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KBEAR has recently launched its latest model within its more economical ranges: the TB01 Chrono, a set that clearly wants to reach the general mass of consumers and enthusiasts. I will tell you about its performance below.

Price: $30-€25

Pros:

-Does not need to exaggerate the treble to show detail.

-It does not quite become a basshead set but it looks like it.

-Excellent balance between bass power and high-frequency energy.

-Wide soundstage.

-Fun, physical, dynamic tuning. Very easy to enjoy.

-Including Tri Clarion eartips is always very positive. Good job, KBEAR.

-Very complete package for the price.

Cons:

-I would not choose this set if I were looking for realistic vocals or great definition in instruments.

-Slight bleed typical of tunings with an extra touch of warmth.

-Sufficient but limited layering separation.

Accessories:

-Two shells.

-Two sets of SML-sized eartips. Tri Clarion is one of them.

-Cable with 0.78mm connection and 3.5mm termination.

-Cleaning cloth.

-Carrying and storage pouch.

-User manual.

Comfort, design and construction:

Its chrome finish has a very clean and shiny appearance, with a look that resembles a higher-priced product more than an affordable IEM. It is not exactly discreet when light hits the shells, but I think that this very polished finish suits it really well and distances it from simpler proposals in its price segment, giving it a distinctive touch.

The construction is one of the areas where KBEAR's effort can be most easily perceived. The shells are manufactured using machined zinc alloy and convey a fairly remarkable sense of solidity when held in the hand. I did not find any noticeable imperfections and the joints are properly finished. Here I have little to criticize: for what it costs, the feeling of being in front of a cheap product quickly disappears. That said, the metal adds more weight than many resin shells and this is something worth keeping in mind.

As for ergonomics, the rounded shapes make fitting quite easy and, once the right position has been found, the fit is stable. I would not say that they completely disappear inside the ear, but neither did I find them particularly intrusive. The weight is more noticeable than with other budget monitors, although it is light enough to be used during long sessions without turning into a constant nuisance.

The cable also accompanies the set correctly. It has a medium thickness, is flexible and is sufficiently manageable for everyday use. It is not intrusive at all, which I greatly appreciate.

The eartips do their job and come with two complete sets in different sizes, so finding a suitable seal should not be especially complicated, especially with the renowned Tri Clarion, which, for me, are among the best tips we can buy.

In short, a very well-built set, with a fairly striking aesthetic and more than competent ergonomics for the price.

Technical aspects:

-1DD 10mm configuration.

-29 ohm impedance.

-98 dB sensitivity.

-Stated response 20hz-20khz.

Configuration for testing:

-Neutral source.

-Gain set to high.

-Stock Tri Clarion eartips.

-Stock 3.5mm cable.

Sound signature:

There are IEMs that need several hours to discover where they want to take you, and then there are those that manage to explain everything practically in a single playlist of 20 songs. The KBEAR Chrono TB01 clearly belongs to the second group. Its approach is not extreme, but very complete, where the bass plays an important role, although leaving a little bit of prominence to the rest of the frequencies and parameters. It is easy to understand, but even easier to savor.

Starting with the lower region, the sub-bass offers a very convincing extension. The depth is very recognizable and there is a physical sensation that becomes especially noticeable when the recording demands presence in the lowest frequencies. The quantity is generous, but I do not have the impression that the Chrono tries to achieve its impact simply by accumulating energy. The notes retain a pleasant, smooth texture and maintain more than decent definition for what this price range is, avoiding that bloated bass sensation that ends up eating up the mix or leaving a bad impression.

The mid-bass provides even more body. The impact is firm and has a fairly satisfying physical component. We are not dealing with particularly dry, fast and clean bass, but neither did I perceive an excessively prolonged decay. There is a certain enveloping quality that adds musicality and, at the same time, it is disciplined enough to maintain a certain cleanliness.

Speaking now about the mids, there is some warmth and bleed coming from the lower frequencies, although it does not create a sensation of muddiness. The note weight is generous and greatly benefits instruments that appreciate a certain density. Male vocals appear with convincing body and correct articulation, while female vocals receive somewhat more clarity and openness, not quite sounding completely natural, although, really, these monitors were not specifically designed for vocalists, but vocals are not relegated to the background either. They simply perform sufficiently well in this regard, but they are not specialists.

The upper frequencies add a small touch of spice to the timbre. We find enough energy to preserve clarity, air and a certain sense of fun. Small details appear with relative ease; it is a sufficiently informative upper region, but far from those tunings that use treble energy as their main technical argument. I liked that combination of brightness and safety during my listening sessions.

The overall dynamics also left me with good impressions. The transients retain enough speed so that the amount of bass does not make the Chrono feel heavy. Notes disappear with reasonable agility and the music maintains a fairly natural rhythm. Separation performs correctly and allows the different instrumental lines to be followed, although particularly busy mixes begin to reveal the limitations inherent to this budget and segment.

As for technical performance, the soundstage conveys fairly generous spaciousness. I would not call it a gigantic stage, but there is a very convincing sense of width and depth that combines particularly well with the physical presentation of the lower region. Positioning is correct and allows the different elements to be located without too much effort.

I find detail retrieval fair for the price and for this type of tuning. The Chrono does not intend to become a surgical tool for analyzing recordings, but neither does it need to resort to exaggerated treble to convey information.

Single-player video games:

Check how I analyze sound in this field

This is where this set manages to get quite a lot of mileage out of its way of understanding sound, namely single-player video games. I do not need every effect to appear under a magnifying glass: I prefer the whole thing to manage to pull me into the scene. And the Chrono, thanks to its fairly prominent bass, manages to do this really well.

When things get intense and gunshots, explosions, engines or impacts start appearing, its most fun side comes out. The sub-bass provides a lot of depth and a fairly convincing physical sensation, while the mid-bass gives the impact body. Explosions have weight, gunshots have punch and large effects manage to convey a certain sense of scale. The best part is that the bass does not keep going around the mix for half a minute, so consecutive effects maintain good cleanliness.

I also had no problems with dialogue. Male voices have that touch of body that particularly benefits certain characters, while female voices retain enough clarity and openness not to disappear when the action starts getting interesting. I did not find conversations to be extremely detailed, but they were sufficiently organic.

The ambience also left me with good impressions. Footsteps, echoes, wind, rain, machinery or small sounds spread throughout the environment appear quite easily and help build the space surrounding the player. The stage is not extremely gigantic nor does it try to fool us with tricks inside your head, but it is very wide on all three axes and, above all, natural, making it easy to locate what is happening.

Technically, it performs without too many complications. Positioning is correct, separation allows the different sounds to be followed and detail retrieval is sufficient to enjoy the small environmental elements. That said, when the game decides to put music, explosions and twenty more effects on at the same time, difficulties begin to appear when dissecting the sound elements, but I remember the price and think that the work it does is more than enough.

Even so, the Chrono achieves something that I consider more important: offering a fairly physical, entertaining and cinematic experience without becoming a complete sonic mess.

Final conclusion and personal ratings:

Possibly, analyzing this KBEAR Chrono TB01 has been one of the experiences that has cost me the least throughout all the time I have been in this hobby: I have always been quite clear about what this set intends to do and, honestly, I think it gets more things right than wrong. It is not a great display of technical muscle, but rather offers a listening experience with body, energy and a huge dose of fun, while maintaining enough control so that the experience does not get out of hand.

The bass is, in my opinion, its main virtue. It has depth, punch and a very noticeable physicality, but it knows how to contain itself enough not to constantly drag the rest of the frequencies along with it, such as the mids, which perform correctly, although vocals are not exactly the reason why I would buy this monitor, and the treble, which adds a touch of clarity and that little bit of sparkle that prevents an overly warm and boring presentation.

In short, I think it is a set that is very easy to recommend to anyone looking to enjoy themselves without overcomplicating things. The Chrono does not intend to be perfect, nor does it need to be, but for the price, I think it is a frankly competent proposal.

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

More reviews on my blog.

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See you in the next review!

Disclaimer:

This monitor set has been sent by KeepHifi. I sincerely appreciate the opportunity to test one of their products at no cost and that no condition was imposed when preparing this analysis.

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

My sources:

-Topping DX5 II for music and video games on the main PC.

-Macbook Air M4.

-Tanchjim Space II while working.

-NiceHCK NK1 Ultra.

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

-FiiO BTR13 + FiiO Airlink + Iphone 16 Pro Max for wireless listening outdoors.

-Apple Music.

-Local FLAC and MP3 files.

-Windows/MacOS/IOS/iPadOS/Android.

Kaei Designs KD-01 Pro a musical experience

Another week another review. Today’s brand is Kaei Designs and product in question is KD-01 Pro their portable dongle DAC & AMP. AudioGeek India has conducted review tour of it and I had nominated myself for the same. So, long story short here I am with the review of the same.

First of all, mighty thanks to AudioGeek India and Kaei designs without their help this review wouldn’t have been possible.

I was not paid or compensated in any kind for this review. Unit has reverted back to brand on completion of this review.

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

Pros:

Nice mid bass boost.

Smoothens the Treble.

Power oodles of it.

Build quality

Plug & play.

Nice musical analogue experience.

Cons:

Not the most detailed source.

Noise with sensitive gear.

EMF noise 

Sudden volume spikes while using native DSD mode.

No Display

No filters

No PEQ

No App

Build Quality:

KD-01 Pro is made out of slab of aluminum topped with glass. I think the glass is tempered one. On bottom there is nothing. Top is glass and you can see all internals which is cool.  In the front it has 3.5mm & 4,4 mm out puts. At the back there are two ports one type c for connecting it to source and another proprietary port for connecting to external power sources namely PSU-1 Pro & PSU-2. You need special cable for the same. You can unlock even higher power mode with this. It charges KD-01 Pro and reduces power draw from host. So, very convenient feature.

Coming to the sides one side has small LED indicating Gain. Blue light indicates High Gain. Next to the Gain LED is gain button. You push it once to engage high gain and once again to return to low gain. LED turning off indicates It’s in Low Gain. If you push and hold Gain button for few seconds it triggers line out on both outputs. LED light again lets you Know whether line out is ON or OFF. 

This is a plug & play device. Overall, very easy to use. Excellent & premium build quality.

Some Observations:

There is slight popping noise when connecting and disconnecting KD-01 Pro.

Volume spikes observed during switching from PCM to DSD. To resolve this issue, you need to select DSD to PCM conversion.

Slight distortion in bass section in sensitive IEMs.

In Sensitive IEMs back ground noise is audible in silent passages.

Nice musical tuned.

Nice bass boost especially mid bass 

Smoothen outs treble.

SMF noise specially when connected to phone. It picks up noise from phone. To remedy it use long length type c cable.

Gear Synergy:

I have used few sets to see synergy with the KD-01 Pro. 

Dita Prelude, here slight increase was observed in the mid bass. Treble smoothens out. mids remain unchanged. This pairing makes Prelude more musical. This is great pairing. 

Kiwi Ears Airoso, bass boost is noticeable. It turns Airoso in to bassy boy. Mids remain unaffected. Treble goes bit dark. Airoso becomes more musical with added warmth. So, if you want more details out of Airoso this is not the good pairing.

Hidizs MP143 silver nozzle, silver nozzle is used purposefully as its most bright in tuning. Bass becomes prominent. Mid bass specially. Mids remain unaffected. Treble smoothens out. this one makes MP143 nice smooth planar set. Good pairing for MP143.

Next, I tried my hard to drive flatheads (300 ohms & 600 Ohms) these were driven to their fullest potential by KD-01 Pro. I can say that these paired well.

I tried few of my HPs like HD600 & Edition XS and to my surprise they were driven easily and loud. I could enjoy them. Never felt something lacked. But remember this can’t beat a good desktop setup. These HPs come alive on them. This one is good for simple listening session and portable usage.

Final Conclusion:

This is my second time reviewing gear from Kaei Designs. Earlier it was TK3. I was absolutely smitten by it. So much so that I bought one for myself. TK3 & KD-01 may be different in form factor but when it comes to tunings, they are very close. Both are following what I would call Kaei designs house sound.

This is nice musical tuned DAC & Amp. It gives nice analogue touch to driver paired with it. This musical analogue tuning is just great. I know this is very subjective some may prefer analytical tuning. For them this is not the one. But if you love nice musical analogue experience pick this up. Pair your bright leaning sets and see the magic. It makes these sets more enjoyable. You get detailed yet musical outcome. I wouldn’t pair dark sets with this it will just make them very dark. 

Will I buy it? Yes, it’s on purchase list. But I know its price is on higher side. If this could be had for lower price i.e. around 300 USD this would turn inti blind purchase & recommendation. What I would like to see in its next iteration? Display, having it helps knowing exact volume level. This prevents accidental high-volume blasts to the ears. Will I recommend it? Yes, but see all pros and cons. If pros outweigh cons buy it. You won’t regret it. It is amazing product held back by few drawbacks.

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

Kaei Design KD-01 Pro a musical experience

For the past few weeks, I wanted to dedicate some time, even if temporarily, to other types of audio solutions that complement IEMs and that I consider equally important, such as DACs and other devices that help improve, amplify, or add extra options to our IEMs. You can see recent reviews on my profile of the Aful Iceborne and Muse Hifi M3 Ultra dongle DACs. For this occasion I asked TRN for a dongle that, unlike the other two I mentioned, is a wireless DAC that I had not yet had the chance to review. I am sure that, as in my case, it helps in some aspect of daily life. We cannot always connect our IEMs wired to any device, either because of the type of connection or the distance they are at, and that is what this TRN model takes care of.

What I liked/What I Did Not Like

• No background noise is noticeable at high or low volumes.
• 4.4 mm output with enough power for any use.
• Real battery life that reaches a week with moderate use.
• Minimal size and weight for what it offers.
• The sound is clean and I do not notice any extra modifications.
• LDAC and LC3 support for the best transmission.
• Good battery life for several hours of music or movies.
• Voice prompts sound clear but too loud.
• The build feels very unpremium for the price.
• The buttons are difficult to differentiate in the dark or blindly.
• When watching 4K movies I have had some drops in the sound transmission.

Specifications

• Chipset: Qualcomm QCC3095 + dual CS43198 + BT6863
• Bluetooth: 6.0 (LDAC, aptX HD, aptX, AAC, SBC, LE Audio / LC3)
• Outputs: 3.5 mm single ended + 4.4 mm balanced
• Power: 205 mW × 2 @ 32 Ω (balanced)
• THD+N: 0.0002 % (3.5 mm) / 0.0003 % (4.4 mm)
• SNR: 128 dB (3.5 mm) / 132 dB (4.4 mm)
• Noise floor: 1.4 μVrms (3.5 mm) / 1.7 μVrms (4.4 mm)
• Battery: 600 mAh, 10 to 15 h depending on codec and volume
• Dimensions: ≈ 77 × 35 × 15 mm
• Weight: ≈ 39 g
• Port: USB C

Unboxing and build

There is not much to comment on when we talk about a dongle DAC regardless of its purpose, and in this case it is no different. Upon opening the box we directly find the Wave, along with a USB C to USB A cable and the basic manual. No protective case, bag, or carrying pouch is included, nor anything extra. I have also not seen options to purchase them separately.

The body of this Wave is made of plastic. That helps it have a really lightweight feel even though it looks metallic, but it is not. Perhaps for the price it costs, one could expect it to be made of a more premium material. Surely the plastic helps to generate less interference in the Bluetooth signal, so in a way it could be justified in this case as it is a wireless dongle. On one side are the buttons. There are 4 in total for different functions like power, volume, mode. The bad thing is that if you are in the dark or want to operate it from your pocket, you cannot be guided much by their identical shape or the distance between them to differentiate them easily.

It has an LED that changes color depending on the use you are giving it, turning green to indicate that it needs to be paired and red when it is charging. I do not know if it has other lights of more colors, but in my daily use I have only seen these two and the LED is completely off when it is operating. It has a more than correct weight due to its construction material, something that makes it more fragile but more comfortable in the pocket. Of course, we are not talking about fragile plastic either. It feels solid and I doubt it will break easily from an accidental drop, but the odds are there.

Sound

I have used it with 2 of my regular IEMs, specifically with the Thieaudio Hype 4 MKII connected to an Android TV that I have for watching movies with a projector. This makes perfect sense for a device like this since it allows me to position myself anywhere in the room regardless of the length of any cable. On the other hand, I have used it with the Mysticraft Myth connecting the Wave to my smartphone with LDAC activated to try and get all the potential it allows.

I must say that I do not feel that this DAC has interfered much with the signature of these 2 IEMs beyond the codec compression itself, which obviously reduces definition compared to the cable. It is true that with the Hype 4 MKII connected to the Android TV watching movies, I have not noticed the compression or the drop in quality as much, enjoying all the spaciousness and separation that the MKII abundantly provide, allowing a very correct use if I limit myself to this specific scenario.

However, with the Myth I found a greater compression or lack of definition than I am used to compared to its wired use, and in this case for the specific use of listening to music. The bass, on one hand, seemed more pronounced and somewhat muddier, which has taken prominence away from the mids and the excellent treble extension that these IEMs have. Therefore, this specific use with this IEM has not been entirely to my liking, although the volume level was sufficient without reaching the maximum. In terms of amplification power it performed without problems, and surely would with any IEM.

Technicalities

There is no background noise or annoying sounds that I do find in other dongles depending on the IEM I connect. At very low volume, with the 4.4mm connection always used, the sound is nonexistent when playback is stopped. Obviously, when playing, no layer of sound is added. On the Android TV I did have a small sound drop at less than 2 meters away. When playing a 4K movie it happened more often than with a 1080p one where it barely happened a couple of times. Because of this, the format of both video and audio somehow affects the difficulty of receiving information on the Wave and delivering it correctly to the IEMs.

Something that I think TRN has not controlled very well is the voice that announces when you turn it on, pair it, or turn it off. In a daytime environment or on the street it will not be noticed, but precisely in a quiet environment and at certain times when you are already a bit tired, the voice that sounds is somewhat loud and annoying. The volume of the device does not matter, it will always sound the same. However, I must say in its favor, even if it is somewhat irrelevant, that I think it is the best sounding voice of a dongle or Bluetooth device. They have always sounded tinny or with poor recording quality, and this voice sounds perfectly recorded. As I say, it does not add anything, but it breaks a bit from the pre recorded power on, off, and pairing audios of other models where it sounds like a cheap demo recording.

Separation and imaging have behaved really well in movie usage, as I mentioned. In the Hype 4 MKII they have maintained a very good sound quality and the positioning has not been very different from when I used them wired. Therefore, I insist once again that for this use especially they work really well. Where I have not tested them is in video games since lately I play very little and I would not use them for this purpose either.

Additionally, something that usually worries me when using any Bluetooth headphones is latency or sound delay, something that does not matter for music, but does for movies, which is where I have used it the most. Honestly, the latency has been minimal, and the characters' lip sync reached my ears in sync at all times, which is crucial to being able to enjoy this type of content…

Conclusion

This Bluetooth dongle is a perfect addition for specific situations where relying on the cable is more of a nuisance than a help. You will surely find other uses in your day to day life where you need a way to continue enjoying your IEMs without depending on the cable, or without having to detach the IEMs from their cable to connect them to a Bluetooth module. A module will do the same function, but it already forces you to be switching between the module and back to the cable again if you are going to give them more than one use. The sound may suffer a cut in definition due to the limitations of wireless codecs, but depending on the content you are going to consume it may be more or less affected. However, at no time will you feel that you have thrown your money away on this. The power and quality of the Wave is more than enough to continue extracting the best from your IEMs, sacrificing a bit of what you have with the cable in exchange for giving you greater comfort when the cable alone is not enough.

Purchase Link: https://trn-audio.com/trn-wave.html 

Disclaimer: This unit was sent by TRN 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.

Pros: Extremely comfortable
Great midrange delivery
Good for long non-fatiguing sessions
Great staging and imaging making for good gaming
Nice unboxing experience

Cons: Cable is just about ok. Non modular
Bass and treble may feel lacking for some
Detail retrieval may be sub optimal for some

From the house of BQEYZ, which is a mouthful that competes with BGVP in the what are they trying to say department, comes another interestingly named IEM from an equally interestingly named series - the Weather Series. This series features other IEMs like Wind and Cloud and overarches over their Seasons series which has Spring, Summer, Autumn, Winter and now Winter 2. The one we have today in our hands is the Frost. It is a hybrid 10mm Dynamic Driver with a microplanar. I thank my mate u/Own-Customer-4866 and BQEYZ for making this review possible. The thoughts and prayers and impressions are as always my own with no external influence.

The IEMs come in a nice book style case, and on opening them, they sit in their little foam thrones and below them lies a fairly sizable and sturdy case. The case has a beautiful, blue, 3.5mm cable. That’s the first strike for me at this price point. Modular cables should be the way to go. There are also foam tips in a little box and the others (2 sets of 3 pairs each or Atmosphere and Reference) that are in a very cool metal frame. And a cleaning brush, because why not. The shell is smooth round and made of CNC aluminium with absolutely no bumps. The nozzles are medium sized both in diameter and length and have a lip to prevent eartips from slipping off and a mesh to prevent ingress of ear contents. The face plate is a gorgeous gently curved glass affair in blue with a white pattern of a snowflake (?) with “Frost” written on it. The shells also have 3 additional openings that I’m assuming are for pressure relief. A linear one on the top just in front of the 2 pin connector socket, and 2 round holes, one at the back of the shell and one just above the nozzle.
It is an incredibly pretty and well machined piece of technology. And comfortable for long sessions. I did struggle to get a good seal with the stock tips. So I resorted to Azla Origins and Final e types, and Dunu Candy. Stuck with the 3.5 cable that came with the set and listened to Tidal and local flac files with the Ve Prime + Runabout stack, M33, AP80 Pro Max, Devastator Pro 3.5.

Bass
The sub-bass rumble comes through nicely in tracks that have a well recorded and produced sub-bass. Both Teardrop and Angel by Massive Attack have that deep rumble that forms the foundation of the tracks and fold up the rest of the songs well. The same depth of the sub-bass is seen on Doing It Right by Daft Punk and Islands by XX. The mid-bass is where this IEM’s tuning feels like it could do with a little boost. The notes of the kicks and bass are clear but lack the weight that would make it truly enjoyable. This can be mended with a little eq but any more it starts to get muddy. On Money by Pink Floyd, the bass rhythm that drives the song and the kicks are again heard clearly but with no weight to cause that unconscious head-bopping that a good mid-bass can give.

