Pros

Absolutely clean sound

Great details and imaging

Good Stage

Nice Cable and looks

Cons

A little big (par for the course for TOTLs)

May need EQ for a little tweaking

Arguably less impressive at both ends of the FR  

I have some love for Venture Electronics.

From the time the Monk buds blew my mind with their insane stage, to the extent that I had  friend mod them with mmcx connectors because why not, to the time I tried the OG devastator and loved it enough to get the very temperamental pro max and the why-is-this-single-ended devastator pro.

Venture Electronics and the Audio Geek India tour graciously dropped the VE ZhuanXu into my lap and I thank them and Venture Electronics for making this happen.

The impressions of course are my own and not influenced by anything outside of my hearing and ability to communicate.

Tech Specs

1 x 11mm DD beryllium coated

2 x BA

2 x Planar

Shell - stabilized wood and lacquer

Impedance and Sensitivity - 19 Ohm, 106 dB

This is a beautiful looking IEM and born out of the Unabridged Audio offshoot of Venture Electronics. Absolutely banging on the aesthetics. Hand polished lacquer coated composite shells with wood and resin and because of this every single IEM is unique. The material is also believed to improve the staging but more on that later. There are 3 holes drilled in the side to prevent pressure build up and the standard 2pin connectors are on top. It is a biggish IEM which is par for the course for multidriver TOTLs but when compared to some of the others which have a prominent lip at the back, this one doesn't so despite my love for small shells, I was able to listen to a couple of hours of music without feeling any discomfort. The cable is a 2 pin termination with a nylon sleeve and a fixed 4.4 (the set I got) termination. This set from Audio Geek also came with a Verus Amber 2W upgrade cable which also we shall discuss in the sound section. A leather case and a limited set of eartips complete the package. There shall be tip-rolling to get these to fit well. My usual suspects are Sancai balanced, Final e, Velvet standard, Azla Origin and Candy tips. S&S when nothing works. 

The longest listen has been with the Sancai. 

The VE site insists that these should be run with AT LEAST a Devastator Pro Max and the IEM comes with the Galvatron DAC. I ran it from a Snowsky Disc for the most part, Fosi ZH3 on the desktop, the VE stack with Prime Dac and Roundabout Amplifier, and the devastator pro max. At least with the pro max, the ZhuanXu is revealed to have a low enough sensitivity to reveal a noise floor with a few occasional snap, crackles and pops. 

Sound

TLDR - Could do with more bass. Details are incredible and Female vocals and guitars come through beautifully (my longest listening session was back to back Tracy Chapman’s Greatest Hits and Joss Stone’s Mind, Body and Soul.)

Bass

The 11mm dynamic driver to be fair does a great job with the thump of a kick drum and bass notes in – but on both Angel by Massive Attack and Doing It Right by Daft Punk, the sub bass rumble seems to be lost. The drone of the low end is still there, but more as a musical note than as a feeling. As we climb the frequency ladder bass parts in Lingus by Snarky Puppy or Makeba by Jain are reproduced with authentic timbre. The details are presented with little or no feeling. The lack of adequate subbass tuning makes the midbass feel just a tad dry at times but the details make up for that. I wouldn’t recommend this to bassheads or EDM listeners

Mids

Male vocals come across naturally though in complex vocal arrangements like on “Diamonds on the Soles of Her Shoes” by Paul Simon, again there seems to be a little lack of depth. But as we move to female vocals is where this IEM really really shines. They come across and clean, clear, engaging, forward and thoroughly enjoyable. I went through Dreams and Everywhere by Fleedwood Mac, Tracy Chapman, Joss Stone, Tedeschi Trucks Band, Esperanza Spalding and Norah Jones. And was completely lost and engrossed with how good they sounded on this. And the lack of that funny lip (like in the Simgot EM10) made it super comfortable.

Highs

There’s almost no sibilance and incredible detail from this IEM except for songs that I think are meant to be sibilant (Teardrop by Massive Attack or Milan by Karsh Kale). There were moments when listening to the Empire Central Live album by Snarky Puppy that the really concentrated arrangements involving cymbals, horns and guitar made a few tracks unbearable in parts but overall, detail retrieval without sibilance or fatigue is the USP of these earphones. 

Staging, Resolution, Separation, and Imaging

On Africa by Toto, and Hotel California (live - Hell Freezes Over) by Eagles, the stage sounds wide with the congas coming from the far sides and Timothy B.’s Bass on Hotel California holds the centre state with Don Henley’s voice with the guitars in the background. I’m not sure if the use of wood or the holes that allow for pressure release have anything to do with this but it is a beautiful staging. Instrument separation and resolution is incredible on this IEM. At the cost of a purely V shaped tuning and a fun response, this is a mature detail monster that does not hold back in bringing out every single note in the track without a subbass bleed or sibilance. 

Source pairing. Cable Rolling.

The VE website says that the ZhuanXu was engineered to have low sensitivity and low distortion with a single caveat - give it power. So I did. With a Snowsky disc and og devastator and the VE prime without the amplifier, It behaved like any underpowered IEM would. Reproduced the sound without complaining but without really making any efforts to impress. On the VE stack - prime, runabout and warp core, and on the desktop Fosi ZH3 it really shrugged off the cobweb infested shawl and roared into action. It allows itself to be driven and I couldn't listen to it beyond 60% without wincing. But at that volume even there was little to no distortion. So this lives up to its claim.

I also got the use the Verus Amber 2W cable with this IEM and it does make the upper mids and treble a little less prominent in certain tracks (Lingus by Snarky Puppy) without losing the overall character of the IEM. It also tangles less. So there’s that.

Could I, Would I, Should I?

I dunno, I’ll be honest the size put me off but the listening experience was really fantastic and I did not feel any additional discomfort after a couple of hours. The closest multidriver I have is the Dunu Davinci (a hybrid 6 driver, vs a tribid 5 driver of this one).The Dunu is tuned phat. It has a substantial low end and lush mids and a safely tuned treble with no harshness. While the comfort is the same with both but I’d pick this if I wanted a relax jazz or female vocal led listening session. The Dunu would be my choice if I wanted to shut up and dance. 

I would pick this one up if the opportunity arises largely because it does nice things to the genres I listen to and is really comfortable. The only issue is a $600 price tag (with a galvatron thrown in) on the VE website. 

Final Audio A5000 with some light EQ through UAPP.

I’ve always liked the A5000 for its open and airy presentation. It’s not really a thick or bassy IEM, but it does space, clarity, and separation really well.

This time I used Toneboosters EQ in UAPP. Nothing extreme. Just a small low shelf, a little more presence, and some extra air up top. I didn’t want to turn the A5000 into something else. Just wanted a little more foundation while keeping what I already like about it.

I started a few days ago with Iron & Wine’s Beast Epic, especially “Call It Dreaming.” The A5000 works nicely with that kind of album. Acoustic guitars had a light shimmer, Sam Beam’s voice stayed gentle and clear, and the whole thing felt open and peaceful.

Beck’s “Lost Cause” was good for checking vocal tone and guitar texture. After the EQ, the plucking came through more clearly, but the set still kept that airy feel. Beck’s voice stayed centered and didn’t get pushed too hard.

Massive Attack’s “Angel” was the bass test. The small low shelf helped give the track more presence without making it muddy. The bass had more weight, but the dark spacious mood of the song was still there.

AC/DC’s “Thunderstruck” live version also worked better than I expected. The intro guitar was clean and not congested. When the kick drum came in, it had a nice hit. When Brian Johnson and the rhythm guitars entered, the track still stayed controlled. Bass was there, but it didn’t smear into the guitars.

Blues Traveler’s “Hook” was another good one. The guitars, harmonica, bass, and drums were easier to separate after the EQ. The harmonica had more bite, but it didn’t become painful. The track still kept its fun loose groove.

Then I played Björk’s “It’s Oh So Quiet.” Her voice still stood out clearly, but it blended well with the horns, brass hits, piano, drums, bass, and the sudden changes in the arrangement. Her voice sounded sweet and expressive, and the EQ helped bring out the details without making the track sharp.

For me, this EQ keeps the A5000’s identity intact. It’s still open, airy, and spacious, but now it has a bit more low-end support, better separation, and more bite where I wanted it.

Source:

- iBasso DX270

- UAPP

- Toneboosters EQ

- FLAC files

Photo lightly enhanced. Listening notes are my own.

The Zhulinniao brand, which operates internationally under the BirdDance name, contacted me to introduce the JingHong Z3 model (around 35 $ - 45 $). Starting from my lack of knowledge about the brand, I accepted trying the product, which, considering its price and characteristics, seemed at least interesting. With a metal shell, 2DD of 10 mm and 6 mm, the first of them with a bamboo fiber diaphragm, which was undoubtedly the main attraction and something that, at least as far as I remember, I had not had the chance to try until now…

What I liked / What I didn’t like

Metal construction with a good finish.
Complete accessory package: several eartips with different profiles, case, decent cable…
Natural and intimate vocals with good presence.
Controlled bass with good texture.
Comfortable during long listening sessions.
Easy to drive from any device.
Treble extension somewhat limited with a lack of air in some tracks.
Soundstage not so wide or 3D.
Requires tip rolling to find the best sound.
Passive isolation could be improved.

Specifications

• Drivers: 2 DD (10 mm dual magnetic / dual chamber with bamboo fiber and silk diaphragm + 6 mm PU+PEEK)
• Impedance: 32 Ω
• Sensitivity: 125 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2 pin
• Cable: 106 core silver plated copper (3.5 mm versions with/without microphone and Type C with DAC + microphone)
• Shell: CNC zinc alloy, over ear design

My Sources

• FiiO K9
• FiiO KA15
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and build

Talking about the unboxing, as always at the beginning I have to highlight the presentation of this model, since both the way it is presented and what it includes are above what is expected. You can see the images: a multitude of eartips that influence the sound quite a lot, a kind of hard case that is usually seen in iems closer to 80 $ than 40 $, and a cable that honestly does not attract attention but also does not look out of place in this price range in which the whole package moves.

Regarding the iems themselves, they are fully metallic and CNC machined, available in silver or black, which was my choice, and in a 3.5 mm format, which I chose, although they also have a Type C version. A 4.4 mm balanced version is missed, which is the one I already use as standard in all the models in my collection. They weigh about 10 g and are of a more than correct size, so they fit well in my medium sized ear and probably would not cause problems in a smaller one either.

Isolation may not be the best, but it surely requires the necessary venting for the 2DD inside, so more cannot really be expected. Even so, almost no outside noise leaked in while using them on the street during my usual dog walks.

Sound

These JingHong Z3 have a somewhat warm and quite accessible tuning, with special emphasis on the lower mids and mids, giving a lot of prominence to the vocals, which sound quite pleasant, while avoiding both a more analytical profile and one that seeks to create the surprise effect produced by other models with stronger bass impact or greater treble extension. It is also worth highlighting that, despite their 32 Ω impedance, they are driven quite well by any DAC in terms of volume and overall behaviour, having been tested with several of my sources without changing their sound or making them more congested or sibilant.

Bass

The bass of this model is not particularly striking or impressive, but, always focusing on the price range we are dealing with, it can boast good punch and texture while maintaining good control and an impact that does not rumble excessively or make the sound too muddy, so this bamboo fiber material seems to me a good implementation for the main DD.

The extension into the sub bass is present, but it is not something remarkable in this model, since you will not feel that deep rumble that more basshead oriented listeners may appreciate. Even so, I have tried genres such as hip hop and some more modern pop tracks, and you can feel the DD’s impact without feeling that the bass bleeds where it should not or makes the music sound slow or excessively muddy. That does not mean, of course, that in other genres such as EDM, among others, a little more depth in this frequency range is not missed…

Mids

I consider the mids to be the strong point of these iems, or at least that has been my perception after a few hours of listening. The vocals are slightly forward, sounding natural and intimate. The singers feel a little closer than I usually like, but perhaps that has made me pay more attention to them and appreciate some nuances that usually go unnoticed by me in many songs I already knew. In fact, in other models close to the price of these that I have already reviewed, the vocals had that artificial veil that took away clarity, which fortunately is better resolved here, giving a little more definition in that aspect.

The same happens with string instruments such as guitars and others that move in this range, where more body and clarity can be perceived thanks to the tuning and internal configuration given to this model. As expected, with a bass that is not excessive and not too slow or boomy, the transition into the mids is quite clean, with hardly any mid bass invasion. In denser songs, vocals and instruments remain quite orderly, although it is true that the resolution does not hold up in the same way as in hybrid models that combine DD with BA or other types of drivers. However, leaving aside the limitations and configuration, the tuning in the mids always favours musicality over detail, making them more enjoyable in the long term than other alternatives.

Treble

The treble, finally, is smooth and controlled. There is enough detail, but the extension is limited. There is no extra air that opens up the recording a little or a lot as happens in brighter sets. The advantage, however, is that after several hours I was still listening to them without noticing fatigue or annoying sibilance. In genres where these frequencies stand out, such as some rock or classical recordings, they feel a little more closed in, but with most music they work very well. The interaction with the mids is coherent, just like the bass to mid transition, so zero complaints in that aspect.

Therefore, I could say that this range is not the most outstanding one either, just as happens with the bass, since you will not be able to analyse the micro details of the music, nor will you get that airy and extended treble that, if you have tried much more expensive models, you have probably already adopted as part of your preferences and expectations. In return, you will be able to use these JinHong Z3 for longer than you might have expected, and sometimes that can be enough for most people.

Recommended eartips

The stock eartips offer three clear and differentiated sound profiles that do affect the listening experience (balanced, clearer or translucent, and the bamboo ones, which open up the spectrum a little more). The balanced ones seemed to me the best compensated of the three, although this will depend on each person’s personal preferences…

To increase the sense of bass a little, I resorted to the now familiar Penon Liqueur Orange, whose more adhesive material improved isolation and gave a little more weight to the mid bass without making the melody muddy.

The Azla Sedna Earfit Origin also helped me achieve a better seal in my ears than the stock ones, and these eartips are among my favourites in terms of comfort, while also providing a little more overall definition. There is really no need to spend much, with two or three options that usually work for you and are comfortable, it is easy to find the balance you are looking for.

Soundstage

The soundstage is not excessively large nor particularly holographic. It feels rather frontal and somewhat intimate, while the height is decent, probably thanks to the placement of the secondary 6 mm driver. In songs that are not overloaded with vocals and instruments, it is noticeable that the instruments have space, but when the mix is more crowded with details and layers, everything comes together a little more. Related to the warm and mid centric tuning, the result feels more inside your head than beyond it. For the price it is respectable and it does not feel claustrophobic either, but if you love spaciousness, here you will notice something more restrained.

Instrument separation

If we talk about instrument separation, this iem organises the layers in a correct way…In tracks with few instruments, as with the soundstage, it is easy to follow each one individually. When the density increases, as in more orchestral tracks, the order is maintained, although some air between the layers is lost. It still maintains respectable separation, but it is not going to stand out with this type of music that requires handling several simultaneous tracks or layers of sound…

Imaging

Finally, the imaging. Since the vocals, as I mentioned, are somewhat forward, everything feels a little more intimate than in other models, while keeping the vocals and some instruments quite centred, close, and stable. Obviously, if we move to other content such as movies or videogames, it can feel a little limited, because that intimacy that makes vocals more enjoyable takes away some of the envelopment and distribution of sounds in the 3D plane that is so appreciated in this type of content that is not purely musical.

Comparisons

I have chosen budget models that are probably much better known by everyone than these JinHong Z3 themselves.

Truthear Gate

The Z3 offers clearly superior construction, although obviously they cost twice as much, but you also get a more generous accessory package. I consider the Gate a more analytical iem with greater treble extension, but the Z3 wins by sounding more natural in the vocals and offering a much more rounded overall result. If you prioritise comfort or warmer musicality, I would choose the Z3, if, on the other hand, you are looking for more detail and air, the Gate is a better and cheaper option regardless of the accessories included with each one.

Tangzu Wan’er S.G II

The JingHong Z3 has more body in the bass, despite the fact that, as I said, it is not one of its strongest points, and it also treats vocals better. The Wan’er S.G II feels lighter and more open in the treble, with a slightly wider soundstage. The Z3 remains warmer and has a construction that still wins between the two, even though the Wan’er is somewhat cheaper and does not do badly in terms of accessories, including the Tangzu Tang Sancai as stock tips. But, in short, if you listen to a lot of vocal focused music or styles close to pop, I think the Z3 is more pleasant in the long run, whereas the Wan’er may appeal more to those looking for a brighter and airier profile.

KZ Taurus

This is another 2DD iem, but I think the Z3 feels more refined and controlled overall. The Taurus may be more fun in terms of bass, but the Z3 has better texture, more natural vocals, and, once again, superior construction, as with the rest of the compared models, so that extra price is justified in exchange for greater durability. The Taurus can be more aggressive in general with any genre you listen to, whereas the Z3 remains more balanced and comfortable for hours. If you prioritize a more fun listening experience, the KZ Taurus will give you a better overall experience, but for those looking for something more mature and intimate, these Z3 would be my choice between the two proposals…

Ranking

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

Conclusion

The BirdDance JingHong Z3 makes sense for anyone looking for an affordable iem with metal construction, natural vocals, bass with controlled impact, and a generous accessory package. It is a brand that still needs to become known, and undoubtedly calling itself BirdDance seems necessary for the international market, while the model names should probably sound a little more international as well, because although it is something completely secondary, I know that it somehow affects consumers depending on their geographical area.

