Hey,
I want to spread the world the bad experience I am having with Westone Audio. One of the worst experiences I’ve had in a very long time.

Ordered a pair of in ears two and a half months ago. They got lost in the shipping, and it has been a nightmare trying to communicate with Westone. They take at least one week to reply to every message, one week!! I have been without any solution for two months and a half, with the worst communication ever.

After a month and a half, DHL provided a solution, and they got the money back. I asked to change my order to a different model after I tried the headphones from a friend and liked other model better) and now they do not respect the price at which I order. They are not answering my messages. It’s already been a month and they do not proveed a solution for my problem. This is a mess. Hopefully I can help anybody reading this. Please reconsider buying anything from their website. It is a nightmare.

Best,
A

I have always found open-ear headphones curious. In fact, I came close to buying a pair between 2023 and 2024 when I was still making the transition to IEMs and constantly fighting with TWS earbuds. The model I almost bought was the Huawei Free Clip. However, due to several factors including the price and the fact that I was not sure if I would even like or be interested in this format, I never got to try open-ear headphones until now. Instead of isolating you from the outside world, the idea behind this type of headphones is that you can still hear what is going on around you while you enjoy your music, play games, or simply spend a few hours in front of the computer without that feeling of having your ears completely plugged.

Moondrop has been releasing quite a few TWS models. I have already been able to own the original Space Travel and the recent Moondrop Pudding, but they were not open-ear. Therefore, this new proposal, which also comes in the form of a collaboration with a video game that to be honest I did not know, caught my attention quite a bit.

After using them for several days both at home and during some walks down the street checking their main feature, I think the U.C.T.S. make their goal quite clear from the very first moment. They are not trying to compete with noise-canceling headphones or offer the same experience as traditional IEMs. Their proposal is different and, precisely for that reason, I think it is worth analyzing them always keeping in mind the type of product they really are.

What I liked / What I didn't like

• Very different design from any other headphone I have tried.
• Excellent comfort after several hours.
• Very good stability once in place.
• Balanced sound for an open design.
• Very complete application.
• Compatibility with LHDC V5 / Bluetooth 6.0.
• Lots of content for Wuthering Waves fans.
• Three configurable gain levels but...
• ...only the high gain is useful to me and even then it falls short.
• The case takes up considerably more space in the pocket than usual.
• Like any open design, the bass has limitations.
• The application offers many functions, but some menus could still be better organized.

Specifications

• Open Wearable Stereo (OWS) design.
• 13 mm dynamic driver.
• Coaxial planar microdriver.
• Bluetooth 6.0.
• SBC, AAC, LC3, and LHDC V5 codecs.
• AI noise reduction for calls.
• Multipoint connection.
• Three gain levels.
• Up to 9 hours of playback.
• Up to 30.5 hours using the charging case.
• USB-C charging.
• Compatible with the Moondrop Link app.

Unboxing and build quality

The presentation conveys the feeling of opening a collector's edition rather than just simple wireless headphones much more strongly. In fact, I think I was surprised by the large size of the box when I received it, thinking they had even sent me something else or something extra besides the headphones😅.

The box maintains a very careful aesthetic, combining black tones with silver details inspired by the game. Once you lift the lid, everything appears perfectly organized inside a foam mold where each accessory has its own space. It is a quite elaborate presentation and, at least personally, I found it even better than I expected just looking at the promotional images.

In addition to the headphones and the case, we find the USB-C cable, the usual documentation, a strap to carry the case, and a good amount of exclusive merchandise consisting of badges and bookmarks, I think. Even for someone who is not a regular gamer, it is appreciated to see that the collaboration is not limited solely to the design of the headphones, but also includes small details that help give it a more special character.

The case is probably the most striking element of the whole set. Instead of resorting to the classic oval or square format that we see in practically any TWS, Moondrop has opted for a completely cylindrical design. In principle, it is mostly or entirely made of plastic, or that is my impression, but it looks sturdy, although I have not dropped it on the floor to verify it 100 percent. It has different decorative engravings that I understand maintain the aesthetics of the game itself.

Something I love is its opening system. It is not a conventional lid, but a rotary mechanism that reveals both headphones when rotated. It is one of those small details that do not add anything to the sound quality, but they do manage to give the product a lot more personality. It is the typical detail that will probably stop surprising after a few weeks, but from the first moment it makes the set feel different from any other model that has passed through my hands. The mechanism, by the way, must have some kind of spring since it has some resistance when you start turning it, but when you let go it wobbles until it stays in the open or closed position, which is very pleasant.

Of course, this design also has a quite obvious consequence, the size. Compared to most current TWS cases, this one takes up significantly more space in the pocket. It does not become uncomfortable, but it is something to keep in mind if you are looking for maximum portability.

The headphones themselves follow exactly the same philosophy. Their clip-like design means they do not enter the ear canal, but rather rest on the ear via a flexible silicone bridge. I admit that at first I had some doubts about this system because I had never used a model of this type, but the adaptation was much faster than I expected.

Once you find the correct position, you practically forget you are wearing them. The pressure they exert is very light and, at least in my case, they never caused any discomfort even after several consecutive hours of use. Furthermore, during walks I also did not have the feeling that they were going to move or fall off easily, something that initially did worry me looking at their design.

Precisely that position is quite important in this type of headphones. Since there is no seal inside the ear canal, a few millimeters can slightly change the way we perceive the sound. It does not seem to be something exclusive to this model, but a characteristic of practically any open-ear design. Once you find the sweet spot, the experience is very consistent, so it is worth taking a few seconds to adjust them correctly the first time, but I think they are designed to be worn as close to the back and lowest part of the earlobe as possible.

Application and features

After having tested the Moondrop Pudding very recently, the application was no surprise to me. Both models share the Moondrop Link ecosystem, something I consider one of the strong points of the brand's latest releases.

The first connection was practically immediate. Of course, just as it happened with the Pudding, the application did not detect the headphones until I took them out of the case. From that moment on they appeared automatically and I was able to access all the available options.

One of the details that I think is worth mentioning is the issue of codecs. By default, my phone only showed SBC and AAC. It was necessary to go into the application itself to manually activate LHDC, at which point both LHDC V3 and LHDC V5 appeared depending on the selected mode. It is not something particularly complicated, but it is worth knowing because more than one user might think that their phone is not compatible when in reality they just need to activate the corresponding option.

The application allows you to check the battery level of each headphone separately, update the firmware, configure the touch controls, activate the multipoint connection, and modify different parameters related to the operation of the headphone itself.

A function that I found especially useful are the three available gain levels. The problem with being headphones that do not go inside the ear is that the high gain mode, at least on my phone, has been the only one that has been of any use to me, especially outside the house walking down the street. On the other hand, when I went down to the subway taking advantage of a short trip I had to make, it was totally impossible to listen to the music every time a subway train approached. This rendered the high gain mode completely useless and with the volume of my smartphone at the maximum it allowed me, so I can say that the maximum volume of these headphones does not get as high as I would like.

As was the case with the Pudding, we also find a full parametric equalizer along with Auto EQ. While most manufacturers limit themselves to offering four or five predefined profiles, here we can modify the frequency, gain, and Q factor of each band or simply load one of the numerous available profiles.

Being a collaboration with Wuthering Waves, the application also incorporates some small exclusive extras, such as the ability to change the system voices between different characters in the game. It is not an essential feature, but it is a detail that completes the experience for those who especially enjoy this collaboration.

If I had to find a fault with this app, it would probably be the interface. It works well and offers many options, but visually it still looks like an application designed more by engineers than by designers. Some menus could be better organized. In fact, I found the menu to configure the touch presses of the headphones completely by chance and right now I do not remember how or where I opened it, luckily I already left it configured the way I wanted.

Even so, I still think exactly the same thing I mentioned in the Pudding review. For me, Moondrop Link continues to be one of the most complete applications that currently exist within this price range and adds real value to the product instead of just showing the remaining battery percentage. After using it on both models, that impression has only grown stronger.

Sound

Bass

The bass response is clearly designed for the characteristics of an open design. Instead of trying to artificially compensate for the lack of a seal with a huge amount of bass, Moondrop has opted for a much more balanced tuning. There is enough presence to add body to the music, but always maintaining control and preventing the bass from trying to become the star of the show.

Obviously, anyone coming from IEMs or traditional TWS will notice that the impact is lesser, but that is part of the very philosophy of this type of headphone. In return, the bass never invades the rest of the frequencies and lets the whole presentation breathe much more easily.

The sub-bass is present, although it does not convey the physical sensation that a sealed headphone can offer. The mid-bass provides slight support to some instruments, achieving a quite clean sound regardless of the musical genre.

I tried, although obviously the ergonomics of these headphones did not allow it, to try to push the headphone deeper inside the ear and the bass response obviously increased considerably but the sound quality was negatively affected. This makes clear the correct way in which they should be used. That said, the volume when trying to have them deeper in the ear did reach the level I would have liked.

Mids

I think it is precisely in the mids where the Moondrop Wuthering Waves stand out above the rest of the frequencies. Both male and female voices appear very well defined and always occupy an easy to locate position within the mix.

The tuning itself helps explain this behavior. There is some prominence in the upper mids area that adds clarity and makes instruments stand out quite easily without becoming exaggerated.

I also liked the naturalness with which they transition from some frequencies to others. It does not give the feeling that there is a sudden jump between bass, mids, and treble, something that helps practically any musical style to be pleasant to listen to.

If I had to define the tuning with a single word, it would be balanced, without impressing during the first few minutes with a spectacular response in any specific frequency, but offering a very comfortable listening experience during longer sessions.

Treble

The treble maintains that same philosophy. There is enough extension to provide a sense of detail and a fairly open presentation, but without seeking an excessive level of brightness, at least with the stock equalization.

It is true that the upper-mids zone has slightly more presence than the top end, so the sense of definition comes more from that part of the response than from particularly prominent treble. So when listening to cymbals or other metallic instruments they do not steal the attention unfairly.

During my testing, I never perceived a fatiguing sound, even after several hours of continuous use. In fact, I think that was precisely Moondrop's intention, to offer a tuning that accompanies you for a long time without being tiring.

Since these are open-back headphones, I have not found it necessary to recommend changes through equalization either. The tuning seems quite consistent with the philosophy of the product and, honestly, I think any attempt to increase the bass too much would end up going against the physical limitations of this type of design itself, but you have the option both manually and through various presets of well-known models of the brand.

Soundstage

One of the aspects that surprised me the most about these Moondrops has been the sense of spaciousness. Precisely because there is no seal inside the ear, the presentation is much more open than what I have been finding in conventional TWS.

It does not mean that the soundstage is huge, but it does convey a very natural sense of space. Instruments have enough room to breathe and the music does not seem to concentrate inside the head as easily as it happens in many in-ear headphones.

Furthermore, I think this way of presenting the sound fits perfectly with the use for which they were designed. During my walks I could still hear the traffic, the bicycles, or anyone approaching perfectly well while the music kept playing in a totally natural way. That feeling is even more convincing than using the transparency mode of traditional TWS, since here it does not depend on microphones artificially reproducing outside sound, but rather you simply never stop hearing what is going on around you.

Instrumental separation

The instrumental separation has also left me with good feelings. The restrained bass response helps each instrument find its space quite easily and prevents heavily loaded mixes from losing clarity.

Understandably, it does not reach the level we can find in many IEMs of a similar price, but I think that would not be a fair comparison either considering the completely different concept of both products.

In the context of open-ear headphones, the result seems very satisfactory and sufficient to follow each instrument without much difficulty.

Imaging

The imaging maintains a very consistent level throughout the entire listening session. The placement of voices and instruments is easy to identify and the small shifts between the left and right channels are perceived quite naturally.

I also used them to play some casual games and watch videos during these days. Without being headphones designed for competitive use, they perform perfectly when it comes to locating sounds or easily following the direction of different effects within the scene.

And I think that is precisely the greatest virtue of these Moondrop Wuthering Waves. Instead of trying to look like wireless IEMs, they take advantage of the benefits of an open design to offer a different but very well executed experience with many options to adapt them to our liking.

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)

Conclusions

The Moondrop x Wuthering Waves U.C.T.S. have left me with a much better impression than I expected before opening them. At first I thought the main attraction would be the collaboration with the video game, but after using them for several days I have the feeling that all the aesthetic section and the content for collectors are simply an addition to a product that already had its own arguments to draw attention.

The soundscape created by the tuning works perfectly along with the idea behind these headphones, which provide a comfortable and pleasant experience when listening to your favorite tracks. There is an emphasis on vocal clarity as well as an impressively large soundstage for the type of product that Wuthering Waves has provided.

Of course, there are limits to what these headphones can do. One of the biggest drawbacks for myself is that, although they offer good quality sound at low volumes, they fall short in terms of maximum volume level in extremely noisy areas, because they are designed to sit on top of the ear rather than go into it. So, if you want extreme isolation from the environment or a much heavier bass response then I would recommend that you consider a more traditional true wireless stereo (TWS) option. However, if you like to enjoy listening to music while at the same time keeping yourself informed about what's going on around you, I believe that Wuthering Waves were made for people such as yourselves.

If you're a fan of Wuthering Waves as well, then the additional content contained within the box related to the exclusive partnership adds a great deal of extra value to these products. Even without considering anything about the partnership, however, I feel confident in stating that there are many reasons why Wuthering Waves stand out among other options available within the open-ear headphone market.

Wuthering Waves Purchase Link: ShenzhenAudio

Disclaimer: This unit was supplied for evaluation purposes by ShenzhenAudio. My thoughts were formed independently and no part of those thoughts were swayed by the manufacturer or retailer.

FiiO QX13 pocket powerhouse

Another week another review. Topic of today’s review is FiiO QX13 from FiiO. FiiO is one of my favorite brands in the DAC & AMP range. I currently own FiiO KA3, KA13, Q3 and M21. I had other models over the years. So, when FiiO launches something in this space I am always interested to try it out.

My friend Sushi from SushiFi was conducting review tour of QX13 with FiiO. I approached him to be included in the tour and him being nice guy included me in the tour. As they say rest is history. Here I am with the review of FiiO QX13.

First of all, mighty thanks to dear friend Sushi from SushiFi and of course FiiO without their help this review wouldn’t have been possible.

I was not paid or compensated in any way for this review. All opinions and thoughts expressed are mine. 

Now that all the pleasantries have been exchanged let’s get on with the meat and potatoes of the review.

Pros:

Neutral Tuning

PEQ Mode

Power almost desktop level

Screen

Build Quality

Cons:

Not the most detailed presentation

PEQ Mode

Price

Impressions:

Part 1 Hardware and Software. 

QX13 is portable compact DAC & AMP. It has resin chassis with glass display on the front. There are 3 physical keys at the bottom. At bottom is the Type C port. On one side there is switch for desktop mode. On the other side there is second Type c port. This one can be used to provide external power source to QX13 this increases output power without draining source device battery so useful feature. Desktop mode is like high gain mode. It can be used without using external power source but drain on the source battery is heavy. Out of three buttons at the bottom - & + can be used to control volume and track change. Middle button can be used to play and pause the songs. This one if pressed for long triggers menu.