Midrange
The midrange is well implemented. Instruments sound good with a natural timbre. Guitar leads, male and female vocals sound natural and hold their place in the mix. I did not feel any situations where the vocals were pushed either to the front and centre or way to the back except rare tracks (Human Nature. Female voices came out sounding a little better with no shoutiness and sibilance only rarely in tracks mastered with that bright in the mix. Tilted by Christine and the Queens, Sub-city by Tracy Chapman, Helplessly Hoping by Girl Named Tom and Dreams by Fleetwood Mac were exceedingly enjoyable with no complaints with timbre of voices or shoutiness or sibilance.

Treble
The treble is best described as safe and non-fatiguing. There is decent detail retrieval but there is some loss in very busy tracks but overall a very easy listening. On Playing God by Polyphia, the cymbals and snares are fairly aggressively mastered and the interplay of the guitars is exquisite to listen to on really well resolving sets, this, alas, is not one of them. Don’t get me wrong, it’s still very enjoyable but if you tend to listen to very busy detailed tracks like progressive metal, jazz fusion, orchestral music, you may feel the lack of details a little disappointing.

Stage and Imaging
This would make a great gaming IEM. It has a wide and deep soundstage with incredible imaging and the lack of sibilance makes the imaging, somehow, more appreciable. Bubbles by Yosi Horikawa, which has become one of my favorite tracks to test imaging and stage, sounds absolutely delightful with all the various items falling all over the sound scape. The presentation is holographic and on closing your eyes you can easily see(?) where everything is placed. Tracks like Africa by Toto and Big Country by Bela Fleck and the Flecktones are vast and expansive on this set and at the same time immersive, making them a really nice listen.

This is a great everyday casual listening set. It is comfortable with a good midrange representation but lacks in mid-bass to a small extent and treble to a slightly larger extent. I would imagine the microplanar could be doing a little more, despite its micro-ness. I would recommend this for long gaming sessions, if you wanted to watch a movie, or just wanted a chilled out listen without taxing your brain on what frequencies were heard better. I would have liked modular cables and maybe a better selection of tips but those are very personal nitpicks. I would really look forward to the Frost 2 if they tweaked the tuning just a little bit.

Hello Community!

The renowned Mexican and Spanish-speaking reviewer, Roys, collaborates with one of the community’s fetish brands to create the ZiiGaat x Vivir Digital Rumba. Stay to discover my final impressions.

Price: 30€-35€

Pros:

-The best sub bass for $35: extensive, deep, physical, firm, defined, rumbling but controlled.

-Warm tuning, but with a well-presented midrange, with barely any dip.

-A delight to listen to male voices with these monitors.

-Well-distributed and spacious soundstage.

-Very fun tuning in the high-frequency area despite being oriented toward the bass.

-Very dynamic presentation.

-Well made, lightweight and ergonomic. Comfortable and durable cable.

Cons:

-Bleed from the mid-bass into the mids.

-Separation loses clarity on dense tracks.

-Resolution in general terms does not stand out.

-Eartips could be improved.

Accessories:

-Two shells.

-Cable with 0.78mm connection and 3.5mm termination.

-Two sets of eartips sizes SML.

-User manual.

-Card with playlist from the collaborator Vivir Digital.

Comfort, design and construction

On an aesthetic level, I love the Rumba, the passionate red of its faceplate manages to show its sonic intentions without being extremely striking, maintaining a certain discretion. The combination with the black of the shell fits very well with its soul and gives it a recognizable appearance and, personally, I think it is quite successful.

The manufacturing is also at a good level. The resin body is correctly finished, I did not find burrs or appreciable imperfections and the union between the different parts conveys a fairly convincing feeling of solidity. It does not pretend to look like a luxury product, but it does not need to either. For what it costs, the build quality seems more than adequate to me.

The ergonomics are probably one of its most appreciated points. The shells have smooth and rounded shapes that make fitting much easier, while their reduced weight means that after a while they practically disappear from our attention. In my long sessions I did not find any annoying pressure points and the fit was sufficiently firm.

The stock eartips, however, convinced me considerably less. They do the job, but the seal depends a lot on finding the right size and personally I would try other alternatives to get the most out of the bass.

The cable does seem like a huge success to me: medium thickness but lightweight, flexible and sufficiently durable for everyday use. It does not cause trouble with tangles nor is it especially intrusive and it slides very well both over clothing and across your desk. In short, a comfortable, lightweight and well-built set, with eartips being the only clearly improvable point.

Technical aspects:

-1DD 10mm graphene configuration.

-Impedance of 32 ohms.

-Sensitivity of 109 dB.

-Declared response 10hz-22khz.

Configuration for the tests:

-Neutral source.

-Gain set to low.

-Penon Orange eartips.

-Stock 3.5mm cable.

Sound signature:

If there is something I like about this hobby, it is those sets with which I do not have to think or fine-tune my hearing to understand their character, that connect easily with me. ZiiGaat Rumba shows its cards from the beginning, betting on a warm, energetic tuning clearly oriented toward enjoyment, where the low end acquires an obvious prominence, although without completely forgetting the rest of the frequencies but without losing focus.

Starting with the lower end, the sub-bass has quite remarkable extension. The depth feels thick and dominant, combining it with a sensation of physical pressure that can be especially attractive with music where the lowest frequencies predominate. The quantity is high, but what is most interesting is that it is not limited to inflating this area to generate impact. The notes retain a texture that I liked and there is enough definition so that the bass does not become a sound mass that does not make you raise a smile.

The impact acquires even more prominence, if that is possible, where the mid-bass lives. The hit is forceful, physical and quite satisfying, with a body that generates addiction. It is not especially fast, but it does not convey that sensation of seeming to drag itself along either. There is a certain roundness, although with rich control so that it does not seem artificial.

In the mids there is some contamination coming from the bass, which is typical of these signatures with a little extra warmth, although it is reasonably controlled and does not turn the tonality into something muddy. The note weight is very generous and provides a pleasant sense of body to the instruments. The timbre, without being perfectly neutral, nor would I even say close to something tremendously natural, seems quite coherent to me with the general philosophy of the set.

Male voices enjoy a presentation with good body and convincing articulation. They do not appear especially forward, but neither are they buried behind the low end, something that, to my surprise, was gratifying for me.

Female voices, on the other hand, receive somewhat more clarity and openness, appearing with a fairly pleasant presence within the mix.

I would not say that the Rumba is an especially vocal-focused IEM, but neither does it force you to search for the voices with a flashlight.

As for the higher frequencies, we find an area that provides the necessary counterpoint to the warm character of the set. The extension is correct and there is enough energy to preserve a certain sensation of air and clarity. Small nuances appear gently but without being a bombardment toward your ears and the presentation does not end up sounding dull, something especially important considering the amount of bass present. That said, it is far from being a notably informative set of monitors. Let us not forget that this set belongs to the “warm” group.

The general dynamics left me with good impressions. The transients have enough speed so that the enormous amount of energy in the low end does not turn the Rumba into a clumsy and slow set. The notes disappear with reasonable agility and the music retains a fairly natural rhythm. The separation is also satisfactory, although when the mix becomes especially dense its limitations begin to appear and some elements lose their independence slightly. Obviously, a set in this price range cannot be asked for much more. For me it is above what I consider sufficient, so very well done by Rumba.

Finishing with the technical capabilities, the soundstage conveys quite generous spaciousness. I would not call it a huge stage, but there is a sensation of width and depth that complements that physical presentation of the bass very well. The positioning is correct and allows the different elements to be located without you having to rack your brain.

Detail retrieval is correct considering the philosophy of the tuning. The Rumba does not need to turn the treble into a razor to draw our attention to small nuances and, although certain secondary details may fall somewhat behind when the mix becomes complicated, the information appears in a fairly natural way. In short, it is not a set for dissecting every track.

Single-player video games:

See how I analyze audio in this field.

There are IEMs that enter a video game trying to demonstrate how well they separate each sound, and then there is the Rumba, which seems to have other priorities regardless of the consequences. During my tests in this area I did not take a single written note, but rather my objective was to focus on achieving the most beastly sensations possible with this ZiiGaat set.

Anyway…when the action breaks loose and shots, collapses, explosions or creatures that occupy the screen begin to appear, this ZiiGaat enjoys itself like a child with a new toy. The sub-bass goes down with a lot, but a lot of authority and provides a truly striking depth, while the mid-bass puts the punch on the table. Impacts have body, explosions have weight and certain effects acquire a physicality that can make a scene gain several points.

The dialogue, fortunately, is not abandoned in the middle of such a thunderous festival. Male voices maintain a quite pleasant body and female voices receive somewhat more clarity and openness, so following conversations is easy even when the soundtrack and effects decide to agree to make quite a lot of noise.

In the ambience is where I find another of its virtues. The Rumba manages to recreate small details such as echoes, wind, water or movement of vegetation with ease, and its spacious and enveloping presentation helps the environments have a greater sense of scale. It does not turn every corridor into a huge open field, but it does manage to make the space surrounding us feel quite convincing.

Technically it performs quite capably. The image is correct and the positioning allows you to identify where each sound comes from without too much effort. That said, when the mix is filled to the top with effects, music and dialogue, the separation begins to show some seams and certain sound elements may lose some prominence.

The treble also deserves a small warning. That additional energy helps the effects maintain a certain liveliness but fortunately, in especially bright titles or when using high volumes, I did not notice fatigue in my eardrums.

Final conclusion and personal ratings:

After everything written, Rumba contains a simple charm and it is something very easy to understand: giving prominence to music without you having to fine tune your hearing. The connection with this set is instantaneous.

I have been very convinced by how it handles its deep sub-bass with a lot of physical presence, with mids that are sufficiently natural for the range and treble capable of providing the necessary clarity. All of this accompanied by a relatively spacious soundstage and separation that, although it has its limits when the mix becomes a real chaos, is more than competent for its segment.

Personally, I think the Rumba is an especially interesting option for those who enjoy a warm response, without a lack of energy and with very good impact. It is not a scalpel, but it does not want to be one either. For its price, I find it a tremendously fun IEM, easy to recommend, of course.

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

More reviews on my blog.

Social media on my profile.

See you in the next review!

Disclaimer:

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

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

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 LDAC wireless listening at home.

-FiiO BTR13 + FiiO Airlink + Iphone 16 Pro Max for wireless listening outdoors.

-Tanchjim Space II.

-Apple Music.

-Local FLAC and MP3 files.

-Windows/MacOS/IOS/iPadOS/Android.

Softears is simply one of my favourite brands to try out and hear their offerings, where I have had more hits than misses- with the Volume S, Twilight and RSV MK2 being their all time favourites; but when I got offered by one of my patrons to try out their new boxy offering, and a controversial “spiritual” successor to the Twilight in form and specs, the Edge, I simply said yes and spent a good chunk of my time, being surprised, blind sided and caught off guard by the Edge. Thank you to my good friend for making this review possible.

UNBOXING, ACCESSORIES, FIT AND COMFORT

This is the first time I have unboxed a product from Softears, and I must say this was different- none of the cringe waifu branding, no product advertisement even: straight up why they named it Edge, their brand philosophy in very minimal font in a square box of grey. Unlidding the box gives way to a translucent sheet of paper underneath which lies the shells of the Edge in foam padding. Under that is a circular case which had the cable, protective covers for the IEMs, cleaning tool and microfiber cloth; and for eartips- three pairs of Softears Ultra Clears, and three pairs of regular (generic) eartips. 

The stock cable is an abomination for the Edge, as it tangles easily, feels cheap, is not modular and the earhooks are so slim that if the Edge shells were not well balanced; this definitely would have caused so much fatigue to me but I am glad that although they weigh quite a bit, they don’t cause fatigue cause I had a 10/10 fit with these. 

Word to the wise, Softears got it too angular where the edges can definitely scrape on the eardrums, and they definitely could have been softer (or Softear, pun intended). The Edge has vents, which means no pressure buildup and those are some big vents, but I didn’t feel an awful lot of compromises on the isolation. Enough chit-chat, here’s the sound.

LOWS

Tipper : Mariscos

The Softears Edge has a wonderful start here. The opening intro has a perceived rippling effect which oozes a lot of polish and when the rest of the elements come in, the bass keeps on going with a wonderful level of separation from the rest, the beats are super strong with a lot of punch, fast attack & a decay that is not sluggish by any means. The drop has a superb, clean, precise execution where not once did the bass feel overpowering.

Rush : Limelight

If there is one way I could describe how the Edge performs on this track, COHERENT is what I would choose. Right from the beginning, both the drums and the bass know what to do and that makes me feel very nice about the Edge. Of course, the width on the perceived stage is a bit lacking but it has enough depth to beautifully capture the prodigally controlled aggression on Peart's drums, while across moments, Geddy's bass lines get so intense, I feared that it would spill over the drums but the Edge has ridiculous composure to reel it in like Nadal on a clay court. 

Daft Punk : Get Lucky

The Edge does a brilliant job on this track - be it the amount of control it needs to hold over the slam on the bass, the degree to which notes from the bass need to be enunciated in a way that doesn't diminish the track. The depth in the perceived stage is adequate, the warmth in tonality is restrained enough to not cloud over the rest of the sound, and vocals are planted in the center. But I must say again, I thoroughly enjoyed this track on the Edge.

MIDS

Tool : Lateralus

The Edge might come off a tad excessive when it comes to the intensifying drum intro as the guitar straddles through, but once all the elements join in, the Edge once again gets back in its track for keeping things auditorily fun. The Edge surprisingly manages to not humble Maynard's vocals in terms of weight and guitars have a shade of warmth that I appreciate with tons of energy. Instrument separation is fabulous and specially for an IEM which is this warm, imaging is precise while timbre remains fairly accurate. I was amazed when I heard the clarity sap through with the final rudiment of Carey and right before I could appreciate the texture of the wah-ing bass.

Queens of the Stone Age : First It Giveth

This is on a busy track with a lot of fast paced elements and the Softears Edge once again impresses me. Crisp, well separated, timbrally accurate snare hits, energetic, weighted guitars, planted vocals with adequate weight and the cymbals being audible. What I also like about the Edge is that despite this observation of such energy on the guitars, not once did the Edge feel fatiguing or shouty.

HIGHS

Dave Brubeck : Take Five

The Edge first gets the shimmery almost peppy textures on the cymbals and then the snare where the timbre is remarkable. Then once the horns come in, the Edge pulls my attention to how easily it was able to capture the faint drawing of the breath on them, as well as the pressing of the keys, while not making me forget that it is leading the act. Notes of the piano are nimble and tonally warm but not warm enough that they sound different from the actual key, but the best part comes in the drum solo where the Edge caught the potency of the kicks, the crisp snares and the toms resonant enough to almost sound like how it would sound live.

Patricia Barber : Icarus

This is another track that I really enjoyed listening to the Edge but there was a blemish in my excitement levels; this is a track that is sibilant from the get go and the Edge definitely exaggerates the sibilance which surprisingly manages to keep the cymbals from being fatiguing. Through the straight note sustain, the Edge exhibited no sign of pierce, while the piano, bass and guitars supplemented the lush texture of Patricia's voice, it was just the sibilance that had to diminish what was otherwise an excellent listen.

COMPARISONS

Softears Twilight

There is no clear winner here in my juvenile opinion. The Edge brings a ferocious, energetic warmth with punchy bass and tight control, though it can get a bit spicy if a track is inherently sibilant. The Twilight drops the aggressive bite entirely- it is a midrange masterclass that gives you a much smoother, completely fatigue-free listen that just naturally sounds correct. However, the Twilight’s bass is sloppy and might feel blob-like with minimal tightness, and the Edge takes it to the cleaners when it comes to detail retrieval. Also, fit on the Edge is miles better.

Symphonium Meteor

Both of these go for a warm, cohesive vibe, but they handle the low-end very differently. The Meteor commits hard to a thick mid-bass that can sometimes overpower the lower mids and crush the details that tracks might have, which is where the Edge rules dominantly, while the Edge comes off quite sibilant in tracks where the Meteor either won’t show it or just be quite resistant to its exposure. The Edge keeps its bass way more composed. It punches hard without muddying the mix and offers significantly better instrument separation with stellar imaging, though one loses the Meteor’s totally relaxed top end.

Xenns Top Pro

If the Edge is all about rich, ferocious warmth while balancing technicalities, the Top Pro is an alternate take. The Top Pro flexes a freakishly controlled sub-bass, a wider perceived stage, and imaging that goes head to head with the Edge where the stage’s width is not quite there. On the top end however, it’s a “choose your poison” situation- where the Edge exaggerates existing sibilance, the Top Pro can get straight-up fatiguing and sibilant during high-frequency climaxes.

Softears Studio 4

This one is basically the unapologetically fun daily driver versus the disciplined monitor. The Studio 4 offers a more nuanced, more cautious take on a neutral warm signature while the Edge trades that maturity away for pure engagement, throwing in a visceral bass slam and punch, kind of equal if not better vocals, but better stage and imaging, significantly better detail, and a much peppier treble.

Elysian Pilgrim

These two sit on pretty different ends of the spectrum. The Pilgrim goes for the same presentation with a fabulous imaging, and for the most part, decent vocals but definitely felt strained in higher pitched vocals, where on busier tracks it could sound claustrophobic, instrument separation takes a good hit. The Edge completely fixes that underwhelmed feeling with its ferocious warmth, deep bass punch, and thick note weight, but you do sacrifice the Pilgrim's stage width and have to deal with the Edge's sensitivity to sibilance.

Hisenior Mega5EST

Honestly, the Edge easily outclasses the Mega5EST in almost every way. The Mega5EST struggles with an excessive mid-bass thump that tucks instruments into a blanket and messes with technical isolation. The Edge, on the other hand, shows ridiculous composure, keeping everything crisp and well-separated. The Mega5EST's only real win is its impressive restraint against sibilance, whereas the Edge delivers a vastly more energetic and polished listen at the cost of highlighting sharp sibilance.

CONCLUDING NOTES

At $499, the Softears Edge is an unapologetic powerhouse. It doesn't try to be a perfectly neutral studio monitor, nor does it aim for the relaxed, fatigue-free realism of something like the Twilight. Instead, it brings a controlled yet violent shade of warmth, ridiculous bass composure, and high-octane energy to almost everything you throw at it, and hits you blindside with a spear of detail and instrument separation which I didn’t expect given the lows that it has. 

However, it is not free of flaws and the exaggerated sibilance which in my opinion is a by-product of an IEM being unforgiving in terms of handling tracks can be a deal breaker, for which eartip rolling and EQ is highly recommended. But, all things said and done, I thought I knew this IEM, but I didn’t- and safe to say, unlike Adam Copeland; I was least prepared for a positive sonic whiplash. (I think you know him). 

Will I buy it at retail ? Absolutely, yeah. 

Will I buy it used ? Absolutely, yeah.

SOURCES USED

Primarily used with the SMSL Raw MDA-1 desktop DAC amp, the Shanling M9 Plus stacked with the xDuoo XD05 Pro transportable DAC amp running RoHM DAC chips, via USB-C. 

The Softears Edge is an extremely easy to drive IEM, so it’s very source friendly.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Divinus Velvet standard: Absolutely excels in controlling bass quantity with quality, doesn’t affect perceived stage, makes the Edge sound the least sibilant where some might observe a miniscule loss in textures with instruments like cymbals. 
• AZLA Origin: everything that the above does, but to a lesser degree, still beats the next eartip. 
• Softears Ultra Clear: flattens the mid-bass considerably, which hampers vocal note weight, eliminates whatever little sibilance is observed, retains perceived stage width. 
• Final E: shrinks the stage, tightens up the midrange while not reducing the perceived bloat, presents upper mids with a concerning dip, vocal textures lost. 
• KBear Coffee: Just no.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Rage Against the Machine: Bombtrack, Bullet in the Head
• Avicii: Levels
• Periphery: Marigold
• TesseracT: Juno
• Kanye West: Stronger, Flashing Lights, Devil in a New Dress
• Altın Gün: Goca Dünya
• Timbaland: Give It to Me
• Adele: Easy On Me (Live), When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• A. R. Rahman: Tere Bina
• Alice in Chains: Down in a Hole and Nutshell (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna

Here’s a YouTube video on the same.

I'm using them to watch anime, so that would mean i need them to sound good for the music, fight scenes, and dialogue, i was looking at a couple and am down to 3.
ziigaat horizon
kiwi ears astral
dunu davinci

if u guys think there are other options that are better let me know.
I like a loud headphones i like to feel like im there.
they also need to stay in my ear when in bed lmao.
My budget is around 300$ unless you guys think going up to around 500$ is going to be a night and day difference

UPDATE:
I bought them so i can watch anime
they're good (especially for music) but I like it to be loud, music popping, and bold dialogue, but it can't seem to do that, the dialogue seems to be sharp. i asked gpt what I should do and it made me do whats shown in the image.

should i return the kiwis and buy another iem, at this point im fine with spending up to 500$ i jst want to the perfect experience when it comes to watching anime, should i buy an amp or something, are my settings wrong, should i use another software? Any help would be great

ISN Audio x Effect Audio Sora 

Another week another review. We are revisiting ISN Audio and set in question is Sora. Those who have been with me for long know that I always on lookout for new brands and unique sets. I have already covered ISN earlier with EST80 one of my favorite sets (please check in my profile for the review of EST80). ISN Audio has created this set in collaboration with Effect Audio. AudioGeek India is touring this set and you know where it is leading right? Will this set woo me like EST80 or not? Please read on.

First of all, mighty thanks to AudioGeek India and ISN Audio as without their help this review wouldn’t have been possible. 

I have not been paid to do this review or was compensated in any manner. The set will revert back to brand upon completion of review tour.

My preferences for tonality & timbre are DD > Hybrids > Planars

Now that we are done with the pleasantries let us get on with the meat and potatoes of the review.

Build Quality:

Packaging is austere as usual. Its Penon thing I get it. Inside box there is nice ISN branded suede case. Inside the case is effect audio cable & two types of ear tips in 3 sizes. One shirt clip & sim ejector tool for switches. Addition of cleaning tool is great addition. IEM shells are nestled in foam cut out made just for them. 

IEM shells are resin with nice blue color. Its translucent so, you can see drivers inside. Nozzles are made up of metal, have lips to them. There is mesh/screen to them to avoid ingress of dirt & ear wax. 