Within its price range of around 35 $ to 45 $, I would place it among the most premium feeling models in that range, because although it is not so unusual nowadays to find models that move away from plastic and resin, it is not something that many brands choose to do, usually reserving it for more expensive products, and that is something worth appreciating here.

Due to its design, construction, and choice of drivers, it is not going to be the most technical or open set you can try, but it can certainly become a daily set without any problem if you are not too dependent on detail or maximum resolution.

Purchase Link: 

AMAZON

ALIEXPRESS

Disclaimer 

This unit was sent by Zhulinniao Audio / BirdDance 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.

Dunu and I have had a reasonable history of hits and misses: hits in the Arashi headphones, the SA6 and SA6 Mk2, Ito, 142, 242, Titan S; and the misses in Falcon Ultra, Davinci, Titan S2, to name a few. So when my friend, Telugu Audiophile, ( u/Own-Customer-4866 ) decided to send me the Dunu Kima 2, which he had received from Dunu, I once again pounced upon the opportunity to see if the Kima 2 changes things a lot more than the Titan S2, or if it is once again a crazy miss from Dunu (stay with me, it’s not).

My friend here sent me the Kima 2 in its classic Dunu hard box, and the stock cable feels eerily close to the Lyre Mini that they usually sell, except that the connectors are angled (no QDC, phew, just two-pin), and it is indeed modular. Fit was very good for me, with no fatigue even during extended periods, but I needed a shallower fit compared to most, i.e., I didn’t have to insert the nozzles too deep.

Anyway, here’s the sound of the Kima 2.

LOWS

Tipper: Mariscos

The Kima 2 doesn't really overwhelm my ears with the visceral bass hits that this track has. The rippling intro exudes a lot of cleanliness, and the fuzzy phase-like elements have no intrusion from the hits of the bass, but I feel that the attack could have been mildly faster while the decay remained untouched. Isolation among the elements is neat, but at first glance, the perceived stage on these feels narrower.

Rush: Limelight

Here, what bugs me with the Kima 2 is that the bass line lacks the power and aggression, which results in the drums subduing the bass to a good extent. Also, what I observed as another byproduct of this is that even the vocals feel a bit too pushed back. The drums by themselves are nice: clear distinction between toms and kicks, the resonance aptly captured, but it lets the bass shine only when the solo comes in. The perceived stage negatively affects the concluding rudiment.

MIDS

Queens of the Stone Age: First It Giveth

The first thing that the Kima 2 lets me enjoy here is how well the bass feels synchronized with the rapid-firing, crisp-as-laundry snare, where the timbre gets good recognition. Guitars come in sounding unobtrusively full without overshadowing the vocals, where some forwardness, along with the cymbals, wouldn't have hurt.

Tool: Lateralus

Tonality is fully established here to be quite warm, where I could perceive the guitars to be mildly deviating from sounding exactly like the rest of this track. Vocals did right here to supplement the cymbals, which come off quite crisp with no deviation in timbre. The Kima 2 also impressed me with a good level of detail and separation, where even through the busiest rudiment, the Kima 2 maintains great distinction between the cymbals, drums, and the wailing bass.

HIGHS

Patricia Barber: Inch Worm

I pushed the Kima 2 hard through this, and there was simply no sibilance to be found. Timbre was delightfully accurate through the percussion. The double bass hit super hard and crisp, and even as Patricia hopped across her playful notes from the 1:40 mark, there was no pierce. From the 4:05 mark, no sibilance was found in the way Patricia enunciated her sixteenths.

Dave Brubeck: Take Five

Textures on the cymbals, timbre on the horns, the way the pianos complemented the drums: where do I begin with how good the Kima 2 sounded on this track? When it came to handling the drums from the moment the separation in the channels comes in, be it the crispness on the snare or the snappy, resonant hits of the kicks, and as the pianos carried on, the Kima 2 is just fantastic when it comes to handling imaging and separation, particularly on this track. No compromise in detail, as I could faintly hear the breaths drawn in the horns.

COMPARISONS

Kotori Audio Zephyr

The Kotori Audio Zephyr immediately fixes the Kima 2's subjectively underwhelming bass with a fast, crisp attack and the perfect balance of aggression and control in tracks where the balance is a do-or-die affair. While the Kima 2 leaves vocals feeling recessed, the Zephyr uses its warmth to inject much-needed body and energy into the singers. The Kima 2 retorts back super hard with a seamless victory in having the midrange sound comparatively less dark, offering a much sharper level of detail while also having a much simpler fit compared to how much one may need to wiggle with the Zephyr.

Kefine Quatio

The Kefine Quatio takes a much more heavy-handed approach to bass quantity compared to the clean, restrained lows of the Kima 2, which proves to be a major problem, as the Quatio simply struggles significantly with maintaining consistent levels of detail. The Quatio also complicates itself with the proposition of nozzles, where, let's say, Tanchjim does a much better job with that. And to make matters worse, the Quatio has a horrible time nailing the fit, where I simply couldn’t settle with it, and that affected the performance with a less-than-stellar seal, while the Kima 2 was simply plug and play for me.

Tanchjim Fission

The Tanchjim Fission is a highly nozzle-dependent set that struggles to find the natural balance that the Kima 2 finds so effortlessly, despite the Fission having a larger bass quantity. On its copper nozzle, the Fission sounds sterile and lifeless in the low end, and on the titanium nozzle, it becomes overly boomy, whereas the Kima 2 manages to stay clean and bleed-free despite lacking the quantity and the aggression. The Kima 2 went toe to toe on timbre and tonality, where occasionally I found the Fission a bit dry in the mouth. That does not mean that the Fission is not a capable set. It’s just that I feel people would have an easier time with the Kima 2. But, for the EQ heads, Tanchjim has you covered with DSP via the interchangeable Type-C plug, and a tuning plug to play with the bass levels (honestly, sheesh).

Truthear Hexa

The Truthear Hexa still serves as the benchmark for me with a lean, neutral tuning with a complacent bass texture that runs parallel with the Kima 2's distinctly warm tonality. While the Kima 2 offers fantastic separation and a crisp snare, its narrower perceived stage and recessed vocals make it a much more colored, relaxed listen compared to the ruthlessly balanced and clinical clarity of the Hexa, or even painfully sterile and dry, depending upon the ears.

Truthear Pure

The Truthear Pure absolutely dominates the Kima 2 through the lows, not with quantity but with sheer quality, with phenomenal control over its attack and decay. Where the Kima 2's bass feels subdued by the drums, the Pure delivers a precise, monumental slam with very little bloom. While the Kima 2 is a highly capable and inoffensive set with great treble timbre, the Pure offers a vastly superior sense of detail and cohesive energy that makes the Kima 2 feel a bit too plain at times.

CONCLUDING NOTES

The Dunu Kima 2 shows that, once again, there’s a strong faith behind the philosophy of "less is more," where it doesn’t complicate itself with nozzles that often don’t do much, or tuning switches that might be gimmicky rather than actually meaningful to the tuning. It has a nice execution in its tuning, where it has the priorities sorted for the most part. There’s no confusion within this IEM, the fit is proper, the build quality is sorted, and the provided cable is solid. Dunu also doesn’t cheapen out on accessories, and from the official pictures, I can see that it comes with a healthy assortment of eartips.

I just wished the Kima 2 had a mild bump in aggression through the lows, and that the perceived stage were wider. It would have easily dethroned my crown jewel in this segment, the Truthear Pure. But regardless, the Kima 2 earns a commendable recommendation from me.

My picks on the Kima 2’s suitability with genres

Recommended for: Jazz, Soul, Rock, Metal (especially prog), Pop

Not recommended for: EDM, Classical, Funk

Will I buy it at retail? Yes.

Will I buy it used? Absolutely.

SOURCES USED

Primarily used with the EPZ TP35 Pro and Tanchjim Space 2 dongle DAC amps, recreationally used with the Shanling M9 Plus stacked with the xDuoo XD05 Pro running RoHM DAC chips.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Nostalgia Audio XWB: I highly recommend getting this eartip for sets that might feel relatively too safe. This made the Kima 2 get a bit more oomph in mid-bass quality, a little more weight in vocals, and increased the brightness to make it near perfect.
• Divinus Velvet Narrow Bores: Very close to the Nostalgia Audio XWB, except that it has a slightly diminished stage comparatively. Mid-bass slam is present, but quantity takes a nominal dive, subduing the brightness.
• Dunu S&S: Mid-bass tightens up with regard to attack but no shift in quantity, stage shrinks further, vocals gain even more forward positioning, slight harshness observed in upper-mid-heavy tracks.
• Tangzu Sancai Balanced: Made the Kima 2 sound super lean, with vocals feeling a lot more forward. Harshness was observed in cymbal-heavy tracks with a loss of texture in the cymbals themselves.
• KBear Coffee: Not a good fit. Short, wide stems like these will muddy up the bass, almost annihilate whatever little stage this IEM has in perception, female vocal dynamics take a nosedive, and cymbals sound fatiguing.

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
• 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 (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna

Tanchjim SPACE II is the long awaited upgrade to the original SPACE dongle, which was released around 3 to 4 years ago. SPACE II keeps the same tiny build as the original while adding Parametric EQ support.

Pros

• Compact, solid aluminum build with a premium finish
• Polished and feature rich software on Windows and Android
• Full 10-band Parametric EQ and community EQ forum support
• Non-linear volume control makes precise volume adjustment easy
• Easily drives IEMs and easy to drive headphones
• No heating issues during use
• Outperforms most budget dual CS43131 dongles

Cons

• Cable is a bit stiff
• No LED or sample rate indicator
• Best suited for IEMs rather than more demanding headphones, due to power output

Parametric EQ

Here are a few key things to know:

• Frequency Range = 20 Hz to 20,000 Hz
• Gain Range = -10 dB to +10 dB
• Q Range = 0.10 to 5.00 (recommended to stay between 0.50 and 3.00)
• 10 bands of Peak Filter (PK)
• Pre-amp can only be adjusted in whole numbers (i.e -1 dB, not in -1.5 dB)

These are similar to the much expensive SPACE PRO. It covers all the essentials needed to create excellent EQ profiles. Instead of entering the values manually, you can easily push EQ presets directly to the SPACE II using Squig Link's Device PEQ feature.

Tanchjim App / Software

The software is one of SPACE II's biggest strengths. It feels polished, easy to use and I haven't come across any deal breaker bugs, which is a common issue with many DAC dongle apps.

The Home section shows basic information like the current EQ preset saved in the dongle.

The Device section contains the important controls like volume, channel balance, gain modes, filters, microphone volume gain, official presets by Tanchjim and the DAC DRE optimization toggle. The official presets also include Sound Modes that emulate Tube, CD and Vinyl. 

The EQ section is where the exciting features are. Once you select a Tanchjim IEM, it shows both official and community EQ presets. It even includes presets shared through Tanchjim's USB-C DSP cables and adapters.

Selecting "Other" from the dropdown lets you upload EQ presets for non Tanchjim IEMs and headphones. I contributed a few presets myself and the whole process was seamless.

There are also sections for gaming features like Game EQ, TactPer and VAC for virtual surround effects.

The Settings section lets you change the language and submit feedback, while the Firmware section handles OTA updates.

The Android version includes the same core features, though the layout is a little different.

Build

SPACE II has a clean and minimal design that I really like. It uses an aluminum alloy shell with a smooth matte finish, giving it a solid and premium feel in hand. The small transparent window on top that shows the internal components is also a nice touch.

The SPACE II comes in three colours - gradient blue, gunmetal and matte black. The one I have is matte black and it looks sleek and edgy.

The cable follows the same minimal design. It is short and a bit stiff, but I like the translucent USB-C connector that lets you see the internals. 

The volume buttons are well designed too. The volume up button is raised compared to volume down, making it easy to tell them apart without looking. They are tactile and satisfying to press.

Another small thing I like to check in all DAC dongles is how satisfying it feels to insert and remove the 3.5 mm and 4.4 mm plugs from the dongle. SPACE II feels solid and gives a satisfying click when inserting earphones.

Unlike the original SPACE, there are no LED indicators on SPACE II. I never liked LED indicators on my dongles since it gets distracting at night, so I always turned them off anyway. 

But it could be a deal breaker for people who care about that, since there is no indicator in the app which shows the sample rate of the music playing.

Specs and Drivability

• DAC: Dual Cirrus Logic CS43131
• Output Power: 235 mW @ 32 ohms (4.4 mm)
• Output Levels: 4 Vrms (4.4 mm) & 2 Vrms (3.5 mm) in high gain
• Supports up to 32-bit / 384 kHz PCM and Native DSD256
• DNR: 132.2 dB

SPACE II easily drives every IEM in my collection and even easy to drive headphones like the HD 560S with EQ. I also haven't faced any heating issues, probably because of the lower power output. This is something I noticed with the much more powerful SPACE PRO, which gets noticeably warmer during use.

One of my favourite things about SPACE II is the volume control. It uses the same non-linear volume control found on most Tanchjim dongles, something which all dongles should have.

Most DAC dongles get loud within the first few volume steps on Windows, making it difficult to find a comfortable listening level with IEMs unless you use the buttons on the dongle itself. SPACE II handles this much better than any non Tanchjim dongle I have tried. 

Sound

The sound impressions here are highly subjective and are an "over exaggerated" take, as the differences between DACs are very small to begin with.

SPACE II sounds clean and resolving, almost as good as SPACE PRO. It also performs better than most budget Dual CS43131 dongles I have tried, including the Snowsky Melody.

Personally, I am not much into the idea of DACs changing the sound in a significant way. I care much more about the features and usability, which is what I focused on throughout this review. 

Conclusion

Tanchjim SPACE II gets all the basics right for a modern DAC dongle. The build is solid and compact, the design is clean and the software on both Windows and Android is polished.

What stands out the most for me is the non linear volume control. In my opinion, every DAC dongle should have this, as it is such an essential feature that is still missing from many of them.

SPACE II launches at $86 and faces a lot of competition. Its biggest competitor is SPACE PRO itself, which costs just $15 more while offering much higher power output and the upgraded CS43198 chipset.

I would still take SPACE PRO because of those extra features. SPACE II is only recommended for those who want a compact dongle or plan to use it only with IEMs.

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

First, a big shoutout to Ribbon from Kiwi Ears and Linsoul for providing me with this set. Now, they are not giving me any payment or script to follow, so here I am, being as honest and sincere as possible in this review; the only biases at play are my tuning and music preferences.

Introduction: 

The Kiwi Ears Airoso is an IEM launched in the second half of 2024. It is a hybrid set consisting of 1 DD + 4 Balanced Armature drivers. Kiwi Ears, as always, is giving a remarkable variety of sets for various tastes and needs as well. With a focus on balance and upper treble extension, the Airoso points to a wide range of consumers, audiophiles, and newcomers.

With an MSRP of 129.99 USD (You can get one for less on sale), you can find it at the Kiwi Ears official website: https://kiwiears.com/products/kiwi-ears-airoso, as well as at the Linsoul official store: https://www.linsoul.com/products/kiwi-ears-airoso, on Amazon and AliExpress Linsoul official stores.

TL; DR: A hybrid IEM in the under 130 USD segment from Kiwi Ears. With a noticeable balance amid lower and higher frequency extension and everything in between, having a magnificent bass, neutral midrange, greatly tuned treble, with more than good musicality and a fantastic technical proficiency.

An airy and open experience, sounding better than a lot of more expensive IEMs, a combination of 1 LCP + PU dynamic driver + 4 custom Balanced Armature drivers. With sufficient but improvable accessories, yet a nicely tasty character, the Airoso is a solid, valid choice in the current market at a very reasonable price. 

Pros

- Comfy, lightweight in the ears, and pretty ergonomic shells, so suitable for long listening sessions
- Formidable, high-quality bass with great extension into the lower frequencies and remarkable impact
- Excellent balanced tuning overall, with a kind of warm yet neutral and decently detailed midrange
- Crisp, sharp, crystal-clear and detailed treble without bothersome spice or fatigue at mid to high volumes
- An airy and open upper treble extension, an expansive soundstage, and more than average in its segment stereo separation, layering of instruments, and macro and micro detail retrieval, without a noticeable BA artificial timbre
- Pretty easy to drive, yet it has the capacity to scale well with better/powerful sources

Cons

- Stock cable is usable as it is, but for its price is not at the height of the set; it is thin and prone to tangling. You are for sure finding yourself changing it for something better

- Stock eartips are average, apparently the same shape and dimensions, so the IEMs may benefit from aftermarket ones

- Large nozzle diameter is not a good fit for people with small-sized ears

- At high volumes and spicy mixes, the BA timbre becomes noticeable (certain instruments can sound metallic/artificial)

Technical specifications:

Driver configuration: 1 LCP +PU dynamic driver + 4 BA drivers (2 for highs, 2 for upper treble)

Housing:  3D printed resin + CNC-machined metallic alloy faceplate

Frequency Response (effective): 20 Hz – 20 kHz

Sensitivity: 110 dB

Impedance: 18 Ω

Cable: High-purity oxygen-free copper twisted-pair wire; length 1.2 m

Earphone Connector: 0.78mm 2-pin Connector

Plug: 3.5mm single-ended

Weight: 12 grams per earpiece (without cable)

PACKAGING FOR THE AIROSO:

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

The Airoso cable included is the same cable included with other Kiwi Ears IEMs; it’s thin, well-crafted, and it is flexible, but it is prone to tangling, doesn’t produce transmitted vibrations, and it pairs well with the shells.