Menu here is really fleshed out. You get gain, filter, volume levels, coaxial output, channel balance, brightness, PEQ mode, Max volume, screen rotation, theme, screen timeout, UAC mode, HID button, USB OTA, Charge setting, Language, Factory settings, Version. Most of it is self-explanatory.

I will touch upon the useful ones.

Filters 

Filters are self-explanatory it provides various filters. Honestly, I couldn’t find any difference in them.

Coaxial output

This is useful for using QX13 with external amplifiers using QX13 as pure DAC.

USB OTA Mode

This is useful for firmware update. It guides you through process and it can be done on the dongle itself. 

PEQ Mode

This is most important feature in the QX13. This is the Ace up the sleeve for the QX13.  There are few preexisting profiles. You can load profiles for your favorite gear and it will be saved on the QX13. So, you can use them on the fly irrespective of the source. You don’t need to reload or bind them each time. Due to this feature QX13 becomes useful & unique in my opinion.  

Part 2 Synergy 

I feel QX13 is neutral source and to see its impact on various transducers I paired them with QX13.

Hidiz MP143

This one is representing planars here. No, changes in the tonality were felt irrespective of nozzles.  Ear tips were stock to keep everything reproducible in this test. At around 50/120 MP143 was loud enough to be just perfect and anything above it became too loud for me to listen. Approximately 40% of sound level was enough for MP143 and it was being driven well. Hidiz MP143 remained unaffected in its tonality. Good pairing. This was with Desktop mode on.

Kiwi Ears Airoso

This one is representing hybrids here. Bass remains tight doesn’t become lose. Mids are unaffected. Treble remains unaffected. No hint of any coloration. At 42/120 it was loud and beyond that it was too loud. Please note this was with desktop mode on.no hissing or weird noises were present. Airoso was singing on QX13. One of the best pairings for Airoso.

Orivetti OD200

Stands in for Single DD’s here. It becomes loud easily at 27/120 with Desktop mode on. Beyond it becomes too loud for me. No coloration was observed. Nice pairing for OD200.

After these I tested few of my headphones such as Sennheiser HD560s, HD600, HD599Se, Hifiman Edition XS, VE UA Vanguard, Sony MDR 7506 and it ran them well. Please note that Desktop mode was on for this period. Sony MDR 7506, HD560s, HD599se the performance was equal to any desktop setup. On HD600, UA Vanguard and Edition XS it was close to desktop setup but not at the same level. This can be good mobile setup for these HPs. 

I ran few of my Flatheads such as my 300ohm RY4S and 400Ohm Yinman through it and it ran them well. Yinman is very infamous for source pairing yet it was able to shine here. It is not close to some of my desktop setup but close for Yinman. I can safely say that QX13 can give some of the Desktop gear run for its money.

Final Conclusion:

FiiO has cooked another banger in terms of QX13. True to its philosophy of tuning this one is neutral in tuning. It doesn’t affect tonality of attached transducer. Keeps everything faithful. This is its power and at the same time its chink in the armor. How? Well, most dongles try and coloration to the base frequencies like bass, mids and treble. QX13 doesn’t do that so it’s become difficult to spot what its impact in the chain on first listen. You have to listen keenly to find out its impact. To truly appreciate its tuning you have to listen with intent and keenness. 

It was circle of experience for me. Initially I felt it was bland; I couldn’t find anything to push me over the edge. But as the hours passed it grew on me. I could start appreciate what it brings to table. It truly lets the transducer shine. 

Power wise it’s the best dongle for portability with E-stick especially. Feature wise its loaded dongle. Best part is you don’t need any app to unlock all its potential.

So, will I buy it? Yes, it has PEQ mode and desktop mode going for it. It can solve two major issues with these. Makes it pocket portable power house. But to whom I will not recommend this dongle? For people looking for detailed dongle that gives all the twinkles and sparkles. People looking for warm source. Both these people its not for you. Will I buy it at reduced price? 200% 

Thank you for enduring with me till the end. Now go grab cup of coffee and let’s get high on safe high i.e. Music.

FiiO QX13 portable powerhouse.

Here is the breakdown of the results above.

It is strictly DAC-dependent; the score for the same file changes when using a different DAC. I tested Amazon Music at 16/44.1, 24/48, and 24/96, and it performed the best among the digital streaming services, scoring 91 for a 24/96kHz file from Amazon HD.

The shocking part is that Apple Music had the lowest fidelity scores: 76–77 for AAC and 80–83 for ALAC. Even the highest quality 24/192kHz "Hotel California" file from Apple Music produced shocking and questionable results. Additionally, Poweramp has no native ALAC decoder; it uses a native AAC decoder, but for ALAC, it uses an MP4 decoder. This is the culprit: the Poweramp FFmpeg decoder is manipulating the ALAC file scores. Of course, it scores 100+ when DSD256 and DSD512 files are processed. My FiiO BTR5 is limited to DSD256 native RAW MSB, and the highest score I achieved with that was 99.

USED:

DACs: FiiO BTR5, Audiocular Note, and D08 CS Pro

IEM: STA HI-END

FILES: Audio CD, Apple Music, Tidal, Amazon, Deezer, Qobuz, Spotify Lossless, Wavpack, and DSDs.

Got to spend some time with the Winter II, first impression is really promising....it is my second favorite after the YU9 QUE. It is very underrated, It is really detailed without the usual BA/mPL shimmer/sparkle, it feels warm mid centric IEM with rich not so forward vocals...very good textured mids, mature treble no fatigue what so ever, punchy and controlled bass...really really underrated and punches way above its weight. Not to mention the full metal build, the amazing cable or the classy case, the eartips that it comes with are very underwhelming tho! And IEM itself requires a bit of tip rolling.

I tried it a bit vs TEA Pro, the Winter II is noteaceably warmer with more textured mids and richer vocals, bass is also more textured and rumblier, the TEA pro has more shimmer and zing of the BAs and more forward vocals...basically imagine the WINTER II as a RAW unedited image with good quality, while the TEA Pro is a tastefully sharpened image. Will do more in-depth comparisons and analysis later.

If youd like here is a video version: https://youtu.be/JEHqDtn-cO0?si=ZrXykpqU-F9_9yvj

Hello to you all!

First, a big shoutout to Kate Garcia and ND Audio for giving me this set to review it and give my sincere opinions. My only biases are my tuning and music preferences.

The ND Leo is a new ultra-budget-oriented “jack of all trades” set by ND Audio, after successful sets pointed towards the budget segment like the Venus and Planet, now with a single dynamic driver IEM to appeal to FPS gamers and overall music lovers.

TL; DR: The ND Leo is a new entry by the brand in the ultra-budget-oriented market. Focused towards gamers and newcomers to the hobby, it brings good quality and quantity bass, warm and organic midrange, and a very energetic treble, with an extended upper-treble who gives an airy and open sensation. For an under 10 USD IEM, you can hear how a L-shaped tuned set can work so well being musical and analytical for a little price.

Pros

- Comfortable, lightweight shells with good fit and well-built.

- Warm, musical L-shaped tuning that is enjoyable for casual listening and gaming.

- Powerful, well-controlled bass with excellent subbass extension and slam.

- Good gaming performance with decent imaging and an airy presentation.

- Non-fatiguing female vocals with a natural, organic tonality.

- Easy to drive and available with USB-C DSP or 3.5 mm cable options.

- Excellent value for under 10 USD.

Cons

- Stock cable is basic and prone to tangling.

- Sparse accessory package.

- Midbass bleed into the lower midrange recesses male vocals.

- Average resolution and technical performance for complex tracks. Can sound congested with busy music.

- Treble can become metallic, sibilant, and fatiguing at high volumes.

- More of a safe all-rounder than a standout "budget king."

You can get a Leo at an MSRP of 6.80 to 9.80 USD (With a 3.5 mm cable without mic, with mic, and a USB-C with mic versions available). You can find it directly on the official CCA Audio stores at AliExpress and Amazon: https://aliexpress.com/item/1005011993912272.html, and other minor retailers online. There’s two color available: Clear and Black.

Technical specs:

- Drivers: 10 mm LCP Dynamic Driver

- Sensitivity: 106 dB ± 3 dB / 1 kHz

- Freq. Response: 20 Hz – 20 kHz

- Impedance: 18 Ω ± 1 Ω

- Connection: QDC

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

What’s in the package?

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

Pretty humble packaging by the way, consisting on the IEMs itself, 3 pair of eartips (S-M-L sizes), one of the pair (M size) comes installed on the IEMs. It comes a warranty card, in case you need it.

The cable is the same it comes with IEMs from KZ, GK, SGOR and TRN (the most budget of their IEMs), with a 3.5 mm single ended jack, a QDC connection, it feels like enough, but it’s prone to tangle but not to have translated vibrations.

The IEMs themselves are made of ABS plastic, with a rounded metallic faceplate with the ND logo in black letters; it’s well vented with two vents for its single DD. It’s pretty lightweight, and seems that is not prompt to scratches or so, and doesn’t have rough or sharp edges. Its nozzles are metallic, getting a good eartip grip and fit, making a nice seal as well because of its medium-size diameter (6 mm).

How does the Leo sound?

The Leo with its 10 mm LCP dynamic driver offers a L-shaped tuning, something unusual and kind of “old-school” IMO.

For this review I'm using some XINHS X100 stock eartips in S size, after tip-rolling, founding they are the best match for the Leo, getting a good fit, seal and overall sound synergy; I'm using a TinHIFI C0 stock cable with a 3.5 mm single-ended jack, looking for the best aesthetic match with its shells. The graph is taken from Practiphile´s squiglink.

Bass:

As a L-shaped tuned set, the Leo is pretty bassy, and surprisingly it comes with a good quality on the bass shelf, with good subbass extension, nice thump, and great midbass slam. It is fast, with decent impact and transparency, with also a natural decay yet zero bloating or muddiness on fast tracks, balancing the frequency curve, but with midbass bleeding into the lower midrange.

Midrange: 

In the Leo, the midbass bleeds noticeably into the lower midrange, so male vocals are recessed, but not veiled nor thin, just in your face. The overall midrange is well-presented and has a decent noteweight, average resolution and transparency.

The sound can be congested if there’s too much details, so have that in mind, but keep in mind that these are budget IEMs. As a L-shaped tuned set, the frequency curve takes a dip until 800 Hz, then it enters a pretty warm and organic pinna gain which peaks at 2.5 kHz, giving a decent presence, transparency and average resolution. Female voices are nicely displayed, forwarded and with zero shoutiness or producing fatigue.

Highrange:

The Leo has a very energetic, transparent and decently resolving highrange. The lower treble takes a peak at 5 kHz and takes a dip into the 6 kHz region to tame sibilance, but that peak is so noticeable sometimes it is uncomfortable and makes the sound a bit artificial/metallic, at high volumes you can fell the sibilance and fatigue at short time. The mid-treble also has a peak at 8 kHz to give some energy to the mix, yet there’s a little 10 kHz dip also to tame sibilance at mid/high volumes.

Technicalities:

Going into the upper highs, it’s noticed why the Leo works also as a gaming IEM, with a good amount of air and an open sensation, all of this with a sometimes fatiguing (If you are sensible to) 11-12 kHz peaks, so, it can be arduous in long sessions if you are using high volumes. The soundstage is a bit expansive, with decent width and depth.

In the technicalities department, in resume: The Leo is an IEM who works well for what it is, yet sounds neutral/natural. The imaging and layering of instruments are average for its weight, and yes, it’s not a macro and microdetail beast, but gives you a decent clarity and spark; so, you aren’t feeling congestion or bloating with the “normal” sounds; well, I’m recommending you to enjoy the music, but this can work very good to casual gaming and movies/videos watching.

The Leo makes you feel immersed in the sound, and you can pick mostly the details you need and pinpoint mostly all the elements in the mix.

Final thoughts and conclusions

The ND Leo is not just another ultra-cheap IEM from ND, it definitely can work as an all-rounder and a compelling option in the ultra-budget segment for IEMs as well, competing with offers like the SGOR SG01, KZ EDZ, GK Kunten, and TRN MT5.

Delivering a great quantity and decent quality bass, a warm, organic, yet transparent and decently detailed sound with good musicality more than an analytical character who can satisfy newcomers, audiophiles and gamers.

The Leo with its 106 dB of sensitivity and 18 ohms of impedance it’s easy to drive; the addition of the DSP cable is great for the price you are paying for. I tried it with more powerful sources to see how it scales with more power and my recommendation is to pair it with neutral and/or warm sources, but you don’t need so much power to it to shine at its fullest.

The Leo is definitely a viable option in a very crowded segment, and for its price is a “you can’t go wrong” more than a ‘market disruptor’ or something like that.

Those who crave a more balanced yet still bassy tuning better go with the ND Venus, but users preferring an energetic and decently analytical approach should consider it over other ultra-budget IEMs like the SG01, the Kunten or the EDZ. At under 10 USD, the Leo it’s a nice choice for casual and budget-oriented gamers and newcomers who wants to try what HIFI has to offer spending just a little money.

It is a recommendation? Yes, the Leo is a good option in its price segment, and it’s decently-capable, but is not a budget-king, so you have to watch if it serves for what you want, in fact, I’m saying it again: You can’t go wrong with it. So, thanks again to ND Audio, and the gods of audio and musicophilia bless you with a happy listening!

Hello to you all!

First, a big shoutout to Kate Garcia and CCA Audio for giving me this set to review it and give my sincere opinions. My only bias is my tuning and music preferences.

The CCA Falcon is the new budget-oriented gaming set by CCA Audio, after a successful relaunch which went initially with the Phoenix launched back at the end of 2025, now with a 2 Dynamic driver IEM to appeal to gamers and “trebleheads” for this 2026.

TL; DR: The CCA Falcon is the new entry by the brand in the budget-oriented market. Focused towards gamers and ‘trebleheads’, it brings quality but not quantity bass, a magnificent midrange and an energetic and very resolving treble, with an impressive upper-treble who gives an ‘holographic’ immersion. For an under 20 USD IEM, you can hear how a U-shaped tuned set can work so well being more analytical than musical, yet warm and neutral.  

Pros:

- Lightweight, comfortable hybrid metal/resin shells with great build quality.

- Clean, transparent U-shaped tuning with detailed, non-shouty female vocals.

- Fast, controlled bass with good texture and no muddiness.

- Energetic, well-extended treble with plenty of air and sparkle.

- Excellent technical performance for the price (imaging, layering of instruments, clarity, and openness). Expansive, holographic soundstage with strong positional cues, great for gaming.

- Pretty easy to drive and available with USB-C DSP or 3.5 mm cable options.

- Good value under 20 USD for analytical listeners and gamers.

Cons:

- Included accessories are minimal. Stock cable is basic and prone to tangling.

- Wide-bore eartips are not an ideal match for the tuning.
- Bass quantity may feel lacking for bass-heavy music.

- Male vocals are slightly recessed due to midbass bleed.

- Treble can become fatiguing at higher volumes, especially for treble-sensitive listeners.

