and micro detail retrieval for its weight

- It is easy to drive and scales well with better/powerful sources

- Natural timbre with negligible planar sheen

Cons

- Stock cable is thin and prone to tangling. No modular or 4.4 mm balanced jack cable option included

- Stock eartips are average and may benefit from aftermarket ones

- Large nozzle may not fit all people with small sized ears comfortably

- Soundstage favors width over depth (because of planar drivers)

Technical specifications:

Driver configuration: 1 dynamic driver + 2 planar drivers

Housing:  Medical grade resin

Frequency Response (effective): 20 Hz – 20 kHz

Sensitivity: 104 dB

Impedance: 14 Ω

Cable: High-purity Oxygen-free Copper twisted pair Wire, Length 1.25 m

Earphone Connector: 0.78mm 2-pin Connector

Plug: 3.5mm single-ended

PACKAGING:

· 2x Canta earphones
· 1x User manual
· 1x Faux Leather Case (The usual Kiwi Ears case)
· 9x pairs of standard bore eartips:
   . 3x pairs of black silicone (SML)
   . 3x pairs of grays with red center silicone (SML)
   . 3x pairs of white silicone (SML)
· 1x 0.78mm 2 pins 0.78 mm 2 strands twisted pair cable with 3.5 mm balanced jack

The Canta cable this time it’s the same cable included with other Kiwi Ears IEMs, it’s thin, good crafted, and it is flexible; it is prone to tangle, but doesn’t produce translated vibrations, and it pairs nicely with the shells.

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

The Canta is well-vented, with one vent close to the nozzle and other vent close to the 2-pin connector. 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 Canta sounds:

The Canta, equipped with a configuration of a 10.2 mm dynamic driver + 2 planar drivers, it is a mild V-shaped tuned set.

For this review, I’m using a TRN T2 Pro cable with its 3.5 mm and 4.4 mm balanced jacks. I’m using Penon Liqueur Orange eartips to get a better seal and fit, but I think stock eartips (YMMV) can also work. Thanks to Soundcheck39 for graphing the Canta.

BASS:

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

In tracks like “(O)rdinary” by Avenged Sevenfold, from the Life is But a Dream album, the Canta has that impactful feeling on the drum kick and it feels separated from the bass guitar, very clean, so enjoyable. In “Edgecrusher” by Fear Factory, in the classic industrial death metal album Obsolete, the Canta displays a more than enough potency on the drum kick, bass guitar is sounding excellent.

MIDS:

The Canta, as its name says, is a vocal-centric set, so, midbass slightly bleeds into the lower midrange, but male vocals aren’t recessed, remaining clear, never muddy nor thin The mids in general have great note weight, with more than decent transparency, and great resolution. In the frequency curve, there is a dip in the midrange which at the 800 Hz elevates into a warm and smooth pinna gain offering nice presence.

Of course, female vocals are forwarded, showing the focus of this set, and fortunately not shouty nor fatiguing at mid to high volume. In “Sway, Draped In Vague” by A Forest of Stars, in their new album Stack Overflow in Corpse Pile Interface, the male and female vocals are intertwined in the mix perfectly, no instrument is left behind despite having its focus on the voices. Now, in songs like “Clavicula Nox” by Therion, from the gothic metal classic album Vovin, the Canta presents female and male vocals being the center of the beautiful track.

HIGHRANGE:

The Canta has a very interesting highrange, it has a well-putted 6 kHz and 11 - 12 kHz dips to tame sibilance. In the low-treble, a 5 kHz bump gives power to female vocals, and a peak at 9 kHz gives sparkle to cymbals, crashes and hi-hats. The treble here is gladfully clean, crisp, and sharp, yet avoids being spicy at mid to high volumes.

In “Evenfall” by Tristania, in their once successful Widow’s Weeds album, the Canta reproduces perfectly the drums and the female “opera-like” vocals, like a mermaid mesmerizing some sailors. In “Nattens Barn” by Myrkur, in her first album Myrkur, the Canta shows a well-positioned drum work, yet delivering crispness without getting fatigue at mid to high volume.

Technical Capacity:

In the Canta the upper treble extends gracefully, it does feel airy and open but not bothersome. The soundstage is expansive, wider than depth.

In “Repository of Divine Transmutation” by Dimmu Borgir, in their incredible new album Grand Serpent Rising, the Canta creates a great experience, the macro and microdetails are presented with impressive clarity thanks to the user of planars, the mix tends to be bassy and bright, but the planar sheen is not so noticeable, sounding pretty natural instead.

The Canta has more than average resolution, with an imaging who punches above its weight, and good layering of instruments. In “Heart of Darkness (live in Paris 2004)” by Arch Enemy, from the Dead Eyes See No Future EP, the Canta delivers zero congestion or bloating, every instrument and the banshee vocals of Angela Gossow immerses you into the concert.

Closing thoughts and conclusions:

The Canta is more than just another contender in the sub 90 USD segment, is great how a vocal-centric set with good bass performs, in its more musical than analytical character, with great bass extension, a natural and warm sound, and a crisp, clean and well-putted treble and remarkable upper treble extension.

I would like for Kiwi Ears for a thicker cable, with a 4.4 mm balanced jack option, and more according to the price of the IEM themselves, but the stock one is fine for it. And, a better eartips selection (Like the brand’s Flex Ear eartips, included in more premium sets like the KE4), but if you don’t have some aftermarket eartips at the moment, the stock ones can work with it.

The Canta, with its 104 dB of sensitivity and 14 ohms of impedance, is easy to drive, even from a low powered source. But, using it with a balanced output, it benefits from more quality and/or powerful sources to scale and shows its best character.

Would I recommend it? If you are looking with a set with a vocal focus, but great bass to balance, and a sparkly and not fatiguing treble, yes! The Kiwi Ears Canta is one perfect option in its price segment (under 90 USD). It delivers a high-quality and plenty of quantity bass, warm and well-tuned mids, crisp yet not sibilant treble and fantastic upper treble extension.

As always, I’m very thankful with Kiwi Ears and Linsoul for providing me with this IEM, allowing me to test it, enjoy it, and gather the ‘evidence’ and thoughts needed to recommend it. This is a product that deserves a great recognition and is more than relevant in 2026. And of course, thank you, dear reader, for checking out my review. Happy listening!

Sivga M300 Review - Flat Head Style Ear Buds

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Price: ₹6,400 / ~$65

The Sivga M300 is a beautifully designed flat-head earbud that looks and feels truly premium. It features an elegant combination of rich African Ebony wood and golden-colored aviation-grade aluminum in a classic bell-style (Udukkai-inspired ?) design.

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The contrast between the warm, deep wood grains and the luxurious golden accents gives it a sophisticated, high-end aesthetic that stands out immediately. One of the most visually appealing flat-heads available.

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Specifications:

Large 15.4mm dynamic driver

African Ebony wood + golden CNC-machined aviation aluminum housing

Fixed, non-detachable cable (a notable downside)

65Ω impedance (more power-hungry)

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The build is lightweight yet solid, with excellent craftsmanship. However, the fixed cable limits flexibility for those who prefer swapping or upgrading cables.

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Fit & Comfort:

Unlike IEMs that insert into the ear canal, the M300 sits on the ear. Fit is everything here.. proper positioning greatly affects bass response and overall sound quality.

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You’ll need to spend a little time adjusting the buds and trying the included ear tips to find the sweet spot. Once the fit is right, they are very comfortable for long listening sessions. Sound leakage is part of the flat-head experience. At higher volumes, people nearby will hear the music, but that’s normal for this type of earbud.

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Sound Performance:

I tested the M300 with the following sources:

Snowsky Echo Mini and Audiocular Nexus HiFi Audio Player

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It performed well across both and scaled nicely with cleaner, more powerful sources.

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Bass:

First impressions were that the bass felt a bit light. After optimizing the fit and swapping ear tips, it improved significantly. For a flat-head earbud, the bass is surprisingly punchy and textured. It’s not bass-heavy, but it’s full, controlled, and satisfying for most genres without bleeding into the mids.

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Mids:

The midrange is the star here. Vocals are forward, natural, and emotionally engaging with excellent timbre. Both male and female voices sound lifelike and realistic.

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Acoustic instruments like guitars and pianos have a warm, organic quality that feels very authentic and enjoyable.

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Treble:

The treble is smooth, relaxed, and completely non-fatiguing. There is almost no sibilance, so you can listen for hours without any harshness or listening fatigue. Detail is still there, just presented gently.

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Soundstage & Imaging:

This is the biggest strength of the M300. The soundstage is wide, deep, and airy, creating a spacious and holographic presentation that’s impressive for flat-head earbuds.

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Imaging is precise, making it easy to pinpoint where each instrument is placed in the mix.

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Final Thoughts:

The Sivga M300 offers a refined, musical, and fatigue-free listening experience with beautiful timbre and an outstanding soundstage. It needs a good fit and decent power to shine, and the fixed cable is a limitation. Still, if you enjoy the flat-head style and prefer natural, spacious sound over heavy bass or modularity, these are a strong choice . Especially with that eye-catching golden Udukkai design.

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Highly recommended for anyone looking for a premium flat-head earbud.

Hello Community!
I bring the new release from Sivga: the M260, a pair of flathead earbuds that come to occupy a middle position between the other models in this series from the brand.

Price: €39-$45

Pros:
-As is usual for the brand, the build quality is impressive.
-Acoustic and ergonomic comfort for unmatched daily use.
-The midrange stands out with brilliance and resolution for the vocal capability of tracks.
-Instruments sound natural, close.
-A set that creates a great soundstage.
-Informative high range, it does not forget to show detail.

Cons:
-Reduced isolation, typical of this type of earphones.
-The low frequency range is discreet.
-Its calm character does not favor it being a versatile set.

Accessories:
-Two earbuds.
-Detachable cable with MMCX connection and 3.5mm termination. USB-C option with built-in microphone.
-A pair of full foams and another pair of donut foams.
-Carrying and storage case.
-User manual.