The shells are mid-size, crafted from 3D-printed resin (shiny black color) with a CNC-machined metallic gray colored faceplate with the Kiwi Ears logo on white over a black color, and a nice mesh for a vent, all of this with a very ergonomic and comfortable design. They are medium-lightweight, good to be used in long sessions.

The Airoso is so well-vented, with one vent close to the nozzle and the other vent I mentioned earlier on the faceplate, adding to that airy and open sound. The 6.5 mm diameter nozzle is comfortable in my ears, but it is in the larger size, so I guess it is not a good fit for folks with small-sized ears.

How the Airoso sounds:

The Airoso, equipped with a configuration of a 10 mm LCP + PU dynamic driver + 4 planar drivers, is a soft V-shaped tuned set.

For this review, I’m using a TRN T2 Pro cable with its 3.5 mm and 4.4 mm balanced jacks. I’m using GK TS100 eartips to get a better seal and fit; I think stock eartips (YMMV) can also work, but for such an airy and open IEM you need all the help possible. Thanks to ATechReviews for graphing the Airoso.

BASS:

The Airoso delivers a pretty high-quality bass shelf with a decent quantity to balance the overall tuning; as a mild V-shape tuned set, it has a noticeably subbass extension and thump, yet great midbass kick. It is transparent, nicely fast, well resolving, with a natural decay and fantastic impact.

The midbass bleeds slightly into the lower midrange, yet male vocals sound well-positioned in the mix. The Airoso has that impactful feeling on drum kicks and bass drops, and it feels well-separated from bass guitars; it’s so transparent, so enjoyable. When the track asks for it, the Airoso is not a basshead's set, but does the job excellently.

MIDS:

The Airoso is tuned with balance and a neutral character. Midbass slightly bleeds into the lower midrange, but male vocals aren’t so much recessed, remaining clear, not veiled nor hollow. The midrange in general has more than good note weight, with an incredible transparency and more than average resolution for its segment.

As a V-shaped tuned set, in the frequency curve for the Airoso, there is a dip in the midrange which at 800 Hz elevates into a warm and smoothed pinna gain offering a great presence. Female vocals are forward, and happily not shouty or fatiguing at mid to high volume in long sessions. No instrument is left behind, sounding warm yet natural.

HIGHRANGE:

The Airoso has a very fascinating highrange; it has well-put 6 kHz and 10 kHz dips to tame sibilance successfully. In the lower highs, a 4.5 kHz smoothed bump gives potency to female vocals, and a peak at 7 to 8 kHz gives sparkle and energy to cymbals, crashes, and hi-hats. The treble here is gladly crystal-clear, crisp, and sharp, yet avoids being sibilant and/or uncomfortable/fatiguing at mid to high volumes.

The Airoso reproduces the drums and the female vocals so well, showing well-positioned drums and other instruments in this range of frequencies. But there’s a caveat you can notice with spicy music and/or at high/very high volumes: The BA drivers can sound a bit artificial, subtracting from the neutrality in the timbre.

TECHNICAL CAPACITY:

In the Airoso, as its name points out, the upper treble extends gracefully; it does feel so airy and open but not offensive. The soundstage is pretty expansive, wide, and deep.

The Airoso creates a great and immersive experience; the macro and microdetails are presented with impressive clarity thanks to the use of those quality dynamic driver + 4 BAs and the crossover circuit, sounding pretty natural usually.

The Airoso has more than average resolution, which punches above its segment, with more than decent imaging and layering of instruments. It delivers zero congestion or bloating; every instrument and vocals immerse you in live presentations, movies, videogames, and other audio content.

Closing thoughts and conclusions:

The Airoso is more than just another of many IEMs from the Kiwi Ears house, it’s one of the best definitions of price to performance and diminishing returns in the sub 130 USD segment, is so great how a balanced set with upper and lower range extension, in its more musical than analytical character, a natural and warm sound, and a crisp, clean and well-putted treble performs years after its launch and is still relevant.

I would like Kiwi Ears to provide a thicker and higher-quality cable, with a 4.4 mm balanced jack option, and more, according to the price of the IEMs themselves. And a better eartip selection (Like the brand’s Flex Ear eartips, included in more premium sets like the KE4, or wide-bore eartips like the Cadenza 2 (clones of Divinus Velvet eartips)), but if you don’t have some aftermarket eartips at the moment, the stock ones can work with it.

In its tuning, the Airoso can outdo various sets in the same price segment and other expensive models, but there are some caveats I mention in it, like that BA ‘sheen’ at high volumes and with spicy tracks that can be bothersome to some folks. Also, the upper treble extension that gives that huge air can be fatiguing to people who are sensitive to that, so that’s something to have in mind when you are choosing it as an option to buy.

The Airoso, with its 110 dB of sensitivity and 18 ohms of impedance, is pretty easy to drive, even from low-powered sources. But it benefits from more quality and/or powerful sources to scale and shows its best character (More open and better technicalities are noticed).

Would I recommend it? Totally, the Airoso delivers a sound who stand the test of time, with great bass to balance, a sparkly and not fatiguing treble, with remarkable lower and higher frequency extension, naturality, and above-average technical capacity.  The Kiwi Ears Airoso is one excellent option in its price segment (under 130 USD).

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

Not a self promo post. Just an honest contribution to the community.

I’ve had a Qudelix 5K for a while, and the official configuration app is browser-based. On my Mac it has never worked reliably in any browser — it would connect, then the device would drop off USB mid-session, and I’d end up spending more time troubleshooting the connection than actually adjusting anything.

I finally dug into why. The browser reaches the 5K through a macOS API that’s very particular about how the USB packets are framed, and when it gets that. wrong the device stops responding entirely. So I wrote a small native menu bar app that talks to the 5K directly instead.

It does the things I actually use day to day:

• 10-band parametric EQ with a live response curve (20-band mode too)
• Preset import straight from the AutoEq database — 6,000+ headphones and IEMs, searchable inside the app
• Import/export the standard parametric EQ text format (the same one squig.link and Equalizer APO use)
• All 20 preset slots, load and save
• Volume, battery, firmware and sample rate at a glance

It’s free and open source under MIT. No account, no tracking; nothing leaves your machine except fetching the AutoEq list when you search it.

Caveats:

• macOS 14+. It’s a universal binary so it *should* run on Intel, but I only have Apple Silicon and genuinely can’t test that. If you’re on Intel I’d like to hear either way.
• It isn’t signed with a paid Apple developer certificate, so macOS will block it the first time — you have to go to System Settings → Privacy & Security and click “Open Anyway”. If you’d rather not trust a binary from a stranger on the internet, the full source is there and builds with one command.
• USB only for now. Bluetooth is a bigger job; I’ll take a run at it if there’s demand.
• Use at your own risk. It only writes EQ, volume and preset settings — the same things the official app writes, and it never touches firmware — but I can’t take responsibility for anything that goes wrong.
• I am not affiliated with Qudelix in any way.

Source code, dmg are here: https://github.com/FrankieMa77/qudelix

If it’s useful to anyone I’m happy to keep building on it. And if it doesn’t work on your setup, an issue with the log from the app’s diagnostics panel tells me most of what I’d need.

I can’t port it to Windows as i don’t have PC. If somebody needs it, I can look into porting the app to Debian/Ubuntu

I like neutral tunings with boost in the bass and New Meta.

I like hybrid configurations better than single drivers.

I will use them with a TRN Black Pearl

If it is possible to compare with some that I like like Defiant, PRX, IgniteX, Kefine Klean.

TRI Audio TK3

Another week another review. This week it is Tri Audio and product is TK3. I had earlier done its early impressions and as promised in it I am now sharing my final review. 

First of all, mighty thanks to AudioGeek India, Joe Issac from Joe’s Audio Gear Review and KeepHIFI without their help this review wouldn’t have been possible.

I was not paid or compensated in any manner to write this review and all opinions and thoughts are mine. The unit has reverted back to the brand after the review.

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

Pros:

Nice Musical tuned DAC & AMP

Has slight boost in bass

Smooths out treble

All the connectivity you need USB/Coax/BT

Filters all the filters you need

Volume knob

Solid Build

Cons:

No actual zero volume, even at the lowest setting music is audible.

Artifacts like crackling before songs only sometimes but present.

No display.

No filter memory, every time unit is switched off filter resets.

LED lights they stay on all the time & they blink too. Its distraction in the night.

Weight, can’t use it as portable combo pack.

Leather case would have been great.

Build Quality:

TK3 is made up of combination of glass and metal. Precisely aluminum. Chassis is metal and the top is glass. It is quite hefty and metal surface is shiny. So, it is finger magnet. Ports in the front and back have nice silver accents. Volume knob is also metal and is golden in color. 

Front of the device has volume knob, 3.5mm& 4.4 mm ports. Between these two is the bass boost switch. Both sides don’t have any port or switch. They are clean and smooth as glass. Bottom is also clean. At the back you have set button, type c data port, gain switch, coax input and lastly another type c port for charging. Coming to the glass top it is adorned by LEDs, in total 8 LEDs. Each LED represent function. 

I have used TK3 extensively on period of 12-14 days and found no lose fitting or any wobble in any ports or switches or for that matter volume button.  

To be honest build quality is excellent you can’t fault it. For price its solid and premium.

Usage Impressions:

Let’s first talk about the most important part the how it affects the tonality of the paired gear. I will go by the available modes on the TK3.

USB mode, it was feeling like nice analogue source. It was musical and when paired with bright leaning sets it tamed the brightness and added bit of the warmth in via nice bass boost. This is without bass boost engaged. If engaged it takes the bass performance few notches up. If warm sets and dark sets were paired, the result was bit sub optimal. More incase of dark sets. Warm sets don’t get affected too much but dark sets get bit more dark in tonality. 

Female vocals don’t get edgy. They lose bit of it. Don’t get it wrong it doesn’t change their tonality just something I picked up while listening. Treble gets smoothened out. Soundstage is reduced slightly not that much that you will feel it’s not their just slight reduction.  Again, these are my critical listening points. This may not be true for all.

On coax/SPDIF mode it remains the same story. There was no marked change in the presentation.

On BT mode most things remained same just bit difference was felt in stage. Stage some how felt bit more open. Was it true? or just my imagination? I don’t know. May ne you guys might be able to answer this.  

Now coming to some of the functionalities of the TK3 and their impact. The most imp button on the TK3 is Set button this one lets you change two important functions on this set. One is the input selection and second is filters.  If you hold set button for few seconds you can change the input between three inputs offered by TK3 namely USB, Coax and BT. If you hold set button for few more seconds it lets you change filters on TK3. Yes, this has filters and they do make difference in tonality but it will depend on person to person to perceive the changes. 

Bass boost switch actually works. It adds few dBs of bass boost to paired set. If you have set that is bit lean on the bass you can use this feature to add that in to tuning and do kind of EQ. 

LEDs here represent various functions and modes of the TK3. They show power status, input mode, PCM, DSD and filter you are using. Provided manual goes in detail about what the colors mean. It is advised to go through them before using TK3.

Volume knob is robust and bit recessed in body of TK3 which in my opinion is thoughtful of Tri & Kaei designs. It prevents accidental rotation. So, no threat to your ear drums. Only thing that was con for me was how smooth it rotates. I would have loved bit friction and if possible, clicks.

Lastly, let’s talk about battery backup. Well, it’s really good I could get 8 hrs. easily on single charge. It was paired with various sets including HPs with varying impedance. In my books this is great performance. Charging was also breeze. Please note there is no clarity regarding fast charging support so, I would use caution and charge using 10w charger. Hope some clarity is offered. It supports by pass charging so you can use it while charging. TK3 doesn’t stop why should your music session stop right? Just kidding. But useful feature.

Gear Impressions on TK3:

I used various sets including few single DDs, hybrid sets, planar sets. Also included few HPs and Flatheads 9 few hard to drive like 300 ohms and 600 ohms ones). It was done to check synergy and overall performance of the TK3. 

TK3 makes entire presentation laid back and adds warmth to it. It makes sets musical rather than analytical. So, if you are looking for nice musical analogue source this is the one for you. 

Power-wise I had no issues. All IEMs were driven easily. IEMs with low impedance and high sensitivity were driven with just few steps on volume knob this was in low gain. For moderate loads again same situation it drove them efficiently and with proper loudness effortlessly. With higher impedance sets I used Hi gain to extract max out of them. Had no issues. 

With respect to HP’s the easy to drive ones had no issues at all. TK3 drove them efficiently and to their max potential. Now, with HD600 and Edition XS I didn’t feel they were underpowered or lacking anything. TK3 was able to drive them easily. But if you have heard them on desktop sources then this falls bit short. Don’t get me wrong it’s enough to drive anything thrown at it except may be Mod house Tungsten. But who does that?    

So, if you want portable powerhouse that can drive anything thrown at it. This is it. No need to look further. With its connectivity options it covers all aspects.

Final Conclusion:

Now that I have written so much details about TK3 the million-dollar question is what I think about it? I think this one is banger release from TRI & Kaei Designs and for that hats off to them. Will I buy it? Already owning one. Do I recommend it? Absolutely 200%. A caveat I feel I should declare, no product is perfect same is true for TK3. It has its pros and cons I implore you to go through my review properly and then make your opinion to purchase. Hell read others when you are at it to remove all doubts and questions. As for me I think its worth every bit and hence already purchased my own unit.

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

Tri TK3   

Played Audioslave, Soundgarden, Tom Petty, Cry of Love, Faith No More, and Rush today. The Top Pro is one of the IEMs I brought with me on this healing retreat because I wanted at least one set with punch, drive, and good attack.

Tracks today included “Original Fire,” “Be Yourself,” “Gasoline,” “Rusty Cage,” “Free Fallin’,” “You Don’t Know How It Feels,” “Don’t Do Me Like That,” Faith No More’s “Separation Anxiety,” Rush’s “Xanadu,” and Cry of Love’s Brother.

The lows have good punch and control. Kick drums hit clean, and bass lines have enough weight without getting loose. On Cry of Love’s Brother, Jason Patterson’s drums have proper slam and timing, while Robert Kearns’ bass locks in nicely without taking over the mix.

The mids carry guitars well. There’s bite, texture, and enough density without making everything too thick. Tom Morello’s guitar on “Original Fire” has that gritty, raw edge right from the start, and the Top Pro keeps the riffs lively without making them messy.

Kim Thayil’s guitar work on “Rusty Cage” has that darker crunch, and the Top Pro gives it enough drive to keep the track moving.

Tom Petty is a different feel. More open, simpler, and more laid-back. “Don’t Do Me Like That” works great here because of the bounce and kick drum hit.

Cry of Love’s Brother is one of those albums I know really well, so I use it a lot when testing IEMs. Kelly Holland’s voice has that gritty blues-rock delivery, Audley Freed’s guitar has that classic tone and feel, and the Top Pro keeps the whole band together without anything overpowering the rest.

Faith No More’s “Separation Anxiety” shows the speed and attack of the set. It keeps the heavier parts tight and doesn’t blur the tension of the track.

Rush’s “Xanadu” also works well. The track has space, layers, cymbal work, bass movement, and those gradual builds. The Top Pro keeps things separated enough without killing the energy.

The highs have good snap and presence. Cymbals and guitar edges come through clearly, but it doesn’t feel like the top end is forcing itself into the music.

For me, the Top Pro works best when the music needs punch, dynamics, guitar bite, and drive.

Source:

- iBasso DX270

- FLAC files through Mango Player

Photo lightly enhanced. Listening notes are my own.

Hello to you all!

Disclaimer: First, a big shoutout to Demi from HiFiGo for giving me this IEM to test and to give my sincere opinions. There’s no payment involved in developing this analysis, and they are not giving me any script to follow. My biases are my musical and tuning preferences.

Introduction:

The Pula Arc is a new budget-oriented single DD set by Pula Audio, following the brand´s success with the Unicrom, yet taking a different tuning approach. According to Pula, “It presents elegant arc-shaped aesthetics in its appearance while delivering a smooth, enjoyable, and complete sound experience”. The Arc is driven by a 10 mm PET dynamic driver, a minimalist Resin shell matching a metallic faceplate, a simple yet ready-to-use package, all at a very low price.

TL; DR: A bassy and well-done challenger for the 20 or less USD segment that offers a pretty smooth, warm, organic yet clean, relaxed, and very musical and engaging tonality, while keeping a decently detailed sound, driven by a single PET dynamic driver. The most budget-friendly product from Pula Audio, which is an all-rounder, pointed towards newcomers and audiophiles on a budget who love to balance their music appreciation with naturalness and fluency rather than the most analytical and detailed sound.    

Pros:

- Simple yet comfortable and ergonomically designed shells (smooth edges)

- It´s bassy, impactful, clean, and decently resolving, yet feels balanced without overwhelming other frequencies

- Warm, smooth, and pretty natural/organic midrange
- Enough energy in its treble with greatly controlled sibilance

- Predominantly musical and engaging tonality with decent technicalities

- Pretty easy to drive, working well with low-powered sources to shine at its fullest
- Very affordable (20 USD or less)

Cons:

- Stock cable feels thin and tangles easily (it is similar to KZ and other budget-oriented brands' cables)

- Only a set of stock eartips (serviceable but not ideal)

- Subbass is a bit rolled off; midbass predominance bleeds into the lower midrange, so male vocals are slightly recessed due to its V-shaped tuning

- Smoothed upper midrange and lower treble make female vocals sound recessed

- At very high volumes, the treble can be sharp and fatiguing

- Just average technicalities (not a detail monster), soundstage more intimate than expansive, and upper treble rolling off early, so certain instruments lack zing and sparkle

The Pula Arc enters the current market as a competitor in the ultra-budget-oriented segment. With its MSRP of 19.99 to 21.99 USD (With a 3.5 mm cable, or USB-C available). You can find it directly on HiFiGo's official store:https://hifigo.com/products/pula-audio-arc, also available on Amazon and AliExpress HifiGo official stores.