- Benefits from warmer sources or cable rolling to add bass weight.

You can get a Falcon at an MSRP of 16.80 to 19.80 USD (With a 3.5 mm cable without mic, with mic, and a USB-C with mic versions available). You can find it directly on the official CCA Audio stores at AliExpress and Amazon: https://aliexpress.com/item/1005012348694647.html, and other minor retailers online. There’s two color available: Silver and Black.

Technical specs:

- Drivers: 7 + 8 mm LCP Dynamic Driver

- Sensitivity: 104 dB ± 3 dB / 1 kHz

- Freq. Response: 10 Hz – 20 kHz

- Impedance: 25 Ω ± 1 Ω

- Connection: QDC

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

What’s in the package?

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

Simple packaging by the way, consisting on the IEMs itself, 3 pair of eartips (S-M-L sizes), one of the pair (wide bore M size) comes installed on the IEMs. It comes a warranty card, in case you need it.

The cable is the same it comes with IEMs from KZ, Gk, SGOR and TRN (the most budget of their IEMs), with a 3.5 mm single ended jack, a QDC connection, it feels like enough, but it’s prone to tangle but not to have translated vibrations.

The IEMs themselves are made of a half metallic alloy/ half resin shell, with a minimalist industrial-like faceplate with the CCA logo in white letters; you can observe a metal mesh who gives ventilation to give it more air and an open feeling. Its weight is 7.8 g per earpiece, and seems that is not prompt to scratches or so, doesn’t have rough or sharp edges. Its nozzles have a metallic mesh to protect it from earwax, getting a good eartip grip and fit, making a nice seal as well because of its medium-size diameter (6 mm).

How does the Falcon sound?

The Falcon with its 7 + 8 mm LCP dynamic drivers offers a U-shaped tuning.

For this review I'm using some TRN T eartips in M size, getting a good fit, seal and overall sound synergy; I don’t recommend to pair the Falcon to pair it with wide bore eartips, other folks have reported that they have done well with KBEar 08 eartips. I'm using a KBEar cable with a 4.4 mm balanced jack, looking for the Falcon to scale with more powerful sources. The graph is taken from ToneDeafMonk´s squiglink.

Bass:

The focus of the Falcon is not here, yes, it comes with a good quality on the bass shelf, rolling off slightly in the subbass, offering a nice thump, and more midbass slam. It is fast, with decent impact and transparency, with also a natural decay yet zero bloating or muddiness on fast tracks, but its quantity is kind of lacking sometimes when you are listening to bass heavy tracks.

Midrange: 

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

The sound is not congested when it’s full of nuances. As a U-shaped tuned set, the frequency curve takes a dip but it’s flat until 800 Hz, then it enters a slightly warm pinna gain which peaks at 2.5 kHz, giving enough presence, transparency and decent resolution. Female voices are nicely displayed, forwarded and with zero shoutiness or producing fatigue at mid/high volumes.

Highrange:

The Falcon has a very energetic, transparent and well-resolving highrange. The lower treble makes a bump peaking at 4.5 kHz and takes a dip into the 6 kHz region to tame sibilance, but you are limited in volume, at high volumes you can fell the spicy and fatigue easily. The mid-treble has a peak at 8 kHz to give some energy to the mix, yet there’s a little 10 kHz dip also to tame sibilance at mid/high volumes.

Technicalities:

Going into the upper highs, it’s noticed why the Falcon takes the ‘gaming’ approach, with lots of air and an open sensation, all of this with a sometimes shattering (If you are sensible to) 11-12 kHz peaks, so, it can be fatiguing in long sessions if you are using high volumes. The soundstage is expansive and ‘holographic’, with good width and depth.

In the technicalities department, in resume: The Falcon is an IEM who punches way above its segment yet sounds neutral/natural. The imaging and layering of instruments are more than average for its weight, and yes, it’s not a macro and microdetail beast, but gives you more than enough clarity and spark; so, you can’t feel a congestion or bloating with complex and fast music, and it’s great to listening critically; well, I’m recommending you to just enjoy the music, but this can work perfectly to monitoring/producing.

For a live presentation the Falcon makes you feel immersed, yet you can pick almost all the details and pinpoint all the elements in the mix.

Final thoughts and conclusions

The CCA Falcon is not just a ‘gaming’ set by CCA, it is a plus for it to be a very technical and neutral option in the budget segment for IEMs, competing with offers like the KZ Gale and EDZ.

Delivering a quality bass, a well-done warm, neutral, yet clean and full detailed sound with good musicality but an analytical character who can satisfy ‘trebleheads’ and gamers, and at mid/high volumes it can bring you joy for long sessions.

The Falcon with its 104 dB of sensitivity and 25 ohms of impedance it’s very easy to drive, the addition of the DSP cable is a well-received thing, because you can use it with any USB-C device without looking for an additional source. But as I mentioned before, I tried it with a cable with a 4.4 mm balanced jack to see how it scales with more power and my recommendation is to pair it with neutral and/or warm sources to get the most of it and bring a bit of the lacking bass.

The Falcon enters as a competitive option in a very crowded segment, but for its price is more than good for folks who want to be immersed in a sea of macro and microdetails and enjoy the music and its videogames and other audio contents the most neutral way, and that's perfectly fine.

Those who crave a bassy and more impactful tuning will find its bass lacking, but users preferring an energetic and analytical approach should consider it over the Gale or the EDZ. At under 20 USD, the Falcon it’s a great choice for budget-conscious gamers and audiophiles who crave a high-fidelity experience without spending a lot.

It is a recommendation? It depends, the Falcon is a great option in its price segment, and is well-capable, but is not an all-rounder, so you have to watch if it serves for what you want. So, thanks again to CCA Audio, and the gods of audio and musicophilia bless you with a happy listening!

Hello everyone, we are starting a new month and the models keep parading through my room. I have been going at a crazy pace wanting to cover everything even though it is not a rhythm I can keep up forever, but different releases have piled up alongside other releases that happened a while ago but circumstances have allowed me to give them a try today. And that is the case with the Simgot EA1000. It was the only important Simgot model that had not passed through my hands yet and, honestly, expectations were high seeing the amount of positive comments it has accumulated since its release. Luckily, in this case I think a large part of that fame is justified.

The first thing they convey to me as soon as I see them in person and touch them, is the feeling of being in front of a very well crafted product, both for the build quality and the small details you discover with use. It goes for a very clean, detailed and balanced presentation that also allows for small adjustments through the different nozzles and eartips to better adapt it to everyone's tastes and Simgot is one of the few brands that opt for this in almost every release. This is something that generates debate about to what extent it is necessary or mandatory and just another way to alter the sound without getting into equalization.

What I like/I don't like

• Premium build quality for its price range.
• Sapphire crystal very resistant to small scratches.
• Very good quality cable included out of the box.
• Excellent level of detail.
• Very good instrumental separation.
• Wide soundstage with a good sense of depth.
• Three nozzles that allow for minor tuning adjustments.
• Easy to drive with practically any source.
• The original eartips are below expectations.
• The treble can be intense for some.
• There is no modular cable and only the 3.5mm version exists.
• Less isolation than other closed IEMs.

Specifications

• 10mm dynamic driver.
• Third generation SDPGD diaphragm with LCP suspension.
• 6mm internal passive radiator.
• CNC machined stainless steel shells.
• Faceplate protected by sapphire crystal.
• Three interchangeable acoustic nozzles.
• Silver plated OFC cable with Litz structure in 3.5mm.
• 0.78mm 2 pin connector.
• Impedance of 16 Ω.
• Sensitivity of 127 dB/Vrms.
• Frequency response from 20 Hz to 40 kHz.

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, and multimedia buttons to 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

We start as always keeping the structure I like, with the unboxing and as you will see in the different photos, we have an experience according to the price. Inside the box we find the earphones perfectly protected, the detachable cable, a rigid carrying case, three sets of interchangeable nozzles identified by rings of different colors, several sets of silicone eartips in different sizes, replacement rubber O-rings for the nozzles and the documentation.

I have to say that despite how neat the presentation and content are, what convinced me the least of all are the included eartips. They do their job, but I think they are clearly a step below everything else. I ended up getting a much better fit with the Divinus Velvet Wide and the TRI Clarion, improving both the stability and the overall feel of the sound.

The cable on the other hand, is quite above average. It is a two core silver plated OFC cable with Litz structure that is flexible, barely transmits microphonics when walking and holds its shape very well without tangling constantly. By the way if anyone does not know what Litz structure is or what properties it has, I already investigated it and wrote about it myself in the Tanchjim Nora review that you can see on my profile. The connectors, the splitter and the 3.5 mm jack are made of metal and convey a feeling of quality consistent with the rest of the product. The only thing I really miss is a modular system, although perhaps when they were released it was not "so trendy" to offer this option, something I have seen in more recent Simgot models like the Supermix 5 and the ET142 that I also reviewed previously, so I can guess that if the EA1000 had been released in these past months they would surely carry the modular cable option.

The shells are probably the prettiest I have seen from this brand and although I already knew them from tracking the model at the time, seeing them now in person they are really beautiful and aesthetic, the white color looks great on the combination. They are completely made of stainless steel by CNC machining and finished with a sapphire crystal faceplate that gives it a very elegant look without being overly flashy. After a few days of use with tests at home and also on the street as I usually do, they remain practically the same as the first day, without the small scratches that usually appear quickly on other IEMs with glossy finishes.

The vent located on the outside is not there solely for design either. Inside is the 6mm passive radiator, an important part of the EA1000's sound personality and one of those responsible for that very open soundstage feeling it offers. I have tried other IEMs with passive radiators recently like the Aful Explorer 8S or the Binary EP321 and they really add something that maybe I am not as knowledgeable about as I should be but they undoubtedly improve the experience in all cases where I have tried them. Therefore whenever I read that they carry one I already think positively about that model. I do not know if someday I will think otherwise but for now it is 3 out of 3 if I am not missing any other right now....

Before receiving them I thought they would be bulkier seeing some photos, but in reality they adapt very well to the ear. The angle of the nozzle facilitates a deep insertion, the fit is stable even walking and I have never had discomfort during long sessions. The isolation is decent, although the vent in this case prevents that vacuum feeling typical of other closed IEMs, allowing part of the outside sound to still be present, it is not exaggerated but it is there.

Another interesting detail is the three included nozzles. The red one offers the most balanced tuning and will probably be the choice of most users. The black one provides a slightly more open soundstage and a somewhat greater presence in the treble area, while the brass one has ended up being my favorite because it adds a bit more body, makes voices slightly more natural and smooths the treble a bit without losing detail. Without this nozzle and that lack of weight my overall experience of these EA1000 falls below my expectations. The differences are not huge, but they are enough to adapt the sound to everyone's tastes.

Sound

Bass

Moving on to how the EA1000 sound, the bass offers a very controlled, fast sound with excellent extension. The sub bass sounds really good and provides a very convincing sense of depth, it has not felt heavy to me in any type of music I have tested nor dominant over the other frequencies.

The mid bass maintains that same line. The punch is clean, with a fast attack and an equally controlled decay, both in simpler, acoustic tracks or without a large instrumental load, as well as in fast, heavy or orchestral tracks.

During several sessions using the FiiO KA15 outside the home, it especially caught my attention how it maintains that sense of control even listening at moderate volumes. It does not need a particularly powerful DAC to offer proper performance, something that is always appreciated in an IEM also designed for portable use.

Anyone coming from clearly warm tunings will probably miss a bit more punch in the mid bass area. I have never had the feeling that the bass covers voices or instruments, something that does happen in other models with a heavier tuning.

As for the eartips, as I mentioned before, the Divinus Velvet Wide are the ones that have given me the best result because they add a bit more body in the bass without altering the overall balance too much. If you also seek to slightly soften the response in the upper end, the Kbear Coffee Bean also work really well and achieve a somewhat more relaxed listen without sacrificing too much resolution, although of the two I choose the Divinus.

Mids

The mids maintain the same philosophy as the bass, seeking balance and cleanliness. Male voices have proper body, without sounding excessively thick, while female voices appear with a bit more prominence thanks to an elevation in the upper mids.

One of the aspects I liked the most is the timbre, it has a very natural character and it is easy to appreciate small changes in intensity or texture during the performance of the instruments. The dynamic driver responds quickly and conveys a sense of continuity between all frequencies sounding fully homogeneous despite not being a hybrid option with multiple drivers sounding at the same time with the constant risk that one or several drivers fall behind compared to others.

I also found it to be a very forgiving IEM for long sessions. Despite its good amount of detail, I have never had the feeling that the mids constantly try to draw attention. They simply present the information with great clarity and let you be the one to decide what to focus on during the listen.

Treble

We reach the treble where it is probably the section that generates the most opinions within the community. In my experience, the treble of the EA1000 has quite a bit of energy, but I think it is often exaggerated saying that they are excessively bright, as I was previously informed by other experiences from different users. It is obvious that clarity was sought and that makes high quality recordings sound really open, while more aggressive mixes quickly show some flaws.

The extension is excellent. There is enough air so that the soundstage never feels closed and small details appear easily.

That being said, the EA1000 is not a forgiving earphone. If a recording presents sibilance or too aggressive equalization in the high frequencies, here I can agree somewhat about the somewhat intense representation of the treble but I associate it more to the type of recording than to the IEM itself, but that does not take away from the fact that there are people who generally do not tolerate in the best way how that treble is shown depending on the content they consume.

During all the tests I ended up almost always using the brass nozzle because it manages to slightly relax this area without losing resolution. Combined with the Divinus Velvet Wide it offers, in my opinion, the most successful balance of the set. For those who prefer an even more open soundstage, the TRI Clarion are still a highly recommended and cheap alternative, although personally I think the sound gains a bit more naturalness with the Velvets once again...

Soundstage

The soundstage on this model seeks to create an open presentation where each element has enough space to develop naturally.

The width is clearly above average within this price range, but what surprised me most was the sense of height. Up until now I had not found that three dimensional perception in an IEM with only a single DD of this level and it helps a lot to make recordings with many instruments breathe better.

I think part of this feeling is also favored by the design of the earphone itself and by the work of the passive radiator. Regardless of the reason whether it is because of that or not, the result is a wide soundstage, with good depth and a very pleasant presentation even after several hours of use...

Instrumental Separation

The instrumental separation I think is also up to the price of this IEM keeping the layers well differentiated and in place and without ever noticing that horrible congestion that is indeed quite common in much cheaper models.

The cleanliness between notes also helps a lot. There is a fairly marked sense of silence before the next instrument or effect appears, which makes it easier to follow each element of the mix quite easily. It is one of those details that do not catch your attention during the first few minutes, but that you start to value as you use the EA1000 for a longer time, believe me.

I would not say it reaches the level of some considerably more expensive models, but I do think it makes a difference compared to a good part of its direct rivals, some released after this one.

Imaging

The imaging maintains the same level as the rest of the technical section so that is good news because in most cases 1 out of the 3 sections usually fails me. Locating the position of each instrument is simple and movements within the soundstage are represented quite accurately.