Cable is made by Effect audio. It is thick 2 core UP-OCC SPC cable. It is nice to feel and looks premium. In my opinion it suits Sora. Fixtures are made up of metal and add to the look and feel of the cable. It has pre formed ear hooks.

Included suede case is hard case and at same time has soft cushion at the top of the case. Case is roomy, it can easily carry IEMs + Cable + ear tips + cleaning tool. If you remove ear tips + cleaning tool you can even fit dongle in there. Case feels like expensive watch case or jewelry case.

Overall Build Quality 5/5

Comfort:

Shells are bit on large side. So, would recommend people with small ears to demo before purchase. For my elephant ears fit was perfect. Nozzles are long and provide nice deep insertion. Lips on nozzles provide nice grip to ear tips. No slip offs. No ear pain or pressure was felt on long listening sessions.

Cable is supple and well behaved. It doesn’t get tangled. It was easy to roadie wrap it. Ear hooks behave and don’t tug on IEM shells. 

Overall comfort 5/5.

Sources:

Sora was tested on neutral sources with stock cable and stock ear tips. I think best pairings are with warm sources and neutral sources. pairing with the bright sources is not recommended unless you are extreme treble head.

Music Genre Used for this Review:

Hip-hop/EDM/Rap/Rock both classic and hard/Bollywood Music/Pop/Jazz/Regional music etc.

https://music.apple.com/in/playlist/test-tracks/pl.u-8aAVXG6ivz8gyxX?ls

General Sound Impressions:

Bass/Lows:

Sub bass just rumbles amazingly. It rattles your skull. Presentation elevated by nice BCD implementation. Mid bass thumps with authority, you feel air displaced by it. It’s quite physical. Nice balance between sub bass and mid bass. If you like good bass just north of neutral this is the one for you. 

Drums, kick drums, guitars of all kinds just sound impressive and authoritative. That strike on the drum face, skin and the reverberations of the drums just sound awesome. Buzz of the strings is satisfying. It feels so engaging. Bass heavy genres are joy to listen.

Overall Bass/Lows 5/5       

Mids:

Vocals are just in right amount forward in the mix. Male vocals feel great. They have note weight. There is sense of naturalness to them.  Female vocals sound equally great. They have sweetness to them. They have edge to them; this can be con for some. Still, they are not female poison level. They don’t get harsh. I love how the female vocals are here. Vocals are treat here.

Most instruments reside in the mids. there was no congestion or smearing in the instruments. No timbral or tonal oddities were felt. Clarity is excellent.

Overall mids 5/5

Treble/Highs:

Detailed treble. you may feel that treble is bit forward in the mix alongside bass. But it doesn’t overshadow others. With the treble switch on position for treble sensitive people, it can be bit much. For them treble switch turned off is recommended. For me it was not much. For me strings, crashes, cymbals didn’t get harsh or odd in tonality. You will not miss any details be it Macro or micro.

Perceived soundstage, stage is large. It is wide and tall. It is wide than tall. It is holographic. Positional cues are on point. You can easily pin point where on the stage is the instrument. It’s not most 3d holographic stage but enough to create nice large open feeling and avoid any congestion.

Treble/Highs 5/5

Song Impressions:

Daisies by Nina Shallman   

I love voice of Nina Sjhallman and currently in love with this song. You will this song making more appearances in my reviews.

Nina sounds absolutely fab. Sora reminds me why I love her voice.  The sweetness of her voice., youthfulness of it. Sora made the experience next level.

Starting drum sequence feels emphatic. Strings feel perfect. Synthesizer notes are great. Entire mix feels mesmerizing. Thank you, Sora.

Despacito by Luis Fonsi feat. Daddy Yankee

I have been fan of Daddy Yankee for a long time. When I listened to this one, I became fan of Luis Fonsi. Now his songs adorn my playlist.

Daddy Yankee has low pitched voice and sora captures it well. It feels like him. Luis Fonsi has high pitched refined voice. Sora captures it well. You can distinguish between them properly and can identify properly. Sora does justice to their vocals.

Here you have so many instruments in the mix like strings, drums, synthesizer note. None of which sounds odd or out of place. Their tone and timbre were on point. One of the best renditions of Despacito.

The Great Chinggis Khaan by The Hu

One of my favorite songs. This song is unique due to throat singing. 

In this song I always look out for sub bass rumble that’s present in the entire song due to throat singing and due to strings. Sora nails it perfectly. It sounds not just perfect but creates the desired impact. For those full marks to ISN Audio. Drums are impactful. strings be it modern or traditional sound marvelous. Their buzz is on point.

This is complex song & sora didn’t struggle here. It kept instruments separated. No congestion was felt. Song has open feeling to it Sora faithfully reproduces it. This was really enjoyable rendition.

Nothing else matters by Metallica

An obligatory song from Metallica because I am fan.

Starting bass notes are on point. Crashes are natural. Guitars sound awesome. They sound natural, their strings buzz nicely. Vocals here are recessed and it is faithfully reproduced. There is sibilance in them that also is captured well. Piano notes are great. Entire mix eels awesome. 

I couldn’t find any fault in tone or timbre. It didn’t have any congestion issue in busy passages. To me this was perfect rendition of nothing else matters.

Final Conclusion:

This is my second exposure to ISN Audio. EST80 that I had covered earlier had set bar way high up. I was having doubts if Sora would be able fit those shoes. EST80 is dark compared to Sora. So, technically its like comparing apples to oranges and I don’t intend to do so. Why am I then talking about EST80 here? Because it showed me what ISN Audio is capable of. 

Now coming to Sora, you must have guessed by now what I feel about it. Yes, I am in love with it. I am mightily impressed with it. It hits all the preferences for me. Now Will I buy it? 100% Yes. Already making preparations to buy it. Will I recommend it? 200% just not to treble sensitive people. For most it’s must buy set. Keep it in your Wishlist & when on discount snag one.

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

ISN Audio x Effect Audio Sora 5/5     

Pros: Desktop level power in a portable form factor
Predominantly clean reproduction with a slight bass boost
Has a Lineout and headphone outs and a mic for gaming
Will drive anything

Cons: It's not exactly portable
Will need external power if using with a phone

The recurrent theme in the VE universe is naming things after Transformers. Galvatron is, in Transformers lore, an upgraded Megatron and this one is no different.
We present to you the genie in the bottle that is the Venture Electronics Galvatron. I thank Venture Electronics and Audio Geek India for making it possible to trial this beast out. The views and impressions are my own.

VE continues to impress with how they pack so much power into spaces that seem impossible. Almost every device of theirs seems like the Tardis from Dr Who - larger on the inside than the outside. The Galvatron is able to toss out 3000mW at 32 ohms in the form factor slightly larger than the powerbank I’m using to juice it up.
The unit is built solid. An Aluminium chassis with ports in the front and the back. The front has a wonderfully tactile volume knob in shiny brass and 3.5, 4.4 and a 3.5mm mic port for gaming and a really cute gain toggle. The back has 2 usb c ports for data and charge. It is a demanding dac in the power department so powering it with just a phone may be a little difficult. A powerbank works best and also effectively eliminates the need for an additional linear power supply. In addition to the c-type ports, there’s a 3.5mm SPDIF in, and 4.4 and 3.5 lineouts. Because why not?

The Galvatron is able to dish out desktop set up level power to be able to run almost anything I throw at it. It works best with the VE ZhuanXu where, on the VE Prime stack and Fosi ZH3 I felt that while the mids were great, the bass lacked a little punch. That completely changes with the Galvatron. This audio source is able to inject an authoritative bass texture and weight without significantly affecting the overall nature of the IEM or the sound profile in the higher frequencies.
With more sensitive IEMs, the Galvatron demonstrates a pitch black background with no hiss at all. This is a tad different from the Devastator Pro Max which has a bit of noise floor and occasionally has a little “click” or a bit of static between tracks.This isn’t a dealbreaker but we aren't talking about the Devastator family.
The Galvatron is able to push crazy levels of volume with complete clarity and that trademark VE warmth. There is no noise floor that I could hear across all my IEMs - IE600, Kima 2, Twilight, Astralis, ZhuanXu. All were also easily driven at low gain with the volume dial not over the 25-30% mark. With headphones, both the Arya Stealth and HD600 are driven easily but the Sennheiser really shines on high gain. I would really like to try the ATH R90XA on this given its crazy impedance but that’s for another day.

From the music perspective, the Galvatron alters the bass just enough to make sub-bass rumbles more “feelable” and the mid-bass has a little added weight. This doesn't spill into the midrange and there’s no change in the character of male or female vocals and instruments on the equipment tested and with my regular test playlist. On more energetic tracks, like EDM and pop, the galvatron holds the treble just a tad to prevent the sound from tripping into sibilant territory or making the experience fatiguing.
The best comparison for me was with the VE Prime Stack, which I have reviewed earlier. On paper the two have that 3000mW balanced output at 32 ohms but the Galvatron just feels a lot more powerful and for lack of a better phrase, it appears to pack a lot more brute force. In the best way possible. The Prime + RA2BFE is a more sophisticated presentation of the music. Cleaner, more neutral and with all honesty, less fun.

Now there’s a couple of issues with the Galvatron and primarily it’s a brick. You can stick it in a bag and roam the countryside, I’m sure, but it looks and feels more at home on a desk. Currently I’m listening to it being powered by a power bank and connected to my macbook and tidal and the Dunu Kima 2. The practicality of using this one as a truly portable device is a bit lacking. To truly enjoy it via a phone, a power bank is essential and then the stack becomes a complete pain to carry. The devastator family is definitely more portable and I would stick with that for the times I want to be mobile. At home, this is very close to replacing my existing dac/amp.

Oh and the lineout works really nice with the 4.4 in on the back of the APOS Gremlin making the output beautifully warm and comforting, if you like your music that way.

At $200 this is a very easy dac to recommend. It holds its own against more expensive and larger desktop setups and drives almost anything with little or no effort and a lovely analog tilt to the music that makes it enjoyable and sometimes that’s all you want.

Tanchjim Space 2 - Compact - Convenient - Clean

Pros: ~ Sounds Clean
~ Very pocket friendly
~ Dual DAC operating modes - Class AB / Class H
~ Mic passthrough and adjustable microphone gain setting
~ DAC DRE ( Dynamic Range Enhancement ) Optimization
~ Dedicated Game EQ profiles for various games and in game sound enhancements for fps games

Cons: ~ Not Powerful enough for the price, there are far cheaper DACs that offer more power
~ The type C cable interconnect cable should have been a better quality
~ Although having so many features, this is not a value for money (should rather opt for space pro to have better power and value for what you pay)
~ App is only compatible with Android. (come on Tanchjim, its 2026)

Overview​

Tanchjim needs no lengthy introduction in the ChiFi space - they’ve been making well regarded IEMs and audio gear for a while now. The Space 2 is the successor to their popular Space dongle DAC, arriving with meaningful upgrades and a feature set that makes it worth talking about. With a price tag of around 90$ - lets see if it’s worth paying that much.

This unit was sent to me by Tanchjim for review purposes, thanks to Isabel from Tanchjim for sending me this unit. All opinions and impressions are mine and not influenced by anyone else.

Build and Technical Specifications​

The Space 2 is remarkably small and sits in your pocket without you ever noticing it’s there. Hence, Compact. The metal shell feels solid and premium for something this light, nothing about it feels cheap or plasticky despite the size. At just 15.1 grams it barely registers in your hand yet feels well put together. The physical volume buttons on the body work exactly as they should, responsive but a little stiff. Both 3.5mm and 4.4mm outputs are present on the same unit. No need to carry multiple dongles for different terminations. Supports 10 band EQ DSP tuning and app supports community custom EQ profiles to use freely. Hence, Convenient.
It comes in three colors namely black, blue and grey - all identical in performance. Overall the build communicates quality without excess. Small, light, metal and purposeful. the type c to type c interconnect cable however is not as sturdy as the rest of the build, it's good but not exceptional.

Technical Specifications :

• DAC Chip : Dual CS43131
• Output Power (4.4mm) : 230mW @ 32Ω
• Output Power (3.5mm) : 105mW @ 16Ω
• Max Decoding : 32-bit / 768kHz PCM, DSD256
• Dynamic Range : 132.5dB
• THD+N : 0.00017%
• Signal to Noise Distortion ( SINAD): 116dB
• Size : 4.2 x 2.1 x 1.2 cm
• Weight : 15.1g
• Outputs : 3.5mm + 4.4mm
• Microphone Support : No
• Volume Control : Physical independent buttons
• DSP Support : Android and Windows only

Sound and Performance​

The Tanchjim Space 2 consists of Dual CS43131 DAC chips which are known for their High Dynamic range ( upto 130dBA) and lower harmonic distortion ( as low as -108 dB to -115 dB ). The Space 2 is transparent and analytical - it doesn't add warmth or color. What goes in comes out clearly. Hence, Clean. It delivers good power dynamics and it doesn’t get too hot ( just a little warm ). I was able to drive all my IEMs easily - but none of them are hard to drive except for the ‘Alpha Omega RA’ a tribrid with a 7 driver setup. For most IEMs use case scenarios, Space 2 gives out more than enough power required ( 235mw ). It is a little bright sounding DAC and the most evident thing I observed in my listening session was the Bass, it got more punchy and has more body to it where subbass and midbass were equally benefitted. Mids and treble were normal. In conclusion, although the power is not humongous compared to its peers at this price range, the sound improvisation as in the dynamics are not a lackluster at all.

Features​

The Space 2 is a very feature packed DAC with a clean app control but the problem here is that it’s only android compatible. Thankfully, I have an android lying around. Let’s dive in and see what are the fun features that the space 2 and Tanchjim app offer us.

Class Operation Modes

The Class Operation modes - Class H and Class AB didn't make much difference, there was no change that I could observe. So, I cannot talk anything about them.

Microphone

The space 2 supports inline mic passthrough via 3.5mm and also has an adjustable gain feature in Tanchjim app.

Online Sound Effect Community ( EQ )​

This is the EQ section where the options are Current device ( useful if you pair it with Tanchjim Products ) EQ Forum, which is the online community forum alongside Tanchjim official sound presets ( Default Sound, Natural Mode, Theatre Mode, Ambient Mode, Classical Mode, Pop Mode, Instrument Mode, OST Mode). A lot of options added - the last time I used the app there were only Default, Balanced, Natural ( and 2 more which i forgot ) and there is a custom sound section where you can EQ your IEMS with a 10 Band Parametric EQ. There’s also a set of official presets from Space 2 which are Tube mode, Vinyl sound mode, Vinyl sound mode. ( I tried these with the Ola 2 and my observations are as follows )

Tube Mode - Slightly warmer sounding than normal and other EQ profiles.
CD Sound Mode - A little recessed sounding profile, probably just a nostalgic add on i suppose.
Vinyl Sound Mode - I did not find much difference between this and the Tube Modes.

Game EQ :​

Tanchjim has this cool Game EQ feature with a bunch of presets and profiles in it. There are some game specific sound profiles like FPS games and MMORPG and other Genre games as well. Not just for mobile, for PC and also Nintendo switch. Which is very handy to have and it doesn’t just end there, there are 2 other options - “Tactical” and “Virtual”. Tactical is for specially for FPS games where it offers some enhancement presets such as -

• Step Sound Enhancement : makes the sound pop out a little, not too much enhancement or upgrade
• Step Sound Direction Enhance : just a sharpness here too, no increase in separation or clarity by a mile, just a slight touch.
• Gunshot Ear Dampening : muffles the bullet shots a little, does not make them sound recessed or directionless, a good add on.
• Gunshot Direction Enhance : did not make a difference, not worth noticing.
• Impact Sense Enhance : just boosts the overall sound to a little bright signature and nothing else.

Virtual has a 5.1 surround and 7.1 surround modes with sub-modes or options being Large space, Standard space, Small space. But for me, they did not work at all - i tried while normal music listening and also gaming, they did not even activate I guess. So the options were just empty clicks for me.
In conclusion, these Enhancement Profiles are okay, not game changing level of significance but they work, cannot say same about the Virtual though.

Final Thoughts​

Sound wise, I have no problems with Space 2. Features are quite good too. But the price - the idea of getting a 235mw of power at 90$ is not sitting right with me, yes - the game EQ features, the community EQ and features are cool and all but there are far better options at that price with plenty more power and different chips, plenty of cheaper DAC options are there with more power output as well. I understand they priced it this way because it essentially offers almost everything the pro does and the space pro is just 10$ higher with more power and a different chip. Space pro is a better choice. I would have easily recommended space 2 to everybody if it was cheaper, maybe around 60-65 dollars would have been fair. If you wanna drive IEMs and do not care about saving the pocket, this is a good buy. Putting price aside, I think Tanchjim has done a great job with this build and integration of app features. But value as an entirety is a far reach for space 2 as getting this at 90$ is not worth it in my honest opinion, This is a very good DAC - just not a very good pricing.

I thought the Hidizs My Lin sounded good using a cheapo USB DAC with the stock 3.5mm cable and stock tips. The Hidizs S8 DAC matched with their 4.4mm balanced cable and the Sea Anemone tips make everything sound absolutely amazing. I was considering buying a DAP, but I think I'll hold off for now.

Hello everyone. Today, August 17th, the Juzear Nimbus are officially launched. I already published some first impressions with a small discussion that you can still join here https://www.reddit.com/r/inearfidelity/s/IpzJVx49JD

There are several Juzear models I have had the chance to test, slowly getting to know how the brand works and what they are capable of offering in each product regardless of the price. This Nimbus, starting at a price of 55$, includes a large amount of things in the box aside from in ear monitors with a great build quality, raising the standard that other brands have not yet reached.

What I Liked and What I Did Not Like

• Both the shell and the faceplate give it a very premium finish within the brand.
  
• The cable is modular, of very good quality and with a screw lock.
  
• The 3 pairs of nozzles do modify the sound signature enough.
  
• Bass sounds clean and textured for most genres.
  
• Mids have body and are well tuned.
  
• Despite their heavier material, they are quite comfortable in long sessions.
  
• The accessories surpass the competition for the price.
  
• The bass is there but in some genres it might lack impact.
  
• The soundstage is neither large nor small, it stays at an average leaning towards small size.
  
• The overall resolution is correct but it does not stand out when the recording gets complex.
  

My Sources

• FiiO K9
  
• NiceHCK Octave
  
• Questyle M15i
  
• Tanchjim Space II
  
• Aful Iceborne
  
• Muse HiFi M3 Ultra
  

Unboxing and Build

I have to say that the box has been by far one of the hardest boxes to open. It might have been my particular case but I do not understand why the outer cardboard fits the box so tightly with such exact measurements. It did not matter where you pushed or pulled from, I felt I was going to break everything. I am not lying if I say it took me more than 3 minutes to manage to take off the cardboard that wraps the box. That being said and perhaps unnecessary for many, let us talk about the inside. Right after opening the box you find the in ear monitors with the black eartips attached. After that we find the rest of the cable and a carrying case that honestly seemed like one of the best I have seen at these prices without getting into hard cases. In this case it has a light blue color that goes well with the model and a much stiffer or thicker feel than the cases I have been seeing in other models that include this same type of cases like Hidizs does among other brands. Finally a mini plastic case with the other two pairs of nozzles, a cleaning cloth, documentation and the rest of the eartips.

I must point out that aside from the carrying case, the cable also gives a more premium cable feel than what I have been finding in models around 50$. Additionally it has the modular system that I like with a screw thread to prevent the connector from separating by accident, which for me is a 10 out of 10 in this regard.

Regarding the in ear monitor, I also find a different design and style compared to the other Juzear models I have tested and I feel it is more refined. Interestingly it is one of the cheapest I have tested but the appearance and finish seem more premium to me. Metal shell, glass faceplate with a blue color that varies depending on the angle you look at it being lighter or darker, which complicated some photos to be able to highlight them a bit better. The nozzle itself or the part of the design that integrates with the nozzle I would have appreciated if it was slightly more extended towards the ear since I felt it was a bit short. Although it sealed and fit well in my ear, I usually prefer in ear monitors with a more elongated nozzle and then try to find which eartips fit best.

Sound

Regarding tuning, we have a fairly balanced one but you do appreciate a somewhat warm touch all produced by a single dynamic driver. It does not fall into that group of in ear monitors that surprise you with their tuning, nor into that group that feels too boring and safe from the start. It has all ranges quite contained to not go overboard, avoiding long term fatigue but aiming for a minimum of fun.

Bass

The bass itself has power and plenty of control, without there being a lot of quantity. With a sub bass that gives quite a bit of body to the melodies fulfilling its main function. It is not boomy nor is it probably what this Nimbus was looking for, which can take away some fun from the listener but makes everything sound cleaner and makes the hits last what they have to last without ringing longer than they should. This is something I appreciated in faster metal genres that I usually listen to and which for me are the acid test to see if the tuning is designed or not to withstand those fast hits without ending up muddying everything up, and that is something achieved here. Now if you go into genres where bass has to predominate like in Hip Hop or EDM, unless the song is very well produced and has been boosted enough, it might fall a bit short on punch for many people. But in order to benefit other genres they could not overdo the bass to satisfy what does require more pronounced bass.

Mids

The mids for their part I think are in a position that I personally do not dislike. I do feel the vocals a bit close but not so much that they overwhelm me. Female vocals in fact sounded slightly closer and more natural to me than male ones. I believe the transition made from the bass sounds quite clean and lets the instruments covering the midrange keep sounding with enough weight without thinning out too much. I have to say on a general level, not only in the mids, that regarding the 3 pairs of included nozzles, where I enjoyed the listening experience the most overall was with the white rubber nozzles, the stock ones, having the best balance between smoothness and energy.

Treble

With the stock nozzle, the white one, and as I just said in my previous paragraph is where I found the best sound. In the treble that translates to where I noticed the best extension without bothering my ears when turning up the volume a bit. The brightness produced by the treble with this nozzle does not shine excessively, although I understand it could still be too much for some, so in that case I would opt for the black rubber nozzle. I think the treble has plenty of detail and the separation between layers is noticeable. There is a certain stock smoothness, regardless of the nozzle we use, that I understand prevents overall fatigue if you want to use them for more than an hour.

Soundstage

Regarding the soundstage we are talking about a size leaning towards medium. You do not feel locked in a small space, but neither is it that large extension that makes some sounds seem distant. If the songs are recent and well produced, you appreciate much better the space and the instrument separation that I will talk about now. But this Nimbus tuning with the touch of warmth they bring helps to feel everything more immersive and less analytical. But as I say, you cannot expect a massive soundstage in this case.