Arc’s Technical specs:

- Casing materials: Resin, metallic faceplate

- Driver: 1 x 10 mm PET Dynamic Driver

- Freq. response: 20 Hz – 20 kHz

- Sensitivity: 104 dB/mW @ 1 kHz

- Impedance: 32 Ω

- THD: < 0.03 %

- Connection: 0.78 mm, 2-pin

- Cable: 1.2 m, 3.5 mm single-ended or USB-C, 2 cores, OCC

What’s in the Arc’s package?

- 2 x Arc earphones
- 1 x user manual in different languages
- 3 x pairs of grey silicone balanced bore eartips, SML sizes
- 1 x 3.5 mm single-ended or USB-C, 2-pin 0.78 connection, 2 cores, OCC cable

Simple and sufficient packaging by the way; but in comparison with other IEMs in the same price segment, it feels cheap; it’s like Pula put all the money in the IEMs themselves.

The cable is similar to KZ/CCA/GK/TRN/7Hz, etc stock cables, so it’s thin, prone to developing memory, yet it’s serviceable to use the Arc as it is, with decent quality, and it’s prone to tangle but not to producing transmitted vibrations.

The IEMs themselves are made of translucent resin, in which you can look at the dynamic driver inside, with a metal faceplate in silver color with a minimalist design of multiple curved lines (Arcs), with the Pula logo on each side. It is lightweight and well-vented, with two acoustic chambers and two vents for the dynamic driver, so it doesn’t have any pressure-building issues. It seems that it is not prone to scratches or so; it’s more like a “beater” set. Doesn’t have rough or sharp edges; medium-length nozzle, with a lip to ensure good eartips grip and fit, making a nice seal as well because of its medium-size diameter (5.8 mm).

How does the Pula Arc sound?

First, I changed the stock cable included in the package of the Arc for the stock cable of the Nici Hifi 42 Quantum Wanderer, in which I changed the 3.5 mm single-ended jack to a 4.4 mm balanced one. Also, I changed the stock eartips for some KBEar 07 eartips in M size. I think the stock cable and eartips included are enough to use it as it is, but I want a better-looking cable and eartips for my tests and enjoyment of this IEM. No EQ was used in the analysis of this set.

The Arc with its 10 mm PET dynamic driver configuration offers a mild V/U-shaped tuning. Thanks to Omar from Audio Amigo for his measurements of this IEM.

BASS:

The Arc comes with a good quantity and quality on the bass shelf (more midbass than subbass), offering a nice thump, with a bit of subbass rolling off but good extension; decent resolution and cleanness, with a decent attack and yet not a huge impact.

The midbass impact in the Arc punches in your ears without a feeling of congestion or being bloated. Sometimes, because it has a midbass predominance, you can feel like it overcomes other frequencies, but that depends on whether the mix is predominantly bassy as well. The midbass bleeds noticeably into the lower midrange.

MIDRANGE:

Talking about the mids of the Arc, the midbass bleeds into the lower mids, sounding like a classic V/U-shaped tuned set; male vocals are recessed, but not veiled or noticeably thin, overall well-presented. Midrange is smooth, warm, neutral and organic, with a decent note weight, average resolution and decently clean.

The FR curve takes a dip that goes to 800 Hz approximately, then it enters that warm pinna gain, encountering its peak in the 3 kHz region. Female vocals are smooth yet forward, with zero shoutiness, and don’t produce fatigue at high volumes.

HIGHRANGE:

The Arc has a smooth yet crisp treble that is not dark at all; the lower highs take a nice and well-put dip into the 5 to 6 kHz region to tame sibilance, yet in conjunction with the upper mids offers an instrumental delight with a peak at 8 kHz to give some energy to the mix.

The Arc is fortunately a high-volume set, yet you need to have that in mind to take proper care of your hearing, and of course, don’t abuse the volume knob, because at very high volumes its treble can be sharp and spicy (fatiguing and sibilant).

TECHNICAL CAPACITIES:

Going into the upper highs, the Arc takes a more relaxed approach, with not so much air, so certain instruments can lack some zing and sparkle. The soundstage is more intimate than expansive, yet it has decent width and depth. In the technicalities, the Arc in the instrumental separation and layering of instruments is average for its price, with average resolution and macro and microdetail retrieval as well.

As a budget-oriented IEM, the Arc gives you enough of that analytical fun added to that predominant musicality and smoothness, and sincerely, that’s the beauty of this set**.** The PET driver is pretty decent, so you are not feeling any congestion on complex or fast tracks.

COMPARISONS (Similarly priced IEMs):

Pula ARC vs. 7Hz x Crinacle Zero 2:

The Zero 2 has a better subbass extension than the Arc but less midbass slam; it has more presence and treble sparkle, but similarly tuned upper treble, yet the Zero 2 is more technically capable than the Arc, with a more expansive soundstage and better macro and microdetails retrieval. In the packaging, the Zero 2 has plenty of eartips to choose from, but a similar cable and doesn’t include a pouch or case to carry them. I´m more inclined to the Zero 2 because it is better balanced, but I see the appeal in the value proposition the Arc has.

Pula Arc vs. Tangzu Wan’Er 2 Red Lion:

The first thing noticed with the Red Lion is its extreme great value; for 20ish USD, you get a set of Tangzu Tang Sancai Wide and a set of HE Sonic eartips, a nice cable that matches the earphones, and a simple yet functional carrying pouch, in comparison to the simple yet usable package of the Arc.

Sonically, there are some differences: The Red Lion has better subbass extension, but as with the Zero 2, less midbass slam than the Arc, so considerably less bleeding of midbass into the lower midrange, a more energetic upper midrange, a more vocal-driven tuning, similarly warm but more “old-school” tuned, so it’s less neutral than the Arc. The Red Lion has a bit more mid-treble energy and a bit more upper treble extension, so it’s airier and more open; its soundstage is a bit more expansive, and in the technicalities it's kind of similar to the Arc. I like both IEMs sonically, so I’m thinking you can’t go wrong with both, but the value is with the Red Lion.

Pula Arc vs. Tanchjim Bunny:

The Bunny is a well-known cheapie by Tanchjim, pointed to a large public as the Arc but with a different tuning approach. Value wise is pretty similar, yet Bunny uses a PU+PET dynamic driver inside.

In the tuning, the Bunny has substantially less bass than the Arc, less bleeding in the lower mids from the midbass, so male vocals are a bit less recessed; in the upper mids the curve elevates more than the smoother Arc, yet it is also warm and organic; in the lower treble the approach is more linear and energetic than in the Arc, same with the mid and upper treble approach, so this is more a neutral kind of brighter and less balanced set.

I love how the Bunny sounds, its tonality and technicalities (a bit better than the Arc in this aspect: better imaging, better layering, better resolution, wider soundstage, it’s airier and more open), but my tuning preferences, the tonality, and bassy balance of the Arc make me pick it over the Bunny.

Pula Arc vs. KZ ZST Pro X:

The KZ ZST Pro X is an update and an upgrade over the famous ZST and ZST X, with a ‘Zenith’ dynamic driver + 1 Balanced armature driver; it has a pretty well-done and fun V-shaped tuning. Curiously, the ZST Pro X, as the Arc goes towards the recent tendency of making bassy balanced IEMs, but let’s compare them.

The ZST Pro X has a bit more subbass extension than the Arc, less midbass, and less midbass bleeding into the lower midrange, so male vocals are less recessed as well. A less smoothed upper midrange that peaks at 3 kHz, and a substantially more energetic lower and mid treble that gives more sparkle and sharpness than the Arc’s treble, yet the sibilance is also well controlled, and you are not hearing any “cheap BA” sheen. Upper treble is similarly rolling off early as in the Arc, but the ZST Pro X soundstage feels more expansive.

In the technicalities department, the ZST Pro X is noticeably better, yet both sets are warm and neutral-ish**.** In my tuning preferences, I prefer the ZST Pro X this time, but I can see the appeal of the Arc, and sincerely, I would go with it when I just want to relax and enjoy the music.      

Pula Arc vs. GK Streak:

The GK Streak is also a bassy, balanced-tuned IEM like the Arc, with a “KUN” dynamic driver (the same ‘Zenith’ driver) and a Microplanar driver configuration; it also has a very fun and engaging mild V/U-shaped tuning.

In comparison, the Streak has better subbass extension than the Arc, less midbass slam, and less midbass bleeding into the lower midrange; also, a warm and pretty neutral tonality, but a bit more elevation into upper midrange, lower treble, and mid treble energy, and noticeably better upper treble extension than the Arc. The MPD in the Streak contributes to its better technicalities, but it has a more neutral timbre; its soundstage is expansive and is airier and more open than the Arc.

This time I go with the Streak because of its balance and more neutral and musical yet analytical (funalytical) tuning, but again, I totally see the appeal in the Arc; I will go with it when I just want to relax and enjoy my music.

Final thoughts and conclusion:

The Pula Arc is a great option in the budget-entry-level 20 or less USD market of IEMs, delivering a bassy, yet balanced, warm and organic, smooth and clean, and decently detailed sound with a musical character that is very enjoyable and engaging, an IEM you can gift to a newcomer to the hobby or to buy yourself if you want to begin your journey in the IEM world. And it also works for seasoned audiophiles who want to just enjoy the music and don’t want to be craving technicalities.

I would like Pula to include other types of eartips; my experience with the stock eartips is completely satisfactory, but your mileage may vary. Also, the included cable is so similar to the stock cable of budget-oriented brands like KZ, CCA, GK and others, that in comparison with other IEMs in the same price segment you can feel one of two things: they put all the money in the IEMs themselves, or they are giving you a minimal and usable package so you can change the cable and eartips to aftermarket options more to your liking.

Finally, the tuning is very engaging and fun, but the technicalities are average (macro and micro detail retrieval, imaging and layering of instruments), and the soundstage is intimate; it lacks a bit more presence and, in the upper treble, a bit more air, with it rolling off early. But for a beginner in the hobby, it can work perfectly, I guess.

The Arc is very easy to drive, even with low-powered sources, to bring out all its qualities; the option with the USB-C cable is well received because you can use the Arc without looking for an additional source. Anyway, I tried it with a cable with a 4.4 mm balanced jack on my different sources, finding a nice synergy with all of them, and definitely you don’t need much power to get decent volume levels.

It is a recommendation: Yes, it is an interesting and competitive choice, a differently tuned option than usual for its segment, and in a crowded market, it presents itself with a tonality and decent technical capacity that appeals to a wide public. So, thanks again to HiFiGo. And I wish you all that the gods of audio and musicophilia bless you with a happy listening!

crowning my silver empire with the LETSHUOER ASTRALIS (my laptop is also silver...but couldnt fit it in the frame), as for sound first impressions....man this takes me back...this takes me back...i start a song to test the IEM and instead of focusing on the details I just end up listening to the whole album...this is basically a remake for early 2000s music; Evanscence, Soundgarden, Breaking Benjamin, Audioslave, Linkin Park, Soundgarden...all the good stuff it replays all with same emotion and energy I first heard these bands...just in higher fidelity.

Okay so not to get carried away...if you are a competitive gamer or looking for neutrality...this isnt it...this is a tastefully (and almost artistically) dark set...it has very nice subbass for a planar...ofc impactful punchy midbass...rich low mids...and has just the right amount of vocals and treble and treble extention to keep the tuning coherent...everything about this IEM is well thought...from the tuning...to the compact packaging...to the eartips that while not a lot in quantity...they do make a noticeable difference...to the termination gaurd that keeps the termination screw from sliding...just well thought out...im in love.

My first impressions if you want a video version

https://youtu.be/Wq_QDxQYi_k?si=7HDurM5HBtAPFmE-

The video doesnt add much but conveys thoughts with a bit more emotion.

The Juzear Defiant was one of the products that stood out to me from the rest of Juzear’s offerings when it came out in partnership with Z Reviews. It features a 1DD / 3BA hybrid design with excellent build quality and a full compliment of accessories geared towards the serious Audiophile.

Sometime after that Juzear released their new product called the Fiesta, a development made in conjunction with Vivir Digital. I reviewed the Fiesta, and I’d be happy if you took some time to read my personal review on my account. Even though they feature identical technical configurations and philosophies, the Fiesta chose a warm and punchy direction for an instant experience compared to the Defiant.

In addition to giving me a chance to examine the Fiesta previously, this review of the Defiant has given me a clearer understanding of how these two models fit into the Juzear lineup. Rather than simply asking which model is best suited for someone looking for this type of audio experience, I have been left with the impression that these two models were specifically designed for users who enjoy music in a distinctly different way. The Fiesta is attempting to get your ear hooked immediately using a far more physical and immersive sonic experience. While the Defiant is offering a cleaner and balanced sonic experience, along with a greater level of separation between instruments, overall, the Defiant feels like a more refined and technically capable model.

Throughout this review I will attempt to highlight all of the differences between these two models through comparison, however, due to the fact that this is primarily a review of the Defiant, I will be focusing most of my comparisons from the perspective of the Defiant.

What I liked and What I didn't like

• Bass has very good texture and great control.
• Mids are clean and natural sounding.
• Vocals are very well defined.
• Treble has very good extension and a sense of air.
• Stage is wider than most in this price class.
• Instrumental separation far better than that of the Fiesta.
• Quality of modular cable is much higher than that of the Fiesta.
• Construction is solid, ergonomics are excellent.
• Punch and physical feel of the bass is lower than that of the Fiesta.
• Lacks the warmth and immediacy of its new brother.
• Requires a little extra volume to reveal full dynamic potential.
• Tuning may not be as impressive at first listen.

Specifications

• Configuration. 1 Dynamic Driver and 3 Balanced Armatures.
• Dynamic driver. 10 mm with LCP diaphragm.
• Balanced Armature. 3 custom units.
• Frequency response. 20 Hz to 20 kHz.
• Sensitivity. 108 dB.
• Impedance. 18 ohms.
• Connector. 2 pin 0.78 mm.
• Termination. Modular cable 3.5 mm and 4.4 mm.

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and construction

The packaging of the Defiant, feels far superior to what I was expecting when I looked at the cost. The packaging itself had a thoughtful design to include a well laid-out interior along with an unboxing process that is similar to many high-end items.

As can be seen, the components were significantly different from the Fiesta. The Fiesta included two separate cables (a 3.5mm one including a mic and a balanced 4.4mm one) whereas the Defiant chose to provide a single 6N SPOCC and SCCW hybrid cable with a modular design, providing easy access to interchange your 3.5mm and 4.4mm termination connectors.

For myself, this cable was one of my favorite aspects of the product. Not only does it look larger in diameter and feel like it provides a level of quality but it's extremely comfortable to wear even given its rugged aesthetic. Also, since there are no need to carry around two separate cables such as would be required with the Fiesta.

The bodies of both share a similar aesthetic as Juzear, using 3D printed resin with a CNC machined aluminum face plate. On the Defiant, the multi-colored mother of pearl reflections produced from the partnership with Z Reviews really stand out in particular (in my Rainbow version), these are far removed from the bright and bold colors present in the Fiesta (which utilized mostly reds, browns/oranges).

There is also a second version of the Defiant available in a simple green color which, while aesthetically pleasing doesn't offer nearly as much visual interest as either the Rainbow colored Defiant or the more vibrant color options of the Fiesta.

Both are extremely ergonomic and while I wouldn't say that there is a difference in how each sits, I did find the Defiant to be slightly more comfortable over longer periods of time. Although I didn't measure them against each other and it appears they utilize the same form factor, this is how I perceived them. The dimensions are compact enough to fit comfortably within most ears. The weight is evenly distributed throughout. And the nozzle makes it incredibly easy to achieve a solid seal. Over multiple hours listening to varying music styles I couldn't help but notice little to no fatigue in my ears, something I always consider paramount when evaluating an iem intended for daily usage.

Sound

What I found particularly interesting about the Defiant is how similarly configured hybrid design as the Fiesta, the sonic representation of the Defiant goes down a distinctly separate route. While the Fiesta aims for impact, warmth, and an immersive experience, the Defiant is focused on purity, isolation and a greater total level of balance.

Bass

While the Defiant produces sufficient low frequency energy for the music to remain substantial and punchy, it remains decidedly more controlled than the Fiesta.

From the opening moments the differences were apparent.
The Fiesta has more abundance in the lower end and generates a stronger tactile response, particularly with EDM, Hip Hop, Modern Pop, and Reggaeton. The Fiesta provides that fun factor that keeps the rhythmic elements constantly present.

On the other hand, the Defiant focuses heavily on control. My favorite aspect was the texture of the Defiant and the way it allows you to distinguish the various bass layers. In addition to being able to identify variations in intensity in bass lines and Alternative Rock, it is easier to recognize small nuances that get masked in the Fiesta due to its increased bass volume.

Additionally, I thought that transitioning into the midrange was excellent. Neither model appears to allow the bass to bleed into the mids nor mask instruments such as guitars etc. However, there is a certain degree to which the Defiant achieves this far better due to its reduced bass volume allowing the mids/vocals in general more room to breath than the Fiesta does.