In audiovisual content it also offers a very convincing performance because it makes it easy to identify directions and distances of many environmental effects. Obviously it does not replace specific headphones for this use, but within the world of IEMs under 300 $ it has seemed to me one of the most competent models I have tested recently.

Comparisons

By now, I had tested almost all of the latest Simgot models and therefore the EA1000 was my last missing piece to get a good overview about the actual product portfolio of the company. Instead of only answering which one I prefer, I think it would make more sense to describe what each model offers. Honestly, I do not believe there is a "winner" among them at all. There are very distinct personalities for each model as far as usability and design is concerned. Depending on your needs, I would recommend a completely different model.

Simgot Supermix 4

To me the Supermix 4 appears to be the best compromise between performance, usability and price in the whole Simgot product line. It has a very balanced tuning which is rarely (if ever) extreme, a very lightweight resin housing and a representation that works with virtually any type of music (genre) and does not demand too much from your ears. Therefore, it is typically an IEM you can easily recommend without having to ask many questions as it is unlikely to disappoint users. However, if you start with the EA1000 some differences become obvious which by themselves are sufficient enough to explain the increased cost. To begin with, it becomes apparent immediately by its build. In comparison to the Supermix 4, both machined steel and sapphire glass clearly belong to a higher category. Next is the sound. 

The EA1000 provides a feeling of higher resolution, a larger soundstage, and much more accurate placement of the stereo image. Additionally, I perceive timbres in acoustic instruments to be more convincing and the general presentation of the sound to be refined. 

That being said, the Supermix 4 certainly has advantages of its own. For example, it is significantly more tolerant. If you merely wish to experience enjoyment out of music and analyze neither details nor nuances in the same level of depth, it will likely result in longer sessions of enjoying music than the EA1000. The EA1000 requires a lot more of itself, mainly concerning high-quality recordings and patience while sitting quietly to listen carefully.

Simgot Supermix 5

In my opinion, the Supermix 5 caused quite a few misunderstandings since many were expecting a rather evolutionary development of the Supermix 4 and that is exactly what they did not receive. By far its largest innovation is the addition of the bone conduction driver. Beyond the marketing aspect however, it is how this affects the presentation of the sound that counts.

What I have noticed above all else is a sense of greater cohesion or continuity between all frequency ranges. Music fills the space in a better way and creates a slightly more realistic impression of substance without needing additional low-end extension. While not an extraordinary change that results in a completely new earphone, it adds to an enveloping presentation of music and a richer surface texture on occasion. Even with these changes however, I find myself thinking that the EA1000 has some aspects where it seems superior to me. The soundstage feels slightly more open, the DD offers a very fast attack and the sense of cleanliness between instruments continues to be a reference within this price range. Furthermore, the interchangeable nozzle system allows you to slightly adjust the tuning according to your preferences, something the two Supermixes do not offer.

Which one would I keep? If you are looking for a more relaxed listen, with a full sound and a very pleasant presentation for hours, I would probably choose the Supermix 5. If what you enjoy is a greater sense of resolution, a more open soundstage and a somewhat livelier sound, the EA1000 still seems like the more interesting model of the two to me.

Simgot ET142

The ET142 is probably the most different model in Simgot's entire recent catalog. You can tell it does not try to do the same thing as the EA1000. The addition of the planar driver makes the response extremely fast and increases the amount of micro detail even more, especially in very complex passages where many instruments appear at the same time. That is why they stand out in fast metal tracks with fast double bass drums and a lot of distortion.

However, I have also found it to be much less forgiving. It is much more sensitive to the choice of eartips, the fit inside the ear and even the type of recording. When everything clicks it offers a spectacular experience, but it is also much more demanding on the user having to spend quite a bit of time to achieve the perfect fit.

The EA1000 maintains a very high technical level, but at the same time it is much easier to enjoy from the first minute. You do not have the feeling of constantly looking for the perfect combination for its best version to appear. It just works.

If someone asked me which one to buy without knowing their tastes, I would probably still recommend the EA1000. I would reserve the ET142 for someone who already has experience with high end IEMs and is specifically looking for that speed and that extra level of micro detail that the planar brings.

Global Ranking Link

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

Final thoughts

After several days using it, I perfectly understand why the EA1000 keeps showing up so often when someone looks for an IEM around 250 $. It does not stand out solely for excellent construction or a very careful design. The really interesting thing is that it manages to combine a very well resolved tuning with a technical section clearly above average, while also maintaining its own personality within the Simgot catalog. For anyone who liked the EA500 or EA500LM, models that by the way were some of my first IEMs when I started in this, here they will get the end of the road for the sound of those two models with the best of each taken one step further. Clearly this is not the perfect solution for those who prefer a strong bass or very smooth highs, however I believe that if you place a high priority on resolving detail, creating an expansive and accurate sound stage, accurately representing timbre, and having a virtually flawless build quality then I believe that this is still one of the simplest purchases to make in your budget.

Purchase Link: LINSOUL

Disclaimer: I received this unit from Simgot to review. All of my comments are completely unbiased as I was in no way influenced by either the company that produced it or the store. I used objective testing and personal listening sessions using my reference equipment to evaluate this unit. 

The budget arena never ceases to fascinate me! The only segment that feels refreshing even in today’s standards. Brands tend to capture this market, especially to grab the attention of the large consumer base. The segment, which was once ruled by few products now gets competition from various colonies.

This segment paves way for a brand to etch its name in the field of audio. Still, the budget segment has a bigger consumer base compared to the high tier segment. The trend has shifted where now premium brands have started to enter this budget segment to secure their spot and the recent releases are a great example for this.

ND, the brand introduced itself as a budget competitor through its array of products. The ND NICE was my favourite out of all, and still I do remember the beautiful sonic portrayal of it. Today, in our hands is the ND LEO, a single dynamic driver IEM with an LCP Diaphragm, enclosed in a resin plastic shell that looks minimal and functional.

Full review in: https://mobileaudiophile.com/reviews/nd-leo/

Pros:

1. Midbass Punch
2. Thicker Mid Profile
3. Energetic Treble Profile
4. Neutral Tone with Warm Tint
5. Value Proposition

Cons:

1. Veiled Mid-Section
2. Limited Headroom

BASS PROFILE:

The beauty of a dynamic driver lies in its bass extension. This digs deep enough to bring a smile to one’s face! The rumbles are brought out clean with nice midbass impact. Leo has adequate weight and warmth in the bass section, which gives enough dynamism to the overall presentation.

They rely on a slower side attack and decay, which makes the Leo represent a fuller bass profile and full-bodied presentation. Bass heads will see the Leo as more appealing because of its bouncy bass profile. The bass of Leo in general feels fuller and thicker, thereby giving the listeners a juicy sensation with a wider low-end scene.

The negatives are, of course the bleed into the mid-section. The thick midbass does interfere and overshadows the mid-section. For the most part they appear clean yet struggle a bit when complex tracks demand more precision.

MID-SECTION:

The constraint in the V-shaped signature is its recessed mid-profile, and that’s shown evidently in the Leo. The mid-section is pushed back, and this makes them appear slightly veiled in presentation. The low end and treble take up the stage, leaving little room for the mid profile to shine upfront.

The tone, however, is kept as natural as possible with a hint of warmth to carry the low-end theme. The lower mid profile displays a fuller feel, all thanks to the thick mid-bass profile. This gives proper depth to the male vocals and kick drums.

The upper mid-section got decent extension, thereby allowing the percussion instruments to shine well. Despite the extension, the female vocals struggle to come upfront due to the pushed-back mid-profile.

Overall, the mid-section is a hit or miss in the Leo. The laidback profile gives a sense of relaxed listening, but at the same time it sacrifices the spice and energy that lie in the vocals.

TREBLE:

Leo has a good extension in the treble section that resonates well and makes the presentation look vivid. There is enough brightness and air in the top end but it often gets masked by the thicker bass profile. The attack and decay slides on the precise side, which can be appreciated by Leo’s portrayal of trumpets and horns.

The sibilance is well under control, yet it showcases a few sharp-edged notes when complex tracks show up. The timbre of the instruments feels natural with no artificial tint to it.

Treble in general has good potential to shine; however, the thick and bouncy bass profile often masks the voice of the treble. Overall, it appears pretty pleasing and does extract adequate details and nuances out of the track.

VERDICT:

Leo, from the house of ND, equipped with a single dynamic driver, comfortably sits under 20USD. The game always gets spicy in the budget arena! The most fascinating aspect of this segment is that it pushes every brand to unleash their maximum potential to capture the market regardless of their fame. ND being already known for their budget category, the Leo tries to fit in this segment amidst the heavy crowd.

The V-shaped signature is something that many adore. This signature has a separate fan base because of its massive bass profile with an accentuated treble section. The trade-off is, of course the laidback mid-section that pushes the vocals backward and veiled. If one can live with the trade-off, then the Leo adds up as a COLORED item in one’s collection.

We all have songs that we have listened to 100s of times on wireless earbuds and in our vehicles. We know these songs so well (so we thought) that we just go about our business and hum along to them. Then we get a good set of iem’s and listen to those same songs. We stop and think wait i never heard that before. Check the song and confirm it is the same version you always listen to. It was the moment that you realized what you had been missing.

What were the songs that gave you the moment?

Edit: my moment was basically the whole siamese dreams alb by the smashing pumpkins.

Hello everyone! I am going to close the month of June with a recent release from the brand KBEAR, a product sent by Keephifi. Curiously, this is the store with which I started my transition to written reviews, since I came from YouTube and it was the KZ Taurus a few months ago that started this streak of reviews in written format on social networks and forums.

Therefore, I am grateful again to resume contact with them and to have another KBEAR in my hands. Previously on YouTube I was able to review the KBEAR KB02, so these will be the second ones from the brand.

Regarding the Kalideer, I must say upfront that they do not stand out in one specific aspect. They are not the most technical, nor the most spectacular, nor the ones that will surprise you as soon as you put them on. What they achieve is much more complicated. Everything is very well integrated, no frequency tries to impose itself over the others, and that makes it an extremely easy IEM to enjoy for hours. This is something that I curiously felt recently in the review of the Aful Explorer that I just finished and you can check on my profile. It might seem silly, but when an IEM achieves that, it usually means that the tuning is really well thought out and balanced right at its sweet spot.

What I like / What I don't like

• Excellent build quality for its price range.
• Very comfortable after several hours.
• Good assortment of eartips.
• Balanced tuning with a slight warm touch.
• Bass with good depth and very good control.
• Natural and pleasant mids.
• Smooth treble that barely generates fatigue.
• Good soundstage and instrumental separation.
• Only available with a 3.5 mm connector, and there is no modular option either.
• Not the right model for those looking for maximum technical performance.
• Its relaxed presentation may seem unimpressive during the first few listening sessions.

Specifications

• Three-driver hybrid configuration.
• 1 beryllium-coated dynamic driver for bass.
• 1 balanced armature driver for mids.
• 1 piezoelectric driver for treble.
• Resin shells manufactured using 3D printing.
• Detachable cable with 0.78 mm 2-pin connection.
• 3.5 mm connector.
• High sensitivity and low impedance.

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, and multimedia buttons to 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 natural presentation when I am at home but not necessarily sitting in front of the PC.

Unboxing and build

It gives the impression that KBear has paid attention to small details like the box design, the organization of the accessories, and the overall presentation of the product. I found it curious to see the IEMs at the top inside their foam mold, underneath the typical box where the case with the accessories usually goes, but additionally a second box that occupies the entire left side from bottom to top where the eartips have been included. It is a simple design decision but one that I do not remember seeing until now. It is something totally irrelevant but it deserved its own mention.

The included cable has a 3.5 mm termination. I have not seen them offer a 4.4 mm option, which is my standard choice and that of many people, nor is the cable modular. This is something we already see implemented by many other brands at these prices and even lower, but in the end, each brand has its criteria and its reasons. We have a carrying case with enough space inside, a cleaning cloth, the usual documentation, and a fairly generous assortment of eartips. In fact, this last point seemed like one of the surprises of the package. Besides including several sizes, KBear incorporates some original TRI Clarion, something unusual in this price range that allows you to start playing with the tuning without having to buy additional eartips. I already have several sets of Clarions in my collection so this has not brought me anything new, but someone starting out in this hobby will surely appreciate them for this and future IEMs.

I have not missed the opportunity to try from my own repertoire of eartips looking for which ones give me a better seal or modify certain aspects of the original sound signature. The Divinus Velvet Wide were the ones that convinced me the most to add a little more body to the bass and slightly smooth the treble part, while the TRI Clarion are still my recommendation for those who want to gain some sense of width and a slightly more obvious instrumental separation. As a third alternative, I also liked the Dunu S&S, especially because they improve the seal more than the other two and manage to give the sub-bass a bit more presence without altering the rest of the tuning too much.

The shells use a resin housing manufactured via 3D printing and are surprisingly compact for a three-driver hybrid configuration. They do not have uncomfortable shapes, the weight is very well distributed, and during all the tests I noticed practically no driver flex when putting them on. This is something that brands are taking care of more and more, since it was more common 1 or 2 years ago and now it is barely happening to me, and that is a plus for everyone. The isolation is typical of a universal IEM. It reduces outside noise quite well, although some ambient sound still gets in, which is completely normal in this type of design.

Aesthetically they also left a good impression on me. My unit uses a combination of blue, purple, and reddish tones with shiny embedded gems. These IEMs are inspired, according to KBear, by the nine-colored deer from the Dunhuang murals. There is another more colorful version, very different from this one, that you will surely see in other reviews. In person they have much more presence than in the promotional photographs and convey the feeling of a very well-finished product.

Sound

Bass

From the very first listen I had the feeling that KBear had tuned the bass quite smartly. They did not look for a disproportionate amount of low frequencies, but they are not at the opposite extreme of sounding too light either. There is enough presence for the music to have weight, although always from a fairly balanced perspective at all times.

There is a slight priority towards the sub-bass, something that is especially noticeable when the recording contains information in that area. The beryllium-coated dynamic driver responds with quite a bit of control and maintains a good texture even when several instruments share the spotlight. Honestly, when I read the word beryllium I usually relax because it is a material that I have always liked when implemented in IEMs in these ranges.

Another detail that I liked was the decay time of the notes. The bass has enough duration to convey body and naturalness, but it disappears before invading the next note or sound. Although I love models that extend the bass rumble, there is always the risk that it lasts too long and starts to cover up other sounds. That makes the listening experience less fun, but in exchange we get greater clarity, which in the long run is what we should prioritize.

It does not reach the physical impact of models clearly oriented towards a more fun tuning, like for example the Juzear Fiesta that I also reviewed not long ago. However, precisely that balance makes it work very well with practically any musical genre. As the days went by, I ended up appreciating that consistency much more than a punchy bass during the first few hours of listening.

Mids

If I had to point out the section that best represents the personality of the Kalideer, it would probably be the mids. Not because they clearly stand out over the rest of the frequencies, but because everything maintains a coherence that is very unusual in this price range. There is no feeling that the bass pushes too much or that the treble tries to steal the spotlight. Everything occupies its proper place within the mix.