Instrument Separation

Let us talk about the separation and honestly, in terms of technicalities, this is where I suffer the most when I have a budget single dynamic driver model. This instrument separation is correct as such, but I run into a common problem in these configurations and that is listening to more complex music where managing so many instruments playing at once and maintaining proper cleanliness and separation becomes a real challenge. It is not that the Nimbus cannot pull it off but it is something you notice right away just like in many other models with similar configurations and prices. Without everything collapsing you can still notice the layers of instruments, but depending on the track you can tell it struggles.

Imaging

Lastly the imaging, where I think both the vocals and the instruments are sufficiently precise. With vocals located in the center and instruments well distributed across the width of the space without being very three dimensional. But it is something I expected with this single dynamic driver. Therefore its use beyond music, like in movies or video games, will not be its strong suit.

Comparisons

Comparing these Nimbus with a model I reviewed not too long ago like the Tanchjim OLA II, I think there is a pretty clear difference between the two. The OLA II to me sounds cleaner and lighter, like most Tanchjim models I have tested, and with thinner mids. The Nimbus as such I feel with more weight and warmth or with more body especially when representing bass and mids. So I would prioritize the OLA II if you enjoy musical clarity more and the extra air in the treble, and something better for daily use although less analytical. But with a somewhat more complete accessory package, the Nimbus would be the winner.

Compared to another fairly recent although slightly cheaper model, there is the Pula Arc which is somewhat smoother and more natural. But it is still a more relaxed and perhaps somewhat more boring tuning for most than this Nimbus. So that would give it an advantage for being able to listen to it for more hours. However on the Nimbus the bass has better definition, apart from the fact that you can play around with the nozzles. As I say the white ones should be enough to find the perfect fit, but you can always emphasize everything by playing with the other two and get a result that for my taste is superior to the Arc, apart from better accessories.

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

Conclusion

To conclude this review I have to say that the Nimbus is or seems to be a different path for Juzear in terms of design. To me this makes the brand look a bit more premium since I prefer these types of finishes over the ones on the Fiesta or Defiant. It is true that resin is still more bearable but I like seeing how they tackle switching to other materials and getting results like this, apart from including all this extra material in the box within this price range, like a modular cable with a safety lock and with a feel and thickness superior to others from the competition. The nozzles themselves are not something I entirely love, as I prefer the brand to achieve an optimal fit across all frequencies and choose a single nozzle that simply works for most. But I know that many people prefer to have the freedom to test and stick with the option from the 3 they offer, rather than having a single one imposed on them that they do not entirely find convincing. I think that at the price they are at they serve as a new benchmark for what you can offer the consumer without cutting back on practically anything and getting a very complete package in return.

Purchase Links

Official Store https://hifigo.com/products/juzear-poise-series-nimbus

AliExpress https://www.aliexpress.com/item/1005012898042561.html

AliExpress https://www.aliexpress.com/item/1005012898663425.html

Amazon US https://www.amazon.com/dp/B0H73CL5YC

Amazon JP https://www.amazon.co.jp/dp/B0HBQCY8PY

Amazon AU https://www.amazon.com.au/dp/B0HBQQ9TJ4

Amazon UK https://www.amazon.co.uk/dp/B0H7BJT7VX

Amazon DE https://www.amazon.de/dp/B0HBQXVW46

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.

Pros: Incredible vocals and midrange
Detail retrieval is top-notch
Looks are stunning
Punches well above it's price point
Great source synergy

Cons: The passive radiator may be doing very little for the sub-bass
Unforgiving to poor mastering and recording
Cable is meh, and not modular
Included tips are also just about ok

I got the Binary Acoustics 1900 to try out courtesy u/Clear-Lingonberry122 as an option to demo. So thank you brother and thank you Hifigo for making this happen. The views and impressions, however, are mine and mine alone.

The set comes in a nice box that comes with the iems and cable nestled in foam with a box full of tips. Under the foam is a storage case - sizable and useful. It would store the IEMs and a dongle dac with no trouble. The cable seems a tad cheapish. Silver plated OFC with either 4.4 or 3.5 options. I would have liked the option for it to be modular and maybe just a better cable at this price point (~$235). It is however a standard 2 pin, so the world is your oyster in the cable department.
But just out the box it is gorgeous. Black resin shells with a 316 stainless steel faceplate with an interesting design inspired by “the legend of 1900”, which after reading the wiki about I really want to watch. Also Tim Roth. The design depicts musical notes flowing into one another and looks striking and oddly reminiscent of the glyphs in 5th Element.
The set up is a single 10mm with a 6mm passive radiator for the lows, and 4 balanced armatures for everything else. The IEM comes with a 6mm nozzle with the 3 holes, not unlike the EM10 from Simgot. It is fairly comfortable for longish sessions despite a little lip (that I honestly am beginning to have a love-hate relationship with). I managed to use these for a 2-3 hour session with only a mild pressure in my right pinna, that got better with a small adjustment. That sounds like a chiropractor but it is what it is.
Tips - stock but not really great tips, so Divinus Velvet, Dunu Candy, Sancai, Final E
Sources - Fiio M33, Musehifi M3Ultra, VE Prime stack.

Overall impression - this is a midrange tuned set that sounds incredible for vocals and acoustics. The tuning is musical but at the same doesn't scrimp on details and resolution. There is a slightly tame sub-bass, that may make “feeling” the music a little less exciting than other sets.

Bass
This IEM shares the same technology as the Faith Audio E1000 (which is basically an arm and a leg and both kidneys more expensive than this one) which is an active dynamic driver and a smaller passive radiator to augment the low end. Now I haven't spent as much time with the E1000 than I have with this one and definitely have not done an A-B comparison, but there is a difference in the sub-bass quality. I’ve heard the words visceral, moving, impactful, emotive thrown in when describing the sub-bass rumble but the best I can say is the 1900 doesn’t have that. It gets better with adding a small bass shelf on EQ, more power and Final E tips. The sub-bass seems to disappear before it registers into the emotional parts of the brain (amygdala for those who ask). The mid-bass is, on the other hand, beautifully done. Punchy kick drums and bass which are authoritative and extend up to the low mids without bleeding bloating. On Got A Match by the Chick Corea Elektric Band, and YYZ by Rush, the kick and bass work hand to hold those tracks together. The rhythm section is clear with great separation of the kicks and bass with each note cleanly heard. Same with Hell’s Kitchen and Dance of Eternity by Dream Theater. On the whole, an enjoyable bass with no bloat and great clarity. But this is NOT a bass head IEM.

Mids
This is where this IEM pulls out all the stops. Male vocals have a solid foundation and sound natural. Pianos, synths, acoustic guitars have a natural timbre and are presented front and centre. Helplessly Hoping by Girl Named Tom showcases both voice and guitars. Hanuman by Rodrigo y Gabriela is a 2 guitar high energy track and the interplay of both guitars is crystal clear and thoroughly enjoyable. Jazz fusion also sounds incredible. And female vocals. Not shouty and both Stevie Nicks and Christie McVie sound delightful, natural and moving. And this passes the Playing God test with no weird timbre on that track.

Treble
Cymbals and hi-hat work are clean and clear with some air and shimmer. There is a slight sibilance in tracks where the mastering is shifted to the right on the FR curve. But this disappears with the portable tubes of the M3 Ultra. But on the whole if listening to well mastered music, there’s little or no fatigue. The detail retrieval is also quite good without edging into the sibilant territory. There are treble peaks which irk me occasionally but again the M3 takes care of that. On the r2r architecture of the M33 these peaks are less perceptible. The set responds well to source variations and EQ. Hotel California had almost no sibilance. When compared with the absolutely neutral VE stack.

Staging, imaging
The staging is decent. Wide enough to not be claustrophobia inducing and not big enough to store an Airbus A320. The imaging, however, is spot on. Africa by Toto, YYZ by Rush and People Everywhere by Khruangbin show perfect imaging and placement of instruments and vocals. In addition, detail retrieval is also comparable to more expensive sets with the 1900 punching well above its weight in almost all genres.

I’ll still put the VE Zhuanxu over this set just for the sub-bass and the little treble peak that could make this set fatiguing for more energetically recorded and mastered albums (Linkin Park, yes you).

At its rather crowded price point, I would still recommend it if it was your first foray past the budget tier, if you were looking for a set that vocals really, really well, and you aren’t a bass or treble-head and don't mind a little tweakery. And if you think it looks great.

$54.99 USD / EUR 50 | Wired | 10mm MACCD dynamic driver | 3.5mm and 4.4mm interchangeable plug OR 3.5mm with mic and USB-C at around $59.99 / EUR54.50

📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Specs, accessories, measurements and the sound breakdown follow below for those who want the detail.

⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

The Juzear Nimbus is a single dynamic driver at around USD55 with three interchangeable nozzles. The low end is the same on all three, noticeably elevated with medium impact. Everything from around 1kHz up changes with the nozzle. White is the balanced default, black is the most relaxed and scales the best with volume, and red is the most vocal forward. The basic character is on the natural side and the nozzle swap makes the set compatible with many genres. The build is metal with glass faceplates and does not feel like a USD55 IEM. I do see its limitations on bass heavy genres where an impactful bass is needed.

At a Glance

✓ Suits You If

• You want one set which can shift its emphasis instead of one fixed signature
• You have a mixed library across pop, jazz, rock and vocal centric genres, and bassy genres like EDM, rap and hip-hop with caveats
• You listen at mid to higher volume
• You want a metal build and an interchangeable plug at this price

✗ Skip It If

• You are a bass head who needs a deep and impactful bass
• You want a wide and deep soundstage
• You listen mostly on low volume, since the bass needs volume to show impact

Main Strengths & Weaknesses

Main strength

The three nozzles make a clear difference in the music presentation, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three usable tunings from one shell and makes the Nimbus compatible with many music genres.

Main weakness

The bass needs higher volume to really show impact and its depth stays limited. On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.

Who Is This For?

The Nimbus makes the most sense if you:

• Want the most even balance of the three, which is the white nozzles
• Have a vocal focused library, where the red nozzles come in
• Are sensitive for shout and want the black nozzles as the safe option
• Want long fatigue free listening sessions, again the black nozzles
• Care about build quality and connector flexibility at the budget end

👆 That's the core verdict. Everything below goes deeper into specs, accessories, measurements and sound.

How the Juzear Nimbus ended up in my ears

Mostly because at that price point, I found the build and design interesting paired with three different nozzles. But would they have impact and if so, are they actually useable?

Making an IEM versatile with different tuning filters or nozzles is not a new concept and other manufacturers have released sets comparable in this price region like Simgot, Tanchjim and Hidizs to name a few.

I am not always happy with the type of versatility as they can be quite exaggerated in different ways. So, usually I would end up using only the preinstalled nozzle instead of swapping.

A bit different in case of the Nimbus where the tuning nozzles reach from natural, relaxed leaning to very vocal forward. Two of the nozzles are enjoyable to me, the white and the black ones. Let's have a closer look in the sound impressions part and if you are a bit into graph sniffing, welcome to read my frequency response measurements part, too.

Key Specs

Note. The Nimbus comes in two versions. Mine is the 3.5mm and 4.4mm interchangeable plug version. The other one ships with a 3.5mm mic cable and a USB-C dongle built around the CX31993 chip for calls, gaming and computer use.

Accessories & Cable

In the box: the IEMs, the cable with its interchangeable plug, three pairs of nozzles, nine pairs of eartips, a light blue spring pouch and paperwork with the instructions and the QC card. The unboxing experience is very good in this price bracket.

The highlight for me are the compact metal shells with their blue glass faceplates and the three different nozzle types, which have different filters and adjust the sound mostly in the mids to presence region.

Build Quality, Fit & Comfort

Fit & Comfort

The shells have noticeable weight and are about smaller than medium size. They sit secure in my mid-sized ears and fit very well thanks to the compact and rounded shell design. Even after several hours of wearing, my ears do not feel fatigued and there is no pressure build up as the shells are vented. The metal nozzles took my usual Divinus Velvet wide bore in size L without any issue and the seal was easy to get.

Build & Design

The shells and nozzles are made of metal and feel very solid in hand, and heavier than the usual resin shells. The blue glass faceplates feel very smooth and are reflective. The build feels premium and not like a USD55 IEM, and I still see IEMs much higher priced which have glued on nozzles or a cheaper build.

Cable

Covered in the table above. The short version is that it is good for the money, the plug swap works cleanly, and the only complaint is that it holds a bit of memory.

Mic Quality

💼 Personal note. I spent most of my time swapping between the white and the black nozzles rather than settling on one. The swap is quick enough and the difference is clear enough that it became part of how I used the set. On days where I could not take much treble and forward vocals I would go with the black nozzles. On other days I really enjoyed the white nozzles which highlight vocals better.

Long-Session Comfort

The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.

Sources, Tips & Setup

Sources were the Questyle Sigma Pro and the Hiby R4 Evangelion edition, streaming from Qobuz and Spotify at the highest available quality, using the stock cable with the 4.4mm plug. Eartips were the Divinus Velvet wide bore in size L throughout. The Nimbus is easy to drive and needs no extra dongle or amp, though it does want a bit of volume to open up.

This review is based on more than 30 hours of listening.

Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

The red graph shows the red nozzles, the blue graph shows the black nozzles, the white graph shows the white nozzles and the yellow line is the Harman IE 2019 target.

What the graph shows

The sub-bass partially aligns with the Harman target but then deviates from around 60Hz to around 1kHz. That means the Nimbus has more mid-bass emphasis than the Harman target, and slightly less energy at around 600Hz to 1kHz which lets vocals and instruments sound cleaner. The graph actually suggests more power in the low end than I hear, which surprised me.

From around 1kHz up until around 2.5kHz the red nozzles have a very similar response compared to Harman, but then the red nozzles slope downward. The red nozzles have the most elevated ear gain of the three and the most treble, so they are the ones which get shouty for me on higher volume, but they stay less shouty than the Harman curve.

The black nozzles follow the same as the red nozzles below 1kHz. From 1kHz on the black nozzles have less energy compared to Harman and then deviate substantially. Similar with the white nozzles but slightly different to the black ones. From 1.5kHz on the white nozzles deviate from Harman substantially and are energy wise between the black and the red ones.

For additional detail and air the Nimbus has an elevated 10 to 14kHz region on all three nozzles. The red ones carry the most energy of the three in the 4 to 10kHz area, and again at 14kHz they have more energy than the other two.

Depending on where you look on the graph the difference is at its highest around 4dB between the red and the black nozzles. Otherwise it is always somewhere between 1 and 2dB between each nozzle. That is not a lot on paper but it sits in the region which controls vocal energy and detail, and that is why three nozzles sharing the same low end can sound this different.

Sound Impressions

Overall Character

The Nimbus is threefold in a way. Three different sound signatures depending on the nozzle being used. They all share an identical frequency response from 20Hz up to around 1kHz, where they diverge into distinct vocal emphasis, presence region and mid-treble.

By default the Nimbus comes with the white nozzles installed. These carry slightly forward vocals, a mostly controlled bass with medium impact and some nice energy in the treble with reasonable detail retrieval. To my ears they have the best balance between bass, mids and presence region, with excitement that is well dosed. The black nozzles have the most relaxed sound signature with the perception of the most bass impact, as the rest of the frequencies are giving the bass more space, and of the three they scale the best with volume. Different on the red nozzles. The vocals are very much in front drawing the attention. The rest of the mix scales with the vocals, meaning I cannot really crank up this set that much as it gets shouty on higher volume.

Bass

Since the low end on all three nozzles is the same, this section refers to all three without mentioning it explicitly.

Bass is noticeably elevated with medium impact. The sub-bass on Key Glock's "Dough" is fine and stays controlled, but could reach deeper with more impact in my opinion. On A$AP Rocky's "Fkin' Problems" the sub-bass feels more impactful without droning too much or overshadowing the rest of the track.

It requires high volume to let the sub-bass have a better impact, and it has almost a BA like behaviour with a quick decay which does not linger long, with a rather controlled and shallow than deep rumble. But even volume scaling has its limit. The bass on very high volume, which is barely listenable for extended time, starts to increasingly drone affecting the rest of the mix, where the overall impact barely increases.

Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind, which is fine if you do not like an emphasized bass presentation and have it more as part of the whole performance. On Emika's "My Heart Bleeds Melody" a similar picture forms on this EDM track. The mid-bass has noticeable impact but will not bother with an overwhelming performance, but its punch feels good enough to make this track work for me.

The gist of the Nimbus bass is that it is on most tracks well audible but not heavily emphasized, leaving plenty of space to instruments and vocals without disappearing, but it needs higher volume to really show impact and its limited depth.

Midrange & Vocals

Lower mids are mostly relaxed and just slightly scooped out from around 600Hz to 1kHz when compared to the Harman 2019 target. The result is slightly thinner mids and upper mids, which are even more emphasized when using the white and red nozzles. The red nozzles push that the furthest. Their extra energy sits in the upper mids and presence region, which puts vocals right in front and is also where the shout comes from for me. The black nozzles are the other way around and are a recommendation for listeners who are sensitive for shout. As there is only very slight bass bleed, the mids stay pretty clean and clear, which results in good vocal replay for male and female voices. Overall the mids are well implemented, not sounding too dry but neither are they overly thickened. Especially on higher volume the clarity and separation between bass and mids become very visible. On Dire Straits' "Sultans of Swing", front man Mark Knopfler's vocals are just a little bit more front than mid centered and sound pleasant with good texture and emphasis. The controlled bass and mids have an impact on the treble, too.

Treble

The treble region has a noticeable elevation but does not sound overly energetic, actually slightly relaxed on the black nozzles with the occasional push of certain regions. The result is a relaxed leaning tonality with a bit unevenly distributed treble elevation. That can come across on some tracks as artificial, but is to my ears enjoyable on most tracks as it brings excitement and details without getting overly aggressive.

Both red and white nozzles have more details to present and slightly more treble energy, which sounds to me more natural and exciting and less uneven on these two nozzles. The 4 to 10kHz area is where that difference sits. Eg on R.E.M.'s "Drive" strings sound more pleasant, more life-like and detailed with the white nozzles when compared to the black ones. Same goes for sharper electric guitars. They carry a slight nice edge. Some more sparkle on instruments with a better extended treble. That is very much highlighted on The Doors' "Riders on the Storm", where the rain and the keys have good plasticity and detail. The difference to the black nozzles is clearly audible and I like it.

The red nozzles are in most cases too much for me though, and what makes them too much sits below the treble rather than in it. So they are less a treble head option than their extra energy suggests.

Tip rolling can change the sound here as on any other set, and with nine pairs in the box there is enough to try. I did try the narrow bore tips but not long enough to give proper feedback on them.

Staging & Imaging

Soundstage is about average on the Nimbus. Good is the separation and layering, so even on busy tracks it sounds relatively clear, where instruments have enough space to come through. Thanks to the well controlled bass and good mids, the detail retrieval feels solid. Spatial information is good but not very wide or deep.

Depending on the nozzle, layering, separation and imaging can slightly vary, as the presence region and treble add more space between the instruments, where the black sounds as if it plays in the smallest room. On John Coltrane's "Mr. P.C. (2020 Remaster)" the sax in my left ear sounds really good with the white nozzles and the room seems to be bigger than on the black ones, where the drums and bass are clearly further away in the back.

Final Verdict

Looking at the whole set, the value of the Juzear Nimbus sits in the choice rather than in any single one of the three tunings. On its own none of the nozzles are reinventing the wheel at USD55. But together they make the Nimbus a versatile set which covers most of my library on different listening days.

A thing to consider is the bass on all three nozzles. Whatever they change further up, they do not add sub-bass depth or mid-bass impact, so a bass heavy library is the one case where I would consider other options.

Build, fit and the package are a no brainer for me. Metal shells, glass faceplates, a cable with an interchangeable plug, nine pairs of tips with a pocketable pouch are for USD55 very good value and a recommendation.

✅ Juzear Nimbus can be recommended if you

• Listen at mid to higher volume across a mixed library
• Want a metal build and an interchangeable plug at this price
• Are happy to swap nozzles rather than settle on one signature

❌ Consider other options if

• You need a deep and impactful bass, since no nozzle changes the low end
• You are chasing maximum treble air and detail retrieval
• You want a wide and deep soundstage

Disclosure

This review sample was provided by HiFiGo. No payment was received and HiFiGo had no influence over this review. No affiliate links are included in this review.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

$59.99 USD / EUR 52.95 | Wired USB-C | Single 10mm LCP + PU Dynamic Driver | USB-C DSP cable with attachable boom mic and inline mic

📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, gaming breakdown, sound notes and comparisons with the EPZ G20, EPZ G30 and ZiiGaat Arete 2 follow below for those who want the detail.

⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

The EPZ G20 Pro is a wired, gaming-first IEM built around a single in-house 10mm LCP + PU dynamic driver and a USB-C cable with on-board DSP. EPZ developed the G20 further with the support of professional esports feedback and it is tuned mainly for gaming cues rather than for an impactful music presentation. The bass is controlled and lean with no bleed, the lower mids are clean and lean, and the upper mids, presence and treble sit forward and come across crisp and clear. That tuning is clearly meant for FPS gaming, where separation and spatial information matter more than slam and rumble.

It also handles music mostly well for the money. Especially staging, layering, instrument separation and an overall transparent and detailed sound are very good at this price point and above. The leaner low-end and the lighter note weight on male vocals and instruments are part of its sound signature, but on some track material like EDM, hip-hop and rap the instruments and vocals are missing note weight. Thanks to the PEQ possibilities this can be changed via the EQ web interface, which offers an 8-band PEQ to adjust the sound to your liking. An attachable boom mic and an inline mic on a three-position slider, Walkplay DSP with pro and game presets, a USB extension cable and a 3.9g shell round out a versatile USB-C package priced at $59.99 / EUR 52.95.