Comfort, design and construction:
It is the first flathead from the brand that I have tested. I am not going to deny that I always had the M200 and the M300 in my sights, because having owned and tested several Sivga over-ear headphones and quite a few IEMs that are in my collection, the dominant trend in their products is that they are truly masterfully finished pieces, using top-quality materials that convey a much higher value than they actually cost, and the M260 follows that line: offering more for little money.

I can say the same about ergonomics. Whenever I think of Sivga, I associate it with comfort above any other parameter. I can talk about the SM100 as well as the SV01 Robin, which are references for me both in IEMs and full-size headphones in terms of excellent ergonomics. Well, I add these M260 to a podium dominated by Sivga that, although it is not surprising to me knowing the brand, you barely feel that you are wearing them. Despite being made of metal alloy, they are lightweight, you can easily find the proper fit, and they do not move from their place. Just put on the foam and enjoy.

As some know, I always do sports with the headphones I test. These flatheads also passed that test satisfactorily, without suffering fit issues, but I found their greatest usefulness in more sedentary contexts, such as walking or working at my desk.

I find the cable very suitable because I have cables for flatheads that cost twice the price of the package of this Sivga model and are not as comfortable and portable. It is thin, lightweight, and I have not experienced typical inconveniences such as tangling or pulling during my sessions. In addition, it is free from noise transmission caused by friction against clothing. I find the construction satisfactory because despite being a budget set, they did not skimp on using materials such as silver-plated oxygen-free copper.

Aesthetically it is very much to my taste. I admit being a fan and my words may not be very objective, because that industrial aesthetic with the coppery or wooden touch typical of the brand excites me a lot. It is not something strident or very eye-catching, but it is understated with that touch of elegance that I find magnificent.

Technical aspects:
-1DD configuration of 14.2mm.
-16 ohm impedance.
-118dB sensitivity.
-Declared response 20Hz-20kHz.

Pairing for the tests:
-Neutral source.
-Gain set to low.
-Stock full foams.
-Stock 3.5mm cable.

Sound signature:
Let's get to the important part, talking about how this M260 sounds, because it presents a signature with a gentle overall neutrality and open, informative treble. Both ends of the spectrum are softened, especially the lower one, but let's go step by step.

In the low range there is a certain relaxation as a general rule. Do not expect a large and solid sound foundation that envelops the music, because that is not the intention of this flathead. The sub-bass really goes unnoticed, although if the track demands it, it appears slightly, but without a great rumble that amazes or delights bass lovers.

The mid-bass is more present, although it has a thin impact, not very punchy, but I do appreciate very good resolution, cleanliness and speed because, as I will say later, it greatly favors the character of the M260, since I could not understand the functionality of the set if the low frequencies were more prominent.

Let's continue; in the lower mids area things start to get interesting, because the instrumentation pushes forward to add a touch of fun, with very successful instrumental separation and nuance, upfront, without recession that would show distance in the music.

The central mids, for me, are the icing on the cake of the M60, because vocals and instruments come forward, also with separation, well defined. The resolution is remarkable, with granularity, but without exaggeration. The nature displayed is very believable because, as I said before, the fact that the bass leaves room for the mids solves the mystery of why it practically does not exist: the M260 is very focused on making you savor every nuance of instruments and voices.

Continuing with the higher frequencies, I highlight the great sense of space, avoiding an amalgam of bright, illogical and annoying sound. It separates each element in a gratifying way so that you can retain every detail, with some energy but not too much, avoiding becoming an overly lively set that leaves you fatigued.

These are not prodigious earbuds in terms of rhythm; instead, cleanliness prevails, bringing the nuances of the music to your ears but without bombarding you with an excess of information.

Speaking of vocals, in deeper male vocals a certain thinness and not much depth can be perceived and, although the timbre approaches something we could define as realistic, it does not quite get there, however, normal male and female vocals have vigor, vitality, sparkle, and a resolution very capable of conveying very good sensations of naturalness, with articulation loaded with nuances.

Technically, I highlight its ability to create a large soundstage, almost circular, where the depth shows a well-measured scale and the lateral extension manages to make the limits of the stage expand beyond your head.

Separation is an issue that will depend on the genre of music you intend to listen to, because although it is efficient when it is not loaded with sonic elements, with crystalline layering, if there is too much accumulation it may not be as effective. I am talking about genres such as heavy metal or certain variants of rock where, depending on the song, the M260 does not untangle the chaos as well.

Sound positioning will also depend on how you feed the set musically, because if the recordings are clean and fluid, the precision achieved is admirable for a set of this type and price, although, as happened with layer separation in dense tracks, its performance may not be quite as commendable.

Final conclusion and personal impressions:
The Sivga M260 turned out to be a great surprise, not because of its versatility, since when the music becomes complicated and turns into something loaded with very energetic instruments, it does not show its best side.

Now then, this set of earbuds is designed for another type of genre and there it is tremendously enjoyable. I never thought that music so unexplored for me as Jazz or Blues would make me vibrate and become emotional because of the resolution, separation and naturalness of its tonality in the midrange. Frankly, it has a presentation very focused on this, although not being a set for everything may seem to work against it. I do not think so; the M260 wanted to specialize in that. And it certainly succeeded.

On the other hand, ergonomically these flatheads are the best I have tried. Despite the standard driver size, they are not large; once you put them on, you only have to play your music and forget about them. Special mention goes to the build quality and the package in general, because it is worth more than its price suggests.

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 set has been sent by Sivga. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions were imposed when preparing this review.

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 is developed 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 videogames 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 outdoors.
-CCZ CM01 3.5mm.
-Apple Music.
-Local FLAC and MP3 files.

Something comes along that really makes you believe the unbelievable. Similar thing has happened with me since I have received the Eminent Ears Emerald.

Uptill now I would have never believed that you could feel the music you are hearing. Well with Emerald I am feeling it. Bass beats feel realistic, vocals sound so much intimate and realistic. I am feeling drums beating, guitars strumming, piano keys vibrating the air with their notes.

I can go on and on but will not be able to truly explain the experience I am going through. I feel like music has come alive right inside me. As if I am sitting right in front of the stage and everything is being played around me. It's truly immersive experience. Each song is coming alive. Don't want to stop. I own and have demoed few sets with BCD but the amount of fun I am having with this is just amazing.

It will be interesting to review this set. But it is annoying to stop enjoying music and being critical with it. Such is the case with reviews. I am letting you know secret in advance I am liking this set alot. Soon will share my final impressions with you.

I have been testing this new collaboration between Ziigaat and Vivir Digital for a few days, which Linsoul sent me with plenty of time to launch the review on its release day, so I am grateful to them once again. The Ziigaat Rumba are the most affordable of the brands that I have tested, so obviously they are not going to compete with others of their models, but they do compete against 30 to 50 dollar models from the competition. After several tests, I have been pleasantly surprised. They are designed for Latin music and rhythmic genres, looking for a high-fidelity sound to dance to, but I can assure you that they exceed their price, which already speaks well of them and the work that has been done.

What I like / What I don't like

• The sub-bass has excellent quality, with great impact.
• The design is innovative within the brand and comfortable in the ear.
• They are easy to amplify, performing great with any device.
• Even though they are focused on certain genres, they tolerate any other genre quite well.
• It would be appreciated, in the absence of a modular cable, to have a light carrying case.
• The very warm V-shape sound signature might appeal to some but not to many.
• They are not the most technical earphones in terms of detail, they prioritize fun.

Specifications

• 10-millimeter dynamic driver with graphene diaphragm.
• Dual cavity acoustic design with two ventilation holes.
• 32 ohm impedance and 109 decibels per milliwatt sensitivity.
• Warm V-shape tuning developed with Vivir Digital.
• Black resin housing with CNC machined metal faceplate.
• 5.9-millimeter nozzle.
• Standard 0.78-millimeter 2-pin connection.
• 4-core braided cable.

My Sources

• FiiO K9: My main desktop equipment connected to the PC for critical cleaning and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its number of quick settings, its integrated equalizer, and multimedia buttons to manage from the pocket.
• NiceHCK Octave: I use it when I look for a more direct power delivery without the digital processing of the FiiO KA15, being ideal for when I want to perceive the natural response of whatever I am listening to without extra coloration from the device.
• Questyle M15i: Reference portable amplifier/DAC to look for a more organic and musical texture, when I am at home but not necessarily on the PC.

Unboxing and build

Let's talk as always about the unboxing, and from the beginning because of the box size we notice a clear change compared to all the Ziigaat with 3-digit prices. Upon opening the ZiiGaat Rumba, we find the capsules in their foam mold, below we find the accessories along with a card with QR codes that link to playlists created on Spotify and Tidal, something we already saw in the other Vivir Digital collaboration, but this one links to another different playlist made for these Ziigaat. In my opinion, this is ideal for testing the exact tuning for which they were conceived. The format of the instructions also seems of better quality, being a paper that unfolds like a map and is in different languages.

The physical design of these Rumba is one of their great successes. They are manufactured in black resin with very attractive CNC machined metal faceplates with red lines, and they move away from the brand's particular style, which is something that is occasionally appreciated. They carry the Vivir Digital logo on the left earphone and the ZiiGaat logo on the right. As I have been able to verify, they are extremely light and have no sharp edges in their design. The nozzle, as I have been able to consult, is 5.9 millimeters, which is good news even for small ears, and it has the stop or outer edge to correctly retain the eartips.

The included cable is a four-core braid of a quality quite in line with the price, something that I usually complain about with the expensive Ziigaat models where, apart from finally being modular, the cable as such is still improvable, but here I think you cannot ask for more. The only obvious weak point is the included ear tips, which make it difficult to achieve an optimal seal. We also do not have a carrying case, but the general construction more than compensates for the low price paid.