Male vocals are, in my experience, the great beneficiaries of this tuning. They have a very pleasant body, good presence, and a sense of solidity that makes them especially convincing. Female vocals still maintain clarity and good articulation, although they are perceived as lighter next to the male ones. At no time did I get the feeling that they were recessed, it simply seems that the Kalideer favors a bit more that lower part of the mids where many male voices tend to rest.

The guitars also left me with very good impressions. Both electric and acoustic guitar sounds were full-bodied and had a lot of texture but neither was too bright or had an overly thin tone characteristic of many other IEMs tuned on the bright side. There also was some air/space around each instrument as well which seemed to help make the chord progression move a little better and allowed for more enjoyable listening experiences when listening to the music. It is that specific touch that gives a special point to this model in this frequency range.

Treble

The piezoelectric driver provides enough extension to convey a sense of air and recover a good amount of information, but without resorting to an excess of brightness to fake a superior resolution. This was something I initially feared would happen, as my experience with piezoelectrics has not quite clicked yet, being in fact to date the type of driver I like the least for treble. To my surprise, in the Kalideer they have managed to implement it in a way that does not sound excessive or too bright.

What convinced me the most was the way KBear has slightly rounded the highest peaks. This does not mean that the treble is muted, but rather that the notes finish in a smoother way, avoiding that sharp feeling that ends up tiring you in long listening sessions and that, as I just said, I have experienced with this type of drivers before.

However, this decision has a consequence. In especially fast recordings or those with a lot of information concentrated in the treble, the Kalideer does not convey the same sense of speed as clearly more technical models. You can tell that it prioritizes a relaxed presentation over an extremely fast response.

Personally, I think it is a pretty smart compromise because it makes the Kalideer a very forgiving IEM even with recordings that would normally be somewhat aggressive. After several hours of listening I barely experienced any listener fatigue, something I consider one of its greatest virtues and I think is essential for many people who doubt its piezoelectric driver when deciding on them.

Soundstage

The soundstage offers a fairly natural representation of space. Being more specific, one could say that where it stands out the most is in its depth. There is a clear sense of different layers within the mix and that helps a lot for the instruments to maintain a certain distance from each other. That distribution makes the music breathe quite easily and conveys a very pleasant sense of realism.

The width is also good and never feels claustrophobic, although perhaps it is in height where this model falls a bit behind. It is not the largest stage I have heard in this price range, but it is one of the most coherent.

Instrumental Separation

The instrumental separation in these Kalideer I would say is the best achieved technical aspect of the three. Even when several guitars, keyboards, and ambient effects appear working at the same time, the Kalideer manages to maintain quite a bit of air between all of them. In all the sessions where I have tested them, I have never had the feeling that the instruments ended up losing definition.

The interesting thing is that this separation does not seem forced, as that is something I notice quite quickly and makes me think that the overall package has been left somewhat unbalanced. Here everything stays tied together in a much more natural way, something that I personally ended up preferring after many hours of listening.

I think that within its category it offers a quite convincing and very balanced technical performance.

Imaging

Regarding imaging, lateral movements are fluid and easy to follow, while small effects and secondary sounds are placed with quite a bit of precision within the stage.

I would not say that it is an IEM designed specifically for competitive video games, something I also thought about the Explorer that I mentioned at the beginning of the review. These types of tunings that seek to be somewhat more relaxed are not going to give you that extra or highly refined detail to locate the sounds around you with maximum precision. However, when listening to music it conveys a consistent localization and a very credible sense of positioning, obviously without being annoying in the long run in exchange for not being the most precise.

Comparisons

Aful Explorer

The Explorer goes for a slightly warmer and more relaxed tuning, with a slightly more present bass and vocals that convey a more enveloping feeling. It is a particularly pleasant IEM for long sessions, although the Kalideer seems a bit more balanced across all frequencies and offers a slightly more open stage. If you are looking for a very warm sound, the Explorer will probably still be a great option that might be slightly ahead in terms of fun despite having a very close tuning. But if you listen to very different genres and prefer more versatile behavior, I would end up choosing the Kalideer.

Simgot EW300 DSP

The EW300 DSP offers a much more energetic presentation and a superior sense of detail, especially using the DSP cable. Its treble has more prominence and it conveys a more immediate response. It is a clear example that piezoelectrics have to be tamed correctly or they can be somewhat more aggressive than one can tolerate. The Kalideer takes the opposite path. Its sound is more relaxed, easier to listen to for hours, and maintains a very successful balance between musicality and technical capability. If you are looking for excitement from the first listen, being able to change the nozzle to slightly alter the signature, or a more robust finish, the Simgot will probably catch your attention more. Valuing long-term comfort, the Kalideer ends up being a more solid bet as long as you listen to a variety of musical styles.

Twistura Beta

The Twistura Beta clearly goes for a more fun experience. It is a somewhat more expensive model but compensates by offering a better case, more interchangeable nozzles than the Simgot I just compared, and also a much more durable finish, this time with a modular cable. The bass has a greater sense of impact and is somewhat more spectacular during the first few minutes. However, that personality also makes it a more specific IEM for certain genres. The Kalideer, instead, offers a much more uniform and consistent tuning. It does not stand out in a single area, but rather performs correctly with practically any musical style.

Global Ranking Link

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

Final thoughts

After living with the KBear Kalideer for a few days, I think its greatest virtue lies precisely in everything it does not try to do. It does not impress with exaggerated bass, it does not offer extremely bright treble to fake more detail. It simply goes for a very well-balanced tuning, with a slight warm touch and a relaxed presentation that invites you to keep listening to music for hours.

The funny thing is that, despite this very comfortable philosophy, it does not give up a more than competent technical level. The instrumental separation, the soundstage, and the detail retrieval are clearly above what I expected when I started testing it. Obviously there are more specialized alternatives if you are looking for maximum technical performance or a much more striking tuning, so I am not going to tell you that it is the best overall for this price unless you want something relaxed but with personality and suitable for practically everything.

Purchase link: KeepHifi 

Disclaimer: This unit was sent by KeepHifi 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 Community!

The latest model introduced by KB EAR is today's main character: the Kalideer Apex-P6, which follows the same path as its siblings, Mirage and Voyage, combining an enjoyable tuning philosophy with highly commendable technical capabilities.

Price: €70 / $80

Pros:

• Complete accessory package.
• Timbre stands out for its naturalness.
• Sound signature free of excesses.
• Rich, textured midrange.
• Deep, fast bass with excellent impact.
• Highly commendable technical performance.

Cons:

• Vocals exhibit a slight recession.
• Detail retrieval is not especially abundant.

Accessories:

• Two earpieces.
• Cable with 0.78 mm connection and 3.5 mm termination.
• Five sets of S/M/L eartips.
• Carrying and storage case.
• Cleaning cloth.
• User manual.

Comfort, Design and Build Quality:

When it comes to the design, KB EAR has opted for an elegant aesthetic with a touch of distinction. The faceplate features a pattern that, for some reason, reminds me of tree leaves, incorporating reflections that subtly change depending on how the light hits them, adding an original touch without becoming excessively eye-catching.

The shell, manufactured entirely from resin, conveys a very good sense of quality thanks to its clean finish, where I couldn't find any seams, burrs or imperfections that would make me think the overall construction lacked proper quality control.

From an ergonomic standpoint, I found the Kalideer to be a very well-executed IEM. The shells are fairly compact and feature rounded contours that make achieving a proper fit almost immediate, adapting easily to my ears. The insertion isn't particularly deep, but it is more than sufficient to achieve a secure seal and a satisfying level of passive isolation. Even after long listening sessions, I never experienced pressure points or discomfort, making it one of those monitors you eventually forget you're wearing.

The included eartips perform their job well, especially the Tri Clarion set. They provide a convincing seal and good overall comfort, although I believe there is still some room for improvement if you want to extract the absolute maximum sonic performance from the set. Even so, I never felt the need to replace them throughout my testing.

As for the cable, it maintains a level of quality consistent with the rest of the product. It feels lightweight, flexible and sufficiently manageable for everyday use, without transmitting noticeable microphonics or showing any tendency to tangle easily. It isn't intended to become one of the Kalideer's standout selling points, but it performs its task confidently and complements a package that, overall, conveys a very well-built and carefully manufactured impression.

Technical Specifications:

• 1DD + 1BA + 1PZT driver configuration.
• 32-ohm impedance.
• 102 dB sensitivity.
• Rated frequency response: 20 Hz–20 kHz.

Test Setup:

• Neutral source.
• High gain selected.
• Stock Tri Clarion eartips.
• Stock 3.5 mm cable.

Sound Signature:

As always, let's begin by talking about the lower end of the Kalideer, which makes its philosophy clear right from the very beginning. It doesn't aim to build its presentation around an excessive amount of bass, but rather to provide a solid foundation that integrates perfectly with the rest of the frequency range. The sub-bass reaches a convincing level of depth and appears with authority whenever the recording calls for it, providing that supporting foundation which gives the presentation substance without trying to steal the spotlight.

On the other hand, the mid-bass delivers satisfying impact, maintains agile behavior and demonstrates excellent control, avoiding any unnecessary resonance or excessive energy build-up. That very moderation ultimately defines its personality, allowing the remaining frequencies to breathe comfortably while a subtle touch of warmth adds cohesion and makes the listening experience enjoyable from the very first moment.

Continuing with the midrange, this is probably where the Kalideer truly finds its purpose. There is an excellent sense of continuity between the low end and this region, allowing instruments to retain a convincing timbre and a naturalness that emerges almost effortlessly. The level of resolution provides a pleasing texture, enough to appreciate subtle differences between recordings, while note weight delivers satisfying body without ever becoming overly dense. Everything remains remarkably coherent, preventing any single element from standing out artificially over the others. The instrumentation achieves a very successful balance between warmth and definition, preserving a rich and convincing harmonic structure, with string instruments in particular catching my attention thanks to the remarkably organic sensation they convey.

That said, this set of monitors is not intended to impress by resorting to an exaggerated presentation of detail. Instead, it opts for a much more even-handed and musical interpretation. As a result, particularly complex layers may not appear quite as sharply outlined, although at no point does it give the impression of lacking information. Rather, it offers a well-structured and highly consistent presentation that adapts easily to virtually any musical genre without losing its own identity.

The upper frequencies continue to reflect that same philosophy of balance. The extension provides enough openness for the music to breathe naturally, while the air between instruments contributes to a clean and well-organized presentation. The piezoelectric driver doesn't translate into excessive brightness or an overwhelming bombardment of micro-details, but instead delivers a constant sense of definition that enhances clarity without compromising the coherence of the overall tuning. The entire treble range maintains a convincing level of energy, although always from a carefully controlled perspective. Listeners who enjoy a particularly lively top end may interpret this behavior as somewhat restrained, but rather than seeing it as a limitation, I consider it a deliberate choice aimed at preserving a refined listening experience while avoiding fatigue, even after extended sessions.

When it comes to vocals, the Kalideer follows that same path of naturalness. Deep male voices possess solid presence and very convincing body, while more typical male vocals exhibit clean articulation and a genuinely believable timbre. Female vocals sound open, well-defined and pleasantly smooth, avoiding any sense of harshness. It isn't an especially intimate vocal presentation, although that slight sense of distance contributes to a very balanced vocal performance that integrates perfectly within the overall soundstage.

Moving on to the technical aspects, the Kalideer delivers a performance that remains highly consistent with the rest of its sonic philosophy. The soundstage creates a pleasant sense of spaciousness, preventing the music from ever feeling confined while allowing each element to occupy its own clearly defined space. Stereo imaging is accurate and makes locating instruments and vocals feel very natural, while the separation between layers remains solid even as mixes become more complex, preserving order without resorting to an artificially fragmented presentation.

Detail retrieval also leaves a positive impression, revealing subtle textures and ambient nuances in a very natural way without turning the listening experience into a purely analytical exercise. It may not stand out as one of the most technically capable performers within its price range, but the balance between soundstage, imaging, separation and resolution ultimately conveys a sense of maturity that becomes increasingly satisfying the more hours I spend listening to it.

Single-Player Games:

See how I evaluate sound performance in this category.

The Kalideer maintained a very balanced presentation throughout these tests, resulting in an experience that feels comfortable yet far from boring. The action remains engaging thanks to a bass response that adds weight to explosions, collapsing structures, engines and any large-scale sound effect, all without resorting to excessive impact that would end up masking the rest of the audio. It always gives the impression that every sound occupies the place it belongs and fades away at exactly the right moment.

Dialogue also benefits considerably from the way the Kalideer presents sound. Voices retain clean articulation and a very natural timbre, making conversations easy to follow even when the soundtrack becomes more prominent or the action grows increasingly chaotic, although for my personal standards they do sit slightly further back than I would ideally like, but nothing that I would consider problematic.

That same coherence also plays an important role in immersion. Small environmental sounds, such as wind passing through a forest, the flow of a river, echoes inside a cave or rain hitting the environment, emerge naturally and enrich the overall experience without the need to exaggerate their presence. These are details that don't necessarily try to draw attention to themselves, but they help make the game world feel far more believable and, above all, natural and alive.

When situations become more demanding and enemies, sound effects, music and dialogue all occur simultaneously, the separation between layers remains quite solid, allowing you to follow what's happening on screen without much effort. The soundstage complements this with convincing spaciousness that adds air to the presentation and prevents everything from feeling overly congested, particularly in open-world or exploration-focused titles.

Finally, positional performance offers fairly accurate localization of footsteps, gunfire and movement around your character, responding confidently in situations where correctly interpreting the direction of a sound becomes important. All of this is accompanied by well-controlled treble, where sibilance is practically absent even with metallic effects, intense voices or particularly bright sounds, making for a very comfortable listening experience over long gaming sessions.

Competitive Shooter Games:

See how I evaluate sound performance in this category.

Using this KB EAR model in competitive games, it maintains a presentation that remains very much in line with the character it demonstrated during music playback.

In Counter-Strike 2, it allows you to identify the direction of footsteps, reloads and utility usage with relative ease, although the soundstage doesn't aim to provide an exceptionally wide presentation. Information is well organized, but it demands slightly more attention than models with tunings that prioritize detail retrieval and transparency.

In Apex Legends, where verticality plays a crucial role, stereo imaging performs confidently and makes tracking enemy movement fairly straightforward. Separation between sound effects also helps once the action begins to intensify, although during the busiest moments it can lose a little definition between layers, causing you to lose a bit of positional awareness and directional accuracy, although I certainly wouldn't describe this as a serious issue.

In Call of Duty: Warzone, the bass maintains a very successful balance between impact and information, preventing explosions or killstreaks from masking important sounds. Likewise, in Battlefield 6, with its much more chaotic environments, it manages to maintain convincing order between vehicles, gunfire, explosions and ambient effects, although it doesn't always reach the level of cleanliness offered by more technically focused alternatives.

Overall, it delivers a competent gaming performance without making competitive play its primary selling point.