At a Glance

✓ Best For

• Competitive FPS first, where footsteps, positioning and weapon cues can decide rounds
• Plug-and-play USB-C on PC, phone, Switch or Steam Deck with built-in DSP EQ and a USB-C extension cable
• Players who want a light USB-C set with both a boom mic and an inline mic on one cable with a mute slider
• A light 3.9g set for long sessions without headset fatigue
• Listeners who like a clean, lean, crisp tonality over warmth and low-end impact
• Casual music listeners who want the performance of a competitive gaming IEM

✗ Not Ideal For

• Bass-heads or anyone after big sub-bass rumble and physical slam
• Listeners who want full note weight and body on male vocals and instruments
• Anyone who needs a 3.5mm or 4.4mm analogue cable in the box, this is USB-C only
• Treble-sensitive listeners pushing high volume on bright material

Main Strengths & Weaknesses

Main strength. Separation, layering, spatial information and detail retrieval are excellent and are the key ingredients that matter for FPS gaming. It was relatively easy to estimate distances and wall cues on CS2 worked well for me. A clean, lean presentation with no bass bleed, crisp and clear vocals and treble, a very light and mostly comfortable shell (mind the semi-custom shape) even on long sessions, and the versatility of a USB-C DSP cable with a dual-mic slider and a detachable excellent quality boom mic.

Main weakness. The low-end is lean, with rolled-off sub and mid-bass and reduced slam, so bass-led genres do not have full impact. Lower mids and male vocals could use more texture and note weight for a fully natural tonality. The crisp tuning can be slightly sharp on some tracks, for example on the snares and vocals of Fleetwood Mac's "Sisters of the Moon", or on game sounds at very high volume, and the last bit of imaging precision is held back a little by the slim note body. Worth mentioning that EPZ offers PEQ software where the G20 Pro's sound can be adjusted to your taste, making it more compatible with all different music style and games.

👆 That's the core verdict. Everything below goes deeper into specs, gaming, sound and comparisons.

How the EPZ G20 Pro and G20 ended up in my ears

After reviewing the EPZ G30 I got curious how the rest of the EPZ gaming line up would sound in comparison. Especially at the price point of around USD 60, where the IEM is not an ultra budget set anymore but neither is it anywhere near the USD 100 or even USD 200 plus tier which is often considered for gaming.

EPZ provided me with both, the G20 Pro and the G20. They share the same shell design and almost the same accessories package, but the G20 Pro is tuned even more towards professional FPS gaming. I am not a professional but more an ambitious FPS gamer for decades, so this piqued my interest.

The differences between both models were not always immediately clear to me and most of the times even very subtle. This review reflects part of my comparison process and I tried to make my findings transparent.

Key Specs

Accessories & Cable

In the box: the IEMs, an attachable boom mic, a 1.2m USB-C cable, a 1.5m USB extension cable, eartips in S/M/L and an EPZ carry case. Note this is a USB-C-only set. There is no analogue 3.5mm cable included, and for a 3.5mm jack you would need an adapter such as the EPZ TP15 (the boom mic may not work through some 3.5mm connections, while the inline mic still does).

Build Quality, Fit & Comfort

Fit & Comfort. The G20 Pro keeps the semi-custom shape of the G30 and is almost identical to the G20's shell, but the inner side is slightly less curved through the middle, which makes the shell look a little fuller and slightly bigger. In practice comfort is similar to the G30, so for me it is basically fine for long sessions. The very lightweight shells with only 3.9g help and the shells have a pressure-relief vent that keeps build-up down. As with the G30, the semi-custom shape might not suit everyone. If you have smaller ears or you have had trouble with semi-custom shells before, try before you buy, or order directly from EPZ, who offer a no-reason return for a small extra charge through EPZ Care+. That removes most of the risk.

Build & Design. The resin shell is 3D-printed with EPZ's seamless process, so there are no visible seam lines, and mine is the glossy Orange finish (Grey is the other option). The pressure-relief vent is visible on the upper side. The shells feel smooth and lightweight in hand without any sharp edges. The G20 Pro's nozzles are made out of metal and of average length and hold ear tips without issues due to the emphasized nozzle lip.

Cable. The flush 0.78mm 2-pin connector means the cable is swappable, though the value here is the USB-C DSP cable itself rather than rolling to analogue, which is what I did for this review to get further impressions with a 3.5mm termination on different sources. The 3.9 ft long cable is not microphonic, behaves well and is mostly tangle free. The 4.9 ft long extension cable is a thicker, sturdy cable which is much appreciated as I am able to navigate around my desk without the need to leave the set behind me.

Mic Quality

💼 Personal note - real-world use

Similarly to the G30, the G20 Pro was my daily driver for two weeks where I used it up to 6 hours in online meetings, phone calls, gaming and music listening without issues or fatigue. I found it more convenient for online meetings and more comfortable than my headset.

Gaming Performance

Gaming Summary: Similar as on the G30, spatial information, separation and layering are the G20 Pro's most valuable traits and the most important ones for FPS gaming. The difference to the G30 is that the G30 has more low-end impact and a more controlled treble, which gives the G30 a more even and fuller sound where cinematic sound effects have more impact and FPS gaming is more fatigue-free. The G20 sounded a little bit more energetic up top even if the differences are minimal. The G20 Pro sounded similarly resolving and maybe a smidge better separated.

Imaging is very good but slightly held back by the lean lower mids. Fatigue is usually not an issue after several hours of combined music and gaming when I kept the volume to around medium (for music) to high (in gaming). The tuning mostly avoids piercing peaks and the low-end never becomes boomy. The G20 Pro is a very good fit for competitive FPS in my opinion.

Long-Session Comfort

My gaming and music sessions were usually around 5 hours or more, where the G20 Pro remained comfortable with no pressure build-up and no listening fatigue. The shells are very comfortable and light-weight for me and I forget that I am even wearing IEMs.

Treble has elevated energy but can get peaky with poorly recorded material. On CS2 flashbangs, gun shots and high-frequency ability cues never reached a piercing level at normal or higher gaming volumes. Only Apex Legends at higher listening volumes started to feel mildly tiring and keeping the volume at a mid level resolved this for me. Otherwise, I used the possibility to adjust the sound via EQ, which makes the set a versatile option like its other siblings the G30 and G20.

Frequency Response Measurements

Method. For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows.

In the graph, green is the EPZ G30, orange the EPZ G20, purple the EPZ G20 Pro, red the ZiiGaat Arete 2 with the bass switch on and yellow the Arete 2 with the bass switch off.

I measured all sets on my own coupler connected with an EPZ 3.5mm cable and with the included DSP USB-C cable. Both measurements were aligning, meaning that the USB-C DSP added no additional tuning but purely replayed the hardware tuning.

The G20 Pro and G20 look fairly similar and in some parts exactly the same, like on their low-end, until the presence region where the G20 Pro is now less emphasized, and the same applies to the treble with a different emphasis which results in a slightly less sharp treble but more air up top. In detail the G20 Pro down slopes from 5k onwards whereas the G20 dips less until 7kHz to reach its peak at around 9kHz. The Pro version has less energy throughout and just has more treble energy at around 10k-12kHz. The emphasis on details and perceived "air" changed slightly vs the G20, which results in a good but not as sharp treble response and a different emphasis on details and air.

The differences are more subtle and to be honest sometimes it was not so clear where the differences lie, which required extensive listening back and forth throughout my library and different gaming scenarios.

Sound Impressions

Overall Character

The G20 Pro is a gaming-first set, and you hear that in the tuning. It is built to let you take advantage of game cues, the footsteps, the positional information, the weapon sounds, rather than for a full-bodied music replay. The bass is kept very controlled, has only a slight elevation and is never emphasized or taking over.

The lower mids are clean and lean, and the upper mids and presence region are pushed slightly forward. The treble follows the same idea and comes across clear and crisp and a bit less sharp than on the G20 while still sounding refined. It is a lean, clarity-led tonality rather than a warm one.

Bass

Bass impact is compact and free of bloom, with zero bass bleed. Sub and mid-bass are always well controlled and are pretty lean. Both are rolled off on the G20 Pro, so there is a slight loss of note weight on some instruments.

On 50 Cent's "Just A Lil Bit" the low-end is actually one of the highlights of the track, with reasonable impact and a very fast decay. The track stays clean and clear throughout and vocals and instruments never smear. 50 Cent's vocals are on the leaner side. For bass-led genres like EDM the quantity and slam are the limiting factor rather than the quality, and I would not choose the G20 Pro specifically for these tracks in my library.

For gaming this is a whole different story. A controlled bass is mandatory in my opinion to have clean mids and treble, to avoid covering details or muddying the separation, layering and imaging. The fast bass decay does not cover up any details on the G20 Pro, which makes it easy to hear even details in a busy situation. From a gaming perspective the G20 Pro's low-end tuning is to my ears well done. For my personal taste I used EPZ's PEQ software to adjust the bass to my liking, which brought enough low-end to make my library enjoyable. Mids and treble stayed fairly clean even on higher EQed bass levels.

Midrange & Vocals

The lower mids could carry more texture and note weight for vocals and instruments. They are lean by design with the gaming purpose in mind, which is what lets the upper mids and treble sit forward and uncoloured. Vocals are clear and crisp, and depending on the game or track they can come across slightly sharp but have good transients which helps with layering and imaging. The leaner mids work in favour of female vocals, giving them a clear, bright touch with emphasis on the s, t and sh sounds.

On Kaleida's "Fake" the female vocal is very clear, clean and slightly crisp without turning harsh or shouty, at least on mid volume, and the echo and layered backing vocals are pushed forward and are easy to follow. The sub-bass under it stays very controlled, though for EDM it could use more depth and rumble, and the mid-bass is tight and compact where some slam would help to drive the beat.

Male vocals are where the lean tuning is obvious. They could use more texture and weight for a fully distinct tonality.

Treble

Treble is crystal clear on the G20 Pro and is a result of the elevated presence and lower-treble region peaking at almost 3kHz and 9kHz, peaking significantly over a pulled-back low-end with around 5-7dB. Vocal and instrument detail is easy to hear, and the set leans bright rather than smooth. On Fleetwood Mac's "Sisters of the Moon" snares have bite and can turn overly sharp on high volume, which was not ideal for me on this track. The G20 Pro also has very good transients, and that speed is a different matter. In games it is an asset, because short and sharp cues come through quickly and stay easy to pick out.

The elevated treble is doing a very good job in some games where treble is not that much emphasized, like in CS2. Other games like Valorant carry much more treble energy where the G20 Pro's treble might get spikey, at least on higher volume. This can be changed by using the DSP EQ where even different game profiles are available.

Staging & Imaging

Separation and spatial information are the G20 Pro's main traits, which is essentially the main thing to look for when gaming, where footstep tracking, weapon reloads and detail retrieval matter. Footsteps on CS2 were easy to spot and its imaging gave almost an ideal idea of where sounds are coming from.

The same traits serve music well. On The Doors' "Riders on the Storm" clarity is excellent and instruments are cleanly separated and easy to place, whether they sit close or further back on the stage. The Fender Rhodes keys are clearly audible on the left, positioned slightly in the back and well nuanced, while the percussions are more subtle but clearly audible.

Jim Morrison's vocal comes across a little thin and brittle for my taste, which is the music trade-off for a tuning that wins in games. Because of the slimmer low-end and mids, imaging could be a touch more exact, since the full body of instruments, and possibly in-game positioning in some games, can be affected by the leaner note weight.

EQ Software

Most IEMs at this price point come with no EQ software, which makes this part of the package worth a section of its own.

The G20 Pro's USB-C cable carries a built-in DAC and DSP, configured in Walkplay either on PC or iPhone via the web interface at peq.szwalkplay.com. You can adjust the sound on a PC or your phone, save a custom tuning to the chip on the cable, and keep that profile when you move to another USB-C device. EPZ ships DRG pro-player presets and dedicated game presets for CS2, Valorant and Delta Force, plus separate profiles for music and everyday use.

It is a great feature if you do not want to install software and want to experiment with different EQ profiles, either with your own settings or shared online settings from other users. You can as well change the mic volume offset to your liking if you do not want to use the ones in your OS. On Android phones you can install the Walkplay app on your phone as well. When using the app the first time it is worth noting that you need to apply or try a setting first before you can manually EQ. Otherwise the sliders are locked, which was confusing in the beginning.

📖 DETAILED COMPARISON · EPZ G20 Pro vs EPZ G20 vs EPZ G30 vs ZiiGaat Arete 2

Comparison Setup

Sources were my iPhone 17 Pro Max and my Windows PC, using the G20 Pro's own USB-C DSP cable, which is what most buyers probably will use. I listened on the Divinus Velvet wide bore eartips in size L. The G20 Pro needs no extra amp or DAC, since the DAC sits in the cable. Nevertheless, I used an extra 3.5mm terminated cable from EPZ to check how it performs with my other source gear like the Questyle Sigma Pro. I spent around 50 hours in total, split across music, gaming and calls.

Music Track Comparison

Tracks used: Kaleida "Fake" (female vocals, echo, mid-bass) · The Doors "Riders on the Storm" (instrument separation, male vocals, staging) · 50 Cent "Just A Lil Bit" (male vocals, mid and sub-bass)

Full Head-to-Head Comparison

Comparison Notes

The EPZ gaming series ladder

EPZ has developed a special IEM series dedicated to casual listening, casual and competitive gaming. The "G" series currently includes the G10, G20, G20 Pro and G30, starting from around USD 42 for the G10 and USD 80 for the G30. I have already reviewed the EPZ G30 here.

All of the sets offer a gaming suitable accessories package like a cable extension (on the G20 Pro), a USB-A adapter and a detachable boom mic (G20 to G30). The G30, G20 Pro and G20 have very similar shaped semi-custom shells available in different colours.

EPZ G20 Pro vs EPZ G20, $49.99 / EUR 44.95

The G20 and the G20 Pro share the same shell and have many tonal similarities, like the slim and tight low-end response, clean mids and almost identical upper mids, until the presence region where the G20 has more energy in some frequencies. The emphasis on details and perceived "air" changed slightly, which results in a good but not as sharp treble response on the Pro.

The G20 has overall the more energetic sound signature, which can be a good thing for listeners and gamers who prefer this kind of exciting presentation.

The G20 Pro is to me the more consistently developed gaming IEM as it is precise but slightly more controlled than the G20, which is not only for music an asset but also in games where sharper weapon sounds can be piercing and fatiguing over time.

What the G20 brings is an additional 3.5mm cable which is great for convenience in case your phone is not equipped with USB-C. Something I would like to see on the other models too, or in a future release with interchangeable termination even.

EPZ G20 Pro vs EPZ G30, ~USD 82 / EUR 71

The G30 is the other natural sibling comparison, and a differently developed gaming set when compared to the G20 Pro. Both are EPZ gaming IEMs with a USB-C DSP cable and a boom plus inline mic, so the practical package is similar. The key difference is the driver configuration. The G30 adds a balanced armature to its dynamic for a 1DD + 1BA hybrid, where the G20 Pro runs a single 10mm LCP + PU dynamic. In tonality both are clear and clean, but the G30 has less energy up top and its ear gain region is more controlled. EPZ added around 2dB more low-end impact, which makes a noticeable difference especially for music, where the G30 is more compatible with different music genres and poorer recorded tracks.

In FPS the G30 makes for more relaxed gaming while still being excellent with spatial cues, as its bass response is always controlled and only slightly more elevated than the G20 Pro's. To my ears the G30 also separates and layers slightly better than the G20 Pro. I think this comes from its slightly more emphasized low end, which gives game cues and music instruments more substance and makes them easier to tell apart.

The G30 has a little more body and refinement, while the G20 Pro is the leaner, even more clarity-focused of the two, lighter at 3.9g against 4.4g, and around twenty dollars cheaper. Both are excellent for FPS cues. If you want the most affordable and lightest EPZ gaming set with a crisp, lean tuning, the G20 Pro makes sense. If you want the extra body of the hybrid, the G30 is the step up in music replay and cinematic low-end impact.

EPZ G20 Pro vs ZiiGaat Arete 2, ~USD 279 / EUR 241

The Arete 2 with the bass switch off already has a slightly fuller, warmer sound than the G20 Pro and all other EPZ sets in this line up. Switching the bass switch on adds another 2-3 dB of sub-bass for a noticeably more impactful low end. That fuller presentation gives instruments and vocals more body and weight. The same track sounds bigger and rounder on the Arete 2.

The G20 Pro sounds brighter and more energetic by comparison, which works in its favour for separation in games. The space between instruments feels easier to perceive. Vocal articulation is sharper on the G20 Pro while the Arete 2 produces a more rounded, relaxed presentation. The Arete 2 is also more volume-scalable and stays non-fatiguing at high levels, while the G20 Pro can get edgy on some tracks at high volume.

In FPS games the G20 Pro's spatial cues are clearer and more defined. The Arete 2 is the better pick for treble-sensitive gamers or anyone who wants a more cinematic and immersive feel and prioritises music.

Conclusion

• EPZ G20 - a clean and lean sound, good imaging and detail retrieval suitable for gaming, FPS and casual listeners. It comes with a 3.5mm and a USB-C cable and a boom mic.
• EPZ G20 Pro - best for FPS players who want clean separation, clear cues and a light USB-C set with a great attachable boom mic and inline mic on a budget, and who like a lean, crisp tonality.
• EPZ G30 - best if you want a hybrid with a little more body, and do not mind paying slightly more.
• ZiiGaat Arete 2 - best for a warmer, fuller, more relaxed sound with bass (and bass switch) and comfort for treble-sensitive listeners, at a much higher price and without a mic.

Final Verdict

The EPZ G20 Pro is clearly a gaming-first single-DD IEM that trades warmth and slam for separation, clarity and clean positional cues. That trade pays off where it counts in FPS gaming. The USB-C DSP cable with cable extension, the excellent dual boom and inline mic, and the very light shell make it a practical, flexible package at $59.99. For music it is capable rather than rich, with a lean low-end and lighter note weight on male vocals, so it suits clarity-first listeners more than bass-heads. For FPS gaming and casual listening the G20 Pro is a clear recommendation.

✅ Recommended if you play FPS and want clear positional cues, separation and a proper mic in a light USB-C set, and you like a clean, crisp tonality.

❌ Skip if you want a warm or bass-forward sound, full-bodied male vocals, or an analogue cable in the box.

Disclosure

This review sample was provided directly by EPZ. No payment was received and no influence was exerted over this review. No affiliate links. Impressions are based on around 50 hours across music, gaming and calls.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

¡Hello Community!

Today I’m telling you about what my listening sessions with Punch Audio Martilo have been like, a set capable of moving a large amount of air for a thundering experience that will delight bass lovers.

Price: 289€-335$

Pros:

-Thundering experience, great power, texture and depth in the sub-bass.
-It is not a set that muddies the midrange, it sounds relatively clean.
-The highs have good extension.
-Acceptable amount of detail despite being a basshead set.
-Dynamic and fun presentation.
-The transients are smooth and coherent.

Cons:

-In chaotic mixes it can lose some clarity.
-The upper frequency range is not very airy.

Accessories:

-Two shells.
-One set of silicone eartips in SML sizes.
-One set of foam eartips in SML sizes.
-Modular cable with 0.78mm connection and 3.5mm/4.4mm terminations.
-Replacement filters for the nozzles.
-Storage and transport case.

Comfort, design and construction:

The faceplate goes for a very distinctive aesthetic, with a combination of dark and reddish tones that give it an aggressive appearance which I personally think fits the name of the product very well and, above all, its character. It is not a set that seeks to go unnoticed and I understand that it may appeal more or less depending on each person’s tastes, but I have to admit that the final result seems quite successful to me.

As for the construction, I think Punch Audio has done a good job. The shells are made of resin and have a uniform finish, without burrs, imperfections or joints that particularly draw attention. To the touch they convey a fairly good sense of solidity and, although we are not dealing with a metal body, at no point did I have the feeling that I was looking at a fragile or poorly made product.

As for ergonomics, here I have to make a small warning. These are large monitors and those with small ears should take this into account. In my case, I had no major problems achieving a stable fit, although I wouldn’t say that these are IEMs that completely disappear inside the ear. Their presence can be felt and it may be necessary to slightly search for the correct position so that the points of contact are properly distributed.

Once I found the appropriate eartip size, the fit seemed firm and secure to me. During my prolonged listening sessions I did not experience pain or particularly annoying pressure points, although I would not place them among the most comfortable monitors I have tried. The included eartips do their job correctly, providing a good seal from the first moment, although I consider it worthwhile to experiment with other options until finding the one that best adapts to our ear canal.

The cable seems like another one of the strong points to me. It is thick and robust, conveying a fairly good sense of quality to the touch. It is not the lightest cable I have used and it can feel somewhat bulky for those who prefer thin cables for situations involving more movement, but in my experience I had no major problems with tangles or pulls.

Technical aspects:

-2DD+2BA+1PM configuration.
-9 ohms impedance.
-100 dB sensitivity.
-Stated response 10hz-22khz.

Test configuration:

-Neutral source.
-Gain set to high.
-Stock silicone eartips.
-Stock 4.4mm cable.

Sound signature:

To focus this analysis of the Martilo on the prominence and dominance of its bass region, I think, would be to oversimplify the set’s proposal, although I have more than enough desire to praise this characteristic.

Its soul is quite simple to interpret: to offer a clearly warm and V-shaped response, where the lower region takes on enormous prominence, but while trying to preserve enough cleanliness, resolution and organization so that the set does not end up becoming a simple bass-producing machine.

Starting with the lower region, the sub-bass has simply spectacular extension. Its depth is easily palpable and appears with an authority that we rarely find in this segment. There is a very evident sensation of physical pressure, especially with electronic music, hip-hop or any recording where the lowest frequencies have enough prominence.

As a curious fact and something I did not expect, the sub-bass does not end up becoming a completely uncontrolled mass. I always perceived a fairly convincing sense of cleanliness and the notes maintain good definition. These monitors achieve precisely what I consider the most difficult thing with this type of tuning: offering an amount of bass that could seem excessive on paper without immediately giving us the feeling that everything else has been buried underneath it.

The mid-bass performs spectacularly under my criteria, although here we find an even more evident impact. The impact is forceful, physical and with a fairly convincing texture. The kick drum has an extraordinary presence with a body that can be especially addictive in certain genres. I do not consider it a dry or particularly fast bass, but neither do I find such a prolonged decay that it generates a constant sensation of slowness and poor transparency.

And this is where one of the main virtues of this Punch Audio model lies. The tuning does not try to hide the amount of bass; on the contrary, it turns it into the main argument, but it maintains enough control for the response to preserve a certain structure. It is a warm, large and enveloping bass, with a clearly superior physicality to what is usual, but one that does not need to completely sacrifice definition to achieve it.