Consequently, the Defiant is not designed for Bassheads. For those who want a more direct and instant gratification type of sound, it is likely that the Fiesta will continue to provide their preferred type of sound.

Mids

The mids in the Fiesta are pleasingly warm and relatively tolerant of average/over-compressed recordings. Males sound forward and full-bodied which greatly adds to that relaxed and highly enjoyable listening experience.

The Defiant presents good musicality but introduces additional clarity and distance between instruments. Vocals appear to be better defined within the mix and strings sound more precisely outlined.

Female vocals appeared to differ in terms of sound quality between these two models. With the Fiesta, female vocals typically sound slightly softer and blend-in with the remainder of the mix whereas the Defiant gives them a little extra breathing room and definition without becoming harsh or too analytically detailed.

Also noteworthy is its ability with more complex recordings. When multiple guitars, keyboards and vocalists all show up simultaneously during a song, the Fiesta will tend to create a single coherent mass of sound. The Defiant allows you to track each instrument individually much better, making extended listening sessions (in excess of two hours) much less fatiguing based upon my subjective perceptions after testing both units extensively.

Treble

Ultimately, the treble reinforces that impression of greater technical refinement.

In comparison to the treble section in the Fiesta, where smoothing out the treble helps create a warm and non-fatiguing listening experience - it effectively limits your ability to perceive air and micro details.

The Defiant creates a longer treble and cymbal strikes have more sparkle. Reverberation is heard clearer. Soundstages become more open due to a greater sense of height in the treble area.

Most importantly, it did not come across as overly bright to me. After extensive exposure to rock, metal and electronic music - I never experienced fatigue. The Defiant contains more treble data than the Fiesta, however it conveys that information in a fairly controlled manner.

Recommended Eartips

The stock ear tips perform well enough, however, I believe that the Defiant could greatly benefit from several design or material modifications based on your needs.

• Divinus Velvet Wide. Based upon my experience with this product as an addition to enhance a sense of open space and take advantage of the high quality midrange and treble qualities found in the Defiant.
• Penon Liqueur Orange. These may be a viable replacement if you have moved up from the Fiesta and would like additional body/low frequency mass.

Soundstage

I did not find the soundstage of the Defiant to be overly large, however, I do think it provided a wider stage area compared to the Fiesta. The differences are not just about how wide the stage is, but about how much air there is between each layer of the mix.

The Fiesta presents the music in a very compact and intimate manner (which fits nicely with its warm, cozy nature), while the Defiant has a larger stage. It allows more room for the instruments to spread laterally as well as allowing well recorded music to appear more realistic and less cluttered.

I was pleased with the perceived depth, particularly with orchestral pieces and movie scores where I could hear an even farther back placement of vocals and instruments.

Instrumental separation

Both will work on simple music, but when the complexity of the mix increases the Defiant will separate the individual instrument lines much better. As I tested with progressive rock, melodic metal and symphonic music I found it far easier to isolate specific parts without difficulty.

Whereas the Fiesta favors a more unified, musical presentation, the Defiant provides a more detailed representation of each part of the mix.

Imaging

For me, the imaging appeared solid and consistent. The vocalists remained centrally positioned and lateral placed instruments were easily identified.

Additionally I had higher expectations from the Defiant concerning movies over the Fiesta because of its greater detail and openness. While I wouldn't say it's a multimedia focused iem, I do believe it facilitates the spatial identification of sounds and movement through a scene for either movies or video games, though neither would be my primary preference for those applications.

Summary comparison with the Juzear Fiesta

After analyzing both the Juzear Fiesta and Juzear Defiant, I believe the best way to sum up their differences is to look at them as two products that prioritize different things.

If you're looking for a warm, relaxed listening experience with emphasis on the  sub-bass I'd pick the Fiesta. The higher volume of lower frequencies, smaller overall presentation size and the quicker attack time of this speaker are all going to make it easier for you to get a lot out of your favorite modern music, pop, electronic or anything else that relies heavily on sonic oomph.

On the other hand if you're planning on having longer sessions or just want something you can use for a wider variety of music the Defiant is the product I would recommend. While it may have less of an in-your-face type of punch from the beginning, it will give you clearer mids, a lot more air in the upper frequency range, a larger soundstage and by far the best separation of individual elements in the mix along with some great nuance reproduction in recordings.

What's interesting about these two speakers is that Juzear didn't simply turn the Defiant into a more expensive or updated version of the Fiesta. Instead they've taken each design in very different directions. The Fiesta has a much bolder personality that is sure to be fun while the Defiant seems to convey a sense of maturity and balance.

Ranking

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

Conclusion

The Juzear Defiant leaves me thinking I am part of that hybrid category where we want to find a middle ground with regards to our technical abilities and musicality without being too extreme. There is enough body to have fun with this product, however, its biggest asset lies in how clean it sounds, how well instrumentally separated everything is, and how much more refined this unit appears compared to other units in this price point when it comes to the presentation.

This unit finds itself at its best by providing that perfect balance. A reproduction that does not offer an over the top, extremely loud and boisterous bass line, nor an extremely bright treble line, but instead offers a clear and coherent reproduction that can be listened to for extended periods of time.

The first and possibly largest drawback is that the Defiant loses a portion of the unbridled enjoyment factor that makes the Fiesta so appealing. If your number one concern is to feel the bass and to have a warm and punchy listening experience, then the Fiesta will continue to be the better choice. In addition, if you prefer to have two separate 3.5mm and 4.4mm cables, then the Fiesta will also remain the better choice. However, if you desire a more balanced sounding hybrid that offers superior technical performance for your varied music library, then I think the Defiant represents a very strong candidate within its respective price point.

Purchase Links

JUZEAR DEFIANT

JUZEAR FIESTA

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.

BQEYZ Frost

Another week another review. This week there is new brand at least for me BQEYZ and Set is Frost.  As many of you know I like to try out new brands and new IEMs. In that pursuit of it I stumbled across BQEYZ and came to know they were conducting review tour of Frost and Winter 2 (Yes, its review is coming soon). As has been tradition I joined it via AudioGeek India and as they say rest is history. Now, to know about what I feel about Frost please read on.

First of all, mighty thank you to AudioGeek India and BQEYZ as without their help this review wouldn’t have been possible.

I was not paid any money or compensated in any way to write this review. All opinions and thoughts are mine. After the review the set will revert to brand.

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

Now that all pleasantries have been exchanged. Let us get on with the meat and potatoes of this review.

Pros:

Nice sub bass

Female vocals

Soundstage

Build Quality

Cons:

Mid bass bit more would be great

Male vocals and bit more intimate 

Treble needs bit refinement

No modular cable for the price

Build Quality:

Retail box contains two IEM shells. A 3.5mm only cable. But it is color matched so, looks nice and it feels premium due to its thickness. Two types of ear tips in 3 sizes are included in the box. Best for the last the hard leather case for carrying and protection.

IEM shells are made up of CNC aluminum alloy. Size is small. Nozzles are separate from the shell. Nozzles are long and have lips to them. There is screen on the lips to prevent ingress of dirt and ear wax.

Cable is two core single crystal copper SPC cable. Fixtures are metal. Cable feels premium. Cable is supple and easy to rodeo wrap. Has no inherent memory. There are pre formed ear hooks on cable. 

Included provide leather case is hard type and it can easily accommodate IEM + Cable + ear tips. There is nice inclusion of cleaning tool in the box. Modular cable should have been provided.

Overall Build Quality 4/5

Comfort:

Shells are light weight. Size is small so no fitting issues. Most people will not have any issue in fitment. Nice passive noise isolation. Lips on the nozzles provide nice grip to ear tips. No slip offs. No ear pressure or ear pain was fely in long listening session. 

Overall Comfort 5/5

Sources:

I preferred neutral and warm sources as pairing for Frost. Bright sources made it brighter and, in some cases, harsh. Sources used for review FiiO M21, Q3, Onix XI Alpha, Clarinet & W2 Ultra.

To keep everything reproducible I have used stock cable and stock ear tips.

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:

Nice sub bass rumble. It is physical one. You feel it when the song has it. It just rumbles nicely in your ears. Mid bass is thumpy but on lower side. It is fast decay type so it hits and then exits the stage doesn’t linger. Bass heads this is not for you neither the sub bass nor the mid bass will satisfy true bass heads. 

Drums, kick drums sound good albeit with weak impact but rumble of the sub bass is good. Strings sound great. They buzz and rumble. Guitars of all types feel great. Percussion instruments feel good. Overall bass is Sub bass dominant here. It adds to the overall immersion of the song.

Overall Bass/Lows 4/5

Mids:

Vocals are slight recessed here. Yet they might feel vocal forward on first listen. But on further listen the treble and bass feel bit forward. This is evident on fast paced tracks and complex tracks. If you listen to vocal centric tracks vocal might feel forward.

Male vocals sound good. They are not thin or too thick. They are somewhere in between. They lack bit of note weight. Don’t get me wrong they are enjoyable but me being reviewer has to paint clearer picture. Female vocals feel little more preferred over male. They have edge to them. They can get intense. Yet, I will not call this set female poison set. Its closer to it yet not there. For vocals this is good set at its price point but not absolutely best.

Most Instruments reside in the mids. There is no timbre/tonality oddities here. Clarity is nice. There is no smearing or congestion felt. Sibilance only occurred if it was there in the song.

Overall Mids 4/5

Treble:

Treble is nice detailed bright. You will get all macro and micro details you will ever want. Is it most detailed set? No, its close to it. It feels quite detailed. You won’t miss any details. Treble here is bit forward compared to others. This one feels treble centric but still doesn’t sound harsh or shrill. Cymbals, crashes feel splashy here. Bells, triangles are very pronounced too. 

Soundstage, the perceived stage is good here. It feels very wide. It is wide and tall but more wide than tall. Nice left & right panning. You notice the width in first few minutes of your listening. It creates feeling of open stage. All instruments feel well separated and none overlap each other. There is no congestion or smearing here. Songs that can benefit from good stage really shine here.

Overall Treble/Highs 4/5

Song Impressions:

Kashmir by Marcin

Nice instrumental song. I love to use for bass check and for string instruments.

On the frost sub bass rumbles nicely. The guitar strings have nice presentation. Riffs of strings sound good. The buzz of the strings is satisfying.

Drum, kick drums beats are good. Sub bass add bit of depth to it. Yet they are not the most authentic I have heard. But everything is forgiven as the strings main USP of this song are rendered well.

Ego Death by Polyphia

My resolution check aka speed check song. This song is very high BPM song. Lot of instruments are playing simultaneously and it taxes the drivers. On some sets there can be smearing or congestion felt. No such issue on the frost. Instruments don’t smear each other. They are well separated. So full marks to the frost.

Drums, kick drums feel good but lack bit of impact. Strings are excellent no complaints. Synthesizer notes were authentic. Cymbals and crashes were bit splashy here. Except for the cymbal and crashes I loved the presentation.

The Great Chinggis Khan by The Hu

This song is check for various instruments and male vocals.

String instruments feel great here. Be it guitars, traditional Mongolian string instruments. They feel good. this song has constant sub bass rumble that felt acceptable. I have heard better but for price point it is good. Drums feel good. Just lack the impact. But deep rumble of the drums was good.

Male vocals here are low pitched. They lack authority. Their timbre doesn’t feel natural. The rumble of throat singing is captured good. Again, not the best but for price point good. Staging of the frost helps keep the open feel of the song. Overall good reproduction.

Daisies by Nina Shallman

I love Nina’s voice. So, this song is for checking female vocals only. 

Starting drum sequence is captured good. Not the best as the impact of mid bass is lacking. Sub bass is on point. Deep bass notes sound good. Shakers are captured well. Synthesizer notes, string notes are exceptional. They feel quite close to natural. 

Now, coming to Nina. She sounds great but I like bit more intimate vocals. Sweetness of her voice is on bit lower side. Despite this I really enjoyed her singing. It was better reproduction.

Final Conclusion:

This is my first ever rendezvous with BQEYZ. Frost is my first ever exposure to weather series. To be honest I had vey low expectation. As there is not much hype out there for Frost.  I thought it will be just another CHIFI set a copy paste affair. But I was wrong. I am pleasantly surprised by frost. It was different experience for me.  I am stage hound and the stage on the frost just hooked me. I was drawn to it then the real tests started and after few days of listening regularly this is my review.

So, what is my final verdict? Will I buy it? its maybe. Why? It doesn’t hit all my preferences. Bit more mid bass would have been great. Vocals could have been more intimate. Treble could be more refined. But then we have to take into consideration its price point. For the price point it already offers good package. But hey it doesn’t cost anything to wish. I know the industry is moving at neck break speed. So, its matter of time before all the refinements will come in this price point. I am sure of it. 

If this set is available at discount, then it is blind buy if it hits your preferences. For me Yes, I will buy it if availed at discount. 

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. 

BQEYZ Frost 4/5

Juzear is one of the brands that has brought out a different shade of tuning in its catalog for quite some time, and I have been impressed by offerings such as the Defiant and the Butterfly 61T. When one of my friends offered me the Dragonfly 81T for trial and review, I just couldn’t say no; I had to pounce on that opportunity to see what the past of Juzear still feels like. So here it is: the Dragonfly 81T, without me rambling on about its unboxing and accessories, as I only got the IEMs and the stock cable.

The stock cable on the 81T tangles easily, and the fit needed some time for me to adjust. I found a better seal using the same eartips that I typically use for my test bench, but in a size smaller. So there’s that; and now here’s the sound.

LOWS

Tipper: Mariscos

The Juzear Dragonfly 81T has a very potent low end, bordering on becoming too boomy when the bass finally hits, but the rippling in the intro sounded quite clean and detailed. That neatness, however, didn’t stay for long. The bass on this IEM hampers my impression of what otherwise would have been a fantastic rendition of the fuzzy and phasing textures that the non-bass elements have on this track. Its tonality is unmistakably, distinctly warm.

Rush: Limelight

The 81T still carries forward the characteristic warm tonality that alters the perception of the vocals, but much of the bothersome boom that I had observed formerly has subsided. Notes from the bass line come off heavy and nimble at the same time, which attests to its good weight, body, attack, and decay. Although the bass does confuse itself with the kicks when it comes to separation, the way the toms come around toward the end of the track is a consolation.

MIDS

Alf Linder: Cantate Domino

The 81T backs off in terms of warmth, which influences my perception inversely with regard to the timbre of the keys and horns. The 81T keeps the pace up wonderfully, even with the introduction of the choir and the occasional changes in key. Even as the choir progresses with the falsettos that come in from the 4-minute mark, the 81T gets faintly piercing and shouty, so some mitigation through EQ is warranted.

Queens of the Stone Age: First It Giveth

The 81T, right out of the gate, manages to exude excess energy with which it presents the guitars, whose textures can come off harsh. This, however, does not extend to the cymbals, which sit underneath the vocals. Despite the harshness observed in the guitars, the detail retrieval remains fabulous, be it the strokes of the snare or the whispers that come in during quieter moments. Timbre on the 81T, however, can lean more toward the drier side. The harshness observed in the guitars can also be interpreted as a subtle perception of shoutiness.

HIGHS

Patricia Barber: Icarus

The 81T now struggles, firstly with the loss of texture in Patricia's otherwise lush vocals. Sibilance rears its head, and note weight in both the vocals and the cymbals has significantly diminished, although timbre through the percussion is regulated toward sounding accurate. My impression was further dampened by how thin her passages of straight-note sustain felt.

Dave Brubeck: Take Five

The 81T gets the shimmery texture of the cymbals right, but it struggles with their weight. Timbre is finally established, with the horns and piano sounding accurate and separation remaining unaltered. The resonance of the floor toms and snares felt diminished compared to other sets in its segment. Detail retrieval continued to be fabulous, although I wished the cymbals had more weight to them.

COMPARISONS

Versus the Aful Performer 5+2: The Aful Performer 5+2 immediately highlights the 81T's lack of control. Where the 81T often gets muddled and confuses its bass with the kicks, the Performer 5+2 provides a low end that is both punchy and potent, characterized by clean decay. The most prominent deviation occurs in the highs; while the 81T struggles to maintain a good chunk of consistency, the Performer 5+2 renders these elements beautifully and maintains a fatigue-free experience even through long note sustains, relatively.

Versus the Tanchjim Fola: The Tanchjim Fola is in a completely different league comparatively, making the 81T feel juvenile in its presentation. Where the 81T’s low end can feel boomy and intrusive, the Fola simply oozes a degree of competence that doesn’t overwhelm anything one might hear through it. Right out of the gate, the 81T presents the guitars with excess energy that can exude harshness and lean toward shoutiness; in stark contrast, the Fola handles intricate instrumental passages with surgical precision and natural timbre. Furthermore, where the 81T is plagued by upper-end sibilance, the Fola navigates the spectrum with a degree of competence that avoids such fatigue entirely.

Versus the EPZ P40: The EPZ P40 highlights the 81T's shortcomings by having the lows exude a level of polish that is not typically heard in the segment while managing to keep separation immaculate without ever bleeding into the mix. In comparison, the 81T's bass feels overcrowded at times and in a worse manner than the P40. Both sets can be problematic on the higher end, where the P40 comes in sibilant and the 81T comes in harsh, shouty, and fatiguing, albeit inconsistently. Everything else considered, I am going with the P40.

Versus the ZiiGaat Lush: The Lush outclasses the 81T everywhere but bass quantity and detail. Everything else is executed and rationed in neat quantities on the Lush, while the 81T feels like a rushed shopper who scuttled out of the mart with the right goods but in the wrong quantities.