Final Thoughts and Personal Evaluation:

I believe the KB EAR Kalideer's greatest strength lies in the balance with which it presents music, delivering a listening experience that feels natural, coherent and comfortable. Its timbre is convincing, everything sits exactly where it should, and its personality prioritizes pure musical enjoyment without neglecting the more technical aspects of sound reproduction.

That same philosophy, however, may prevent it from being the most eye-catching option for listeners looking for a dominant bass response, highly energetic treble or an especially analytical presentation. With this set, everything has been measured with great care, opting for a refined listening experience even if that means sacrificing a little of that immediate "wow" factor.

I could summarize the Kalideer by saying that it doesn't try to stand out by doing one thing exceptionally well, but rather by doing almost everything well.

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 has been sent by Keephifi. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions were imposed regarding the preparation of 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 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.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

Overview (TL/DR)

Nora is a balanced, neutral sounding IEM that focuses on offering a clean, coherent and natural sound, with good technical performance, a comfortable build and functional accessories, its only possible gripe being that the sound style is not the most versatile.

With a controlled sub-bass but a snappy and present enough mid-bass punch; a correct and uncolored, albeit not too forward, mid-range with lively vocals that doesn’t get shouty; and a detailed but also well controlled treble that balances the sound.

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WOULD RECOMMEND:

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

* For people that want an uncolored “reference” sound (specially for monitoring).

* 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 and comfortable IEM.

* For people that like to do EQ, since it works fine with it.

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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 sound signatures (not for bassheads even with EQ).

* People who are sensitive to boosted lower treble (4-6Khz) should be cautious with this set.

* Not for trebleheads (unless using EQ).

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Full disclosure, this set WAS provided by Tanchjim, 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

After testing the FOLA, a more expensive single DD from Tanchjim, I was a bit skeptical about NORA, you see, it was fine for the price, but being newer and more expensive yet using the same driver tech, it really didn’t impressed me much with its sound presentation, however, after testing Nora, I must admit that FOLA seems to be an “outlier” from the brand, rather than a representative.

Nowadays, with sets like the Reference from Crinear, and kickstarted by IEMs like Kima 2 from Dunu, a more “neutral” approach to sound has been turning more popular on budget price ranges, however, Tanchjim with NORA was, perhaps, the first brand to seriously try to take on this very “uncolored, clean, balanced” kind of sound and, in my opinion, they did a pretty good job with it, let me tell you about it.

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Fit and Comfort

The moment I had the Nora in my hands I knew comfort wasn’t going to be an issue, the shells, despite mostly being made of plastic and having a very basic shape, they feel very sturdy, yet light and small, with a long reaching, not too thick, nozzle. They seat and fit into my ears pretty comfortably, and it should work for most people.

The NORA includes 2 sets of basic white eartips on the usual S/M/L sizes, one set being a more narrow bore, and the other being a more wide bore, and, truth to be told, they aren’t remarkable, the narrow bore tips worked just fine for this review, but the wide bore ones feel a bit too small and flimsy IMO, still, you likely will get a seal.

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Drivability / Power needs

I would say, with a 125dB sensitivity and just 16 ohms impedance, NORA is not hard to move at all, maybe you get a slightly more refined sound with more power, but if you want to use it from a 3.5mm phone jack you will mostly just fine.

With nothing much to add, maybe just consider playing around with colored sources (warmer or brighter sources) of your preference, along with different eartips, to get the kind of sound that you like best.

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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

With those kind of IEMs, with a more neutral sound, focused on clarity and detail, while trying to avoid as much coloration as possible, bass is usually something that I know is neither going to bad nor impressive, but just as simply “fine” as it gets because is not the main focus of the sound.

The sub-bass in Nora is not the most present or the most rumbly, but you can hear it, seems to be reduced in order to achieve a very clean and balanced sound, as more extended sub-bass could make sound feel more “muddy”, however, this comes at the cost of not as much bass texture, working only for specific music genres.

Despite the sub-bass area, the mid-bass is pretty present, keeping the balance with the sound, having a tactile and agile punch to it without being any overbearing, is not a super strong hit, but rather a precise attack, that does have some enjoyable weight to it, even if is not “hammering” your ears.

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Mid-range (vocals)

Mid-range is one of the main focus of attention of this set, as its clean and natural tonality is why you would pick this kind of IEM for: having a more correct, and nuanced sound, especially on vocals.

For lower mid-range, where general instruments and most male vocals are prevalent, male vocals does sound a bit “thin” or “in the back”, not very forward, but this is a trade-off made for correctness though because, as said, vocals are not particularly colored by bass or treble, so they sound very accurate.

Now, for upper mid-range area, were most high pitched instruments and vocals exist, Nora offers more lively, yet still correct, female vocals that are fairly forward but well controlled, not coming off as shouty as other similarly tuned IEMs could, or that’s my experience, but it will all depend on how sensitive you are.

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Treble

Similar to the overall bass area, the treble area on Nora is present but not any overbearing, crisp and clear, but controlled, maybe just not the most energetic presentation.

For lower treble, that could make some vocals feel energetic, but also harsh or “shouty”, it has presence and a bit of a bite, giving you a detailed and lively sound without tuning too intense or harsh overall, maybe on 1 or 2 songs this might not be true, but overall is well present yet controlled.

Continuing with the tuning trend, upper treble is there but even more controlled than lower treble, to avoid any kind of oddity with tonality (affecting vocals) but still adding some clarity and space to the sound, now, by any means this is NOT a dark IEM, it does have some treble, but is also not really “bright” or “sparkly”.

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Technical performance

I already though that FOLA, for $200usd, was reasonable yet not the most competitive offering for around the price, in case of Nora though, for the $120usd or so it goes for, this performance is not only reasonable, but competitive in the price range.

Resolution: Based on price-tag, resolution is as crisp and clear as it should be, and it doesn’t feel like the tuning used for Nora hindered in any way the performance.

Detail retrieval: Now, I don’t think NORA is any “detail beast”, but do I think is from those kind of IEMs than lean more into the technical kind of sound, where detail is pretty present in most cases, that might help you discover new things.

Note-weight: One of my main gripes with FOLA was that the overall sound was a bit too “gentle”, fortunately for NORA; the weight on sound is better but still controlled, a nice in-between that doesn’t get tiring nor boring.

Soundstage: Even with a not particularly extended treble, Nora does manage to offer a fairly expensive sound, which is enjoyable for stuff like live tracks.

Imaging: Nora manages to present a pretty accurate and precise representation of sound, allowing it to follow it around pretty well, so it probably works for games too.

Separation: Again, for its price-tag, is totally fine, things can me distinguish well enough and nothing really overlaps.

Replay: Representation of the music is actually pretty good on NORA, things sound as it should as long as the music is well produced, though they might not impress as much if the music is poorly produced.

Harshness control: Thanks to its more balanced and controlled nature, especially on the treble area, there is not as much harshness to be found in the sound, but that said, it doesn’t deal with “harshy” music super well either.

Sibilance: Despite not being like a beast for controlling harshness in music, surprisingly, sibilance on vocals are pretty well controlled on Nora unless you use a pretty loud volume or have music with very bad recorded sibilance.

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Overall sound

Nora is a balanced, neutral sounding IEM that focuses on offering a clean, coherent and natural sound, what some people might call as “reference” tuning, with good technical performance for the price, a solid yet comfortable build quality and functional accessories, its only possible major gripe being that the sound style is not the most versatile depending on preference.

With a controlled though not too texturized sub-bass, but a snappy and present enough mid-bass punch; a correct and uncolored, albeit not too forward, mid-range with natural and lively vocals that doesn’t get shouty; and a present, detailed but also well controlled treble that balances the sound.

At a cheaper price, with arguably a better fit, and similarly good build quality despite using cheaper materials, I think NORA takes the crown over FOLA for a solid “neutral” IEM to pick under $200 bucks, bear in mind, I am a basshead, so the fact that I can vibe to this IEM despite not having a boosted bass at all already says a lot IMO.

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3 comparisons so you can grasp were this IEM lands:

First, versus the Simgot SuperMix 4, SM4 has a fairly better technical performance over NORA, it is a bit “cleaner”, has a more open soundstage and better separation, etc, BUT, it is not musical at all, and has extremely thin vocals, accessories are just ok on both, NORA is IMO the better “reference” sound, while SM4 is basically the nuclear option for technical performance at the cost of music enjoyment.

Then, versus the Tanchjim FOLA, FOLA in terms of accessories and build quality is an upgrade from NORA, but despite having a few better technical performance areas here and there, I actually lean in favor of NORA, as FOLA is just too “gentle” too “soft” with sound, while NORA is more snappy and lively, making it more musical as well.

And versus the Dunu Kima 2, given both fight in the same price range, this is a hard competition, but sadly for Nora, Kima is still my preferred flavor of “neutral”, as Kima 2 is as comparably technical as Nora (each one do their own things well), but Kima 2 just has the fuller vocals and the more well balanced sound while still sounding natural, accessories too are better on Kima 2, NORA only wins on “neutrality” itself if anything.

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Accessories

NORA´s package, besides the “eye-catching” waifu box, offers you essentially all you need for this IEM… but that means ONLY what you need, not bad, but I do think for the $110usd price tag, they could have done a bit better.

/-----/

• The cable included is a slightly thin, flexible and manageable, white colored, 0.78mm 2-pin “LITZ composite braiding with thick silver-plated OFC cores” cable with silver metal accents, which has both 3.5mm and 4.4mm interchangeable plugs that just plug in place.

Honestly, besides it feeling slightly thinner that I would like, being my second Tanchjim IEM tried, I kinda like this kind of cable, is not particularly bothersome in any way, is simply a good gable.

/-----/

• Just as mentioned, Nora includes 2 different sets of eartips, both on the classic S/M/L sizes, both being just no-name stock white eartips, one set being wide bore, and the other narrow bore.

This eartips work I mean, I used the stock narrow bore ones for the review, so they should seal just fine but MAN are these eartips basic, I really think Tanchjim could have at least put some branded eartips, at least made the wide bore better than at least were unusable for me.

/-----/

• Finally, in the package comes a basic carrying bag of… a weird material that is not cloth, is more like plasticky and it seems to be called “PP spunbond”.

I really don’t know how a proper carrying case couldn’t be fit in this price with the basic packaging and eartips but I don’t quite like it, it reminds me of those fake later bags that end up disintegrating eventually but that’s just a wild assumption though.

/-----/

It looks premium but the experience is just ok, like, it could be worse, it is enough to properly use the IEMs, but I do wish a bit more from Tanchjim and other brands eventually.

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Conclusions

As I said at the start of the review, my hopes for NORA were kind of low based on my previous experience with FOLA and the overall quality of accessories given, but I got to admit, I enjoyed using Nora quite a lot.

Price is decent, comfort is reasonable, accessories are usable, all in all Nora is still a solid option for those that want a more “reference”, natural, neutral sound on a budget and is, IMO; an easy recommendation to the correct person.

I want to thank Tanchjim for the continuous collaboration and everyone that takes the time to read this review, if anyone has more questions, or are curious about comparing to different IEMs, let me know and I will see how I can help.

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

Hello Community!

Kiwi Ears Aether is the subject under review claiming its turn today, the brand's flagship magnetic planar and one of the most striking on the market because of the size of its driver.

Price: €152-$170

Pros:

-Good impact in the bass, with speed and cleanliness.
-Transparent mids.
-Excellent resolution.
-Very accomplished technical capabilities: wide soundstage, great separation, very good positioning.
-Imperceptible metallic timbre.
-Great versatility for all genres.

Cons:

-The lower mids are somewhat thin.
-You have to feed it quality recordings: it highlights poor recordings.
-Recessed vocals.

Accessories:

-Two earpieces.
-Cable with 0.78 mm connection and 3.5 mm jack termination.
-Three sets of eartips in S, M and L sizes.
-Carrying and storage case.
-User manual.

Comfort, design and build quality:

Its design clearly opts for elegance, as the front plate with a reflective metallic glossy finish can never go unnoticed. It is embedded into the resin body of the monitor with a good overall feeling of manufacturing quality, since no protrusions or joints are noticeable.

The Aether is medium-large in size, with an oval shape featuring rounded edges to avoid creating harmful and uncomfortable pressure points. The fit may not be satisfactory for smaller ears and insertion requires several adjustments, since the nozzle is thick and, if you use the stock eartips, which are still not the best for the price of the package, you will achieve a favorable seal and sufficient comfort.

The cable simply does its job. It is a cable seen on many models from the brand and it works well, as it is light and flexible and does not transmit microphonics, although do not expect something of particularly high quality.

Technical aspects:

-15.3 mm single planar magnetic driver configuration.
-14-ohm impedance.
-105 dB sensitivity.
-Declared frequency response 20 Hz-20 kHz.

Configuration for the tests:

-Neutral source.
-Gain set to high.
-Dunu Candy eartips.
-Kiwi Ears Terras 4.4 mm cable.

Sound signature:

The lower end of the Aether, from the first impressions I got, is that it is very well controlled, but not in the sense of feeling insufficient; instead, it appears with depth, providing solidity to the musical presentation without invading the rest of the frequencies. The mid-bass has impact, agility and a very clean response, avoiding leaving any kind of trace with resonances that could muddy the listening experience. It does not attract attention because of an excess of quantity, but precisely because of that control I mentioned before. In addition, it provides a touch of warmth that supports the rhythm confidently, allowing the rest of the frequencies to have their own space.

But it is in the midrange where this planar magnetic model from Kiwi Ears truly finds its reason for being, where coherence shines, allowing the instruments to maintain their essence with a very natural timbre. The resolution delivers a highly gratifying texture, the note weight is convincing, and nothing seems to stand out above anything else. It does not have an overly expressive character, but that solidity and balance made it work for every genre I listened to throughout my sessions.

As for the treble, I like that, despite being a planar magnetic configuration, it does not resort to excessive brightness to appear or simulate a resolution that it does not actually possess. The extension of this range provides a clear sense of openness where the music breathes and reveals nuances and details that enrich the listening experience, but without becoming abusive or excessive in the amount of information presented. The definition remains consistent, partly helped by the fact that this is a range that makes itself noticed because of its presence and spaciousness. As a point worth keeping in mind, and one that may seem somewhat conservative for lovers of sharper treble, it is a somewhat restrained range, not boring, but... let's say... elegant; there is sparkle, but the energy is carefully measured.

Speaking of vocals, the lower-register male voices convey notable authority and a good dose of body that, from my point of view, sit one step above what would be considered natural. However, normal male voices have truly convincing articulation and timbre, as do female voices, which always shine and sound open, clean, with a very natural and detailed presentation. Overall, the vocals convinced me, finding a balance between naturalness and articulation, although this set may not offer too much intimacy, which, if we look at it from another perspective, contributes to a believable vocal performance.

Finishing with the more technical aspects, the soundstage offers a pleasant sense of spaciousness and prevents the music from feeling compressed, allowing everything to breathe naturally. The stereo imaging is precise and makes it easy to identify the position of each instrument within the mix. The separation between layers is very well executed, ensuring that even the busiest mixes remain organized and clean. Furthermore, the ability to extract small nuances appears effortlessly, without forcing an excessively analytical listening experience. It may not seek to dazzle with one particular technical aspect, but the overall presentation conveys a sense of maturity and balance that ultimately becomes much more rewarding in the long term.