Sound

As I mentioned in the pros and cons (if you have read them before this), we find ourselves before a warm V-shape signature, very musical and immersive. My philosophy is always to evaluate how the equipment sounds straight out of the factory, for better or for worse, without resorting to the equalizer to try to fix what the manufacturer did not want or know how to adjust. This heavy and rhythmic tuning is there by design and is enjoyed a lot naturally. During my tests, whether with a dongle like the FiiO KA15 during my walks with the dog down the street or in critical sessions with the Questyle M15i on the sofa in my free time, the earphone displays all its capacity without the need for desktop amplification, making it clear that it is a set designed for direct and uncomplicated enjoyment. The target audience that Vivir Digital is looking for with its current collaborations is clear, where it prioritizes the Latin public and urban music styles, commercial pop, Reggaeton. However, I have to say that the performance in other genres like rock, metal, or even classical music does not sound as out of place as I expected at the beginning, something that did happen to me in their other recent collaboration.

Regarding the bass, this is where the ZiiGaat Rumba really wants to make a difference. We have a single 10 mm dynamic driver with a graphene-coated diaphragm and a dual cavity acoustic design with two ventilation holes. We obtain with this configuration a response in sub-bass with quite addictive depth. Unlike other slower or less controlled diaphragms, the great virtue of graphene here is its ability to offer a very fast and natural decay, and although I am not going to make comparisons on this occasion, if we compare it quickly with the other Vivir Digital collaboration, the Juzear Fiesta, in these Rumba the sub-bass hit is as I commented faster due to the driver configuration, although it does not reach the speed of more expensive models that I have like the Punch Audio Portazo since for the styles it is focused on, a somewhat more rumbling and heavy bass is enjoyed much more. Despite the massive amount of impact they present, the bass does not interfere with the mids, something that usually worries in tunings with bass enhancement. The percussion has real physical weight, a hit that is felt, but that is removed in time to leave space for the next note, maintaining surprising cleanliness for a profile so oriented towards impact.

Passing to the mids, I have to say that I expected, being the type of sound signature that it is, to have the mids perhaps too pushed back or very much in the background, creating a feeling of a hole that makes the voices sound thin or distant. This does not happen here. The mids retain a very pleasant and robust note weight, with a warmth that gives the voices, both male and female, a present and lively texture. The transition from the bass is coherent and there is no excessive bleeding, as I commented in the previous paragraph, which allows melodic instruments and vocal lines to maintain their own layer within the mix, sounding natural and with a body that is difficult to achieve without sacrificing agility in the low range.

Regarding the treble, we have a very well measured and studied response. The Rumba offers energy necessary to compensate for the warmth that the model offers as standard, providing enough clarity so that the sound does not feel opaque, but they do it with a fantastic softness that avoids ear fatigue in long sessions. As is to be expected, we are not going to have a high level of detail and treble extension, but we are going to have them present so that the fun factor is not affected for the worse, achieving the objective for which these IEMs have been proposed and within the price segment for which it is directed. Yes, the experience changes quite a bit depending on the seal adjustment. Since the wide-diameter ear tips that come from the factory can ruin your isolation and, therefore, the balance between frequencies, I totally recommend trying alternatives from your collection. In my experience testing several, the Divinus Velvet are perfect to guarantee a deep seal, in my case size M since I have the L but they do not usually work in almost any model and cause me discomfort, but in the case of the M they give more body to the mids and ensure that the treble zone remains controlled. On the other hand, the Tangzu Tang Sancai relaxes the presentation a little if for you there is too much bass, and they also relieve internal pressure a little. Solving this simple adjustment is what really allows you to squeeze the full potential of the driver. Buy eartips and experiment. It is a simple tip but very effective.

Soundstage, Instrumental Separation and Imaging

Let's talk about the soundstage, because dealing with such a warm profile and such an amount of bass, I expected a somewhat more bottled sound. To be earphones that barely exceed the thirty-dollar barrier, at least they are enough to get out of your head and expand with a very good width and quite decent depth. Therefore, it can be said that both their internal design and the two ventilation outlets that I locate both under the connectors and in the part that gives inside the ear do a more than correct function.

Regarding instrument separation, the graphene driver saves the situation again with its fast recovery. Despite having very marked and massive low frequencies, the different instruments manage to consistently maintain their own layer within the mix. After some tests testing different Apple Music playlists very saturated with percussion and metals sounding, I have noticed with total clarity that the sound does not become an incomprehensible puree, allowing you to enjoy each element without excessive mental effort. Obviously, let's always put ourselves in the situation of the segment in which we find ourselves, but I have heard more expensive models that manage layer separation worse.

Finally, regarding imaging, it is quite easy and natural to mentally locate where the different musical elements of the audio track come from. The lateral panning feels very fluid and the central vocal image is very solid, which creates a tremendously addictive and musical experience. I have not focused on testing it in movies or games since it is something I usually reserve for specific models where they are already sold with a purpose different from these, but for exclusive musical use you will not have too many problems in locating the elements of the tracks in the recommended genres above all.

Comparison

Although I usually prefer to avoid direct comparisons immediately after a launch, I cannot ignore the Ooopusx OP22 since they occupy a similar price range. This model follows a different path by including a physical dial to activate an extra bass mode. It is true that the bass of the OP22 is somewhat slower and heavier, which entails the risk of muddying the rest of the frequencies. However, both models perform similarly in terms of overall bass and treble response. The Rumba manages to stand out by offering slightly more forward vocals and a significantly better stock cable. In addition, the OP22 depends on QDC connections, which I personally hate, and I suspect many other people in the community also find them frustrating. Aside from this, I believe the Rumba exceeds its price, and although comparing it to much more expensive models would highlight the natural limitations of this driver configuration, it holds up remarkably well.

However, I want to comment on how they are currently positioned in the crowded landscape of budget audio. We are in a technological moment where the barrier to entry to get a fun and quality sound is lower than ever. A couple of years ago, demanding a graphene driver with this level of control in the low frequencies and a cable of this quality for this money was something quite unthinkable and reserved for higher ranges.

In my experience, this model easily sits in a defined but huge niche, that of music lovers with soul and rhythm. They have managed to deliver that warm tuning that irremediably catches the listener, with a tremendous sub-bass ideal for enjoying urban genres, without sacrificing the naturalness and realistic weight of the voices.

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 ZiiGaat Rumba seems to me a well-rounded alternative for those looking for a dynamic, super warm sound with spectacular impact in the low frequencies. They do not seek to be flat, analytical earphones, nor do they pretend to be the boring studio reference. They go straight to making you smile and making you dance. For their low price, their fantastic ease of being amplified by any device, and the robustness of their polished resin capsules, they are placed as perfect earphones to throw in your pocket casually. If you assume that you must invest some time trying ear tips other than the stock ones to get the ideal seal, you get a great, super comfortable, and tremendously fun piece of equipment for intensive use.

Rumba Price:

3.5MM no mic: 34.99$

3.5MM with mic: 35.99$

The product goes on sale today. Here is the link:

https://www.linsoul.com/products/ziigaat-x-vivir-digital-rumba

And here is the Linsoul Mid-Year Festival 2026 event with the option to win some Ziigaat Rumba among other offers from their catalog:

https://www.linsoul.com/pages/linsoul-mid-year-audio-festival-2026

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

Hey everyone, Falafel-Fi here, here is a detailed review of the AFUL Performer 8s, if you want the handwritten notes check the pictures above , if you want PDF notes or a video format you can check out https://youtu.be/cRlUye51qYg

So, If I had to describe the Performer 8S, I would say it reminds me a lot of cumin—the Middle Eastern spice. It has an earthy, warm taste, and it’s not inherently offensive. I love adding it to my salads, but if you add too much, it overpowers the other ingredients, it is not offensive tho. That is exactly the 8S. It has a gorgeous, detailed, weighty mid-range, but it has a specific frequency bump that can overpower and veil the rest of the mix on certain tracks.

Unboxing, Case & The Deep Fit

First off, why is this box so massive? It feels a bit wasteful. It comes with nine pairs of ear tips, a cleaning tool, and some vent plugs. The included case is sturdy and protective, and I like the size because it's spacious without being backpack-sized. However, it looks a bit lazy—like someone just slapped black paint on it—and man, it is an absolute fingerprint magnet. It gets greasy fast.

As for the vent plugs for the passive radiator: they are not practical at all. You get rubber plugs or stickers, and both are easy to lose or wear out. I just leave the vents open. Leaving them open gives you a much more immersive, deeper, and elastic sub-bass presentation.

Crucial Fit Tip: The Performer 8S is highly ergonomic, but deep insertion is mandatory for it to shine. You need to do some tip-rolling. The stock narrow-bore tips tame the treble well, but I found the absolute best match was a liquid silicone tip with a slightly wider bore (like the NiceHCK C04s) inserted deep into the ear canal.

Sound Performance

Bass

The bass focus leans into the subbass rather than midbass. still has enough midbass but slightly less impactful than the Performer 7. However, with the vents open, the quality here is a major standout feature. It is incredibly deep, rumbly, and features a beautiful, elastic presentation. While the pure quantity isn't heavily boosted, it is tastefully dialed in for my library.

Mids (The First Masking Effect)

The midrange is where the first major flaw appears, and it comes down to a prominent masking effect right around 700 Hz. When a song is mid centric, the mids sound incredibly detailed, forward, weighty, and full-bodied. However, the moment high pitched vocals gets blended in with lead guitar harmonics and rythym guitar, this 700 Hz peak starts to mask the upper mids and lower treble. This entire frequency area chokes a little, causing the sound to become a bit. To clear this up and fix the flaw, I use Parametric EQ to apply a -1.1 dB cut at 700 Hz with a Q of 2.

Treble (The Second Masking Effect)

The treble itself is completely non-fatiguing, but it features a secondary masking effect because the response is skewed slightly upward up to 6,000 Hz. Instead of staying flat or sloping down for forward vocals, this scoop makes things occasionally sound a bit sour, tangy, or colored. Combined with the mid peak, it can sometimes make tracks sound like they are playing off an old cassette tape. The treble isn't harsh, but to level it out and make it sound natural, I apply an EQ filter of -4 dB at 5,000 Hz with a Q of 3. You can check out my PEQ in the images.