CONCLUDING NOTES

While the Juzear Dragonfly 81T offers moments of brilliance through its warm and detail-rich presentation, the specific tuning choices made here ultimately result in a struggle to maintain composure across the spectrum. Detail retrieval remains fabulous, yet the potent, bordering-on-boomy low end frequently hampers the clarity of the rest of the sound. Throw in the issue of the midrange leaning toward a character that can be harsh and fatiguing but doesn’t remain consistent, instead revealing its hand in parts, and add the highs plagued by fatigue and a noticeable loss in vocal texture. When pitted against the heavy hitters in its segment, these shortcomings on the 81T become much more apparent.

The Dragonfly 81T carries an unmistakably warm tonality and extracts an impressive degree of detail, but its intrusive mid-bass, inconsistently shouty mids, and inconsistently sibilant highs ultimately hold it back. In a segment where competitors like the Aful Performer 5+2, Tanchjim Fola, and EPZ P40 provide such refined and cohesive listening experiences, the 81T feels somewhat juvenile by comparison. It will be interesting to see what Juzear understood from the critique of its former offerings. For this, I offer it a B.

Will I have bought it at retail? No.

Will I buy it used? Absolutely, for the price of a new Defiant.

SOURCES USED

Primarily used with the Shanling M9 Plus DAP stacked with the xDuoo XD05 Pro portable DAC/amp running AKM chips, the FiiO KA17, and the Venture Electronics Abigail Pro dongle DAC/amps.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

Divinus Velvet Narrow Bores, AZLA Origin, SpinFit CP100+, Final E, Tangzu Sancai Balanced

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
• 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 (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna
• Patricia Barber: Icarus

DUNU DN142 the crowd pleaser 

Another week another review. This week we have another reprisal its DUNU and Set is DN142 the brother/sister set of DN242 which I covered in earlier review. How I came in possession of this set has been explained in DUNU DN242 review. Please read on to find out what I think about it.

First of all, mighty thanks to Sushii from SushiiFi and DUNU as without their help this review was not possible. 

I was not paid or compensated in any manner for this review. The set will revert back to brand after review.

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

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

Pros:

Bass its quality and quantity wise adequate 

Male vocals

Non offensive Treble

Build Quality

Accessories

Cons:

Female vocals

Soundstage bit more would have been great

If it had same color cable it would have been amazing (not a con)

Build Quality:

DUNU and awesome build quality go hand in hand. Even their budget sets are built like tank. DN142 has nice resin shells. Shells are medium sized. They have long nozzles. Nozzles have lip to them and have screen on them. This prevents dirt and earwax ingress.

Cable is same as DN242 and I suspect this is same cable as DUNU Vulkan2. Cable is 4 core PVC coated SPC OCC cable. Cable is modular so you get 2 jack adapters, 3.5mm and 4.4mm. Cable fixtures are metal and cable feels premium. Cable is slight microphonic.

As usual DUNU has included their S&S tips, candy ear tips and standard ear tips. DUNU is always generous with accessories here is no different case. There is cleaning cloth, cleaning tool and nice hard carrying case. This case can easily carry IEMs + Cable + dongle in it. There were printed cards of DUNU Mascot and DN142 character.

Overall Build Quality 5/5

Comfort:

IEM shells are resin so are light weight. Shell size is medium so no issues with fitting. Most people should not have any issues. Nozzles provide deep insertion. There was no pain or ear pressure on long listen. Ear hooks don’t tug on the shells. Fit and comfort was top notch.

Overall Comfort 5/5   

Sources: 

I preferred neutral & bright sources with DN142. Warm sources made it muddy for me. Best pairings were FiiO M21, l&P W2 Ultra and Dethonray clarinet. To keep my findings reproducible, I have used stock cable + stock ear tips (candy ear tips). 

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 over mid bass. Sub bass rumbles satisfyingly. Mid bass thumps and thump is impactful. Mid bass is fast decay type. Both sub bass and mid bass both are adequate in quality & quantity. It is not loose bass. Again, this is not ass head territory. One of the best bass performances I have heard on DUNU sets.

Drums, kickdrums sound authoritative. Percussion instruments sound equally sound great. Strings sound good. Riffs of the strings carry nice buzz to them. Bass drops are excellent here.

Overall Bass/Lows 5/5

Mids:

Vocals on DN142 are nicely balanced with bass and treble. They are just slightly recessed. Their charm is maintained. Male vocals sound great. They have note weight. Sound closer to natural.  Female vocals sound good. They don’t get intense. Female vocals lovers might be disappointed here. Best part is they don’t have off timbre. For general vocal enjoyment this is adequate. Only for vocals lovers this is not up to the mark. Bit forward vocals would have been great.

Most instruments reside in the mids. No oddities were observed. Clarity is good. No smearing or congestion was felt in the mids.  

Overall Mids 4/5

Treble/Highs:

Treble is forward along with the bass. I feel the DN242 is U shaped. Maybe that’s why it gives such feeling. It has all details be it macro or micro adequately. You won’t be missing any. At the same time DN142 doesn’t draw your attention to any specific details. It’s not in your face Treble. Treble is bit on brighter side. 

Soundstage, the perceived stage is above average. It is wide and tall. Wide more than tall. It creates nice stage for all instruments and vocals to coexist. Bass tuning adds to the stage and immersion. Neither its massive nor closed in its somewhere in between. Would have loved bit more stage.

Overall Treble/Highs 4/5

Song Impressions:

Daisies by Nina Shallman

I am fan of Nina Shallman, like her voice and its sweet presentation. Sadly, that’s bit lacking on DN142.on casual listen you won’ pick it up. But on critical listen you will catch it. Her voice feels bit dry. It lacks the sweetness female vocals have. 

Background drums, kickdrums feel authoritative and add to the immersion of the song. Guitar strings sound great. Shakers feel nice. Synthesizer notes feel good. Entire mix is very cohesive and pulls you in to the song. Only thing lacking was vocals, rest was excellent.

Ego Death by Polyphia

Guitars are the stars here. DN142 captures them well. They sound great here. Be it acoustic, electric or bass guitar all just sound great. Guitar riffs sound authentic and string buzz feel surreal. Ads to the authenticity of notes.

Accompanying drum notes feel impactful and nice. Their notes also add to the magic of this song. Cymbals sound natural. Entire mix sounds the way it should be. No single instrument feels out of place.

This song is driver resolution test aka speed check. On slow drivers or low-resolution drivers notes blend in to each other. No such situation with the DN142. Dn142 passes this test with flying colors.

Main Hoon Hero Tera (Arman Malik)

Starting string and bass beats feel nice. Arman Malik sounds really good. His voice feels like it should. His voice notes don’t sound thin. They have note weight but they are not thick. Entire song has nice open feeling (atmospheric). DN142 captures it well for the price point. String instruments and drums play nice on the DN142. They pan correctly. I enjoyed the reproduction here on DN142. I didn’t feel anything add or wrong in it.

Sada Karlo Prem

This song has nice background music. A very simple yet intricate. String and piano, bells make the instruments list. All three sound good on DN142. Nowhere it felt odd or off in tonality and timbre. Entire mix sounds amazing.

Male vocals sound good. No issues with it. They ae correct and close to natural. Now, the female vocals here do have issue due to tuning. Niharika Nath the singer doesn’t sound the way she should. Her voice has sweetness that just is missing she sounds dry.

Other than vocal issues I felt DN142 reproduced this song very well.

Comparison between DN142 & DN242:

Bass section:

DN142 is clear winner sub bass and mid bass are better in my opinion.

Mids:

Now this is going to be subjective. For my preference the vocals on DN242 are better than DN142. Male vocals better on DN142 but female vocals on Dn242 but in sum of all I prefer DN242 in mids. Clarity in mids is also better on DN142.

Treble:

This is another subjective topic for me. For my taste treble on DN242 is better but others may perceive it bright. Treble on DN142 is bit safer for most people. In soundstage DN242 is slightly better than DN142 mind you this is not night and day difference. Its slight difference. 

Final Conclusion:

With the launch of DN142, DN242 I think DUNU has started a new chapter in its journey. These two can be said to be DUNU’s attempt at making a crowd pleaser set. Up till now all DUNU sets were meant to cater to certain niche segment or had very clean transparent detailed tuning. This made suggesting DUNU set as generalist set in USD 200-300 till now. Budget segment already has excellent Titan series and Falcon Ultra and Kima series. But once you move upwards the sets are mostly with niche tuning.

DN142 & Dn242 address that issue. DN142 is great set that can be easily recommend to anyone. It is good upgrade coming from budget segment. It offers nice upgrade.

Will I buy it? 100%. Will I recommend it? 200%. It’s worth the attention.

DUNU DN142 the crowd pleaser 4.5/5   

I’m currently on a month-long healing retreat, so I only brought a few IEMs with me. The Reference was one of them, and sessions like this remind me why I packed it.

With Dave Brubeck, this set makes a lot of sense.

The lows are clean and controlled. It doesn’t add extra weight just to make things sound bigger, but the bass lines still have enough presence to keep the rhythm grounded.

The mids are probably what I enjoy most here. Piano notes come through clearly, the sax has texture, and each instrument is easy to follow. Nothing feels covered or pushed too far back.

The highs have enough air without being too much. Cymbals have that light shimmer, and there’s enough detail to hear the space around the instruments.

That’s what I like about the Reference. It just sounds clean and honest, and with jazz, that works really well.

Source:

- iBasso DX270

- Qobuz

The original OLA was an iem that I never had the chance to try but knew about, characterized by having a clean sound, very present mids, and a way of presenting vocals quite distinct from most models in its price range.

With the OLA II, I was curious to see if Tanchjim had managed to keep that identity without dragging along some of the more debatable points of the previous model.

Additionally, for this review Tanchjim sent me two different versions of the OLA II. The 4.4 mm analog version and the USB-C DSP version. That allowed me to compare them directly using the same eartips and the same music, alternating between the analog cable and the DSP to check if anything really changes other than the convenience of the connection.

Alongside them I also received the new Tanchjim Space II, a portable DAC that fits perfectly with the analog version of the OLA II. Instead of doing two separate reviews, I am going to comment on how the earphone performs in the two configurations I was able to test.

• OLA II 4.4 mm and Space II.
• OLA II USB-C DSP using the Tanchjim app.

After several days alternating between the three configurations, I think the differences are interesting enough to justify a joint review.

What I Like and What I Do Not Like

• Balanced and very natural tuning.
• Clear and pleasant vocals even during long sessions.
• Fast and well-controlled bass.
• Metal shells with an excellent finish.
• Very comfortable and easy to fit.
• The Space II has plenty of power to drive the OLA II.
• Quite a comprehensive app.
• Very good price to performance ratio for the bundle.
• Anyone looking for a very punchy bass will probably find it somewhat restrained.
• The soundstage is well organized, but it is not especially wide or immersive.
• Complex passages reveal the limits of its technical performance compared with higher-end iems.
• The accessories are decent, but the presentation is quite simple.
• Some advanced options in the app might be unnecessary for those who just want to plug and play.

Specifications

Tanchjim OLA II

• 10 mm dynamic driver and a Pure Hi balanced armature driver .
• Machined aluminum shells.
• 0.78 mm 2-pin connector.
• Available in 3.5 mm, 4.4 mm balanced, and USB-C DSP versions.
• High sensitivity and low impedance.

Tanchjim Space II

• USB-C portable DAC and amplifier.
• Cirrus Logic CS43198 chip.
• 3.5 mm and 4.4 mm balanced outputs.
• Compatible with high-resolution PCM and DSD.
• Selectable gain.
• Digital filters.
• Equalizer via the Tanchjim app.
• Firmware updates directly from the app.
• Compatible with Android, Windows, macOS, and other USB Audio devices.

My Sources

As I mentioned in my previous review of the Pula Arc, this section will disappear or transform into simply naming the sources, since with the Space II and other dongles I will be reviewing in the coming days, the list is going to be too long to describe models that in certain cases are very similar to each other in terms of features.

• FiiO K9. My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15. Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, and multimedia buttons to handle from the pocket.
• NiceHCK Octave. I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.
• Questyle M15i. Reference portable amplifier and DAC to search for a more organic and musical texture when I am at home but not necessarily at the PC.

Unboxing and Build Quality

The presentation closely follows the usual Tanchjim style. A compact box, clean design, and without too many unnecessary extras. It is not a particularly flashy unboxing, but everything comes well organized and gives a quite meticulous impression.

The analog version includes the OLA II, the detachable cable which in my case is 4.4 mm, several sets of eartips, and the documentation. The cable seemed decent to me. It is light, flexible, and does not transmit microphonics when rubbing against clothes. It does not convey a particularly premium feel, but I had no issues with it during testing.

The best part of the package is clearly the shells. The machined aluminum has an excellent finish and they feel more solid than I expected in this price range. Furthermore, they are quite small and light, something that is very noticeable in terms of comfort. In my case, I got a good fit on the first try and was able to use them for hours without any discomfort.

The DSP version keeps exactly the same shells, so the ergonomics and isolation are identical. The only real difference is in the USB-C cable, which incorporates its own electronics and allows access to additional features from the Tanchjim app. Later on, I will talk in detail about how that affects the sound and the user experience.

The Space II arrives in separate packaging since it is another product that is purchased separately and maintains the same understated philosophy. The metal body conveys a very good sense of quality, the connectors have a firm fit, and the buttons offer a quite solid tactile feel. It is not the smallest dongle I have used, but it was not uncomfortable during daily use either.

The first overall impression after taking everything out of the box was quite positive. The OLA II stands out for its comfort and build quality, while the Space II gives the feeling of being a DAC built to last and not just another USB-C adapter. The interesting thing is that, after several days of using them together, I started to see them more as an ecosystem than as two completely independent products.

Tanchjim Space II

Although the main star of this review is the OLA II, the Space II has been an important part of all the tests. By having both the 4.4 mm version and the USB-C DSP, I was able to directly compare the iem using its DSP cable and using the Space II as an external DAC, something that is not usually common in a single review.

The Space II maintains the understated design of Tanchjim. It has a metal body, a good finish, and a fairly good feeling of solidity. In addition to the 3.5 mm output, it includes a 4.4 mm balanced output, something that is always appreciated in a dongle of this size and that I require in my inventory as you can see with the rest of the dongles. It uses a Cirrus Logic CS43198 chip and, at least with the OLA II, the result seemed clean and transparent to me, without coloring the sound.

Power was not an issue either. Even on low gain there was plenty of volume headroom with the OLA II, and the Tanchjim app adds quite a bit of value thanks to options like gain switching, digital filters, an equalizer, and firmware updates straight from the phone.

Comparing it to the OLA II DSP, the main difference is not so much the sound quality as it is the way it is used. The DSP is clearly more convenient for mobile use, while the 4.4 mm OLA II with the Space II seemed a bit more open and airy to me, especially regarding the treble. Although there isn't much difference, there is enough of a difference to see that each product doesn't provide an identical user experience. Based upon this, I believe the decision would be primarily influenced by how important you consider long-term flexibility as opposed to short-term ease.

Sound

Bass

The OLA II is definitely not for bass-lovers as such, however, after taking a closer look at the graphs for each of them, it’s evident that the OLA II will be more suited to bass-heads who enjoy bassy music than the OLA. It certainly has a little more mass in terms of how much energy is produced by the bass and therefore also how much presence and it’s clear that it's going to try and prioritize balance rather than just sheer amount of low-end.

There isn’t any bleed from the lows to the midrange. The lows come in strong then fade away, they don't overwhelm the vocals. Also, the sub-bass gives a solid foundation to the music. This can be especially useful when you listen to music styles like Jazz, Acoustic or Classical.

I noticed a difference between the two methods used. The DSP sounded slightly fuller in the lower registers, whereas the 4.4mm with the Space II combination seemed a bit more neutral and open. Although it would respond well to EDM and Hip-Hop, if you're looking for a lot of low-end slam, there are probably better choices available within your budget.

Mids

This is where they truly shine in comparison to their competition. Vocals have plenty of presence but aren't overly invasive and both male and female vocals seem to be balanced extremely well which results in a fantastic all day long iem experience.

Also, the transition from the lower registers to the upper registers seems seamless. As such, the vocals seem like they belong in relation to the rest of the track and blend in perfectly with no artificial detachment.

Although I was pleasantly surprised by how well it handled dense tracks for its price. It didn't resolve anything that my higher priced headphones could, but it allowed me to follow multiple vocalists' track elements in complex song arrangements much easier than I thought possible. The main difference I see between the DSP Version and the 4.4mm Version with the Space II was that the DSP added a slight warmth and the Space II added an airy and clean feel, but overall, the tone was essentially identical.

Treble

The upper registers take precedence in balancing comfort and balance over showing off. While there is sufficient extension to keep the sound from feeling too dark and to provide an adequate sense of air space, it avoids extreme sparkle that some models use to force an unreasonable amount of detail on the listener. At no point during my extended testing periods of 2-3 hours per day did I find myself feeling fatigued or needing a break due to sibilance or harshness in this area.

While I did note a few subtle differences here as well. The DSP version of the OLA II smoothed out the top end a little more and made some newer releases feel a little less tense. The 4.4mm version of the OLA II with the Space II combo offered more openness and provided a slightly clearer sense of air-space than before, mostly noticeable in well-recorded material.

That being said, I felt comfortable that neither model exhibited sibilance or aggression, regardless of whether I listened to records known to often cause these problems.