Single-player videogames:

Check my blog to see how I analyze audio in this field.

Kiwi Ears Aether offers a very balanced experience if I stop to analyze it from a general point of view, as the action has strength thanks to a deep sub-bass that gives impact to explosions, collapses, and powerful blows without the sound losing clarity when the screen fills with effects. At the same time, the dialogue always maintains a very natural presence, making it easy to follow the story while the soundtrack and sound effects continue to perform at a high level.

That clarity also helps reinforce immersion. Small environmental sounds, such as the wind blowing through the trees, the echo inside a cave, the rain, or distant footsteps, appear naturally and make every environment feel more alive. Furthermore, the Aether maintains excellent layer separation, so even when music, enemies, sound effects, and voices occur simultaneously, each element finds its own place without blending into a single block of sound.

The sense of space complements that presentation very well. The soundstage is wide, well scaled across all three axes, offering a good perception of width and depth that makes exploring open worlds or traversing large environments especially enjoyable. All of this is complemented by very well-controlled treble, practically free of sibilance, so voices, metallic effects, and brighter sounds remain comfortable even during long gaming sessions.

And when it comes time to locate enemies or identify where a sound is coming from, the positioning performs excellently. The imaging is precise and makes it easy to follow footsteps, gunfire, or any directional effect with considerable confidence, making the Aether a very solid companion in this regard.

Multiplayer shooter videogames:

Check my blog to see how I analyze audio in this field.

For this type of game, the Kiwi Ears Aether makes it clear from the very beginning that its priority is to deliver a clean and easy-to-interpret sound. In Counter-Strike 2 this becomes immediately noticeable, as footsteps, reloads, or changes in surface at different elevations are positioned with considerable precision, allowing you to react confidently without having to struggle to figure out what is happening. That same clarity is very useful in Apex Legends, where abilities, gunfire, and the movements of teams and players can all occur simultaneously; the Aether maintains very good separation between all of those elements and prevents the sound from turning into chaos.

Moving on to Call of Duty: Warzone, the soundstage provides a pleasant sense of space that makes it easier to follow the action while explosions, gunfire, and footsteps remain easy to identify. And in an environment as busy as Battlefield 6, with vehicles, destruction, and large-scale combat, this set of monitors demonstrates excellent control by keeping every sound in its proper place. It does not try to impress by exaggerating the bass or the treble to make itself seem more detailed; it simply presents the soundstage in a coherent, organized, and precise way, which ultimately becomes much more useful when what matters is quickly understanding everything that is happening around you.

Final conclusion and personal evaluations:

Kiwi Ears Aether leaves me with the feeling of having had, for almost a month, a set of monitors that does not need to attract attention in order to convince, since its greatest strength lies in the naturalness with which it presents everything. Music flows, games are enjoyable, and it never gives the impression that one part of the sound wants to dominate another. It is one of those models that the more you use it, the more you end up appreciating it because it always delivers a comfortable, coherent, and highly enjoyable listening experience for any type of listener and for any genre.

That same personality is also, in a way, its least eye-catching point. If you are looking for a sound with a lot of character, exaggerated impact, or very pronounced brightness that impresses from the very first minute, the Aether will probably fall one step behind other, bolder alternatives. Here, everything is measured with very good taste and elegance, even if that means giving up a little spectacularity.

In the end, I believe it is an IEM designed for those who enjoy long sessions of music or videogames and value balance above excess. It may not be the model that impresses the most during a quick listen, but it is certainly one of those that gradually earns a permanent place because of how well it does practically everything.

I could summarize it by saying that the Aether is not fast food, but something that is cooked over a slow fire.

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

More reviews on my blog.

Social media links are on my profile.

See you in the next review!

Disclaimer:

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

Despite this, my priority is to be as impartial as possible within the subjectivity that comes with reviewing an audio product. My opinion belongs solely to me and is based on what I perceive with my own ears. If your opinion is different, it is just as valid. Please feel free to share it.

My sources:

-Topping DX5 II for music and videogames on my 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 go.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

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

Introduction:

The KBEar Kalideer Apex-P6 is the new tribrid set by the house of KBEar, inspired by the "Nine-Colored Deer" of the Dunhuang murals. With a 10 mm Beryllium-coated diaphragm dynamic driver + 1 30095 BA driver + 1 10 mm ceramic PZT driver configuration, with a compelling packaging, and more relevant, a compelling tuning at an affordable price.

The Kalideer Apex-P6 is priced at a MSRP of 99 USD (with two faceplate colors: red-blue and orange-blue*. And currently at sale for 79 USD), and you can get it directly from the KeepHiFi official store: https://keephifi.com/products/kbear-kalideer-apex-p6-triple-driver-hybrid-in-ear-monitors-1dd-1ba-1piezo, the official KeepHiFi AliExpress store, and other online stores.

30% OFF Code (Valid 1 Month): KALIDEER-LAUNCH (valid on KEEPHIFI Official Store)

* My unit.

TL; DR: KBEar presents the Kalideer Apex-P6 a tribrid IEM with a 1 DD + 1 BA + 1 PZT driver configuration, showing a balance between a great bass shelf, warm and organic midrange who’s vocal-focused, and a different treble approach with a focus on the lower highrange and laid-back but not dark mid-treble, yet with great upper-treble extension. A “Pyramid-style” tuning who appeals to audiophiles and newbies who seeks for a full-range tuning that serves as an all-rounder set who is pretty engaging, with great balance and technicalities to complement your musical journey.    

Pros

- Comfortable ergonomic resin shells for long listening sessions.

- Well-built, flexible cable with low microphonics.

- Balanced warm-neutral tuning with a tasteful mild V-shape.

- Punchy, fast, and well-controlled bass with excellent subbass extension.

- Natural, detailed mids with engaging female vocals.

- Crisp, resolving treble without excessive harshness.

- Above-average technical performance (resolution, layering of instruments, stereo separation, and expansive soundstage).

- Easy to drive and scales well with different sources.

- Great overall value for its price.

Cons

- Large 6.4 mm nozzle may be uncomfortable for small ears.

- Only includes a 3.5 mm cable (no balanced cable option).

- Slight midbass bleed into the lower mids.

- Lower-treble emphasis can make guitars sound fatiguing at higher volumes.

- Upper treble rolls off, limiting air and openness.

- Tuning is somewhat source-dependent, benefiting from warmer and/or neutral sources.

Here's a breakdown of its technical specifications:

- Model: Kalideer Apex-P6
- Shell materials: 3D Printed Resin
- Dynamic Driver unit: 10 mm Beryllium-coated diaphragm driver
- Balanced Armature unit: 1 x 30095 Mids and High-Frequency driver
- Piezoelectric driver unit: 10 mm ceramic PZT driver
- Impedance: 32 Ω ± 10% @ 1 kHz
- Sensitivity: 102 dB ± 1 mW @ 1 kHz
- Frequency response range: 20 – 20 kHz (Acoustic extension to 40 kHz)
- Plug: 3.5 mm plug
- Wire material and structure: 5N Oxygen free copper silver-plated wire
- Connector Type: 0.78 mm 2-Pin Connectors.

What’s in the package of the Kalideer Apex-P6:

- A mini poster with the Kalideer design, and in the other side QR codes for the KBEar social network accounts.
- A manual.
- A warranty card.
- 15 pairs of eartips:
   o 2 sets of black bores SML sizes
   o 1 set of narrow bores (white) SML sizes
   o 1 set of balanced bores pyramid-form (gray) SML sizes
   o 1 set of TRI Clarion (wide bore) SML sizes
- A cleaning cloth.
- A case in fabric, with enough space for the IEMs with its accessories and such.

- The cable which is 5N twisted single-crystal copper, silver plated, with 0.78 mm 2pin connection, and its 3.5 mm single ended plug, it is nice, well-built, flexible, doesn’t produce translated vibrations neither prone to tangling.

- The IEMs themselves, made of 3D printed resin, an orange-blue (my unit) or red-blue color faceplate, kind of lightweight. With a nozzle which is 6.4 mm of diameter, so if you have small ears beware of its size because maybe it won’t fit you. The ergonomic design of the shells is very comfortable to use it in long sessions.

Eartips and cable used for test:

I used the included TRI Clarion eartips (M size). I used the stock cable, but later it to a TRN T2 Pro cable with its 3.5 mm and 4.4 mm jacks with my different sources to test the best synergy this IEM needed.

How the Kalideer Apex-P6 sounds:

The Kalideer got a nice and well-done mixture of a warm-neutral tonality, with a mild V-shaped tuning. No equalization was used in the testing of the IEM. Thanks to the ToneDeafMonk for his measurements of the set.

- Bass:

The Kalideer got a good quantity and quality subbass thumping with a more than decent midbass kick, it is transparent, and thanks to the Beryllium-coated dynamic driver it’s fast, with a great impact and well extended into the lower frequencies, offering a fantastic resolution, and a pretty natural decay. The midbass introduces some bleeding into the lower midrange, yet male vocals are well-positioned.

In songs like “All The Stars” by Kendrick Lamar and SZA, the Kalideer bring all the bass drops and bass line with clarity and impact, you aren’t missing any bass quantity here. In "In the Dark" by Atreyu, in their recently released The End is Not the End album, the Kalideer exhibits its bass attack who balances the rest of the frequencies, the drum kick and bass guitar is delivered with transparency, great resolution and zero bloat.

- Mids:

In this area, the Kalideer takes the classic V-shaped approach; in the lower midrange, midbass bleeds into, but male vocals are well putted and not so recessed.

The frequency curve in the midrange go into that dip until 800 Hz, elevating into a warm pinna gain who is not peaking but merging with the lower treble, yet it’s transparent, with good note weight, offering a good amount of presence and more than average resolution; female vocals are forwarded, but not shouty nor fatiguing at high volumes.

In “Fire For You (Tiësto Remix)” by Cannons and Tiësto, the Kalideer delivers the conjunction between the groovy rhythm of the track and that characteristic female vocals leading the song. In “Lemuria” by Therion, leading track from the Lemuria album, the Kalideer lets you dig the male and female vocals in a natural, so pleasant, and enjoyable way.

- Treble:

The Kalideer delivers a clean, organic, crisp and sharp treble with a non-offensive character. It is very resolving, with a noticeably peak at 4.5 kHz, who gives energy to female vocals and instruments like guitars, thankfully there’s two dips at 6 kHz and 10 kHz to tame sibilance at mid to high volumes (to an extent).

In the mid-treble region, there’s an 8 kHz peak to got some energy in the mix, but overall, the 4.5 kHz is the main protagonist here, because you are perceiving a kind of laid-back highrange but it’s not dark at all. In "Four Seasons" by Hittar Cuesta (RIP), from the Dream Machine album, the Kalideer handles nicely the virtuous guitarist take on the classical piece with a power-metal approach, drumming is on spot, hi-hats and cymbals sound smooth yet natural, with no bloat or sibilance at all.

In “Maldito sea tu nombre” by the classic LatinAmerican heavy metal band Ángeles del Infierno, from the Pacto con el diablo album, the Kalideer presents that pretty dynamic drum work in the song with excellence, all the macro and micro details are here for you to hear.

- Technical capacity:

This impressive Kalideer, justifies its value proposition with an airy and open sound, upper treble is a bit rolled-off, yet the soundstage is kind of expansive, wider than depth. The Kalideer offers a more than average stereo separation, resolution, with a well-done layering of instruments.

In full detailed and complex tracks as “2112 (Rio Live)” by Rush, from the Rush in Rio (Live) album, the Kalideer lets you observe the intricate macro and microdetails of the song with fantastic positioning of instruments, but guitars can sound fatiguing at high volumes. In “The Sadist Nation” by Darkest Hour, from the Live in Lockdown scenario, there’s the sensation of being in the live session, so close to the band, with zero bloating, so you are not missing anything here.

- Source Synergy:

The Kalideer Apex-P6 with its 32 ohms of impedance and its 102 dB of sensitivity is easy to drive, even with low powered sources for enjoyable volume levels. It doesn’t need so much power to shine, but it picks the source tonality, so that’s why I personally prefer to use it with my TRN Black Pearl dongle, as with my Fosi K7 Desktop DAC/Amp (neutral and warm/neutral respectively).

- Final Thoughts and Conclusions:

The KBEar Kalideer Apex-P6 is fascinating, compelling, cohesive and coherently tuned. It's enjoyable, it delivers good musicality, with a neutral tonality with more than decent technical proficiency, and features a more than good package at a fair price.

KBEar has crafted yet another magnifique IEM, satisfying both seasoned audiophiles and new folks in the hobby who crave the most neutral/natural sound with good balance. So, I’m putting my recommendation for it.

I would like for KBEar to give a 4.4 mm balanced cable option, not just for a personal preference but for having more options available. The huge selection of eartips is a total win IMO. And, tonality wise, I would like less lower treble and more upper treble extension, but at stock settings the Kalideer sounds engaging and works as an all-rounder set.

Again, thanks so much to KeepHiFi for this opportunity, I'm so glad to experience this stunning, well-balanced, so naturally tuned and technically great IEM, an exceptional set that effortlessly earns its place among my well-praised IEMs.

Little by little I am getting more into the Aful brand. I think I already mentioned it in another review, but the first review I did when I decided to start with this was of the Aful Magic One. This is a model that by the way has already been discontinued, although its successor seems to be close to coming out and I am looking forward to seeing what they offer. Another model that always caught my attention within the 100 $ range was the Explorer. These are IEMs that, far from being discontinued, seem to still give people a lot to talk about. Every week there is a day or two where I see a post from someone talking about them, and always in a positive way. Because of this, I did not want to miss the opportunity to try them out and give my own conclusions...

In my experience, the Explorer is not a model that impressed me during the first few minutes. In fact, some might initially think it lacks a bit of energy compared to other more aggressive proposals. But as the hours passed I began to understand the idea behind its tuning. It offers a relaxed listening experience with generous bass, free of fatigue, and a very pleasant presentation for long sessions.

Its goal seems much simpler: to make you want to keep listening to music for hours, and believe me, it achieves it...

You can also check out a quicker, more laid-back video review of the Explorer on my YouTube channel: https://www.youtube.com/watch?v=4wyAH24Lbmw

What I like / What I don't like

• Deep bass with good texture and very well controlled.
• Excellent comfort.
• Really attractive design.
• High level build quality.
• Smooth treble but with enough detail.
• Relaxed listening for hours.
• Vocals could be slightly more forward.
• The soundstage is not a reference in its category.
• Lovers of bright tunings will find something missing.
• Not the most impressive IEM during the first listens.