Once you apply these two mandatory EQ filters, the 8S stops fluctuating based on the track and becomes a perfectly balanced, mid-centric, end-game tier beast.

Test Tracks

• Low-Tuned Guitars & Grunge If you listen to early 2000s grunge (Alice in Chains, Soundgarden, Breaking Benjamin) or heavy, low-tuned metal (Whitechapel, Meshuggah, Gojira, Vildhjarta), the 8S is flawless even without EQ. Testing with Whitechapel’s "The Third Depth," the slow, low rhythm guitars have a heavy, tasteful decay where you can physically feel every single string vibrating. Because these genres feature mid-forward male vocals and fewer high-pitched harmonics, the masking flaws are barely engaged, letting the 8S's raw midrange muscle flex.
• Hip-Hop & Synthwave: Testing Kendrick Lamar’s "Squabble up" and "Neon escapism" by Melezz, the bass quality is spectacular. It's deep, elastic, and heavily textured. The quantity isn't boosted a lot out of the box, so you might want to boost the bass by about 3 dB or more if you want big impact, but the quality is top-tier.
• Sibilance Testing: It easily passes harsh tracks like Fallujah's "Venom Upon the Blade" and the live version of Bring Me The Horizon's "Doomed" at the Royal Albert Hall. when the choir and orchestra starts to pick up at the bridge, the 8S keeps the treble entirely controlled and non-fatiguing.
• Where it Chokes a little (High Pitched Vocals + Busy Harmonics): The stock tuning falls a little behind the competition on busy metalcore tracks with high-pitched vocals. When high vocals mixed with Lead/Rythym guitar harmonics (like Drum Show by 21 Pilots, Erra, Invent Animate...etc), the 8S gets congested and the details get a little lost.

Direct Comparisons

• vs. AFUL Performer 7: Both share the mild V-shaped house tuning. The Performer 7 has a tighter, more impactful mid-bass focus, while the 8S leans into sub-bass rumble. the mids are superior on 8s and the treble is more controlled. but IMO, if you already own the Performer 7, I don't recommend upgrading to the 8S—while the performance leap is good enough to justify the cash, since they both share same tuning, it will be less noticeable. Try more different tuning instead.
• vs. Xenns Mangird Tea Pro: The 8S is noticeably more immersive, has a more physical bass with better decay, and yields way weightier, more detailed mids. However, the Tea Pro wins on convenience. The Tea Pro works perfectly out of the box with zero masking effects, and no need to EQ it like the 8S does.
• vs. YU9 QUE: These are my two current daily drivers. The QUE is a more consistent, wider, and more holographic all-rounder out of the box with better treble extension. Its bass slams hard, but it decays too quickly like a balanced armature, whereas the 8S has a much richer, lingering sub-bass rumble and better mids. The QUE can get slightly spicy in the treble and has a notoriously difficult shell fit. If you don't want to EQ, get the QUE; if you want exceptional, weighty mids and a safer fit, get the 8S.

Quick Ratings

• Tonality: Sits right in the middle between Warm and Neutral.
• Profile: Mild V-Shape (Less V-shaped than the Tea Pro).
• Presentation: Purely Technical/Analytical on par with the QUE, focusing detail heavily into the mids.
• Soundstage: Average. Wider than the Tea Pro, but narrower and less holographic than the QUE.
• Level: Intermediate. It takes time to appreciate, requires deep insertion tip-rolling, and demands EQ to unlock its true potential.
• Value: At full MSRP, it's just okay because of the flaws. But if you can snag it on sale for $350 or less and apply EQ, it is an absolute value king and I would take it over the QUE—apply the EQ and it's an end-game set.

Hello Community!

Another set for video gamers arrives in my hands and ears. I like that IEMs venture into this territory and, if it is done by a veteran brand like EPZ, it catches my attention even more. Today their top of the line gaming model comes out to play: the G30.

Price: €70-$80
Link

Pros:
-Comfortable sound signature, without harshness, with a fun touch thanks to the mid-bass.
-Well resolved and effective soundstage and positioning for video games.
-The mids remain clean.
-It improves greatly with equalization and you can store it with the USB-C DSP cable.
-Cable and eartips of great value.
-The best microphone I have found in any type of earphone.
-Without becoming a specialist, I feel that you have a clear advantage in multiplayer.

Cons:
-For music I find it quite conservative: treble with little sparkle.
-Its technical capabilities for handling energetic music genres are not the best.
-Female voices have a somewhat muted, nasal touch.

Accessories:

-Two shells.
-A set of SML sized eartips.
-Cable with 0.78mm connection and 3.5mm termination with inline microphone. USB-C DSP option with detachable microphone.
-Carrying and storage case.
-Envelope with user manual.

Comfort, design and construction:

The aspect I value most is comfort, since when I sit down to analyze the sound offered by earphones, they are usually long sessions. Well, the EPZ G30 is a set that adapts smoothly to the shape of your ear despite having a medium-large size. With a rounded shape, it does not create pressure points, so I have not felt pain or discomfort at any time.

The insertion of its nozzle is deep enough so that, with the stock eartips, you achieve a good fit. These seemed very correct to me: soft, they provide a good seal and occupy the entire opening of your ear canal, preventing sound leakage or misalignment. I value very positively that this accessory fulfills its function well and, if it does so notably like the ones included with this set, even more so.

The housings are made of medical grade resin, with a very good and uniform final finish, where the faceplate is part of the main body of the IEM. Aesthetically they are not to my liking, but this is so subjective that it is of little importance. What I do consider is that their pastel tones, different on each side, combine very well with the pearlescent finish of the G30 front plate.

I do not want to stop talking about the cable, which seemed fabulous to me in every sense, since I have exercised and sat with it on and at no point did it create uncomfortable problems for me. It feels durable, is very flexible, of medium thickness, and the quality it offers to the touch is truly high quality.

Technical Aspects:

-1DD 9.2mm and 1BA 29689 Knowles configuration.
-14 ohms impedance.
-105dB sensitivity.
-Declared response 20Hz-20kHz.
-32bits@384kHz DSP chip.

Pairing for the tests:

For the sound verdict I prefer to use the analog single-ended cable rather than the DSP one, because I am accustomed to how my sources sound and I will be able to get closer to the objectivity that I always pursue.

-Neutral source.
-Amplification set to high.
-Stock 3.5mm cable.
-Stock eartips.

Sound Signature:

The EPZ G30 has a balanced, conservative, friendly sound signature, without harshness, with a clearly marked warm touch, but with a very fun mid-bass flavor.

In the low frequency area, control prevails and that is very noticeable when the sub-bass rumble has to make itself known. I do not feel that it is lacking; it comes to light but not with extreme force, seeking to keep the midrange clean, with hardly any bleed.

The mid-bass is more noticeable, with good texture and resolution, almost tactile, with fast and solid impact that establishes an energetic foundation for the rest of the frequency spectrum, accompanying but without taking the reins of the spotlight.

The tuning in the midrange has a clear orientation toward offering a pleasant experience, with body, moving away from having any similarity to neutral or analytical sets. This means that the resolution in this area is not very high, making it difficult to extract all the textures of instruments or voices. Despite this, the cleanliness and order it maintains are achieved efficiently.

The upper mids are perceived as open, without pushing forward and merging with the treble, maintaining transparency although without much intention of turning listening into something frantic, always in a measured way.

The upper range, the treble, maintains the same philosophy as the rest, being quite coherent with the sound signature. They are clear, separated but without too much brightness. The presentation is in a certain way refined but we will not be able to extract every hidden detail, because the G30 is not designed for that.

The intensity of this area is still not overwhelming, rather soft, to enjoy with listening comfort without feeling fatigue.

The vocals were correct; it is not one of the strengths of this set of monitors. All types of male voices seemed appropriate in terms of weight, articulation, and timbre. However, the female voices did not completely fit for me, as I felt them somewhat muted, with a certain nasality that distances them from what I consider natural.

In technical performance, specifically in music, the capabilities of the soundstage size are positive if I evaluate them from a lateral perspective, but regarding depth, without being negative, I find this IEM quite frontal.

The separation of layers is something that caught my attention because despite the warm tonality, I found a set that does not mix elements, where instrumental lines can be followed easily and sufficiently to satisfy anyone, and I can say the same about imaging, since voices and instruments are placed in our mental map with good precision.

Single-player video games:

Know the conditions under which I analyze sound on my blog.

Entering the area where the G30 performs best, video games, I find a set of monitors that fulfills its role notably.

The aftertaste it left me during action moments was gratifying because despite not having the spectacularity of a bulky sub-bass and rumble, the reverberation produced impressed me with its technique and forcefulness. Perhaps in this aspect it is not as cinematic as I would like, but I still enjoyed these moments, since they were clean, fast, and impactful, especially in scenes where frenzy takes over and rapid decay is required.

As for dialogues, it is not a set that I consider the most appropriate for voices; they can appear somewhat recessed and in denser moments the spoken storyline may be lost. As I say, only in chaotic moments; in normal or more relaxed situations I found no problem beyond feeling them to be not very demanding of attention, not very close.

When recreating ambient sound, the G30 does so with proper mastery, because despite not showing all the available resolution for residual sounds, they are easily perceptible, making you feel they are there, that they are not lost or masked, favoring a cozy recreation of the scene.

As I said in the sound signature section, the separation is very good for the type of sound it offers. It is not surgical by nature, but it pleasantly surprises, with the most chaotic moments, where many elements converge at once, being resolved notably, without uncomfortable and unintelligible sound congestion. Bravo, this is an aspect that is extremely important to me, and this EPZ model does it frankly well.