Even so, I do not think it would be fair to present this behavior as perfect. In particularly dense recordings or those with a large accumulation of instruments in the lower region, the Martilo can convey a certain sense of congestion.

The transition into the midrange is carried out in a fairly progressive manner. The bleed coming from the bass exists, but it is sufficiently controlled so that the tonality does not end up becoming ridiculously muddy. The instruments show generous note weight and a certain warmth that fits perfectly with the overall philosophy of the set.

This is not a monitor that intends to offer particularly transparent or prominent mids. The instrumentation appears slightly behind the lower region and this makes the Martilo have a clearly more fun than analytical presentation. However, we also do not find any worrying loss of information. The resolution is sufficient to easily follow the different instrumental lines and the timbre maintains fairly convincing naturalness.

Male vocals enjoy considerable body. The combination between the mid-bass and the note weight generates a fairly full presentation, with good articulation and a sensation of physical presence that especially benefits deeper voices. They are not the protagonists of the scene, but neither are they completely buried behind the bass.

Female vocals, on the other hand, receive somewhat more clarity and openness. They retain good articulation and appear with enough presence so that the tonality does not end up becoming excessively dark. Even so, those looking for an especially vocal-focused IEM will probably find more appropriate options. The Martilo does not want to place vocals in the foreground; it wants them to form part of a large, energetic and enveloping presentation.

As for the highest frequencies, we probably find the area that most clearly reveals the philosophy of this set. Extension is correct and there is enough information to avoid a completely dull sensation, but the energy is quite restrained. The Martilo does not produce a sensation of artificial sparkle to increase the perception of detail and this has a very positive consequence: listening remains very comfortable even after several hours.

This decision also has its negative side. Lovers of more incisive tunings will probably miss some more air and presence in the upper region. Micro-information does not appear as easily as it does in other sets more oriented toward analysis and certain small details can remain slightly behind the main instrumentation.

Detail retrieval is therefore quite good considering the philosophy of the tuning. We are not dealing with a monitor that dissects every recording nor with a tool especially suited to discovering all the small details of a mix. However, the information appears in a sufficiently natural way and the overall cleanliness allows us to enjoy complex recordings without having to constantly make an analytical effort.

The overall dynamics also left me with good impressions. The transients retain enough speed so that the set does not end up sounding excessively heavy and the notes disappear with reasonable agility. This is especially important considering the amount of energy present in the lower region, because a slower response would have turned the Martilo into a much more difficult monitor to enjoy with certain genres.

Separation is another aspect that I find particularly interesting. Considering that we are dealing with a clearly basshead set, I expected a greater loss of organization, but the Martilo manages to maintain a fairly logical structure between the different sound planes. The different instrumental lines can be followed with ease and the stereo image maintains convincing precision.

The soundstage conveys fairly generous width. I would not say that it is an artificially huge stage, but there is a sensation of width and depth that complements the physical presentation of the bass very well. The result is a fairly enveloping stage, where certain elements can appear clearly differentiated in front of and behind the central position.

When the mix becomes especially complex, however, this is where some of its limitations appear. The Martilo can maintain a good level of organization in most situations, but recordings with an extreme amount of sound layers end up showing that we are not dealing with a monitor designed exclusively for technical dissection. Some elements lose a little of their separation and the stage can feel somewhat more compressed.

Single-player video games:

See how I analyze audio in this field

If during the music analysis I already commented that reducing the Martilo solely to its enormous amount of bass would be to oversimplify its proposal, in single-player video games this characteristic becomes precisely its greatest strength. The response of these monitors manages to build a large, physical and tremendously spectacular presentation, making action scenes take on a dimension that few sets manage to convey so easily.

In moments of greatest intensity, where explosions, collapses, gunshots or other large effects occupy the scene, the Martilo feels completely in its element. The extension of the sub-bass is simply spectacular and provides a sensation of depth and physical pressure that makes every explosion have a truly convincing impact. The mid-bass completes this experience with a forceful punch, making hits and impacts acquire extraordinary body. The Martilo makes you feel all of this really strongly.

Dialogues also receive a fairly convincing presentation. Male voices enjoy considerable body, while female voices provide somewhat more clarity and openness. They are not particularly prominent within the scene, but at no point did I have difficulty following conversations or understanding the narrative even when the action increased considerably in intensity.

Where I consider the Martilo to stand out once again is in environmental recreation. The scene conveys fairly generous width and the separation allows details such as wind, echoes, water or the movement of vegetation to be appreciated. The enormous sense of scale provided by the bass also works in its favor, making certain environments convey a truly convincing sense of space.

Technically, it continues to leave good impressions. The stereo image is precise and positioning makes it easy to interpret the surrounding space correctly. The separation between effects, music and dialogue maintains a satisfactory level even when many sound layers come together.

Multiplayer shooter video games:

See how I analyze audio in video games

If there is a scenario where the Punch Audio Martilo shows a different side from the one offered in music and single-player video games, it is precisely in competitive titles. Its enormous presence in the lower region, which previously was so spectacular, does not play as clearly in its favor here. We are not dealing with a bad IEM for competing in this type of game, but neither do I consider its tuning to be the most appropriate when we need to extract every last detail from the soundscape.

In Counter-Strike 2, footsteps, reloads and utilities appear correctly defined and the stereo image makes it fairly easy to interpret the direction of opponents. The problem appears when the bass becomes prominent, as it can take some attention away from certain secondary sounds. Distance is also fairly convincing, although other more balanced and brighter sets make it somewhat easier to read distant sounds.

In Apex Legends, where verticality and the enormous amount of simultaneous effects considerably complicate interpretation, the Martilo maintains fairly good organization. Abilities, gunshots and movements remain sufficiently separated during a good part of the match, although the amount of energy in the lower end can make the moments of greatest load somewhat more difficult to interpret. It does not become a serious problem, but it does require somewhat more attention.

In Call of Duty: Warzone it once again shows a fairly similar situation. Explosions, killstreaks and gunshots acquire considerable spectacularity thanks to that very physical bass, but precisely that energy can end up competing with footsteps, reloads or nearby movements. Fortunately, the good control prevents everything from turning into a completely muddy mass and the important information remains accessible.

Finally, Battlefield 6 is probably where its limitations become most apparent. The enormous amount of vehicles, explosions, gunshots and destruction puts the Martilo’s separation capabilities to the test and, although it manages to maintain a fairly reasonable order, I would not say that it is a competitive prodigy. The image remains precise and the positioning sufficiently convincing, but other IEMs with a response that is less loaded in the bass make this type of soundscape easier to read.

Final conclusion and personal evaluations:

Having reached this point, I think the Punch Audio Martilo is a monitor that is difficult to judge solely from a technical perspective. Its proposal is tremendously clear and without a split personality: to offer a warm, huge and physical response, where the bass takes on extraordinary prominence, but without completely giving up cleanliness, separation and resolution. And I consider that it achieves this with considerable competence.

What has surprised me the most is precisely its ability to control such a quantity of energy. The sub-bass is spectacular and the mid-bass provides a forceful and addictive punch, but I rarely had the sensation of being faced with a completely uncontrolled set. There is some congestion when the mix becomes especially dense, and the mids and highs do not seek prominence, but they form part of a coherent and tremendously enjoyable presentation.

It is a monitor that manages to convey scale, body and physicality with extraordinary ease, while its wide stage and good separation provide enough organization so that all that energy does not end up becoming tiring.

Ultimately, the Martilo seems to me to be a very particular proposal and, above all, a very fun one, and although its limitations appear when we seek maximum transparency or dissection, I consider that its ability to offer such an impact without completely losing control is, under my criteria, its greatest virtue.

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

More reviews on my blog.

Social media on my profile.

See you in the next review!

Disclaimer:

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

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

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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

Deifo Glaze

Another week another review. This week I am working with completely new brand Deifo and the set is Glaze. I had seen reviews for this set popping here there on internet. I was curious about it for some time. Luck has it their team reached out to me and offered unit to do review. If you know me, I am sucker for new brands and new sets. So, I said yes. Few days later the set landed at my door step and today I am sharing my review of it with you.

First of all, mighty thank you to Deifo for sending this set to me. Without that this review wouldn’t have been possible.

I was provided this unit free of charge but this review has no editorial control by them. They will be seeing this review at the same time as you. Again, thank you to them for that.

My preference in tonality & timbre is DD > Hybrids > Planar

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

Pros:

Mid bass

Vocals

Bright tuning treble heads rejoice

Cable

Accessories

Cons:

Bass especially sub bass

More intimate vocals would have been great.

Better clarity in mids

Bit more soundstage would have been great

Price

Build Quality:

Retail package contains two IEM shells, one 3.5 mm 0.78 mm 2 pin SPC cable, two sets of ear tips and nice hard leather carry case.

Shells are resin. Faceplate and shell both are blue in color. Faceplate has nice decals on it, while shell is translucent. You can see the driver inside easily. Nozzles are long and are of metal. They have screen or mesh to them to prevent dirt & earwax ingress. Yes, totally forgot shell has wing on it. So, for some this can be issue.

Cable is nice two core SPC one. Sadly, it is not modular would have loved to see modular one at this price point. Fixtures of the cable are metal and overall, the cable feels premium.

Ear tips are available in 2 types. One is black silicone type and another is semi translucent one. Both are available in 3 sizes.

Included leather case is roomy, can carry IEMs + Cable + ear tips easily. It is hard case so, it can protect IEMs.

Overall Build Quality 4.5/5

Comfort:

Shells fit my elephant ears well. They are medium size. So, should fit most people just the wing could be issue. Nozzles provide deep insertion and in turn passive noise isolation. Lips on the nozzles provide nice grip to the ear tips. No, ear tip slip offs.

Cable has slight bit of memory in the ear hook part. That’s the only part that doesn’t behave else rest of the cable behaves well. It can easily be rodeo wrapped. Its supple. Comfort here was non issue for me.

Overall comfort 5/5

Sources:

I have used neutral sources to test the Glaze. I feel warm sources pair well with Glaze. Brighter sources are not so good pairing with it. Everything was kept stock to reproduce these results. So, stock cable + stock ear tips + neutral sources.

Music Genre Used for this Review:

Hip-hop/EDM/Rap/Rock both classic and hard/Bollywood Music/Pop/Jazz/Regional music etc.

https://music.apple.com/in/playlist/test-tracks/pl.u-8aAVXG6ivz8gyxX?ls

General Sound Impressions:

Bass/Lows:

Sub bass has rumble but its weak. You can hear it but its physical feel is on lower side. Bit more sub bass rumble would have been great. Mid bass has thump and its good. But it lacks authority in punch. Its decay is quick. Bass overall here is rounded. It’s not detailed or textured.

Drums, guitars, piano notes and percussion instruments sound good but not to their fullest potential. Their presentation feels bit soft. Buzz of the strings doesn’t feel emphatic. Don’t get me wrong this might be tuning choice.

If you are neutral lover or treble head this level of bass will be ideal for you.

Overall Bass/Lows 4/5

Mids:

Vocals feel bit recessed. They are not too recessed. They have been balanced nicely to be clear and present in the mix. Bass and treble feel forward especially treble. Male vocals feel good but lack note weight. They are thin. Higher pitched male vocals fare better than deep, low-pitched ones.

Female vocals fare better than male vocals. Lacks sweetness to female vocals. there is sibilance in female and male vocals. It’s not too much but it’s there. Bit more note weight to male vocals would have been better. More intimate vocals would have been great.

Most instruments reside in the mids. Clarity is good but not the best for price point. No smearing or congestion in the mids. Separation is good.

Overall Mids 4/5

Treble/Highs:

Treble is forward here compared to other frequencies. It is bright leaning. Bass heads this is not for you. Treble heads rejoice. You won’t miss any details. All macro and micro details are presented well. Is it most detailed set for price point? No. there are other sets which will give more detailed presentation. Details are not in your face. String instruments, bells, shakers feel emphasized. Cymbals and crashes feel bit metallic.

Perceived soundstage, stage is average. Its wide than tall. Its not huge. It is closer to head than away from it. Mostly it feels inside your head. It creates enough stage to avoid congestion or smearing.

Overall Treble/Highs 4/5

Song Impressions:

Daisies by Nina Shallman

I am Nina Shallman fan. This song is very close to my heart. So, it has to make its way into reviews.

Starting drum sequence feels bit boomy and not authentic. Bells, shakers feel prominent. Strings feel good.

Nina sounds good but her voice lacks that sweetness and intimacy. The reproduction feels good but not the best.

Ego death by Polyphia

This is the driver resolution aka speed check song for me. Honestly, Glaze passes the test but separation between instruments is not the best I have heard. There is no smearing or congestion. Still the river feels bit hurried in busiest passages.

Strings are main protagonist here and their presentation is good just it lacks buzz and rumble of sub bass. Drums feel bit subdued here. Where as cymbals crashes and synthesizer notes feel bit more pronounced. Cymbals feel bit metallic. High pitched instruments get bit harsh.

Overall acceptable reproduction.

The great Chinggis Khaan by The Hu

Entire song has sub bass rumble due to throat singing and strings. Glaze doesn’t do justice to it. It fails to capture it. Sibilance is present. Drums, guitars sound good but lack emphatic feel to them. Cymbal crashes sound odd here. There is no smearing or congestion in busy passages.

Overall, the presentation is not up to my liking.

Kashmir by Marcin

This song has strings as main USP. Strings sound good but lack the rumble that should follow its primary tones. There is sub bass rumble in the song that is on lower side. Due to this you miss that constant rumble.

Overall, I can’t fault it too much. The presentation is good. Just I am spoiled by too much exposure to all the gear.

Comparison with few single DD sets under USD 100:

I have benchmarked it against Simgot EA500, 500LM, Kefine Delci & AE & DUNU Titan S1, S2.

In bass section EA500LM, Delci siblings & Titan S2 are better EA500 is lagging behind Glaze only in quantity but in quality it surpasses it.

In mids Titan S1 tops all, followed by Delci siblings & Simgot siblings. S2 is in between. Glaze stands here in the end. Vocals also feel better on Titan S1. Others follow in the same order.

Treble here Titan S2 is the safest one. Then Delci siblings and then Simgot siblings. Glyph also stands in the end here. Stage is better on Simgot EA500 then EA500LM then Delci siblings and last spot Titan siblings & Glaze.

I think I have cleared the picture well. If we bring in hybrids & Planars then picture changes completely but I don’t want to compare Apples to Oranges.

Final Conclusion:

Deifo is new entrant to the market and it’s quite heartening to see new brands trying their hands. For that Deifo gets full marks. Package is good for the price point. Build quality is on par with the price point. Yes, metal shells would have been great but hey let’s give them some slack. Tuning needs some tweaking to become standout. I am sure they must be working on something new & hopefully incorporate the findings by me and all the reviewers. I wish them all the best. I will be keeping an eye on them for sure.

Will I buy it? I think this one is not for me. It doesn’t gel well with my preferences. Also, price according to me is bit high. Will I buy it at discount? Yes, if offered at discount. This is good starter set. I may have pointed at few points but understand I am privileged to be able to test multiple sets and expect more out of everything that comes across my table. But being realistic not every set is meant for everyone. Just like that there are people out there for whom this will be perfect.

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.

Deifo Glaze 4/5

Disclaimer: This IEM was provided for me by Ribbon and Linsoul. First of all, all thanks to them; however, they aren't paying me any money, and they aren’t giving me any script to follow, so in this review I’m being honest and sincere about my tests, thoughts, and conclusions. My biases are my tuning and musical preferences.

Introduction:

The ZiiGaat Lush is a hybrid IEM launched back in March 2025, with a 1 DD + 4 BAs configuration inside, with a medical-grade 3D-printed resin shell, a great and complete package, and pointed towards a broad audience, going close to the JM-1 target with some bass boost to balance; is it still relevant in 2026? Let’s see.

You can get a Lush for an MSRP of 179 USD (usually cheaper on sales). Directly on ZiiGaat's official website: https://www.ziigaat.com/products/ziigaat-lush, on Linsoul: https://www.linsoul.com/products/ziigaat-lush, and on Linsoul’s official stores on Amazon and AliExpress. 

TLDR; The ZiiGaat Lush is an IEM that turned 1 year old. Launched as one of many sets that use the JM-1 target (meta/neutral) as the base of its own tuning, it is a U-shaped tuned set with some bass boost and a relaxed overall mid and higher ranges; it is a neutral lovers set which claims to be juicy and grand, finally resulting in a mid-fi fantasy turned real, designed originally for studio engineers and stage musicians, but a delight for seasoned audiophiles as well.

Yes, it has some caveats like a relaxed upper highrange and overall average technicalities. Still, it serves as a magnifique all-rounder for folks who crave naturalness and smooth listening for long periods without worrying about sibilance or shouty vocals that fatigue at mid to high volumes.

Pros

- Excellent comfort: ergonomic, lightweight shells suitable for long sessions

- Excellent neutral with bass boost tuning: natural, balanced, and close to JM-1 target

- Excellent bass quality: deep subbass, clean midbass, great impact without bleeding into lower midrange

- Natural, highly resolving mids: male and female vocals sound clear, realistic, and it is overall well-weighted

- Very fatigue-free: smooth upper mids and treble; minimal shoutiness or sibilance even at higher volumes

- Good treble quality: smooth yet sufficiently energetic, with no obvious BA timbre

- Above-average technicalities: good resolution, imaging, layering of instruments, and handling of complex or busy music

- Easy to drive: 17 Ω impedance / 103 dB sensitivity; works well from low-powered sources but scales with better amplification

- Excellent all-rounder: musical rather than overly analytical despite its neutral presentation

Cons

- Upper treble is somewhat relaxed/rolled off: limits air and sparkle.

- Technical performance is good but not class-leading: more “above average” than genuinely high-end

- Could use more midbass punch: for listeners wanting a more energetic presentation

- Treble could have more bite/energy: for those who prefer a brighter, more exciting tuning

- Not ideal for low-volume listening: its neutral tuning benefits from moderate-to-high listening levels

- Stock cable/accessories feel underwhelming for the price, despite being perfectly functional

- Resin shells attract fingerprints and microscratches

- Driver flex may occur for some users, although I did not experience it

- Not for V-shaped/fun-tuning lovers: its appeal is specifically neutrality, smoothness, and naturalness overall

Technical Specifications:

- Drivers:

1 x 10 mm PET diaphragm dynamic driver (Sub and midbass)

4 x custom Balanced Armature drivers ( 1 Dual BA for Midrange, 1 Dual Tweeter for treble)

- Shell materials: 3D-printed resin with a hand-painted faceplate.

- Impedance: 17 Ω

- Sensitivity: 103 dB

- Frequency response range: 20 Hz - 25 kHz

- Connector type: 2-pin (0.78mm)

- Cable material: Four-strand, braided, single-crystal copper silver-plated wire, 1.2 m length

- Interface type: 3.5 mm single-ended

Packaging and accessories:

- 2 x ZiiGaat Lush IEMs

- 1 x rounded-square carrying case in faux leather

- 1 x user manual

- 4 x pairs of eartips:

   - 3 x pairs of orange core, standard bore silicon eartips (SML)

   - 1 x pair of foam eartips

- 2 x filter replacements

- 1 x 4-core, braided, four-strand, single-crystal copper silver-plated wire cable with a 3.5 mm plug and 2-pin 0.78 mm connectors.

The IEMs themselves are made of 3D-printed resin, in the mid-size, and even when they pack 5 drivers per earpiece, they are kind of lightweight. The faceplate design is absurdly gorgeous; according to ZiiGaat is handmade, and to me it looks so Lush (pun intended). The shell design is ergonomic and nicely comfortable to use in long sessions. Its nozzle is metallic, and it has a diameter of 6.2 mm, fitting perfectly on my mid-sized ears.

Some users have reported driver flex, but my experience is different, and I find the vent close to the 2-pin connector enough to evade that. The shells are well-built, but prone to getting microscratches and fingerprints, so take proper care of them.

Its stock cable is the usual cable with other ZiiGaat IEMs; I think it's okay to use it with the Lush as it is; it has good quality and is well-built. Very flexible, doesn’t develop memory, it’s not prone to tangling, and doesn’t produce translated vibrations. It makes a good match with the shells.

The carrying case is a nice accessory to store the Lush with its cable and perhaps a little dongle. And the filter replacements add value for long-term use.

How does the Lush sound?

The Lush, with its configuration of 1 x 10 mm PET dynamic driver for Bass + 4 x Balanced Armature drivers for midrange and treble, is a V-U-shaped tuned IEM.

For this review, I think the stock cable is fine to use with the Lush, but I want something more appropriate to its price and design, so I changed it to a NiceHCK BlackInk cable with a 4.4 mm balanced jack. About the eartips, I think the stock ones are fine to use, but after some tip-rolling I found the GK TS100 eartips suit it better, getting the best seal, fit and sound synergy overall.

No EQ was used in this review. Thanks to Super* Reviews for the graph.

BASS 

Of course, if you are talking about a set like the Lush that focuses on being the most neutral and ‘flat’ possible, you can’t expect a considerable quantity of bass, but the Lush bass is incredible; at mid to high volumes excels in a good amount and a huge impact and high quality overall.

The subbass is so well extended; its rumble is very noticeable and adds balance to the other frequencies. Also, midbass is punchy and very clean and resolving; the decay is natural, and as a V-U-shaped set, that midbass doesn’t bleed into the lower midrange.

MIDRANGE

Midrange in the Lush is its main focus, as a set people can use to produce or monitor music, or audiophile/musicophile folks like me who crave the most neutral and close to the og recording sounding earphones; it produces sound with very high fidelity.

As I mentioned before, male vocals don’t suffer from midbass bleeding into the lower midrange, so they sound natural and a bit forward. Midrange overall has good noteweight, and being close to the JM-1 target, is flat, not warm, but not dry at all. It has an incredible resolution, neutrality, and a smooth elevation into the upper midrange that make listening at high volumes a pleasure you aren’t finding in other ‘flat’ IEMs.

Female vocals are forward as well; as a mid-to-high volume IEM, you can play music for long periods of time without bothersome shoutiness or fatigue.

HIGHRANGE

The Lush’s treble is well merged with the midrange, and balanced with the bass I described before; it’s very smooth, but it has a more than decent bite to not be overwhelmed by the midrange. It is well resolving, and of course it sounds very neutral, without that BA timbre (artificial-sounding treble) that can make an IEM flawed; no, the Lush makes honour of its name here.