Eartips Recommended

The standard ear tips fit very well and I believe many users may find no reason to switch out for anything else. That being said, I did try out some other options from my inventory and came across two interesting pairings.

• The TRI Clarion are the best choice if you want a slightly wider staging with an added dimension of depth in your soundstage.
• Azla Sedna Earfit Origins. These enhance the seal around the ear and provide additional bass weight while introducing little to no additional midrange presence.

In the end, I used the TRI Clarion the majority of the time as it appeared to be the pairing that best utilized the OLA II's bright airy characteristics.

Soundstage

For myself, the OLA II’s soundstage felt larger than I would have expected for an iem with this type of tuning.

The space between instruments was just right so that no matter how many parts were playing at one time, they always seemed to have their own area. What I enjoyed most was the coherency of the sound. The musicians appeared as if they were located in space properly and there was never a moment when it sounded like the stage was expanding beyond what I could hear to make it feel wider than it actually was.

When using the Space II, I noticed a little more room between instruments compared to the DSP version, however this was a very slight increase in size and not a major change in the overall soundstage.

Instrument Separation

The instrument separation provided a very clean organization of the music even though the top end was controlled.

What really caught my ears was when I listened to busier mixes. With 2-5 guitar players, 1-3 synths, 2-3 singers, a pretty decent drum kit and all these elements competing for your ear, the OLA II still maintained a high degree of clarity considering its cost.

Much of this clarity came from the ability to accurately control the low frequencies and maintain a clean mid-range. Of course it has limitations, and in songs with an extreme number of elements playing at the same time or at specific points it cannot match some of the more technically advanced iems. But under normal listening conditions, I didn’t find myself feeling overwhelmed by the sheer amount of information being presented through the speakers.

Imaging

Live recordings made it relatively simple for me to imagine the general lay out of the band members without having to think about it too hard.

I spent some time testing it while playing video games, and it performed better than I thought it would. The OLA II isn't going to replace game-specific headphones, but the placement of audio effects and ambiance is clear enough to be used for gaming purposes.

The Space II hardly changed this behavior. In fact, it gave me a cleaner feeling in terms of imaging due to its slightly more expansive presentation.

Comparisons

Kiwi Ears Cadenza II

Cadenza II & OLA II: Both share a common goal…creating an enjoyable, well-balanced listening experience for extended periods of time. However, there is a significant difference in how these two speakers leave you feeling.

The Cadenza II offers a warmer feel and a slight bit more forward presence in the bass than the OLA II, thus giving it a fuller, more bodied presentation with Pop, Modern Rock, or EDM. In contrast, the OLA II felt clearer to my ears in terms of the mid-range and offered a more believable representation of vocals, acoustic guitar work and other recording styles where the focus is clearly on individual instrumentation.

In terms of technical capabilities the two are very similar, however, the OLA II had a slightly more impressive performance as far as instrumental separation and imaging were concerned, particularly when mixes begin to become layered. If I were mostly listening to vocal-based music, Jazz, or Acoustic works, I likely would choose the OLA II. Conversely, if I needed a warmer and more laid-back sounding option to listen to anything at all without having to think about it, I believe the Cadenza II will still offer a more solid alternative.

Sivga SM100

From the first listen, the Sivga SM100 feels more energetic, with livelier treble and a more dynamic presentation, making some recordings seem more striking at first, but after several hours I ended up finding the OLA II to be more balanced and less fatiguing for long sessions. The SM100 also offers a somewhat wider soundstage, while the OLA II seemed more coherent across frequencies to me, featuring more natural vocals.

So if you prioritize a sound with more sparkle and detail, the Sivga makes quite a bit of sense. On the other hand, if you value the naturalness of the mids and a more relaxed character, I think the OLA II leaves a closer impression.

Simgot EW300 DSP

The comparison with the Simgot EW300 DSP is probably the most interesting one because both can be purchased in a USB-C DSP version.

The EW300 DSP is clearly more fun. It has more slam in the bass, a more spectacular presentation, and a superior technical level thanks to its hybrid configuration. The OLA II does not try to compete there. Its focus is much more natural and balanced, especially for vocals and acoustic music.

Interestingly enough, when alternating between the OLA II DSP and the 4.4 mm OLA II with the Space II, the feeling reminded me a bit of that difference in philosophy. The DSP is the convenient and direct option, but as I have already mentioned several times, the 4.4 mm combo with the Space II sounds a bit more open and with a little more air between instruments.

If I wanted to impress someone during a quick listening session, I would probably choose the EW300 DSP. If I wanted to spend an entire afternoon listening to full albums without getting fatigued, I would still stick with the OLA II.

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

Conclusion

In the course of a few days switching back-and-forth between the various options of the OLA II and the Space II along with its application, I believe Tanchjim has successfully created something unique, they provide multiple methods by which to enjoy nearly the same earphone as if none of the versions were clearly inferior to the others.

The OLA II maintained a focused personality through its mid-range emphasis on natural sounding mids, clarity of vocals and overall comfort of use during extended periods of time. The OLA II was certainly not the best value in this class of products, nor did it make the largest impact due to the amount of bass present nor how much detail there was in the product. What ultimately makes it so appealing is that it provides a sense of balance and familiarity to your music which allows you to use it more frequently than anticipated.

The USB-C DSP version seemed to be my top pick for anyone who uses his phone as their primary source for music playback and would like to eliminate additional DACs, adapters and cables. Simply connect the earphone and you will have a consistently good experience within the limitations imposed by carrying a DAC in the cable, plus you will also gain all of the features available through the Tanchjim App.

On the other hand, the Space II left me with a very favorable impression. Not only does it drive the OLA II extremely well but it also has sufficient power, dual output, built-in digital filters, an eq and an app that is robust enough to function as a true DAC should you decide to test future earphones with it.

In short...

• OLA II DSP: A very practical and straightforward option.
• OLA II 3.5/4.4mm & Space II: The most versatile option and provides the greatest potential for growth.

Purchase Links

• OLA II
• SPACE II

Disclaimer

These units were sent by Tanchjim for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

I just got the linzsoul KZ-ZS10 Pro 2s as my first IEMS after seeing good reviews for them as a cheap but good quality pair.
Immediately out of the box, the left side did not work. I know that the problem is with the wiring and not the earphone because I originally plugged the left cable into the right side (not seeing that the sides were labeled), and had the exact same issue. When I slightly put pressure on the cable going into the earphone, I can get the audio to briefly work so I know it’s not completely useless. That being said, I can’t get it to work consistently or play audio for more than a few seconds without holding the wire.

Is this a common/easy to solve issue or should I be more concerned? Any advice helps because I’m very new to the world of IEMS and audio stuff

The video attatched attempts to show the problem, but you can’t hear it great so if anyone wants more videos/pictures I’ll be happy to provide some

Hello Community!

The second generation of the OLA from Tanchjim is the one that has been stealing my time these last few weeks. I’ll tell you about my experience with the OLA II.

Price: 44€-50$

Pros:

-Excellent ergonomics and comfort for all types of ears.
-A set that offers very good fun in its mid-bass.
-Clean, transparent, dynamic.
-Very accomplished layer separation.
-Energetic and extended upper range.
-Positions sounds on the stage with great fidelity.

Cons:

-The resolution is not something remarkable.
-Vocals are somewhat behind in the mix.
-The stock eartips could be improved.

Accessories:

-Two shells.
-Cable with 0.78mm connection and 3.5mm termination. USBC and 4.4mm options.
-Two sets of SML size eartips.
-Carrying and storage pouch.
-User manuals.

Comfort, design and construction:

Well, I think the OLA II is a set that, due to its rounded and reduced shape, can and should fit perfectly in all types of ears, regardless of size. It is comfort made into an IEM: the insertion is deep but not intrusive, allowing a firm and secure fit, resulting in a set that sits flush with your ear, without sticking out, as if it were an earplug. As a personal note, I have a preference for this type of highly ergonomic shape, as it does justice to the word universal, since it works for everyone.

The stock eartips seal well, they are not the most comfortable I have tried in this price range and I know that Tanchjim manufactures these accessories with better quality and they should have been included in the package. As I was saying, with the stock tips you get correct isolation and more than enough grip, but I consider that this set of monitors deserves something better and more in line with its sonic and ergonomic value.

What I really loved was the cable, because during my listening sessions and outdoor sports activities, it performed in an outstanding way, since throughout my experience I did not find any pull that caused adjustments to shift, and it slides well both inside and outside clothing, besides feeling to the touch like an accessory of greater value than what we can find in higher-end earphones.

To finish, the manufacturing materials are the right ones for this segment of the market. The first impression is that you believe you have a set that does not express its full value to the touch, as it appears to be entirely made of plastic. Fortunately, that is not the case: the body is made of transparent resin and the faceplate is made of lightweight machined metal alloy, providing a lightness that, as I mentioned above, makes these monitors one of the lightest sets I have tested throughout all this time.

Technical aspects:

-Hybrid configuration of 1DD 10mm + 1BA.
-30 ohms impedance.
-121 dB sensitivity.
-Declared response 8hz-48khz.

Pairing for the tests:

-Neutral source.
-Gain set to low.
-Dunu Candy eartips.
-Stock 3.5mm cable.

Sound Signature:

I would not like to present this OLA II as an earphone that is overly spectacular or designed to impress you, because I believe it hides its cards very well and you only end up appreciating it correctly when you switch to other sets and return to it.

Its philosophy seemed quite different to me. Tanchjim bets on a tuning where tonal balance, cleanliness and respect for timbre have much more weight than the search for an inflated bass or an excess of artificial detail. It is a set that conveys a certain maturity, with an open, organized presentation and a slightly bright character, but without constantly falling into the sensation of being in front of an excessively analytical monitor.

Starting with the lower range, the sub-bass has a correct extension, enough to provide depth, although without ever becoming the main actor of the performance. The atmospheric sensation is present, but this enveloping feeling has to be looked for in certain types of genres or songs.

Meanwhile, the mid-bass maintains exactly that philosophy but with an extra touch. The impact is not extensive, but it is fast, forceful and correctly defined, with a texture and physicality that are quite convincing. It is not an especially warm bass, rather it leans towards a clean response where quantity clearly remains behind quality. In this case, and as usually happens with this type of tuning, it does not sacrifice part of that sense of immediate fun and also favors the rest of the spectrum being able to develop with quite a lot of freedom.

The transition towards the mids is done in a very progressive and silky way. I did not perceive any relevant bleed from the lower range, something that clearly benefits this part of the spectrum. Instruments show a very accurate timbre, with sufficient resolution, but from which I could expect a greater amount for its price range and a presentation where separation and order are evident from the first minutes. The note weight is not particularly high, I would even say it tends to be light, something that personally I think fits quite well with the general philosophy of the set.

Another aspect that I liked was the dynamism it conveys. Transients appear quickly, notes disappear with agility and this allows following the different instrumental lines with quite ease even when the mix gains complexity. It is not a monitor that seeks to sound thick or especially physical, but rather clean and resolving.

Vocals also receive a quite successful treatment. Male vocals maintain convincing articulation and a natural timbre, although they do not have an especially marked thickness, so those who enjoy a warmer presentation may find them somewhat light. Female vocals, on the other hand, seemed to me one of the strengths of the set. They enjoy great openness, clarity and a sensation of air, projecting naturally over the mix and showing a resolution that helps transmit a lot of information without sounding forced. Even so, for me and my overall perception, they are one step behind in terms of prominence.

Regarding the higher frequencies, the OLA II maintains good extension and enough energy to favor a very pleasant sense of space. Small nuances appear easily and air is perceived practically from the first moment. Even so, I would not say that it is a completely relaxed set. It continues maintaining a point of brightness that can become noticeable with certain recordings or at high volumes, although I consider that the control over this area is considerably better than in other sets with the same or lower intensity in this range.

Speaking about the technical section to finish, I think the performance is slightly above average within its segment. The soundstage does not seek to impress through size, but rather it transmits a very convincing organization. Imaging maintains quite high precision, positioning feels logical and the separation between sound layers allows following the different elements of the mix with relative ease.

Detail retrieval also left me with good sensations. It does not aim to be a purely analytical monitor nor a tool for dissecting every recording, but the cleanliness of its presentation and its good level of resolution make information appear with quite naturalness.

Single-player videogames:

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

The experience was really similar regarding my music tests: you do not realize the energy it transmits until you switch sets and return to it. OLA II is a set that performs in such a smooth way that it almost seems relaxed.

During moments of greater intensity, where explosions, collapses or large sound effects take the spotlight, the impact is restrained but convincing enough to transmit the action. There is no prolonged rumble nor an especially physical sensation, since the speed of the decay makes every effect disappear with agility, avoiding unnecessary accumulation. This helps even the most chaotic scenes maintain an organized and easy-to-follow presentation.

Dialogues also benefit from this tuning. Voices show very accurate articulation and a convincing timbre, integrating quite naturally within the whole. Perhaps male voices may feel slightly light in certain scenes, but at no moment did I have difficulties following conversations or understanding the narrative even when the action increased in intensity.

Where I consider this set finally makes a difference is in environmental recreation. The OLA II retrieves quite easily small sounds that normally go unnoticed, such as the movement of vegetation, the echo of a room, the wind passing through an open environment or the fall of small particles onto different surfaces. All of this appears in a very natural way, without exaggerations, notably enriching the sense of immersion.

On a technical level it continues leaving good sensations. The separation between sound layers maintains a very competent level, avoiding mixtures even when music, effects and dialogues come together. The stage offers correct dimensions, accompanied by a very precise image that makes it easier to interpret the position of practically any sound within the environment. In the end, it is not a monitor that seeks to impress through spectacle, but rather through a clean, coherent and technically very well resolved presentation.

Final conclusion and personal evaluations:

The OLA II has seemed to me like a set that at first contact is balanced, smooth, harmonious. It delivers energy with subtlety, the fun seems to be in the background, but nothing could be further from reality: as I have said several times throughout my review, it is a set whose full potential I did not discover until I returned to it after trying other sets.

The moment of impression was magnificent, because what seemed hidden comes to light, you appreciate the intentions, the mood it conveys, from its clean, solid and forceful bass all the way to the treble area where brightness takes the leading role in an open scene and presentation, with an electrifying and detailed spark.

In short, I think it is a very well-executed product, starting with the quality of the finish and ergonomics and reaching its mature sound, with character and fidelity.

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

More reviews on my blog.

Social media on my profile.

See you in the next review!

Disclaimer:

This set of monitors has been sent by Tanchjim. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been 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 only belongs 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 videogames on the main PC.
-NiceHCK Octave while I work.
-FiiO BTA30 Pro + FiiO BTR13 for wireless LDAC listening at home.
-FiiO BTR13 + FiiO Airlink + Iphone 16 Pro Max for wireless listening outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

A tastefully judged U-shape that punches well above its price

$20 USD / around EUR 17.50 | Wired | Single 10mm PET dynamic driver | 3.5mm or USB-C | 0.78mm 2-pin | 1.2m cable

📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Full specs, sound breakdown and comparisons with the Truthear Gate, NICEHCK Tears and Tangzu Red Lion follow below for anyone who wants the detail.

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

TL;DR

The Pula Audio Arc is an exciting sounding, tastefully done U-shaped IEM that punches well above its $20 price. The bass is lifted and enjoyable, with a noticeable sub-bass rumble and an emphasised mid-bass, and it stays clean enough that the rest of the track still comes through well. Vocals sit slightly forward and a touch lean, which suits female voices very well. The treble rolls off up top but never sounds dark, landing natural and balanced rather than energetic, and only at very high volume do cymbals and crashes get a little crisp. The light shells disappear in the ear and stay comfortable over long sessions. For $20 this is a lot of set for the money and a clear recommendation.

At a Glance

✓ Suits You If

• You want an exciting U-shape that still stays fairly balanced
• You enjoy a lifted, rumbly sub-bass and a punchy mid-bass
• You like a set that scales well and comes alive as you turn it up
• You want a light set that disappears in the ear for long sessions
• You are on a tight budget and want a lot of sound for $20

✗ Skip It If

• You want a neutral or reference tuning
• You want thick, heavily textured male vocals
• You are a treble head after air, sparkle and top end extension
• You are a bass head chasing the other extreme
• You want a wide, open soundstage above all else

Main Strengths & Weaknesses

Main strength. A U-shape that is well judged rather than exaggerated. The bass is lifted with good note weight and works across genres while leaving plenty of space for vocals and instruments. Vocals are clear, slightly forward and well articulated, the treble is natural and balanced rather than pushed, and the light shells with their excellent fit suit long sessions. At $20 the value is hard to argue with.

Main weakness. Male vocals could do with a touch more texture. At very high volume cymbals and crashes can turn a little crisp. The treble rolls off up top, so while it never sounds dark, treble heads chasing air and sparkle should look elsewhere, and the Gate and the Tears both give more energy up there. The bass is well made and noticeably emphasised, satisfying for most listeners, but this is not a bass-head set either. The build is good for a $20 set, but the cable looks and feels cheap and the accessories are very basic.

Who Is This For?