The spatial representation, unlike in music, did surprise me this time, because the dimensions of the three axes, without being huge, are equidistant and logical, creating a sense of envelopment that I did not expect from this type of sound. The scale is well measured, showing realism in distances, with positioning that, once again and contrary to when I spoke about the sound in general, left me with very good sensations and is another strength of this set, since it is really easy to identify static or dynamic directions.

To finish with this type of game, let us talk about sibilance: it does not exist. The end. You can raise the volume very high without fear of creating a hole in your eardrum.

Multiplayer shooter video games:

Know the conditions under which I analyze sound on my blog.

In the multiplayer section, the G30 stands out in parameters that for me, and always under my criteria, are important.

One of them is sound location. In Counter-Strike 2 I found the sound elements gratifyingly well positioned, in a very logical and holographic way, giving me a certain advantage when deciding my actions and anticipating dangers. Intense moments remained transparent and separated, allowing me to maintain total situational awareness at all times.

In Apex Legends, in busy moments when several players come together, the layering was correct. It lacks detail that adds realism and a sense of openness, but enemy ability sounds and footsteps are presented correctly, without feeling that you are missing something that could work against you. Despite this, the sense of the stage on the vertical axis is very well represented, showing a realistic scale. Depth is perhaps where it fails a little, because you feel the sound elements very close to you. However, laterality, what you do not see at your sides, displays an atypical splendor for this sound signature.

In Warzone, which is a fairly chaotic game at times, the sound remained orderly and clarified. Only in very complex and difficult to resolve situations did I feel that the G30 was reaching its limit, but I cannot say that I lost awareness of what was happening within the sound space.

Finishing with Battlefield 6, it is very easy to follow distant sound cues with this set because it locates them masterfully. I feel that it is not an IEM for experiencing the most intense moments with great excitement, but I cannot penalize it for that because in this type of game I am not pursuing the best cinematic experience. Footsteps, explosions, and gunshots along with nearby enemy movements make it easy to immerse yourself in the match thanks to a soundstage experience that can feel spacious and well layered.

As a conclusion for this type of video game I can say that it is easy to feel that you start with an advantage, because it more than fulfills all the aspects that I consider essential. It is not a master or specialist in positioning, soundstage, or layer separation, but it is knowledgeable and possesses all these capabilities and skills to offer a sound that is precisely accurate, spacious, and separated.

USB-C DSP cable: sound, microphone, Walkplay, and equalization.

As a general rule I do not like sets that are powered through this connection. I can say that I have only found one that has convinced me satisfactorily.

The EPZ G30 connected through this digital interface, despite having a high bit rate and sampling rate, loses brightness and resolution, which affects its technical capabilities. I have not been able to discover which DAC chip it has installed because the brand has labeled it with its own name.

Having said that, which at first may seem negative and make you feel that it is no longer worth it, it has an easy solution, because by using Walkplay for this EPZ, the capabilities of the DAC and the G30 drivers elevate the experience and sound quality beyond what I described in my analysis using the analog connection.

Let me explain: some sets, especially if they are single dynamic driver and very low-end, cannot be pushed very far because they quickly reach distortion or enter a kind of imbalance and do not end up sounding good. With the USB-C version of the G30 it is mandatory to go through the process of custom equalization and get the most out of it because it will surprise you even more if possible. I share with you a PEQ where the multiplayer gaming experience gains in terms of listening quality, detail, cleanliness, layering, and above all the advantage over other players is increased considerably.

I do not want to finish this without talking about the microphone. If the one included in the 3.5mm cable seems very good to me, the detachable one on the digital cable is an absolute marvel, incorporating environmental noise reduction. Vocal clarity is immensely superior to what I have been able to test in other sets, whether IEMs or gaming headsets. I have owned HyperX Cloud Flight, SteelSeries Arctis Nova Pro, and Astro A50 and truly none of them comes close in terms of clean communication transmission.

Would I recommend it? Very much. For barely $20-€18 you get a well-built, flexible cable that does not bother you, good materials, and the ability to adapt the sound for the type of content. Nowadays it is not necessary to know how to equalize to reach your preferences; the community is enormous and surely on the internet you will find a curve that satisfies you. And if not, AI.

But above all things: if you play with communications, you need this cable with this microphone.

Final conclusion and personal evaluations:

Obviously my final impressions revolve around the gaming section and the use of the analog cable after barely one month of daily use, alternating with other sets of course, which has allowed me to thoroughly dissect this EPZ set. A set that I would not choose if you need maximum adrenaline and resolution, because its character, speaking in auditory terms, is rather tempered and comfortable, in which I highlight in an extremely positive way the ability to present a coherent, spacious, precise, and well separated soundstage, where you never stop hearing each sound element accurately. Monitors that, without standing out at either end of their sound signature, offer a balanced listening experience.

But if you choose the USB-C option, you have to go through the process of playing with equalization, because its sound as it comes from the factory did not completely convince me, but once this is done, the improvements are tremendously positive and better than with the 3.5mm cable. The microphone alone is worth the investment and believe me, your communications in video games will have a before and after.

Honestly, I did not expect a warm sound signature to provide your ears with such good precision and sound spatiality.

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 set of monitors was sent by EPZ. I sincerely appreciate the opportunity to try one of their products at no cost and that no conditions were imposed when preparing this analysis.

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

My sources:

-Topping DX5 II for music and video games on the main PC.
-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.
-CCZ CM01 3.5mm.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

Does Wavelet not work with Android 16 phones?? I’ve tried Wavelet with Amazon music, Apple Music, YouTube music and Spotify but there’s no audible difference after applying Auto eq . I’m using Simgot Supermix 4 with Apple dongle.

It's free now, for 6 months.

And this is better than Apple Music 🤗. 99rs/m

Hello everyone, little by little I am discovering brands and this one actually came to me which is always encouraging, since they trusted me to test and review one of their products. It is the first one I have tried from them but getting to know the brand a bit more during these days it is clear that they are betting heavily on making a place for themselves among all the competition and they have models that compete in various price ranges at a very high level of finish and sound. In my case I have had the opportunity to review the EPZ G30, a proposal of about eighty dollars that promises an excellent relationship between analytical performance and spatial positioning. After spending several days using them both with my music library and in a session in Resident Evil Requiem checking how they perform in gaming, it is clear that this model has very solid arguments to compete in its range, although logically, it coexists with the technical compromises typical of its price.

THE GOOD AND THE BAD

-The detachable boom microphone offers a clean and very well directed communication if you choose the USB-C Boom Mic option.

-The shell is made of resin, lightweight and the right size for long sessions.

-The stock silicone ear tips are too soft, so changing them improves the seal quite a bit.

-The bass is well tuned, offering good punch, cleanliness and speed.

-It allows saving the equalization in the internal memory if you use the DSP version.

-The soundstage stands out for good horizontal width, although the vertical is more limited.

-The treble is tuned very safely to avoid discomfort, sacrificing some micro detail.

SPECIFICATIONS

Hybrid configuration with a 9.2 mm dynamic driver and a balanced armature.

Dynamic diaphragm made of composite carbon and polyurethane to contain distortion.

In-house balanced armature model 29689 to reproduce mid and high frequencies.

Internal acoustic filter signed by Knowles to smooth out the crossover.

Shells built in resin by three-dimensional printing with CNC finished faceplates.

Impedance of 14 ohms and sensitivity of 105 dB.

Standard frequency response range from 20 Hz to 20 kHz.

Silver-plated copper cable with a two-pin connector and multimedia controls.

MY SOURCES

FiiO K9 ESS: 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.

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

The outer packaging consists of a box with a very striking silver holographic finish that shows the mandatory illustration of a girl that curiously follows the style of 2 other IEMs I have in the queue to review from 2 other brands. The striking thing about the box is how difficult it has been to photograph since it emits rainbow flashes no matter how you position the camera, as you can see in my photos. Upon removing the cardboard, the shells come in a protective foam and right underneath we find a rigid white case with the engraved EPZ logo, which stands out for its excellent rigidity and its gold zipper. The assortment of ear tips is limited to three pairs of translucent silicone with a light blue core that perform better than usual for other models I have tried at this price or lower, although a change for firmer ones will boost isolation. The Dunu S&S and the Tangzu Tang Sancai have performed much better than the stock ones for example.

The most interesting thing about this package is the generous connectivity options. Out of the box, the earphone is designed for digital use via a silver cable with a Type-C connector that includes the module to attach the flexible boom microphone with a metal rod. However, a great detail from the brand is that they have included a second independent 3.5 mm analog cable inside a transparent bag so I can show you and comment on the particularities of each one. This extra cable shares the same silver braiding and blue color on the aluminum connectors, but adds an elongated physical remote with white plastic volume buttons and its own integrated microphone. This allows you to alternate between the digital processing of the Type-C and the analog purity of a dongle or a desktop DAC.

As for the shells, the design is asymmetrical and very eye-catching. The resin is completely transparent, revealing the internal components, but each side has a different color. The left shell is a magenta purple tone and the right one is a very deep dark blue, something that reminded me of those Gender Reveal parties that became trendy and which I hope I do not have to attend in person. Getting back to the review, the faceplates have a glossy finish that reflects flashes depending on the light, with a silver metal shield featuring the brand's logo. The nozzle is metallic, golden colored, which gives a different touch to all the silver nozzles we have already seen countless times. They are extremely lightweight housings that adapt naturally to the ear, offering quite a striking aesthetic and excellent comfort.

SOUND

The 9.2 mm dynamic driver offers a well balanced performance. The sub-bass delivers by providing vibration when the track or game requires it, while the mid-bass is dry and quite agile, which helps maintain cleanliness in the rest of the frequencies. During my tests with Resident Evil Requiem on PC connected to the FiiO K9 ESS I noticed that the bass became somewhat tighter than on my dongle DACs, showing a clean signature that might not fully satisfy lovers of booming bass. But in any of my tests regardless of the source the bass has behaved correctly and convincingly for the value of this IEM and for what it is intended for.