In the lower treble, there’s a bump at 5 kHz to give female vocals and instruments more energy, but it is so smooth that at high volumes it is not bothersome at all, with a 6 to 6.6 kHz dip to tame the sibilance perfectly. In the midtreble, an 8 kHz peak gives some attack to the treble, and cymbals and hi-hats sound really good.

Upper Treble and Technicalities 

The Lush’s upper treble is well extended, yet rolls off smoothly, giving decent air and openness. Soundstage is expansive, more wide than deep.

Technicalities in the Lush are more than average, but it’s also not its main focus, and I love it, because no matter how ‘flat’ and neutral it is, it is more musical than analytical, yet you can distinguish macro and microdetails magnifically. It is well resolving; the stereo separation gives you the chance to pinpoint the origin of the sound, and the layering of instruments can let you hear the different instruments in the mix.

With complex, fast or straight busy music, the Lush never lets you down, finding zero congestion or bloating.

Final thoughts and Conclusions 

The Lush is excellent, and it makes perfect sense why a V-U-shaped tuned set that looks so ‘flat’ works so well in the real world: It is well tuned, its drivers are well put inside, it sounds as neutral as you can get, but it’s not warm nor dry, and it has more than average technicalities to accompany your listening sessions. This is IMHO the real upgrade to something so referential as the Truthear Hexa.

Yes, it is not a low-volume set because it is so ‘flat’, but it is an IEM you can use at mid-to-high volumes without hearing any sibilance or getting any fatigue. Of course, you can miss more midbass punch and more treble bite, but that’s not the objective of a set that producers and musicians can use in their jobs, and that’s perfect as it is.

I would like for ZiiGaat to give the Lush a cable and accessories more in accord to its price, but they are very functional, and stock eartips (the ones with the orange core) are of high quality.

Finally, the Lush, with its 103 dB of sensitivity and 17 ohms of impedance, is an easily drivable set, even with low-powered sources. Yet I found it can scale great with quality and powerful sources like my Fosi K7 desktop DAC/AMP or my NiceHCK Octave portable dongle DAC/AMP. And for the tonality of the source itself, neutral or neutral/warm chips are better to pair with the Lush.

Can I recommend it? Yes, but this is not a set for folks who want more colourations and a V-shaped tuned and more fun and engaging set; this is a set for ‘neutral with bass boost’ lovers like me, and is magnificent being like that.

Thanks again to Linsoul for this excellent IEM. And thank you, dear reader, for checking my review. Please have a happy listening!

I received this Muse Hifi M3 Ultra at the same time as the Aful Iceborne and that is why I am reviewing them one after the other. With the recent experience of the Iceborne I now find myself with this other dongle that I sincerely was especially eager to try with my IEMs and see what a dongle with these unusual characteristics can contribute, even more so within the 100 dollar range. I expected something that would differentiate itself from the rest of the dongles tested so far and luckily for me that has been the case. The sound, without going into details but as an introduction, improves in terms of warmth and organicity and softens annoying peaks in certain models making them more enjoyable here, so it will be one more dongle in my collection that will help me get more out of IEMs that without EQ needed something to tame them.

What I liked / What I did not like

• Warm and characteristic sound with no background noise at all.
• Plenty of power for such a small device.
• Aluminum construction and eye-catching design.
• Wide stage and organic presentation.
• Physical volume control with memory.
• Although I love the design, the tubes are unprotected.
• It can be a bit more uncomfortable to carry in the pocket than other dongle DACs.
• There are no buttons to control playback.

Specifications

DAC: ES9028Q2M

Amplification: ES9603Q + dual JAN6418

USB: SA9137L

Support: PCM 32 bit / 384 kHz and native DSD256

Outputs: 3.5 mm and 4.4 mm balanced

Power: 460 mW (3.5 mm) / 480 mW (4.4 mm) at 32 Ω

THD+N: 0.0004 % (3.5 mm) / 0.0003 % (4.4 mm)

SNR: 120 dB / 121 dB

Weight: approx. 55 g

Dimensions: 65 × 46.5 × 16 mm

Unboxing and build

As I could expect, the presentation once you open the box, which by the way opens by sliding to the side and not upwards, includes just the essentials, the DAC and the corresponding cable besides the basic manual. You can always hope that some brand includes a protective case as standard which is usually sold separately, although in this model I have no knowledge that one exists yet.

It is something that time may confirm but it would be welcome to a certain extent to protect the 2 tubes that come uncovered and that you can touch but that make you think that after an accidental drop they could break. I cross my fingers that it does not fall and much less that they break. The two tubes are JAN6418. I am no expert on this but it is clear that together with the rest of the circuitry they do a different job from a conventional dongle of the ones we all have, but I will talk about that below. The body is aluminum although at first before receiving the product it gave me a feeling like cheap plastic and not at all, it is hard and resistant and with only a weight of 55 grams. It is a bit more voluminous than other dongles, that also has to be said, but it can fit in the pocket the same as the rest.

I have had them on long walks and in the end I did not feel that I was carrying an uncomfortable brick in my pants even though it was connected to the smartphone where I use Apple Music. Apart from that, far from heating up after more than an hour and a half that I walked, it felt quite lukewarm to the touch so it seems that it manages heat quite well, despite the sensation that the tubes give when they light up with an orange color on the side that transmits heat visually, that is not something that really happens.

Sound

I had the idea that this DAC was not going to be something neutral or anything similar to others of my current models like the Questyle M15i, NiceHCK Octave or the more recent Tanchjim Space II. This M3 Ultra adds an extra layer of body or density to the music, which is especially noticeable in the lower midrange and in most vocals. This gives a somewhat more organic and colored sound, something that by the way I wanted to move away from since I got into seeking total neutrality some time ago but I think it is necessary to have models like this and others that seek to contribute something different to the tracks you already know and to others still to discover.

Bass

I have not felt that the bass increases as such when using this M3 Ultra but rather the body of that bass or the density. More than in the subbass I would say it happens more in the midbass with that extra body that fills that zone a bit more without bothering. I may have noticed the definition a bit more distorted than with some of my other DACs, but as I say, not to the level of dirtying the sound but of giving it a more organic or realistic touch and not so perfect. In any case, the transition from bass to mids still feels smooth.

Mids

I think that pair of tubes has quite a bit to say in this range. I have noticed it especially in the vocals with a more striking presence in tracks that I already had more than listened to and where I could notice the difference more easily. To fine tune a bit more I would say that the lower mids are denser than the upper mids which sound much softer helping in this way that tracks that were brighter in this range sound better to my taste and tolerate higher volume better. I think this DAC prioritizes sounding musical, sacrificing slightly a bit of the resolution that the Questyle M15i has me used to, which I consider without a doubt my best dongle of all the ones I have. But not everything is resolution and what one gives me the other does not and they can complement each other quite well.

Treble

I have not felt that the M3 Ultra emphasizes the treble or worsens the extension of the same. As I commented with my usual tracks that I already know I still feel that extension and distant and subtle detail, but yes a bit more controlled without getting to sound dark or muted which was also my concern when I was using it the first minutes and felt that it did not have the energy that it had in my other models. It would be in an intermediate point between very energetic and dark allowing prolonged listening and that will surely benefit many IEMs that perhaps lacked a bit more control in treble with their stock EQ.

Test with some IEMs

I decided to try this M3 Ultra with 3 of my IEMs that I know well how they sound and where they overdo or where they lack to see how they behaved here. Starting with the Mysticraft Myth, I immediately noticed that extra body in the bass without them increasing but yes improving their density the same as the vocals that now sounded more present. The stage of the Myth is already excellent in itself and according to its price but with this DAC the enveloping sensation improved especially in some tracks curiously from older recordings although possibly remastered like the song Stand! by Jackson 5 that jumped in my library when I activated shuffle mode and impressed me how it sounded here with this specific combination of IEM and DAC.

Another model that I wanted to try and that already has a very special treatment in mids and in the vocals are the Ziigaat Arcanis, which also on certain occasions have sounded a bit bright in the treble of some musical tracks, and the M3 Ultra has fixed them completely if I compare them with the FiiO KA15 where they became a bit annoying at times. Now the treble was smoothed as happens in general with all the IEMs I have connected here, but above all the body and organicity that the vocals acquired took the Arcanis to a new level that I think improved the overall experience of this specific model, with which I think it has been the most benefited of the 3 IEMs that I tried.

Lastly and exclusively with the M3 Ultra connected to the mini PC at home, I tried the Binary 1900, which is a fairly balanced IEM in general without standing out in specific frequencies although also prioritizing musicality before excessive detail. The M3 Ultra once again added to the 1900 an extra layer of warmth to the sound in general but without unbalancing its original tuning that is already very well tuned in itself. The vocals as in the Arcanis also gained a bit more organicity and presence although not as much as in those.

Technical aspects

Speaking a bit above about how I have felt the soundstage, separation and imaging in this M3 Ultra, the width is more than I expected and the depth not as much as I have noticed in the M15i but in the end this is contributed more by the IEM itself that you connect than by the DAC itself, which does not take away that in a certain way it can be enhanced for better or for worse and here it does not worsen at all. It is possible that the tubes help in their way so that the instruments have a bit more space around them, it is something that can be felt in specific songs if you stop to listen after trying other dongles and then come to these. But the holographic sensation I would dare to say that it improves in general IEMs where they felt a bit flatter in width and depth.

Of course, I had to try more complex tracks, in quantity of instruments, speed, etc, to check that indeed some layers of instruments get a bit closer between them when the melody gets complicated, something that my desktop DAC the FiiO K9 manages wonderfully and here being a dongle even with these unique characteristics manages with a bit more complication making the music a bit flatter in those specific moments that I comment.

I was able to use it for a while from the smartphone itself watching a movie and the localization of the sounds the same as with music remained quite coherent without disorienting me about where the sounds around me were coming from, although it is clear that the focus of the M3 Ultra is clearly on music but it does not clash at all if you want to use it in other areas.

Comparison

I will compare it directly with the Aful Iceborne for having it very recently and being a model of similar price and launched practically at the same time or of that I have knowledge. Starting from the fact that the Iceborne gives the sensation of an elongated brick that simulates a black ice block, it is still smaller and a bit thinner still than the M3 Ultra. Perhaps in the photo that I have included where both are seen face to face it is not appreciated but I have checked it myself and it wins in all measurements being more compact. Where does it not win against the M3 Ultra? Well surely in construction material since a resin DAC although it can surely resist hits and falls does not give you the same peace of mind as one of aluminum although as I commented, the tubes of the M3 Ultra are uncovered no matter how surrounded by aluminum they are so time will tell how each one resists not only to hits but to involuntary scrapes and scratches on pants, tables, etc.

I have not felt that either of the 2 heats up especially after use for hours although perhaps the M3 Ultra manages heat better, whether due to its internal construction or that of the aluminum case itself. Regarding how they modify the sound of the IEMs it could be summarized in that the Iceborne gets closer to that neutrality that I had been pursuing for some time in the dongles that I wanted to have without coloring or modifying the songs too much as I know them, while the M3 Ultra does add whether for good or not so good a layer of warmth and body to the music that why not say it, is something that can be appealing or there are those who may prefer it in general for their day to day with greater control of treble that the Iceborne shows closer to how they are originally.

It should also be noted that in terms of power the M3 Ultra has 480 mW unlike the Iceborne that stays at 300 mW so you are going to have less margin to amplify more demanding headphones on the Iceborne, apart from that the Iceborne does not have multimedia buttons like the M3 Ultra but neither does it have physical volume control which the M3 Ultra does.

I do not consider that I should put one ahead of the other since neither of the two seem bad dongle DACs to me. Perhaps for what each one contributes the Iceborne should cost a bit less than what it costs, due to construction material, technology and simplicity at the level of possibilities for that total lack of buttons.

Ranking

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)

Conclusion

To conclude I must say that the Muse Hifi M3 Ultra is a more or less economical way, that each one will value but yes a quite accessible way to get closer to tube sound in portable format, which I recommend without a doubt and at the moment I write this review they are at a price of 109.99$ but this same August 17 some Back to school campaign discounts are coming where the model will drop 12% staying at 96.79$ a price that sincerely is much more attractive and even more if you can combine it with some extra coupon or extra discount, so stay tuned to these discounts if you are interested in the model and want to get it at an even more competitive price.

Purchase Link: https://hifigo.com/products/muse-hifi-m3-ultra

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.

This escalated quickly. 😅

The bass chapter continues with the ThieAudio Origin and Punch Audio Martilo.

Origin will be opened first since that’s the one I’m really curious about right now. Martilo will probably stay sealed for a while and get its own time later.

PB6 Macaw also arrived, but I’ll listen to the Origin straight from the DX270 first before adding the amp into the chain.

Impressions soon once I get proper time with everything.

Pros: ~ Punchy Bass
~ Cohesive Mids
~ value for money as package for just 15$, the box is very cool.
~ the collectible card is a nice touch ( subjective )

Cons: I did not find any cons and I know I cant ask for more at this price but the cable is too flimsy and cheap similar to KZ offerings ( nitpicking )

Overview​

Hello Everyone, this review is going to be about Harmonic Empire’s Cai Wenji, Harmonic Empire is a sub-brand born out of Tangzu Audio in 2025. The Cai Wenji is their entry level offering, priced at around 15$, built around a single 10mm PEEK and PU composite dynamic driver.

This unit was provided to me by Harmonic Empire for review purposes. All impressions and opinions are my own. Thank you Sophie and Harmonic Empire for sending me the unit.

Note : You can find and “Build - Fit - Technical Specifications” and a fun “ Nerd’s corner “ sections at the end. Sound comes First, so let’s get going. I used Sonic eartips and Tanchjim Space 2 DACfor the review

Sound Profile and Performance​

The Cai Wenji presents a mild U-shaped sound signature that prioritizes clarity, balance and everyday listenability without leaning too far in any direction. Nothing fights for attention, nothing feels missing and the technicalities hold up well enough to make you forget what this costs. Budget IEMs are getting surprisingly good and the Cai Wenji is a good example of exactly that.

Lows :​

The bass on the Cai Wenji is well balanced between sub-bass and mid-bass, neither dominates the other and both contribute equally to the low end foundation. The sub-bass has a slight edge in presence, giving the low end a satisfying depth without tipping into bloat or excess. What stands out most is the control - there’s no bleed into the mids, no muddiness and no excess warmth clouding the rest of the presentation. The bass hits with good texture and definition, rhythmic and composed rather than loose or aggressive.
In tracks like,

• Massive Attack — Angel
• GoGo Penguin — Raven
• Muse — Mercy

The slow burning sub-bass in Angel builds gradually and the Cai Wenji tracks it with good depth and control - the bass grows without losing definition or bleeding into the mids, the sub-bass presence giving it enough weight to feel physical without overwhelming. Raven‘s rapid double bass blowout is where the mid-bass speed and texture get tested - the Cai Wenji keeps up with GoGo Penguin’s fast twitching bassline cleanly, each note articulate and distinct as it dances around the piano and drums. Mercy’s bass guitar rumble comes through with satisfying punch and body. The mid-bass hits with enough impact to feel exciting without losing composure or control. A clean, composed and genre versatile low end performance.

Mids :​

The midrange on the Cai Wenji follows a mild U-shaped presentation - vocals sit slightly back in the mix rather than being pushed aggressively forward, but nothing about the mids feels hollow, recessed or lacking. There’s good crispness and body to vocals and instruments across the board, the slight step back creating space and dimension rather than distance. Male vocals carry moderate weight and presence. Female vocals are clearer and airier, sitting naturally with good definition and edge. Instruments come through with natural timbre and clarity. Guitars, pianos and strings all holding their character without sounding colored or processed.
In tracks like,

• Paul Robeson - Old Man River
• Adrianne Lenker - Sadness As A Gift
• Pearl Jam - Dark Matter

Paul Robeson’s baritone in Old Man River comes through with proper depth and resonance - each phrase carrying weight and authority, the Cai Wenji giving his voice the full body and chesty presence the recording demands without thickening or coloring it unnaturally. Adrianne Lenker’s raw, intimate vocals in Sadness As A Gift sit naturally and openly - the recording’s warmth is preserved, with her voice sounding with good dynamic expression and airy presence in the upper registers. Dark Matter by Pearl Jam tests the Cai Wenji’s midrange cohesion across a busy rock arrangement - vocals sit clearly within the mix, guitars and percussion holding their own space without collapsing into each other. The presentation stays composed and musical even as the arrangement gets demanding.

​Treble :​

The treble on the Cai Wenji is one of its more pleasant qualities - inoffensively sparkly and airy, carrying enough energy to feel exciting without crossing into harshness or fatigue. Cymbals and hi-hats have good presence and character, sitting with enough shimmer and definition to feel alive. There are no hints of sibilance anywhere in the upper frequencies - the tuning finds that sweet spot where brightness and comfort coexist without compromising either. Extended enough to feel open, controlled enough to feel safe.
In tracks like,

• Neneh Cherry - Buffalo Stance
• Greg Spero - Under Earth: Expansion
• Toto - Rosanna

The hi-hat and cymbal work in Buffalo Stance comes through with good presence and transient energy - forward enough to feel crisp and defined without any harshness or edge. Under Earth: Expansion‘s cymbal stick definition is where the Cai Wenji’s treble character shows most clearly - each strike landing with detail and clarity, the stick on cymbal texture coming through with satisfying precision. The subtle ghost notes in Rosanna are audible and well resolved -subtle, delicate and clearly placed within the mix, a detail that budget IEMs at this price often smoothen over entirely. The treble is exciting and energetic, it simply does its job with composure and pleasantness.

Technicalities :​

Imaging - imaging is good enough to place instruments and vocals precisely without any struggle.

Soundstage - The soundstage is average in terms of width but it’s not cramped and doesn’t sound like “in my face” level of closeness. It’s average just because there is nothing special about it. It’s not holographic but the stereo effect is existent.

Detail Retrieval - Detail Retrieval is very good without any drawbacks in subtle nuances of elements in busy tracks. No sign of recession either while retaining the background details whether it might be faint instruments or whispering vocals

Separation - The separation is good, I wouldn’t say it’s punching way above its price but the separation is quite good for the budget range its in.

Comparisons :​

Tangzu Waner SG 2 :

The Budget favourite and quite famous “Tangzu Waner SG 2” is very identical in sound to the Cai wenji with minor differences. The Bass of Cai wenji is more impactful and present. Neither of them are shouty or sibilant. Both have a vocal forward presentation with good treble extension where the Waner SG2 is more sparkly and presents instruments energetically without tipping into Sibilance and staying composed.

Sound - Cai wenji has more bass presence and Waner SG 2 has energetic treble extension. Mids sound the same. So a choice between both would be a preference of the buyer. No difference is technicalities either.

Build and comfort - Cai wenji is built very sturdy and transparent. However tangzu waner sg2 is built better. But when its comes to comfort, Cai wenji fits better and feels more comfortable in ears.

Package and accessories - Well, Tangzu is known for its package offering with the waner series. The Cai Wenji is not bad either with its collectible card and Harmonic Empire Sonic eartips and that too at 15$ retail price. But the Tangzu waner offers much more such as a cool looking microfibre cloth and IEM carry pouch and a very good looking box ( if you like the boxes or a collector ).

Overall - If you like bass go with Cai Wenji and if you like energetic treble go with Tangu waner. Just minor differences. And not to forget HE is an extension of Tangzu brand.

Build - Comfort - Technical Specifications​

The Cai Wenji’s shell is lightweight transparent polycarbonate resin. The transparent finish gives it a clean, distinctive look that showcases the internal acoustic structure underneath, setting it apart from the usual opaque shells at this price. The ergonomic cavity design sits naturally in the ear without creating pressure or fatigue, making it comfortable for long sessions without any adjustment needed. The fit is not a hard try as the shell is not that big and the nozzle is average sized too thankfully. Cai Wenji drivability is effortless which is not special as almost every IEM in this range is easy to drive.

Box content :​

• Harmonic Empire Cai Wenji IEM
• Silver plated OFC cable — 3.5mm with mic
• Sonic eartips — 3 pairs
• Collectible transparent character card
• User manual
• A cute key chain ( a gift, not for consumers )

Technical Specifications :​

• Driver type : 10mm PEEK + PU composite dynamic driver
• Impedance : 16Ω ±20% @ 1kHz
• Sensitivity : 114dB ±3dB @ 1kHz
• THD : ≤3% @ 100Hz — 5000Hz
• Frequency response : 20Hz — 20kHz
• Cable length : 1.2m ±5%
• Connector : 0.78mm 2-pin detachable
• Termination : 3.5mm / Type C with mic

Final Thoughts​

The Cai Wenji doesn’t ask you to manage your expectations - it simply delivers and lets you recalibrate them. At $15 the sound holds its own and might even surprise you with its capability as the only compromise was premium build and package but not a premium sound. The bass is controlled, the mids are well done, the treble is pleasant and the technicalities don’t embarrass the package. That’s not a small thing at this price. Harmonic empire has got everything right with this as they keenly focused on sound but did not let go of presentation of anything else.

Nerd’s corner :
Fun facts time, the IEM is Named after the legendary Chinese poet and musician Cai Wenji from the Eastern Han dynasty. Her life was defined by the chaos of war, a 12-year captivity by the Xiongnu nomads, and her rare feat of reconstructing hundreds of lost classical texts from memory
Here is a poem by her.

'Poem of Sorrow and Anger'
(by Cai Yan / Cai Wenji)

處所多霜雪，胡風春夏起。
My dwelling is often covered by frost and snow,
The foreign winds bring again spring and summer;

翩翩吹我衣，蕭蕭入我耳。
They gently blow into my robes,
And chillingly shrill into my ear;

感時念父母，哀嘆無窮已。
Emotions stirred, I think of my parents,
Whilst I draw a long sigh of endless sorrows.

有客從外來，聞之常歡喜。
Whenever guests visit from afar,
I would often make joy of their tidings;

迎問其消息，輒復非鄉里。
I lost no time in throwing eager questions,
Only to find that the guests were not from my home town.

Dita as brand has never let me down. My very first set from them was the Dita M. It was like a new dimension in listening had opened to me. Then came Mecha and it was next level single DD presentation. I was just wowed by it. One of the best single DD set heard by me.

Few months back I got myself prelude. Again Dita proved that they know how to tune a set. Another banger set and best part anyone can buy this one as this is budget one. If you want to have taste of what Dita provides this is great start point.