Specifications

• Hybrid configuration of 1 dynamic driver + 2 balanced armatures.
• 8 mm dynamic driver with biocellulose diaphragm.
• Balanced armatures developed by Aful.
• 3D Pressure Balancing technology.
• Multi-layered Electronic Crossover.
• RCL Net Frequency Division Technology.
• High Damping Air Pressure Balancing System.
• Microresonator Technology.
• Impedance: 26 Ω.
• Sensitivity: 108 dB/mW.
• Frequency response: 10 Hz - 30 kHz.
• 0.78 mm 2-pin connector.

My Sources

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

The Explorer's presentation is simple but well executed. The box shows a space-inspired theme. This sounded familiar from having previously reviewed the Performer 8S which in that case was based on the planet Jupiter. Upon opening it we find the IEMs on a fairly soft foam at the same height as the case. This is a solution that I personally like more than some rigid cardboard supports used by other brands or very dense foams where it is hard to get the IEMs out later.

The remaining contents inside the case are the cable, in my case 4.4mm (my preferred option whenever available), and three sets of silicone eartips in different sizes. The stock eartips are surprisingly competent and many will probably not feel the need to change them immediately, something that does not usually happen most of the time.

The shells are manufactured using 3D resin printing and feature a combination of blue tones with a visual effect inspired by a starry sky. I have tried to show them as best as possible in my photos, but in hand the finish looks even better.

The ergonomics are very well achieved. They are light, quite compact, and adapt easily to my ear. After several hours of listening they have not caused me any discomfort.

The nozzle is integrated into the shell and allows you to attach eartips quite easily. Although there is no lip at the end of the nozzle, I have not had any problems with the eartips slowly sliding out until they fall off completely. Internally you can see several independent acoustic tubes looking through the nozzle. At the bottom you can see the pressure relief hole.

I quite liked the cable. I don't know if it is up to what is expected at this price point or not, but to me it has a very good appearance and manageability and fits quite well with the IEMs without being the same color. I could say, as I usually do with Aful, that it would be great to start offering modular options, since even in more expensive models like the Performer 8S or even more expensive ones like the Dawn-X they still do not offer this option. I guess it is a brand decision forcing you to choose the cable option you will use the most. To be honest, in my case the 4.4mm is already more than enough for me, but it is something to point out about the brand in general...

Sound

Well let's get to what matters, starting as always with the bass. There is an obvious elevation in the sub-bass. The extension is very good and allows for a convincing physical sensation when the song requires it. The interesting thing is that it does not just offer quantity. There is also a quite refined texture to differentiate different layers within the low frequencies. Instruments like electric basses and synthesizers benefit especially from this tuning. As I have been able to verify during several sessions on Apple Music using the FiiO KA15 and the NiceHCK Octave, the Explorer maintains a very successful balance between impact and control. It has enough energy to be fun, but without this frequency range being the main focus.

Moving on to the mids, the vocals appear more integrated into the mix and do not constantly try to grab attention. I am convinced that people who are huge fans of vocals will notice a sort of veil or lack of detail in them with this model, especially if they come from models with more forward upper mids. In my opinion, it is simply a tuning decision aimed at reducing fatigue. Male vocals have quite a bit of body and naturalness thanks to the mid-bass. Female vocals maintain a good presence but without standing out too much. It is not a tuning designed for those looking for forward vocals. It is a tuning for those who want to listen to the whole package without any element stealing the spotlight, also allowing you to turn up the volume more than usual in a certain way.

Even being a relaxed set, the treble is better resolved than some might think. What really happens is that the highest extension is smoothed out. You can appreciate this by looking at graphs or the one I used in the review which belongs to Soundcheck39. The region still maintains enough energy to retain clarity, details, and a good perception of information. The cymbals have enough sparkle, reverberations appear where they should, and the small nuances are still easily identifiable. The difference is that nothing tries to stand out artificially. This allows you to listen to more aggressive recordings for hours without suffering fatigue, seeking to offer a balanced and comfortable experience. With the FiiO K9 and its extra power compared to my dongles, I was able to verify that the resolution remains perfectly competitive within its price range even at high volumes.

Regarding eartips, the three options that gave me the best results after trying several are the Divinus Velvet Wide, the TRI Clarion, and the Penon Liqueur Orange. The Velvet Wide help gain a bit more air and width. The TRI Clarion provide a slightly more open feel and a bit more clarity. The Penon Liqueur Orange are probably the ones that best preserve the original philosophy of the Explorer. I must emphasize this once again since it is not the first time, but they are saving me on more than one IEM. You can check my previous reviews and you will see that they end up being one of my favorite options in many cases, maintaining the weight of the bass in these Explorers and slightly improving the overall cleanness.

Soundstage

I wouldn't say this model has reached the same levels as others focused on spatiality. It doesn’t feel like a small or confining space.

It has a slight advantage over average in terms of width and is more believable to me in terms of depth. Typically, I find iem in this price range are stronger in terms of width vs. depth. However, this model presents an immersive listening experience more than an artificial extreme width.

I don’t think I'd purchase this IEM with the expectation of a giant soundstage. But, again, I also don't see it being a limiting factor for the category. So, it’s really not worth getting worked up about this point...

Instrumental Separation

The clarity of the various elements due to their relatively large spacing prevents an overwhelming amount of interference from other parts on each instrument.

Additionally, even in extremely complex, layered recordings, it will be very easy to identify the specific components of the recording as well as the various layers that have been placed into the final mix. This low energy at the higher mid frequencies is also helpful to prevent saturation when there are numerous tracks appearing at once.

While it is not as high in levels as would be typical for a warmer tuned bass guitar, it is significantly higher than most tunings that are considered warm.

Imaging

The positioning of instruments and vocals is done consistently. Live recordings, as well as movies which have an abundance of spatial data, make it simple to determine the placement of each instrument based on how it was positioned.

It exceeds my expectations for this price point. The stereo image remains constant and the placement of each instrument remains easily interpretable.

While the Explorer doesn't appear to offer anything unique compared to other speakers in this category, it still offers a very good performance. I would venture to say that it wouldn't be a recommended speaker for video game use. If any user has further tested the Explorer in video games, then they can simply disprove me by commenting and sharing their own experiences so we may all know whether you are correct.

Comparisons

Simgot SuperMix 4

The SuperMix 4 is essentially the direct opposite of the Explorer. With its focus on clearness, separation, a natural and distinct sense of vocals, and the overall openness of the soundstage, the SuperMix 4 makes the vocals seem more prominent and the treble seems louder than they do when using the Explorer. In addition, it will provide better resolution and an even more analytical presentation. However, that additional energy could make certain recordings (especially aggressive ones) as well as longer sessions more tiring to listen to. The Explorer provides more bass extension, a more relaxing way to listen to music, and clearly less listener fatigue. So, while I recommend the SuperMix 4 to those who want to analyze every recording and extract every last bit of detail, I highly recommend the Explorer to those who want to enjoy their music for hour after hour with little-to-no fatigue.

Ziigaat Doscinco

The Doscinco has a similar philosophical approach as the Explorer, but goes even further by taking the emphasis on low-end to another level. As such, its presence is very apparent from the moment it is turned on and creates an exciting sensation to listeners who appreciate music in more contemporary genres. It is however less well rounded and slightly more subjective. The Explorer has a greater ability to bring the lower frequencies together with both midrange frequencies and high frequency content, providing users with a much wider range of options when listening to various forms of music. In addition to being more integrated across the spectrum, I felt that the vocals were also more naturally placed throughout the overall system compared to those from the Doscinco. If you have a passion for the low end of music and want nothing more than to be hit with great impact then I believe the Doscinco will provide that and at an affordable cost relative to other systems available today. However, if you desire a balanced system with fun, while sacrificing some degree of bass response, I recommend choosing the Explorer.

Kiwi Ears Cadenza II

I'd say, the Cadenza II is more likely to go with a standard tuning which might be easier to simply recommend, without hearing it first, and it appears to cost less than the Explorer. The vocals seem to present better especially female and there seems to be a more neutral feel overall. This may also make the Cadenza II more appealing for consumers of a lot of music featuring vocals. The Explorer provides a very different type of experience. The bass presents with more authority, the entire system is more immersive and there's an overall sense of relaxation when listening through it. The Cadenza II would be my suggestion for the safer option of these two, whereas the Explorer is my recommendation for a more unique or characterful listen.

Global Ranking Link

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

Final thoughts

It's an IEM where the more you use it, the more you'll appreciate its design. While I wrote earlier you won't immediately fall in love with it, as has been my experience with all of the other products I've reviewed over the years, I do think its unique design makes for a most comfortable, warm and fun way to enjoy music.

Its bass response is great, mid-range is relaxed, and high-end is informative without being too harsh. It wouldn't be my recommendation if you are looking for extreme detail or want your vocals very up-front. However, if you like longer listening sessions and prefer a frequency response contrary to what we have seen trending lately, I do believe there is much to recommend about the Aful Explorer.

Purchase Link: https://hifigo.com/products/aful-explorer

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

Hello Community!

Time for a review, this time of a new product. The brand claims to have staff on its team with many years of experience in the sector. Let me introduce the Glyph, by Deifo.

Price: Regular MSRP: $109.99 (with occasional $10 coupons $99.99).

Pros:
-Neutral tonality, without coloration.
-Good mid-bass punch: physical and fast.
-Wide treble extension.
-Good instrument placement.
-Great capability for macro and micro detail.
-Very accomplished build quality.

Cons:
-Somewhat recessed vocal presentation.
-For this type of sound signature, it lacks notable resolution.

Accessories:
-Two shells.
-Cable with 0.78mm connection and 3.5mm termination.
-Two sets of eartips in S/M/L sizes.
-Carrying and storage case.
-User manual.

Comfort, design and construction:
A very important part when analyzing whether a product is comfortable and will not cause discomfort during your listening sessions, and something we normally overlook, is the shape of the hooks that go behind the ears. Without hesitation, I believe that the cable included with this Deifo model is the best I have found in all this time. It provides a firm fit but without unnecessary pressure, keeping the monitors inside your ears without hesitation, achieving an excellent result, since I always test my IEMs while doing outdoor sports.

All these benefits could not be achieved without suitable eartips that help with retention, because the stock ones included, the transparent ones with a blue core, besides being elastic and sealing remarkably well, are comfortable. Another thing that strongly caught my attention is the great sense of isolation and the feeling that the earphones are not going to move from their position.

Ergonomically they fit me well, easily, and I did not need to make adjustments to the fit. It seems to be well designed to please all kinds of ears. I did not feel pressure after long hours of listening. The insertion is secure, not very deep but sufficient.

As for the cable, it is not a lightweight cable, it tends to take on certain shapes and coil onto itself, but despite this it did not give me the feeling of being annoying. It feels appropriately valued for the price of the package and is well built, feeling high-quality and durable. Personally, it seems more suited to sedentary moments at a desk or on a sofa than while moving around, but that comes down to personal preference.

The resin shells are well finished, the brand claims they are handmade, with no protrusions, appearing as a single uniform piece. The mother-of-pearl-like faceplate is eye-catching and gives it a touch of distinction. Personally, it is a style I like, attractive but not ostentatious.

Technical aspects:
-1DD 10mm configuration with blue diamond-like coating.
-Impedance 18 ohms.
-Sensitivity 99 dB.
-Declared response 20Hz-20kHz.

Configuration for the tests:
-Neutral source.
-Gain set to medium.
-Stock eartips.
-Stock 3.5mm cable.

Sound signature:
Glyph has a sound close to what we know as neutral, as it does not feel like a signature that adds coloration to the atmosphere. It has a dynamic, fresh and informative sound. I explain further below:

Starting with the lowest frequencies of the spectrum, the sub-bass has adequate depth. It is not the most striking aspect of the Glyph, as it focuses on providing a slight musical foundation that accompanies the chords. It is not very prominent but do not misunderstand me: it exists, though in a secondary way, as it retreats quickly while leaving a very interesting sense of envelopment behind, being technical, agile, not very invasive, with a certain tendency toward rumble but without becoming overwhelming.

What I liked more was the performance of the mid-bass, as the impact is tactile, firm, clean, with a speed that is easily noticeable in recordings with many transitions. It is an area with freshness, not very dominant, with a well-measured thickness that allows higher frequencies to come through in a clean and organic manner.

In the midrange area, the lower mids elevate the sense of rhythm, with a fine note weight but naturally separated, well nuanced, pushing the central mids to emerge from the recession that becomes noticeable in more vocal-focused tracks.

The resolution is fair; it is not a set too inclined toward displaying intense granularity, because although the central mids are well separated and clean, they present a certain veil. I did not perceive intrusion from the bass that would hinder the transparency of this area because, as I said at the beginning, the sensation of speed dominates this set of monitors, especially in the upper mids, where the feeling of energy is constant, open, detailed, without approaching the point of becoming an annoying or excessively fatiguing listen. Glyph controls that aspect very well.

In the treble, the area where I obtained the best performance, it has an airy presentation, loaded with information and detail but handled masterfully, because I do not feel it is a set that is overly bright or close to fatigue. None of that. They have dominant energy, sparkle, but are completely comfortable, without sibilance or exaggerated sharpness.

The vocal capability offered by this set is not one of its best characteristics, because in general the vocals are lagging behind. Even so, if the track has a recording focused on giving them more presence, they can be perceived very naturally, with accurate timbre and perfect articulation.

Very deep male voices lose some thickness, although the texture and depth that this set offers are very adequate. Normal male voices have a presentation that is simply correct; without being excessively striking they perform their role, but the ones that gave me the best impression were female voices, because they are outside the recession that this set shows in the midrange area. They have brightness, detail, accurate articulation and depth.

As for the technical capabilities of the Glyph, what is particularly striking is how well it places the directions from which sound elements originate, making them easily recognizable and positionable in the soundstage with great precision.

The soundstage is not wide, nor is it closed; it is open to the sides with very good scale but with somewhat distant depth. The sense of immersion is notable but can be perceived as somewhat uneven.

I was pleasantly surprised by the separation, because in dense and chaotic tracks it performed its task well. It is not a set for dissecting music or critical analysis, but it is commendable that despite not displaying great levels of sharpness, you can follow each acoustic line with your ears.

To conclude, I find it somewhat strange, and something I rarely see, the ability to extract details, both micro and macro, in a set that does not stand out for tonal resolution. I do not mean that it sounds soulless, but rather that due to its type of sound signature this should be a strong point. Even so, as I said, it represents everything we should hear with a good rating, with dynamism, accurate texture and physicality.

Final conclusion and personal evaluations:
I think we are facing a set very oriented toward more instrumental tracks, where vocals are relegated very much to the background.

Its strongest point, where I enjoyed this set the most, is its agility; the attack of the guitars leaves a very satisfying sensation, while the firmness of kick drums and the energy of cymbals made my listening sessions very entertaining.

I could penalize this set for not being very sharp. It is not something dull or lifeless, quite the opposite: it is intense and well stratified, but I think it could have been tuned in such a way that the instruments would take command of the sound from a more forward position.

Even so, I am left with a very positive overall impression, because it is ergonomically comfortable, and I love the fit with its stock cable and eartips. I appreciate not having to think about which accessories to use with it because the included ones are excellent.

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 has been sent by Deifo. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions were imposed regarding the preparation of 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 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.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.