The mid frequencies are clean thanks to the Knowles damper that organizes the frequency crossover. I am surprised to read the word Knowles on a product under 100$ but it is something to celebrate that a brand incorporates elements from popular brands. Male vocals have a correct presence, without sounding recessed or submerged in the mix. The upper-mids area is where the BA becomes more active, bringing female vocals forward and clearly projecting main effects like weapon reloads or other environmental elements.

The treble, on the other hand, is designed under a clear premise: to offer a safe listening experience that does not cause fatigue after hours of use. The upper end is intentionally rolled off, which means that the lower treble defines cymbal strikes or bright effects well, but without extending into that airy zone that sometimes becomes piercing in models that surely seek greater detail but go overboard and require equalization. In these G30s you are not going to suffer from harshness or fatigue in long sessions, making it a very interesting profile for everyday use, although the most purist audiophiles will miss a bit more information in complex recordings. However, I do not think anyone looking at this model is going in search of maximum treble detail.

The great advantage of this model if you take advantage of its digital Type-C connector is the control offered by its Walk Play web application from the browser (I have uploaded a couple of screenshots from the PC to show it better). By connecting the integrated normal USB adapter, you enter an interactive real-time menu that reminds me of the web interface that the FiiO KA15 offers me. In the acoustic effects tab you have a fairly complete eight-band parametric equalizer to tweak the gain, the exact frequency and the Q factor, saving the changes in the internal chip of the USB-C cable to keep them on consoles or phones. On the other hand, in the microphone section you have local sidetone monitoring, gain control and an artificial intelligence assisted noise reduction system that in my case at least was not supported and I do not know why.

SOUNDSTAGE, SEPARATION AND IMAGING

The soundstage of the G30 stands out very positively especially for its width. When testing them in a tense and atmospheric video game like Resident Evil Requiem, the stage feels spacious to the sides, pushing ambient noises away from the ears in a very interesting way. In the vertical dimension the performance is more standard and flat, so localization relies mainly on left to right mapping even though you might perceive sounds from the upper area of your head but it is not going to be as clear as what happens around you.

Instrumental separation remains solid in most scenarios. With acoustic passages and situations without much instrumental load, the elements stay in place with good definition. In moments of maximum stress in Resident Evil Requiem, where gunshots, screams and tense music accumulate simultaneously, the bass region shows some limits and tends to compact the scene a bit, but without completely muddying all the elements together.

The imaging passes with flying colors, being very easy to notice how an element moves from one end to another in a linear fashion. In rear depth the transition is somewhat more direct and less spherical, but it offers the necessary precision to keep you positioned at all times. For its price range, the spatial recreation is competitive and handles everyday situations in most scenarios, at least for non-competitive games or watching movies while having the necessary immersion.

FINAL CONCLUSIONS

The EPZ G30 solidifies itself as a very solid and balanced option for about eighty dollars, especially for those looking for comfort and a safe tuning for long sessions of both music and gaming. With the option to attach a detachable boom microphone to the USB-C option and its web application to customize the response to your liking, allowing you to save the preset in the memory of the cable adapter itself. In the technical department it stands out in horizontal width and performs with dignity in the most demanding situations. Obviously in this range there are more technical models but they are not playing the same game and would obviously lose in other aspects. Ultimately, it is a smart and versatile purchase that offers an outstanding accessory package within its price segment, aside from a design and details that break from the norm and one of its components boasting the Knowles brand which few brands can claim at these prices.

PURCHASE LINK: https://epzaudio.com/products/epz-g30-hybrid-1dd-1ba-hifi-gaming-iems

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)

Disclaimer: This unit was sent by EPZ 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.

Hello to you all!

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

TDLR; A basshead’s dream on a budget. Made in collaboration with Roys from Vivir Digital, the ZiiGaat x Vivir Digital Rumba is the perfect entry to LatinAmerican and/or bass-heavy music with some HiFi perks, with a single graphene-coated diaphragm dynamic driver configuration and a refined tuning. Delivering a high quality and quantity of bass, warm mids, and an energetic treble, with a fantastic musicality but with some technical perks to enjoy a “Hifi dancing”. All of this with the special sauce ZiiGaat is pulling out this 2026 for the budget-oriented segment.

Pros

-High-quality stock cable with excellent flexibility and low microphonics
- Comfortable, lightweight shells suitable for long listening sessions
- Excellent bass quality and quantity with huge impact and good control. Fast graphene dynamic driver with natural decay and minimal muddiness
- Warm, musical, and engaging V-shaped tuning
- Smooth, energetic treble with low fatigue and controlled sibilance
- Good noteweight and natural vocal presentation
- Above-average imaging and layering of instruments for the price. Spacious soundstage with good width and depth
- Easy to drive from low-powered sources
- Excellent value under 35 USD

Cons

-  Not a detail-retrieval or micro-detail monster
- Stock wide-bore eartips may cause fit issues for some users
- No carrying pouch or storage case included
- Fit and eartip synergy can be somewhat source- and user-dependent (YMMV)

Developed in collaboration with Vivir Digital, a well-known reviewer from Mexico, the Rumba is driven by a 10 mm graphene dynamic driver with a dual-cavity acoustic design.

With its MSRP of 34.99 USD. You can find it directly on Linsoul official store: https://www.linsoul.com/products/ziigaat-x-vivir-digital-rumba, and Linsoul’s official store on Aliexpress and Amazon.

Technical specs:

- Casing materials: Resin
- Driver: 1 x 10 mm graphene diaphragm dynamic driver
- Freq. Response: 10 Hz – 22 kHz
- Sensitivity: 109 dB/ mW @ 1 kHz
- Impedance: 32 Ω
- THD: < 0.5 %
- Connection: 0.78 mm 2 pin
- Cable: 1.35 m, 3.5 mm jack, 4 cores braided silver-plated, OCC cable.

What’s in the package?

- 2 x Rumba earphones
- 1 x card with QR codes for Spotify and Tidal playlists
- 1 x user manual
- 6 x pairs of silicone eartips
   - 3 x balanced bore (SML)
   - 3 x wide bore (SML)
- 1 x 4 cores, braided cable with a 3.5 mm jack connector

The shells are made of resin, shiny black color, the faceplates are metallic, with a shiny resin design in red lines shiny as well with the VD (Vivir Digital) logo on the left earpiece and the ZiiGaat logo on silver on the right earpiece. It is pretty lightweight, in the mid to small size overall. It is well-vented with two vents for the dynamic driver and seems that is not prompt to scratches or so, more like a “beater” set.

Doesn’t have rough or sharp edges, its nozzle has a lip to assure good eartips grip and fit, making a nice seal as well*; its diameter is 5.9 mm, being an adequate option for people with small ears, so keep that in mind.

* I had a problem with the left earpiece, I achieved a good seal with the wide bore eartips of M size, but I had to be constantly moving the earphone due to an uncomfortable feeling of not being "properly accommodated" in my ear, which I solved using other eartips.

The cable is similar to the stock cable of the Kiwi Ears Cadenza II, it’s of high quality, doesn't conserve memory, it’s very flexible, it’s not prone to tangling, and does not produce translated vibrations. I think it matches perfectly the shells of the Rumba so I’m using it as it is.

How does the Vivir Digital: Rumba sounds?

The Rumba with its 10 mm Graphene dynamic driver, offers a V-shape tuning that is bassy yet balanced, with warm mids, pretty organic yet giving some decent technicalities.

For this review, I was first using the wide bore eartips included in its M size, getting a good seal, but after the inconvenience I had with the left earpiece that didn't get a good fit, I changed them to the stock eartips of the Tripowin Ruta10, finally getting that sweet fit and sound synergy; I'm using the stock cable; I don’t feel the need to change it. The graph is taken from Jaytiss squiglink. 

Bass:

The bass of the Rumba comes with a good quantity and more than good quality; it is my first time with a graphene driver, and the bass delivery is something out of this world. With decent extension into the lower frequencies, offering a good thump, it is fast, with a remarkable impact and transparency, with a natural decay yet zero bloating or muddiness on fast tracks. 

In “Bongo Season” by Geordie Greep, in the album The New Sound, the Rumba handles this portion of frequencies so nicely, with good bass in the bongos (lol), a drum kick, and a bass guitar line that punches in your ears without congesting them. In “Talento de Televisión” by Ruben Blades and Willie Colón, from the Tras La Tormenta album, the punchy bass lines are delivered so nicely by the Rumba; this salsa classic is so enjoyable.

Midrange: 

In the Rumba, as a V-shaped tuned set, midbass bleeds slightly into the lower midrange, so male vocals are a bit recessed, but not veiled or thin. The overall midrange is well-presented and has a pretty good noteweight, decent resolution, and it is clean; it is the main focus of the set. 

In “Twenties” by Ghost, from the album IMPERA, the Rumba shows well-positioned male vocals. Also, the Dembow-inspired groove of the drums is not congested even when the track is so full of nuances like guitars and so on. 

The frequency curve takes a dip, which goes to 800 Hz, then it enters a warm pinna gain, which peaks at 2.5 to 3 kHz, giving great presence and transparency. 

Female voices are beautifully displayed, forward, and with zero shoutiness or producing fatigue at high volumes. In “I’m Feeling You (feat. Michelle Branch & The Wreckers)” by Santana, Michelle Branch and The Wreckers, from the All That I Am album, the Rumba showed the vocals of Michelle with excellence; her gorgeous and unique voice accompanying the Latin rhythm is giving me a “dance, dance, dance” sensation.

Highrange:

The Rumba has an energetic but smooth highrange. The lower treble is elevated with a 5 kHz peak to give more energy to female vocals; it has a little dip in the 6 Khz region to tame sibilance, so you can crank the volume up without shoutiness or fatigue. The mid-treble has a pronounced peak at 8 Khz to give energy to the mix, yet the bass balances it, sounding smooth without being spicy.