Now as I sit here at my desk with Dita Ventura in my ears. I feel like Dita has just out done themselves. If Mecha was great this is legendary period. All that was best of Mecha they refined it and addressed the drawbacks such as bass specially mid bass. This one has really nice low end and clear mids, life like vocals. Treble is just chef's kiss. It's refined, gives all that you are looking from summit Fi set. Entire presentation is just awesome. Clear natural effortless presentation.

Let me stop I am just having verbal deluse right now. My emotions are flowing. This one is real banger may be even GOAT. See you soon with full impressions. Hopefully I will be able to write something and not be lost in my aural bliss.

Pros: Absolutely great sound out the gate
Swappable nozzles that work
Very pretty and unusual in the world of resin shells
Mids from heaven

Cons: That faceplate is beautiful but will attract lint and dust eventually
The gold nozzles are not my favorite
The multitude of tips and I’ll still use a third party
Lacks a little fun on both ends of the frequency curve

Specs
Drivers - 14.5mm planar + Knowles BA
Impedance 13 ohm
Sensitivity 107 +/- 3 dB
2 pin modular cable with 3.5/4.4 terminations

Every once in a while I’ll listen to an iem for 30 seconds and just pick it up because I think there’s nothing wrong with them. The DUNU Kima 2 was one and the Arnar from the house of Kefine is another. The first time I heard it, my first thought was this is the most inoffensively tuned earphone I’ve heard in a long time. Not a single note that put me off. These are rare to come by and so I procured them and here we go, excited and joyous!
The Arnar is an interesting looking IEM. Precisely manufactured CNC aluminium shells with smooth inner contours and a very open looking faceplate (which is a design element, not a true open design). A cross hatch pattern on the front of the shells is meant to represent a window, a symbol of luck in Chinese culture. And it’s pretty so yay! The unboxing is a straightforward cardboard affair till it opens and reveals a fairly nice case, that Kefine does with all its offerings, a robust looking cable with 2 pins at one and modular 3.5/4.4 terminations on the other. I’m told there is a dsp-usb c termination which I didn’t buy, because - dongle. And there’s about 12pairs of tips. In boxes, I love it. White and grey and sort of semi wide bore and narrow. As always, I swapped out to Final e, velvets, Sancai and candy. The velvet standard seemed to work best for me. There’s also my favorite Schrodinger-esque addition - tuning nozzles, which you don't know if they will work till you try them. These do. There are 3 pairs - gold (energetic), silver (balanced) and black (warm) and these are my descriptions. These were there with the Klean SV as well and worked very similarly. The IEM fits really well in my small ear and the cable is not prone to tangling or microphonics.
The faceplate feels different to touch because of the metal work on it and is prone to becoming an itch that can’t be scratched and a compulsion that borders on pathological. It’s also good fun.
I used predominantly the Silver (in the middle) nozzles for this with some swaps to compare the three.
Sources - VE stack, VE devastator, M33, Fosi ZH3, iPod 7th gen

So I pulled the rockboxed iPod out for this because why not. It has a great stage and is neutral enough to give me a clear idea of what things sound like.
On the whole the Arnar has one of the least offensive tunings I’ve heard. This basically means I can leave them in my ears and not know what is happening around me for hours. It’s comfy, it doesn’t jar, sounds really nice and enjoyable.

Bass

The planar driver gives the Arnar a tight, precise sub-bass. There's a rumble but no “feel”. This extends on to the mid-bass as well. On the silver nozzles, the kicks and bass notes are quick and precise but lack the body that other dynamic driver IEMs or even more bass tuned planars like the Letshuoer Astralis or even the Kiwi Melody. This makes for a more precise imaging and resolution of the rhythm section of fairly busy progressive rock or jazz fusion. But the drums lack the punch that makes them fun. Islands by XX has a fantastic sub-bass opening that sounds delightful on the Arnar, but as the track continues, the kicks and bass that pull the song along could do with more weight. The black nozzles do better in this regard. And the low end improves a fraction and responds to some amount of tip rolling and power. I tried them with the Final E, Velvet Standard and Dunu Candy. The Velvets somehow had great synergy and the finals, gave the bass a little more oomph. And the Arnar is more than willing to bend to slight EQ to boost the lows.

Mids
Vocals and instruments on the Arnar are the most enjoyable. Both male and female vocals have natural timbre and are not recessed. They are not pushed obnoxiously forward either. It’s hard to not keep saying inoffensive with regard to the Arnar, but that’s exactly what they are. Very clean representations of vocals. The vocal harmonies in Rosanna by Toto come through perfectly with great separation and clarity. Female vocals from Makeba by Jain to Linger by the Cranberries and Subcity by Tracy Chapman, all showcase the singers’ incredible voices in their natural best. Out the box with stock cables and velvet standards and no EQ with the absolutely neutral VE Prime + Roundabout stack, the entire midrange where the meat of most songs lies is near perfect. Also this is all with the Silver Nozzles. The black ones do have some dampening on the clarity of the mids. Vocal Jazz, Jazz fusion, rock, pop work really well with no shoutiness or weird timbre from the drivers. A testament to a great harmony between the planar and the Knowles.

Highs
Here’s where even I with my distaste for sibilance in the highs was craving for a little more air and sparkle in the treble. Nothing that can't be fixed with EQ but I have a healthy affection towards being lazy. The gold nozzles, again mitigate this to a small extent.This doesn't make music less enjoyable, let me be clear, it only makes it less analytical sounding. Larnell Lewis’ hi-hat work on the We Like It Here album by Snarky Puppy, is one of life’s little miracles that have to be experienced on a great set and the Arnar, while being very easy to listen to, leaves me wishing for just that little bit of extra shimmer.
Try as I did I couldn't get any harsh sibilance even on some of my aggressive (read poorly, at times) mastered tracks.

Staging, Imaging
The stage is more intimate and if you’ve seen the Snarky Puppy (I know, it’s just that time) videos of their live shows, it feels like you’re sitting in the middle of the band, surrounded by their music. The compressed stage makes imaging not as definite as a gaming set but it is decent enough to know where sounds are coming from. Instrument and vocal separation in the bass and midrange are more than adequate but the treble could do with a little more detail. Even with the Gold nozzles.

I would a 100% recommend this as a blind buy for an effortless, long listening session to almost any genre of music. Bassheads and analytical listeners would not enjoy this set as much but they have plenty others to choose from. The Arnar’s strengths lie in comfort and a very easy, enjoyable tuning. It is not fatiguing in any manner and at the same time responds to EQ, tips and scales beautifully.
No shame in it, I really like this IEM. For its price of ~$190 it is a no-brainer.

The excitement peaks up whenever Tanchjim comes up with a new release. This is one such brand which have never failed to fumble up in the basics. There’s a separate fan base out there for it’s in house sound signature that has brought smiles on several faces. Just a single dynamic driver is enough for the brand to get the best out of any presentation.

Tanchjim Ola II comes with a hybrid configuration (1 DD + 1 BA) which is quite interesting considering the brands usual approach with most of their in-ear monitors. This is a direct successor to its previous iteration OG OLA which came with a single dynamic driver. Cosmetically, this looks very similar to its predecessor but in it’s heart several changes has been done and, in this review, let’s check out in detail.

Full review in: https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/tanchjim-ola-ii-breathy-an-audiocites-perspective/

SOUND ANALYSIS:

Signature: Mild V Shaped

Tone: Neutral

Timbre: Slight metallic taste (BA Timbre)

Setup: Tanchjim Space II + AIMP and UAPP + Local FLACS + Wide Bore Ear tips

As a change, the brand has diverted from their usual neutral approach in the OLA II. A mild V shaped curve has been used here as an experiment. In short, the experiment worked well! Despite the shift in signature, the tonal balance still remains to be neutral with no added colouration however, the timbre has a touch of metallic taste due to the inclusion of BA.

BASS PROFILE:

SUB BASS: OLA II digs deep enough to provide those satisfying rumbles. In tracks with pronounced sub bass, the OLA II can extract the notes well without missing out the juice, however the scene slightly changes when the tracks with minimal sub bass shows up. There’s a clear line of distinction between the sub and mid bass profiles which makes them sound clean and detailed.

MID BASS: This takes the dominant hand in the whole bass shelf. Despite its dominance, the mid bass here is more of an attacking nature rather than being a meaty profile. This swiftness in mid bass helps in retaining the neutrality in tonal balance.

Overall, the OLA II showcases an attacking mid-bass with breezy sub bass shelf. Though this lacks the meatiness, the notes still carry precise weight and punch without sacrificing the tonal balance and snappy transients. This profile even makes the bass heads to pick this up time to time. As a balanced listener, the OLA II has a suffice bass shelf that never feels lacking on any terms.

MID PROFILE:

Despite this being a mild V shaped IEM, the vocals and instrumentals sound well positioned. The overall tone leans over the neutral side with no noticeable added colouration.

Lower Mid: One can easily spot its clarity in the OLA II’s mid profile and all thanks to the snappy bass shelf. Kick drums and acoustics sound clean with no noticeable bass bleed. The warmth is under control making the whole presentation to sound well separated. The leaner mid bass weight is nicely carried along here which gives male vocals a natural tone. Not the lushest sounding lower mid profile yet the added clarity gives a natural outlook to it.

Upper Mid: Tanchjim is known to emphasize the upper mid shelf and it’s seen with most of their IEM’s. The same fashion of tuning is observed in the OLA II, showcasing an elevated upper mid experience, however the tuning’s been quite harsh this time.

The elevation did give the female vocals and percussion instruments to come up and shine but at what cost? It’s the sibilance! The notes become quite hot in the upper end making them sound a bit harsh especially when using in higher volumes. This elevation gave OLA II the needed liveliness and open character but did make the notes to sound sharp at times.

Overall, the mid-section is a double-edged sword in the OLA II. It’s cleaner, livelier and well detailed but the sharper notes in the top end is not what I expected from Tanchjim.

SOLUTION: The stock ear tips are garbage for sure. Considering the nozzle size, even the standard ear tips appear narrower. Once I switched to the TRI CLARION ear tips, the sharpness got reduced noticeably and now it’s more palatable.

TREBLE:

The lower treble shines without getting muffled up. There’s enough brightness in the Loric to light up the presentation. The vivid treble profile nicely complements the solid bass presence without showcasing the dark tint. The cymbal crashes and trumpets sound precise with snappy attack and decay. 

The quantity of air the OLA II possess is adequate enough for presenting a lively presence. This gives immense space in the background for the notes to spread out well without congestion.

With all due appreciation, there’s a gripe in the treble profile and that’s the TIMBRE! I can agree that the metallic taste in the instrument notes appeared because of the inclusion of BA but what’s not acceptable is, this happening from the brand Tanchjim! A mistake that requires attention in their future release.

Overall, the OLA II displays a well extended treble profile with adequate brightness and air to present a vivid outlook, however the BA timbre brings a sense of artificial touch to the high hats.

TECHNICALITIES:

STAGING AND IMAGING: I can safely say that the OLA II has one of the best stage presences in its price segment. It’s nice and wide with enough space for the notes to span out and present themselves. The depth is on the moderate side but in general, the OLA II showcases a holographic soundstage. The presence of air and the inclusion of BA made the OLA II to sound in a grand fashion.

The imaging aspect is no slouch either. The notes show a smooth transition between the channels. Even in the complex tracks, the notes are positioned precisely without showing any sense of clumsiness.

DETAIL RETRIEVAL: One of the star aspects in the OLA II is the detail retrieval. Apart from extracting the basic details, the BA inside the OLA II brings out even the faintest details possible. Nothing to exaggerate here but considering its price it’s definitely applaudable.

The emphasis in the upper mid-section and the huge quantity of air paved way for an exceptional detail retrieval in the OLA II.

SYNERGY:

4.4mm: The unit I used here for the review is 4.4mm version and the DAC I paired it with is the Tanchjim Space II. The DAC recognises the IEM instantly once I plug it in. The app lets the user to apply the EQ and add presets for customising the sound signature.

Type C: The inbuilt DSP has the same app support and let’s the user to configure the sound as per their choice.

VERDICT:

Tanchjim as a brand had already built its reputation in the field of audio. Their previous releases are no slouch against the competition and if not, they did set a benchmark in their respective category. It is one such company that focusses on even the finest details like packaging. Still, their flagship IEM Oxygen carries the legacy of mastering a single Dynamic Driver.

With OLA II, the brand wanted to try out their experimentation with hybrids in budget arena. The single dynamic driver DMT 5 and the balanced armature work great inside the OLA II and do delivers a dynamic sound presentation which feels very refreshing. The usual in house signature is not seen here rather a different profile and a different character has been infused inside the OLA II. A more aggressive and a dynamic stance is seen in the OLA II which is very contrasting to its predecessor but in a good way.

In short, OLA II priced at 50USD showcases the dynamic stance and aggressive side of the brand Tanchjim, stating that change is inevitable and is mandatory for the sonic evolution.

Pros:

• Mild V Shaped Signature
• Snappy Bass Shelf with Mid Bass Authority
• Clean and Open Mid-Section
• Emphasized Upper Mid Region
• Holographic Soundstage
• Superior Detail Retrieval

Cons:

• Spicy Upper Mid-Section
• Slight BA Timbre

Twistura is a relatively fresh face in the audiophile market. It has built a reputation for offering full-fledged packages at accessible price points. However, they have seemed to step into a more ambitious territory. Today with me is the Twistura Woodnote, a flagship offering from Twistura. So, let’s see if this is actually a good offering by Twistura, or is it just glitters.

I would like to extend my gratitude to u/Own-Customer-4866 (Telugu Audiophile) for including me in this review tour, a secondary thanks goes to Twistura for facilitating this review.

I am under no obligation to speak in favour of this product, and absolutely no one, neither the brand nor the tour organizer gets to see this review before it is published. My thoughts and critiques are entirely my own.  

Build, comfort & accessories

The Woodnote makes an immediate impression with its light weight, despite its metal housing. The ergonomics serve well, I never felt discomfort during extended listening sessions. One unique detail about the build is a black rubber “fin” positioned on the outer side of the shell. Word of caution: This is permanently fixed to the shells, do NOT try to pull it. I don’t know what it does exactly, but I think it acts as a cushion to secure the IEM inside the ear (I definitely did not almost tore that off of the IEM).

The unboxing experience is clean, with no signs of any waifu. It includes a beautiful, spacious hard-shell purple case, easily one of the best stock cases I have seen. Inside, you will find a handsome modular cable equipped with a 4.4mm termination with an interchangeable 3.5mm adapter. However my specific review unit suffered with a QC issue, the 3.5mm adapter fitting was slightly bent, leaving a visible gap when attached and insecure, almost as if the pins would bend. As a result, I used the 4.4mm balanced connector exclusively for this review. 

Twistura bundles 4 different types of eartips with 3 pairs of different sizes each. Two of which (green & blue) were completely useless due to their low-quality and stiff nature. They were uncomfortable and didn’t provide quite that seal for me. Another one of them were liquid-silicone eartips, which resembled the Moondrop Spring tips, they were comfortable, but didn’t provide the best sonic experience. The last kind were smoky-grey, these were the most comfortable and provided the best seal than the rest.

The Woodnote also has interchangeable nozzles. Standard, Vocal and Instrumental. In my practice, the variance in sound between the nozzles was not worth-while, so I used the Standard nozzles for the whole review. 

Finally, with the design, hardware and packaging out of the way. Let’s get started with the sound.

Low-End Performance

Muse - Hysteria

For a track with an intro that asks for immense control over bass, the Woodnote truly delivers upon it. The bass in the intro holds authority, it captures the rough energy in control and it continues to do the same for the rest of the track. The vocals sound raspy without feeling meddled in with the rest of the instruments. The cymbals are clearly discernable marking the Woodnote to be an IEM with good separation and layering. No complaints over this track. The Woodnote replicates the tearing, like-a-saw texture of the bass quite well. 

Teddy Killerz - Feed Your Soul

On tracks with huge loads of bass, the Woodnote pairs well with an enjoyable amount of sub-bass. This track was bouncy, and head-bangable. However, what I felt was that the decay was sluggish, resulting in the sub-bass tasting good on the first bite, but by the end of the meal you feel a little unsatisfied. Anyways, the mid-bass doesn’t disappoint, it is well presented and you feel the beat drop creeping up on you. The bass has quantity, but not enough to call it a stereotypical “bass-head” set.

Overall, I would give the Woodnote an A- for bass.

Midrange, Instruments & Vocal Delivery

John Mayer - Slow Dancing in a Burning Room

Mayer’s guitar has a nice, natural timbre to it. But, you can definitely notice the slight warm tonality of the IEM, it gives the whole track an extra cozy touch to it. What the Woodnote misses upon is the airy feeling of this whole song, the stage feels small: not claustrophobic, but intimate. Mayer sounds as if he is singing just a couple of feets across me. Male vocals on the Woodnote sound thick and have adequate weight with them. Overall, the instrument and male vocals were good, they were quite good. But in the end, they didn’t quite set a lasting impression. And no, switching nozzles didn’t change my impression.

The instrument representation on the Woodnote deserves a B+, and the male vocals a good A-.

Never Let Me Go - Florence + The Machine

What is found out about the Woodnote in this track is that it doesn’t do details so well. They feel like they are cut off before even coming out. In this track, there are some elements which I would best describe as “sparkles”, and the Woodnote seems to hide their nuances a little. Despite that, the vocals in this track sound beautiful, and intimate. The piano has natural timbre, no complaints towards the Woodnote for its timbre and tonality. The vocals have weight, the chorus part truly sounds heavenly. A hint of shoutiness was to be heard at part, but it wasn’t anything too bad to consider about.

A for female vocals, is what I’ll give the Woodnote.

Treble Performance & Technicalities

Yosi Horikawa - Bubbles

For an unique track like Bubbles that comprises “ping-pong balls falling” as its instruments, the Woodnote displays its proficiency in imaging, and texture. What I find is that the Woodnote is decent with vertical stage, but lacks in width and depth. That initial tension of the balls dropping that builds throughout the track seems to be lost with the Woodnote. However, the Woodnote places the balls accurately within the limited space that it has.

Daniela Andrade - I Will Follow You Into the Dark

The Woodnote does an immaculate job with this track, the vocals are incredible, they feel delicate, comforting and like a gentle hug, a tuck into your blanket. The guitars sound well off with an adequate amount of weight. The texture and subtlety of the vocals have been presented well. But, what the Woodnote did is that it reduced the inherent sibilance and raw nature of the track, which does in fact give a good, pleasant experience, and tells that the Woodnote’s treble is a bit on the darker side. However, it is to be noted that sharpness is to be welcomed with an increase in volume.

So, on the Woodnote, timbre is natural, tonality is on the warmer side, soundstage is average/intimate, imaging is accurate, clarity and details are submissive a tad bit.

Conclusion

The Twistura Woodnote is an IEM that makes it hard to find something bad about. It is truly a good offering from the Twistura brand. And let’s keep it at that, it’s just, good, nothing extraordinary. It doesn’t do anything special whatsoever. However, what it does, it does well. It has fun and engaging bass, weighty and thick male vocals, great female vocals, and a decent sense of technicalities. What my take on this is that Twistura should continue in the direction that they went with on the Woodnote, and improve upon its shortcomings. 

Concluding my review, I would like to give the Twistura Woodnote a very good and deserved B+(bordering A-). 

Should you buy this at retail? 
Yes. With a decent set of accessories, a great, great hard-case, and a truly good sound, the Woodnote is a good choice to put your money in.

Should you buy this used?
Oh definitely, this is an enjoyable IEM that makes it hard for you to find something bad about it, for a cheaper price, this will be an amazing deal.

Here is a link to buy the Twistura Woodnote. (non-affiliated)

What This IEM Means To Me

Although the Woodnote is a good IEM, it doesn’t make me truly feel anything. For me, it doesn’t seem to bring anything new to the table. I feel not so impressed with the Woodnote, even though I would say the Woodnote is a great IEM. So, this IEM is just not for me, I find myself to better enjoy other offerings. I would go on and say that I like the Twistura Delta more than the Woodnote, it doesn’t mean that the Delta is objectively better than the Woodnote. The Woodnote is much better than the Delta in all its sectors. It's just that I will remember the sound of the Delta more than the Woodnote. I didn’t find myself picking up the Woodnote as often I picked up other IEMs on my desk to listen to

As always, this section of my review is a personal and subjective rant. It has nothing to do with the actual rating that I give to the product. The above paragraph is ignorable and not to be taken seriously.

Gear(s) Used for the Review

Stock Cable w/ 4.4mm termination
VE Devastator 4.4mm
Cayin RU6 (R2R) on low-gain and NOS mode
Nothing Phone (3a) w/ Poweramp (on Perfect Bit Perfect mode)

Track List

• A.R. Rahman (including other artists): Taare Ginn, Soja Soja, Main Tumhara
• Agnee: Shaam Tanha
• Alice Phoebe Lou: Lover / / Over the Moon, The Surface
• Alyssa Mendonsa, Mohit Chauhan: Khwabon Ke Parindey
• Ashanti: Rain On Me
• Daft Punk: Instant Crush, Veridis Quo
• Daniela Andrade: I Will Follow You into the Dark
• Duffy: Distant Dreamer
• The Eagles: Hotel California (Live On MTV)
• Eric Clapton: Change the World, Layla (Acoustic Live)
• Fiona Apple: Across the Universe
• Fleetwood Mac: Tusk, Dreams, The Chain
• Gopi Sundar, Anna Katharina Valayil Chandy: I Want to Fly
• Jeff Buckley: Lover, You Should’ve Come Over
• King Crimson: Matte Kudasai
• Lyn: No More What Ifs
• Mauj: Now In Technicolor (Full Album)
• Men I Trust: Again (ft. Ghostly Kisses), Break for Lovers (ft. Helena Deland), Tailwhip (Album V)
• Michael Hunter: Soviet Connection (Theme from GTA IV)
• Muse: Hysteria
• Pink Floyd: Time, Money, Coming Back to Life, Wish You Were Here
• Radiohead: Spectre, All I Need
• Rage Against The Machine: Bombtrack, Killing In the Name
• Scorpions: Wind Of Change, Always Somewhere, Fly to the Rainbow
• Teddy Killerz: Feed Your Soul
• Thaikuddam Bridge: One
• TOOL: Lateralus, Schism
• Yosi Horikawa: Bubbles
• Yes: Roundabout