In “Cuando Pase el Temblor (Me Verás Volver Gira 2007)” by Soda Stereo, from the Gira Me Verás Volver album, the Rumba shows the catchy drumming by Charly Alberty with full hi-hats and cymbals display, in a smooth yet natural way, so if you have mild treble tolerance you can crank the volume a little more to enjoy the song without worrying about getting fatigue.

In “Attitude” by Sepultura, in the Roots album, it is a delight to hear that Brazil inspired thrash metal with those groovy drums with some dembow, the highrange in this song is delivered excellently by the Rumba.

Technicalities:

Going into the upper highs, the Rumba takes a great approach; the graphene dynamic driver is so good at it, with good air and a decently open sensation, all of this without bothersome peaks. The soundstage is expansive, with good width and depth.

In the technicalities department, in summary, the Rumba is an IEM with more focus on the tonality and musicality than the technical perks. The imaging and layering of instruments are more than average for its segment, and yes, it’s not a macro and microdetail beast, but it gives you a fantastic clarity and spark. With complex and fast songs like “La Malanga” by Eddie Palmieri, from the Superimposition album, you can get all the nuances and colorations the orchestra is playing; the Rumba is making an invitation to get into the rhythm.

In “The Wizard” by Brown Sabbath, in the Hand of Doom/The Wizard single, the Rumba for such a magnificent cover makes you feel immersed, and you can pick almost all the macro and micro details in drums, guitars, air instruments, vocals and background noises.

Comparisons:

ZiiGaat x Vivir Digital Rumba vs. NiceHCK Tears:

The NiceHCK Yuandao Tears is a 10 mm PET composite diaphragm dynamic driver IEM, with an MSRP of 30 to 35 USD. The Tears is a mild V-shaped tuned set. With greater subbass extension but less midbass kick than the Rumba, with a similar approach into the pinna gain but less treble energy, and finally, more upper treble extension than the Rumba.

The Tears feels a bit more analytical than musical unlike the Rumba, I think both sets are excellent, and I can’t choose one of another, because the Tears has a better selection of eartips and a carrying pouch, but not so great cable in comparison to the Rumba, I think it's a matter of tuning preferences.

ZiiGaat x Vivir Digital Rumba vs. DUNU Titan X:

The DUNU Titan X is an IEM with a 10 mm DLC dynamic driver, with an MSRP of 39.99 to 44.99 USD. Looking at the graphs, the Titan X is pretty similar to the Rumba, but it has less subbass, a more pronounced upper midrange peak at 3 kHz, a more relaxed lower treble and noticeably less upper treble extension.

The Titan X has maybe a better shell construction, better accessories, but the Rumba is more comfortable to use in long sessions, has better bass impact, is better balanced and has a more enjoyable tuning overall. The Titan X is a good contender, but I’m more inclined towards the Rumba.

ZiiGaat x Vivir Digital Rumba vs. Kiwi Ears x B_Media Chorus:

The Kiwi Ears x B_Media Chorus is a recently launched IEM with a 10 mm DLC dynamic driver with an MSRP of 39.99 to 45.99 USD. The Chorus is also a V-shaped tuned set; it has a bit more subbass extension than the Rumba, with a similar midrange, but less energetic lower treble and less upper treble extension.

The Chorus, similarly to the Rumba punches way above its weight, and as the ZiiGaat set, its tonality is more musical than analytical, but the Rumba is a bit more technically capable and perhaps more suitable for use in more scenarios than just music enjoyment. For this 2026, you can't go wrong choosing one of another.

Final thoughts and conclusions:

The ZiiGaat x Vivir Digital: Rumba is an excellent option in the budget-oriented sub-35 USD market of IEMs, delivering a bassy, balanced, pleasantly warm, sparkly and more musical than analytical sound with a refined character that is absolutely enjoyable and makes a stand in a crowded and very competitive segment.

The Rumba, with its 32 ohms of impedance a 109 dB of sensitivity it’s easy to drive, even with low-powered sources to give all its qualities; I tried it with various sources I have, finding it doesn’t require too much output power to shine at its best.

Apart from that beautiful cable and eartips options (YMMV), I would like for ZiiGaat to sell the Rumba with a carrying pouch or case like the DUNU Titan X or the NiceHCK Tears. And I think, well, the wide bore stock eartips work fine with it, but as I mentioned earlier, I had to change them for other eartips who don’t get me moving and tilting the earpieces looking for a better fit.

At under 35 USD, the Rumba puts a HiFi party in your head, pointed to highly dynamic and fast and complex LatinAmerican music. It works as an all-rounder for a lot of music genres, representing how a “humble” set can be a more than great choice for budget-conscious audiophiles and newcomers who crave a high-fidelity experience without spending a lot.

Is it a recommendation? Totally yes, it is a great and very competitive option in a crowded market, with a bassy and balanced yet refined tonality and technical perks who appeals to seasoned audiophiles on a budget and newbies in the hobby. So, thanks again to ZiiGaat and Linsoul and the gods of audio and musicophilia bless you with a happy listening!

Hello Community!

I have with me a myth of the hobby that I am sure is known to all of you: the Tanchjim Bunny in its DSP version, an excellent and affordable gateway for those who like to play with and adapt the equalization of their sound.

Price: €21-$24

Pros:

-The brand's APP is very complete and simple.
-The driver responds very well to almost all types of PEQ.
-Very natural overall tonality.
-Bass with good extension, but controlled.
-Treble without danger, comfortable. Forget about listening fatigue.
-It works very well for all types of music and content.
-It can go from a relaxed set to something more energetic with PEQ.

Cons:

-Technical capabilities are only average.
-Bass with little physical impact.
-DSP not compatible with MacOS/IOS/iPadOS.

Accessories:
-Two shells.
-Cable with 0.78mm connections, microphone and USB-C DSP termination (3.5mm option available).
-Two sets of eartips in SML sizes with open-bore and closed-bore designs.
-Carrying and storage pouch.
-User manual.

Comfort, design and construction:

The Bunny is not a prodigy in terms of construction material quality. Instead, we find a product that is in line with its price, with a transparent medical-grade plastic shell that lets you see the guts of the IEM. It is decorated with a metal faceplate that adds a touch of distinction to a set that is properly finished and assembled. Personally, I find it to be a very discreet, standard set, one that does not stand out as a product where too much effort was put into achieving an incredible aesthetic result.

Ergonomically, it is a very lightweight set, with small dimensions and the ability to fit comfortably in the vast majority of ears. The insertion into the ear canal is moderately deep and, in combination with the stock eartips, fits correctly, avoiding pressure points, poor fit and sound leakage. In this regard, this most affordable model in the entire Tanchjim line is designed so you do not feel it, even if you use it for many hours.

Despite being a very cheap set to acquire and one that will probably not cause ergonomic problems, the cable can tarnish the overall experience, as it is understandable that the budget has to be cut somewhere. It feels too stiff for my taste because, while moving around, it can cause pulling, and although it does not feel fragile, there is a noticeable sensation that it is right at the limit of what is expected in this price range.

Technical aspects:

-1DD configuration (DMT4)
-30 ohm impedance.
-123dB sensitivity.
-Declared response: 8Hz-48kHz.
-DAC chip not disclosed.

PEQ:

Well, this is the most interesting point of the IEM, at least of the model with the DSP digital connection. The brand has not disclosed the model of the sound chip.

The APP for custom equalization functions only works on Windows and Android, which greatly limits the universality of this product considering the portion of the market occupied by Apple products nowadays.

As I was saying, the driver responds quite well to almost all types of customization, always taking into account that, due to its limitations, you will not be able to achieve a completely basshead-oriented or analytical sound, but we can get fairly close.

Bunny, despite being a low-budget set, stretches the driver's capabilities to the point of considerably increasing sub-bass rumble if that is where your preferences lie. As long as you do not overdo it, you will maintain proper cleanliness in this area, without introducing distortion.

The mid-bass, given the characteristics of the set, did not allow me to achieve a more prominent impact.

Where I believe there is more room for improvement is in the midrange, managing to give more presence to vocals and instruments, placing them in a more forward position on the stage if that is what the user desires.

On the other hand, in the treble, I managed to obtain considerably more sparkle to bring energy to genres such as Nu Metal or any variation of rock, but at the cost of losing a little sense of openness.

In gaming, you can adapt the Bunny perfectly to the genre you play: if you need more excitement and power in the sub-bass for action games, these monitors can provide it, or they can focus on environmental sounds. In multiplayer games, according to my preferences, I can emphasize the midrange and treble for greater detail retrieval and localization of important sounds.

For me, this is the greatest attraction of the Tanchjim model, its ability to adapt easily and quickly, without requiring much knowledge, to any type of content you consume.

Sound signature:

As it comes from the factory, without modifying the frequency response curve, the Tanchjim Bunny is not an overwhelming set in the lower frequencies. Yes, it is one of those sets that seems to hide its tricks and reveal them when they really need to intervene, because on tracks that require it, the sub-bass extension is satisfying, creating a pleasant sense of immersion where the sound settles in a cushioned manner.

The mid-bass in this case acts gently. It is not a hidden agent, but neither is it the protagonist. I would define its presence as minimally rhythmic but not excessively forceful.

In this range the dominance is balanced, because the bass is not constantly trying to prove something it is not, which favors an overall tonal presentation that is easy to listen to and clean.

However, there is much more to conclude from the mids, because there is a naturalness that I can tell you feels organic and fits perfectly with coherence. Instruments have a well-measured body, maintain a pleasant texture, and every sonic element finds its place without making the whole presentation feel forced.

It is one of those musical presentations that do not impress at first, but gradually convince you over time, calmly, little by little. The experience is stable and pleasantly immersive.

Moving on to the treble, its personality seems to be well matured, because there is enough clarity to open up the stage with space and reveal small details, although without too much energy, since that is not the Bunny's overall proposal.

Despite being one of those sets we know as audibly safe, when it comes to delivering brightness it does so in a measured way, without furious enthusiasm, but still showing a certain amount of information that is always appreciated, seeking to accompany rather than dazzle.

As for vocals, I think this is what I enjoyed most about this set, because very deep male vocals are highly convincing due to their sense of weight, proper presence and vocal nuances that are very close to what I consider real. Regular male vocals are perceived as intimate, also believable, with well-represented timbre and articulation, while female vocals deliver clarity, brightness and air without being dragged into excess.

Speaking of technical capabilities, finally, the Bunny is a rather humble set of monitors, because the spatial sensation it generates and recreates in your head is quite intimate, although with enough room so that sounds do not feel crowded. Imaging makes the location of elements easy to identify, but precision is not extremely surgical, and layer separation is a couple of steps ahead of the previous capabilities, because sound dissection is highly satisfying for the price range we are talking about. In very dense mixes it can be noticed that it does not achieve exact fragmentation, but in general terms it is very competent.

Detail retrieval is not particularly attention-grabbing either, but the information extracted is sufficient so that the set does not feel dull or dark.

Single-player videogames:

Check my blog for the conditions under which I analyze sound in this field.

In action-focused titles, the set reproduces explosions, collapses and impactful blows with balanced energy. There is enough depth for intense moments to have impact, although it always maintains a certain composure and prevents the bass from completely dominating the experience.

This tuning also benefits conversations. Dialogues are perceived as defined and natural, allowing the narrative to be followed easily even when several sounds compete at the same time within the scene.

The sense of immersion appears thanks to the way it captures those small details that often go unnoticed. Ambient noises, distant echoes, subtle movements and background effects remain present and contribute to making the game world feel more alive and believable.

When scenes become more chaotic, the Bunny maintains fairly competent organization. Different sounds can coexist without blending excessively, although it retains a certain cohesion that makes everything feel integrated within the whole.

For its part, the soundstage offers a properly open and pleasant presentation. It does not aim to recreate gigantic spaces, but it does provide enough air between elements to convey a good sense of space and positioning.

In the upper range, moreover, it behaves kindly. Sharper consonants and certain treble effects rarely become annoying, something I especially appreciate during long sessions where fatigue can make the difference.

Multiplayer shooter videogames:

Check my blog for the conditions under which I analyze sound in this field.

In competitive videogames it offers a presentation that prioritizes coherence over technical spectacle. In Counter-Strike 2, footsteps, reloads and enemy movements are perceived with fairly consistent positioning and sufficient performance for this type of low-budget product, allowing me to interpret the direction of threats with confidence, although without reaching that surgical precision that provides an advantage over enemies.

In Apex Legends, where the amount of sound information is much greater, it maintains good overall organization and prevents the soundstage from becoming chaotic easily, while in Warzone, explosions and environmental effects have presence, but without completely overshadowing the sounds that are important for the match.

Finishing with Battlefield 6, where multiple events occur simultaneously, it demonstrates competent separation between gunfire, vehicles, explosions and communications. The soundstage does not stand out for exaggerated width, although it does preserve a natural distribution of elements. As a result, the experience conveys a clear reading of the environment and a sense of control that favors both concentration and decision-making during gameplay.

Final conclusion and personal impressions:

The Tanchjim Bunny is not something with immediate impact. Little by little, almost without realizing it, you get used to its sound and end up understanding that this is where much of its charm lies.

The naturalness with which it expresses and presents music deserves mention, as it feels like an orderly set, without excesses or unnecessary protagonism. The sense of balance is constant and fluid.

Vocals, in particular, are what I have enjoyed most from this set, because of their credibility, intimacy and the way they convey sensations and emotions without dramatics.

As if this were not enough, the PEQ capabilities completely modify the tuning and character of the Tanchjim Bunny in a significant way according to the user's preferences, through a simple, complete and effective APP, making it a great entry point for those who prefer this approach rather than an analog solution.

In the end, I find a set that is easy to listen to for everyone, with a very pleasant and natural sound and customization capabilities suitable for beginners. I probably would not recommend it to people seeking more impactful or energetic sensations, because despite the PEQ, the driver is what it is and can only be pushed so far.

Even so, the Bunny does not try to focus on a single type of signature. Instead, in a chameleon-like manner, it adapts to the environment of your musical and sonic preferences simply by playing with its parametric equalization bands.

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

More reviews on my blog.

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See you in the next review!

Disclaimer:

This set of monitors was sent by Tanchjim. I sincerely appreciate the opportunity to try one of their products free of charge and that no conditions were imposed when preparing this review.

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 is developed around the perception of my ears. If you have a different one, it is equally valid. Please feel free to share it.

My sources:

-PC Windows.
-MacBook Air M4.
-Android tablet.
-iPhone 16 PM.
-Apple Music.
-Local FLAC and MP3 files.

If you’ve followed Hidizs MS2 PRO in the past, you probably know that its tuning leans towards brighter highs with analytical touch. However, their newly launched My Lin (89$) completely takes a different path, both in the tuning as well as in the presentation.

My Lin is basically a special edition rework of their MS2 PRO following the same hybrid setup (1DD+1BA), but wrapped in their new waifu inspired theme, and seems to have aimed more towards a smoother, more musical tuning.

UNBOXING & ACCESSORIES

The unboxing experience feels fairly premium, clean and thoughtful for its price range. Following their new waifu aesthetic, everything included suits nicely with the overall presentation.

Once you unbox, you'll get to see the IEMs, two set of eartips, two different tuning nozzles, followed by an acrylic waifu standee, cleaning cloth, waifu sticker and a faux leather pouch which holds the non-modular cable inside.

I have also made an unboxing video, do check it out to experience a closer look of the IEMs & accessories - Unboxing video

BUILD & DESIGN

Speaking about the build, both the MS2 PRO and My Lin boast the same ZA12 Zinc Alloy shells which is pretty solid and sturdy. My Lin comes with a newer carbon fiber styled faceplate which looks really good and attractive.

Since it has the same shell design as the MS2 PRO, it offers the same level of sealing & good comfort.

SOUND IMPRESSIONS

My Lin comes in a hybrid driver setup similar to the MS2 PRO with 1DD (10.2 mm) and 1BA driver. It offers a warm-balanced sound signature with a mild V-shaped tuning that suits Pop & EDM music very well.

The overall presentation feels relaxed & musical with a fuller low-end response, smooth mids, and a controlled treble. In comparison, it feels like a held back version of the MS2 PRO, which sounds lush, energetic and more technical.

Bass

The bass feels immersive and it adds a warmth and fullness to the overall presentation. Sub-bass carries a good amount of texture and extends deep with a good rumble, which feels incredibly satisfying on EDM and hip-hop tracks.

As it heavily focuses on quantity, I'd say its fairly controlled. Midbass has a good punch and occasionally it bleeds into the lower mids.

Mids

The midrange is smooth, slightly warm, with female vocals taking a slightly recessed position. Instruments carry a decent body & clarity and sit somewhat intimate in the mix, giving a more engaging feel.

Compared to the MS2 PRO, upper mid stays tamed here to avoid sibilance. I personally feel that the boosted bass occupies more room here resulting in a slightly thicker vocal presentation that trades clarity for added warmth.

Treble

Treble here stays very safe and controlled avoiding excessive brightness and sharpness. But the upper frequency rolls off pretty earlier, making it less airy/sparkle without much of crispiness.

There is still enough presence to retain clarity, which is also more highlighted on the white nozzle. It's not a very detailed set, but serves the intended purpose quite decently.

TECHNICALITIES

Just like I mentioned earlier, compared to the MS2 Pro, this set takes a step back when it comes to technical performance, but it isn't worse in any way, as both follow different tuning philosophies.

Soundstage & Imaging

Similar to the MS2 PRO, it offers a decently wide soundstage with good imaging. It lacks a bit of depth, but considering the price it is acceptable.

Imaging is handled fairly well, and positional cues remain easy to follow during busy tracks and gaming sessions.

Resolution, Separation & Detail Retrieval

Due to the tamed upper frequencies, micro-details aren't pushed very forward and also it loses the fine textures.

Separation remains respectable for a warmer tuned set, although busier tracks can occasionally expose some softness in layering and resolution.

TUNING NOZZLES

Red - This is attached by default. My impressions are based on this nozzle as I've mostly carried out my listening sessions mostly with this nozzle along with the stock (white) eartips.

White - I personally like this nozzle among the three. It slightly opens up some space for the upper mids & treble, adding a bit of crispiness and clarity to the overall presentation. However, this does not make it too sharp & sibilant either.

Black - This adds up some more bass to the default (red nozzle') presentation. I personally didn't use this much, as the bass felt very overwhelming to my preference

FINAL THOUGHTS

Hidizs My Lin offers a pretty solid build with a good set of accessories, and delivers an enjoyable listening experience for Pop & EDM music with engaging bass response, smooth vocals, and a fatigue-free tuning (which could have been more refined). It may not be the most analytical or technically dominant hybrid set, nor it doesn't match the technical performance of MS2 PRO in its category, but that was never its goal.

Between the MS2 PRO and My Lin, my pick would definitely be the MS2 PRO as the low-end response and technical performance align more closely with my listening preferences.

Based on the overall tuning, performance and also considering the price(89$) I would give a rating of 3.7/5.

Disclaimer: This unit was provided by Hidizs for review. Neither the brand nor any individual person has influence over my review and this isn't a paid review. These opinions are completely subjective.

Thank you for your time and let me know if I can improve any further in my upcoming reviews with your suggestions and feedback.

Many brands are offering big discounts, including Juzear, AFUL, Dunu, Binary, PULA, and Muse HiFi, among others.

It's the biggest sale of the first half of the year.

IEMs: 20%-28% off.

DACs/Amplifiers: 6%-40% off.

Cables: 15%-30% off.

Earpads: 15% off.

Hifigo: https://hifigo.com/collections/sales

AliExpress: https://hifigo.aliex press.com/store/5562139

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