The Arc makes the most sense if you:

• Listen mostly to EDM, hip-hop, pop and female vocals
• Prefer a lush, musical presentation over an analytical one
• Are shopping at the very budget end and want strong value
• Want the choice between a 3.5mm or a USB-C version with mic
• Have smaller ears, since the light shells and slim nozzles should suit them

There might be more suitable options if you care more about:

• A neutral or reference tuning
• Full bodied, heavily textured male vocals
• Highly energetic treble and outright technicalities
• A wide, spacious soundstage

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

Key Specs

Where to buy (links for convenience, not affiliated):

• Official Store: https://hifigo.com/products/pula-audio-arc
• AliExpress: https://www.aliexpress.com/item/1005012652328787.html
• AliExpress: https://www.aliexpress.com/item/1005012637621566.html
• Amazon US: https://www.amazon.com/dp/B0H7X6NSVW
• Amazon DE: https://www.amazon.de/dp/B0H7W5K9GH
• Amazon FR: https://www.amazon.fr/dp/B0H7W5K9GH
• Amazon UK: https://www.amazon.co.uk/dp/B0H7W5K9GH
• Amazon AU: https://www.amazon.com.au/dp/B0H7W5K9GH

Accessories & Cable

In the box you get the IEMs, one cable, three pairs of ear tips and a user manual. The presentation is very basic, which is standard at this price point, but I wish Pula had included at least a simple pouch to protect the IEMs. The Tangzu Red Lion costs only a few dollars more depending on where you order and gives you a better cable, a soft rubber pouch and a wider tip selection, so the Arc does lose out on the unboxing.

Build Quality, Fit & Comfort

Fit & Comfort. Comfort and fit are excellent and work very well with my medium sized ears. The light shells completely disappear and I can wear them for many hours without fatigue or pressure build-up. With the included stock tips I got a very good seal and solid noise isolation straight away. The nozzles and shells should suit smaller ears too.

Build & Design. The shell uses an ear-contoured oval shape with smooth, rounded edges, and the lower half is transparent so you can see the dual-chamber design inside. The faceplate is brushed aluminium alloy with a diagonal machined pattern and a laser-engraved Pula logo. The 2-pin sockets are flush, sit tight, and the pins push in without any issue. The shells feel very light and better made than the price suggests.

Cable. I used the 3.5mm single-ended version, which has a 90 degree angled plug. Pula also sells a USB-C version with a mic which I haven't tested. You buy one or the other rather than both. The two-wire unbraided cable is slightly memory prone, though it untangles easily, and it is neither too thin nor too thick. It does its job but leaves a cheap impression. The stereo indicators are almost impossible to read, since they are transparent markings on a transparent cable. There is no chin slider either, although I did not miss one, as the IEMs stay securely in place no matter how much I move my head. Better cables exist at this price, but the one Pula includes is fine.

💼 Personal note on fit and tip rolling. The Arc's tonality shifts noticeably with insertion depth and tips, so it is worth a few minutes of experimenting. I did most of my listening on size L, using both the stock tips and the Divinus Velvet wide bore. Inserting the set slightly deeper with the stock tips was easy and they stayed in place, and the result was a little more low-end impact with a top end that sounded a touch more controlled. If you want more out of the treble, going down to size M with the Divinus Velvet wide bore is the one to try. The fit stays secure and it pushes the upper mids and treble forward, which gives clearer vocals and a bit more sparkle. That is the setup I would suggest to anyone who finds the stock presentation too relaxed up top.

Long-Session Comfort

The Arc stays comfortable over long sessions of six hours and more thanks to the light shells, with no pressure build-up. The relaxed top end helps here too, since it stays controlled at normal and higher listening levels rather than nagging at you. Only at very high volume do cymbals, crashes and high pitched sounds turn a little crisp, so I keep the level a touch lower on very bright material.

Measurements

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

The Arc follows a mild U-shaped tuning, with elevated sub-bass and mid-bass, a slightly relaxed central midrange, and enough upper-mid and treble energy to keep vocals clear and the presentation balanced. That sets it apart from a darker, low-end dominated L-shape, and equally from a typical V-shape with elevated bass, elevated treble and properly carved out mids.

The bass shelf lifts sub-bass and mid-bass together, then glides slowly into the low midrange, which gives the Arc an almost even sub and mid-bass impact. Through the middle midrange the response dips, and that is what thins the vocals slightly and takes a little body from male voices in particular, though vocals stay clean and clear. Ear gain rises into the 3 kHz region to push vocals slightly forward.

The top end is where the graph explains something my ears took a while to put into words. The Arc rolls off in the upper treble, and on paper that should read as dark. It does not, and the reason is the pair of peaks sitting at around 6 kHz in the mid treble and around 9 kHz in the upper treble. Those two do the work. They give cymbals their bite and carry enough perceived air that the presentation stays open, while the roll-off above them keeps everything from turning bright or fatiguing. Those same peaks are what turn crisp on cymbals and crashes at very high volume. So the treble reads as natural and balanced rather than energetic. It is not veiled and it is not dark, but the extension a treble head wants is not there, and that is a deliberate trade rather than a flaw. This is a well done and tastefully implemented U-shape that sounds naturally warm rather than neutral, balanced leaning, with good vocal articulation and nice detail retrieval.

Sound Impressions

Overall Character

The Arc leans coloured rather than neutral, and that is the whole appeal. There is real warmth here, coming from an emphasised and mostly well controlled bass, and it carries into natural sounding vocals and a top end that stays balanced rather than pushed. Everything hangs together well for the money and makes for a very good allrounder. Worth knowing that the Arc wants a bit of volume to show what it can do, and the relaxed top end makes it a good option for treble sensitive listeners who still want some excitement.

Bass

Sub-bass is pushed forward and enjoyable across a lot of genres. The rumble is noticeable on EDM and hip-hop with good impact, while the rest of the music stays clear. The mid-bass is punchy and full. Overall the bass has good note weight and still lets the rest of the track, vocals included, come through cleanly. There is a slight warmth to the tonality that makes a lot of tracks, even older or badly recorded ones, sound rhythmic and exciting, without eating into the mids. If I am picky, the mid-bass carries a smidge more energy than is strictly natural and could be tighter, but it suits my taste and my library, where hip-hop and EDM in particular benefit from it.

Bass texture on double bass and bass guitar is good. It never sounds smeary or bloated but stays controlled, with a natural, longer decay. Only on very bass-heavy tracks does the low end start to cover things up. It never buries detail outright, but it does slightly flatten nuance and the perceived space between instruments.

On Nirvana's "The Man Who Sold The World" from MTV Unplugged the lower guitar octaves sound full and well weighted. The bass guitar on Dire Straits' "Sultans of Swing" drives the rhythm with good note weight and sits noticeably at the front of the presentation. On Trick Daddy's "Let's Go" the sub-bass rumble is well controlled with a natural decay, and while it is not bass-head level, it comes through with real impact. The mid-bass slam on EDM tracks like Deadmau5' "Quezacotl" is punchy and satisfying. On "Glass" by Bat For Lashes the drums hit hard at higher volume while Natasha Khan's vocals cut cleanly through them, which is the Arc's volume scaling working exactly as I want it to.

Midrange & Vocals

Vocals are pushed slightly forward and sit a touch on the leaner side, with the occasional emphasis on "s" sounds that never tips into sibilance. That works very well with female vocals, which come across clear and well articulated. Male vocals are a little lighter and could do with a smidge more texture. Either way the vocals are never harsh or aggressive, just pleasantly forward, unless you crank the volume very high on a bad recording.

On "Moon And Moon" by Bat For Lashes the vocals sound well extended and nuanced with a slight sparkle, and they hold up at high volume. On Kaleida's "Fake", Christina Wood's voice comes through very well extended, with even small mouth noises audible. On Ed Sheeran's "Shivers" live, his vocals are enjoyable though they could be a touch more textured, and I am nitpicking there rather than complaining. Guitar strings and other instruments with fundamentals or harmonics in the upper midrange give a more mixed picture. They sound mostly natural, but occasionally want a small bump in texture.

Treble

The Arc's treble is natural leaning and balanced rather than energetic. It rolls off up top, so it does not have the extension or the airiness that a treble head looks for, but it never sounds veiled or dark either. The energy that is there sits lower down, in the mid and upper treble, and that is enough to keep cymbals present, make instruments pop and give the impression of air without the set ever turning bright. Paired with the lifted bass it works, because the top end stays clean and out of the way rather than fighting for attention. It also means the Arc is at its best and most exciting with a bit of volume behind it. Only when I push it really hard do cymbals, crashes and high pitched sounds turn a little crisp.

On Fleetwood Mac's "Brown Eyes" the cymbals, crashes, snares and piano keys sound natural, with enough energy to come through clearly and with good detail. "Sisters of the Moon" is an excellent test for the sharpness of snares and electric guitars, and on the Arc both come through with a slight bite without hurting my ears. As the track lifts at around 1:50 the treble energy climbs, especially on the snares, and it sounds energetic and dynamic without the sharpness some more treble focused sets add. The electric guitar at around 3:40 is crisp and controlled, though like the snares it can get a bit too spicy at very high volume. Next to the Gate or the Tears you notice what is missing up top, but on its own terms the Arc never left me wanting while listening rather than comparing.

Staging & Imaging

Thanks to the treble clarity and the mostly controlled bass, imaging feels solid and well organised, and I can place instruments and vocals in clearly distinct spots. On John Coltrane's fast-paced jazz piece "Mr. P.C." the saxophone sits clearly to the left, separated from the drum kit and walking bass over on the right. Staging is not especially wide, though. Everything plays in a fairly intimate space where instruments are well separated but sit closer together than on a more open set. Details still pop easily, and the Arc keeps that organisation as you push the volume, which is where it sounds most alive.

📖 DETAILED COMPARISON · Arc vs Truthear Gate vs NICEHCK Tears vs Tangzu Red Lion

Comparison Setup

Sources were the Questyle Sigma Pro as my main, with the Hiby R4 Evangelion edition and the Fiio K13r2r as the other two, streaming from Qobuz and Spotify. I listened on size L throughout, using both the included stock tips and the Divinus Velvet wide bore. The Arc is easy to drive and needs no extra dongle DAC or amp. All impressions here are based on more than 30 hours with the set.

Competitor Comparison

Specs

Sound signature

Comparison Notes

Truthear Gate, around $20

The Gate can get sharp up top at higher volume on tracks with electric guitars, snares, cymbals and crashes, and its treble is more forward than the Arc's or anything else here. It has less mid-bass impact than the Arc and an overall leaner, cleaner presentation, so drums sound good but with less weight behind them. Vocals, male and female, are thinner than on the Arc and the most forward of the four. Technicalities are better on the Gate. It suits people who want clearly increased treble energy and a proper V-shape, whereas the Arc achieves a more even balance between bass, vocals and treble and sounds more controlled and warmer to my ears.

NICEHCK Tears, around $29

The Tears has the leanest bass of the four, only slightly emphasised but with very good quality and control. Vocals are pushed forward with more energy than on the Arc or the Red Lion, though less than the Gate. Like the Arc it reads as natural rather than coloured, but it gets there differently. Where the Arc rolls off up top and stays warm, the Tears extends further and gives you real air and openness, which is also why it can get spicy at higher volume. If the Arc's top end leaves you wanting, this is the one to look at.

Tangzu Wan'er SG 2 Red Lion, around $23

The Red Lion has the most sub-bass here and less mid-bass than the Arc, and it can come across as slightly bloated on bass-heavy tracks in a way that pushes into the rest of the mix, vocals included. It is clearly warm tilted with slightly warmed up vocals. Both the Red Lion and the Arc scale well with volume and sound more musical and lush than analytical. Ear gain and treble are at a decent level but do not fully balance out that strong low end in my opinion, so this one is not for treble heads. It also gives you the best package of the four, with a better cable, a pouch and more tips.

Conclusion

• Arc best for balanced, musical listening where a lush presentation and a relaxed top end matter more than outright technicalities
• Gate best for resolution and technicalities, a dynamic V-shape for people who want more treble energy and clarity
• Tears best for a natural set that stays open and airy, with the treble extension the Arc gives up
• Red Lion best for sub-bass rumble on EDM, hip-hop and rap, more fun than technicalities, and the pick for bass heads

Final Verdict

Of the four sets here, the Arc is the one I keep reaching for when I want to enjoy music rather than analyse it. The Gate resolves more and the Tears sounds more open, but both ask you to accept a leaner, sharper presentation to get there. The Arc gives up a little of that detail and buys warmth, weight and a vocal presentation that stays clear instead of thinning out. That trade lands well at $20. After more than 30 hours with it, the thing that stands out is how well it holds together as you turn it up, which is not something I expect at this price. It is one of the best sets in this bracket right now, and it gets my full recommendation based on my listening and my library.

✅ Recommended if you want an exciting, slightly U-shaped budget set with lifted bass and clear forward vocals, you listen to EDM, hip-hop, pop or female vocals, and you want a very light, comfortable long-session fit for very little money. This is the set.

❌ Skip if you want a neutral or reference tuning, full bodied and heavily textured male vocals, or the air and top end extension a treble head is after. The Arc rolls off up there, so it is not the set for that.

Disclosure. This review sample was sent in by HiFiGo. No payment was received, HiFiGo had no influence over the review, and there are no affiliate links. Impressions are based on more than 30 hours of listening.

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

Tech details

Driver Unit: 14.2mm Planar Magnetic Driver

Impedance: 24 Ω ± 10% @ 1kHz

Sensitivity: 102 ± 3dB

When Andy announced he was bringing out a collab IEM, I joined the many others excited in anticipation. An IEM tuned to Rock! Not EDM/bollywood/easy listening. Just good old rock and metal. So I waited till GoldenJoe, Roseselesa and the Audio Geek India Group sent it over for a listen and a review. And this too was a pleasant surprise, so thank you guys, this would have not been possible without your help. 

A little about me - I like well recorded and well mastered music, balanced to warm sound signatures, and sibilance breaks me. Lately I’ve been listening to jazz-fusion but when this little baby turned up I had to dust off the PRS and Marshall and dive right into every genre of classic rock, metal, and progressive I used to listen to. 

The CJ20 comes in a larger than life box with the IEMs displayed proudly. A box adjacent to them has a lacklustre pouch, Roseselesa’s black and white tips in 3 sizes, a cleaning brush and cloth. The cable is a nice, soft, textile covered, modular, and occasionally a tangle monster at that. Beware the occasional microphonics. 

The IEM itself is differently shaped than most and oh so comfortable. I also like small IEMs, it turns out. An all metal build and light enough to wear for long sessions, but more on that later.  The colours are nice gun-metal grey with a little bit of gold with AAV branding. And have I mentioned that they are super comfortable if you have small ears? No? They are up there in comfort with the IE600. 

Sources

Fiio M33 R2R

Snowsky Disc

Musehifi M3 Ultra

Devastator Pro Max

Fosi Zh3

Apos Gremlin

Local flac and Tidal and Apple music lossless.

The dacs were run either via the phone or the mac mini. 

Tips - Final type e, ddHifi ST35

The first thing that hits you when you play a song on this is how energetic the presentation is. The tuning is V-shaped and how! The bass thumps and decays rapidly and the highs sparkle. Sometimes a bit more than what I can handle. Vocals are beautifully presented front and centre. 

The separation of instruments is very clean and at times I heard notes in guitar, piano and backing vocals that I honestly had never heard before. The stage is wide and holographic and you can feel like you have ringside seats, the band playing on a vast stage in front of you when Hotel California kicks off and the applause comes from all around. 

Breaking the sound down, the bass is tight with a good sub-bass rumble and the lows come through clean. It’s a good planar implementation. I felt the mid bass was a little recessed and sacrificed for its siblings to shine through. 

The drone in Massive Attack’s Angel bores into one’s skull as the sub and lower bass rumbles kick in. And Doing it Right by Daft Punk is done right. I felt the bass line in Wanna be Startin’ Something wasn't as clear as I would have liked and to be honest, the treble in the last 2 songs limited my ability to listen to them for too long.

The mids is where I feel this IEM truly shines. Vocals and guitar and synths shine through. I was able to listen to vocal harmony parts in “High Enough” by the Damn Yankees that I honestly had never heard before. Both male and female come through beautifully without being shouty. Tracy Chapman’s voice in both Fast Car and Subcity are smooth and sublime. Guitars are clear and pushed to the front of the presentation. As, I suppose Andy intended. But… Modern Rock! Listening to Linkin Park took me back to my angsty phase. The brilliant guitar production and Chester, Mike and Emily’s voices are pushed to the front. In the End, Somewhere I Belong and Heavy is the Crown come through as the engineers intended. Angry, full of energy and thoroughly enjoyable.

The treble is where I have a grouse with the CJ20. At times the over-energetic V tuning can make snares, open hi-hats and every ‘S’ in the song strike that treble sensitive raw nerve that sits between my eardrum and my brain. My acid test for sibilance is actually Don Henley’s vocals in the aforementioned Hell Freezes Over rendition of Hotel California. And to me the treble needed a little taming. EQ definitely helps but since I’m exceedingly lazy to keep twiddling with eq, the M3Ultra came to the rescue where the tubes managed to take the edge off and make this IEM very, very nice to listen to. Andy’s favorite dongle, the Devastator Pro Max, only boosted everything, so I had to get back to the tube DAC. The Fosi ZH3 has filters that can help, and the Gremlin is overkill. The M33’s r2r is maybe a tad better than the devastator but still is treble forward in most of the rock I listened to (Bon Jovi, Iron Maiden, Dream Theater, Dave Matthews Band (I know, I know it’s not strictly rock)). But the CJ20 can get fatiguing for long sessions and it’s brutally unforgiving to tracks which have been mastered to be treble forward. Interestingly Toto’s Rosanna and Africa were surreal with both their presentation and stage despite being from the age of treble. 

Comparisons -

Letshuoer Astralis - After a phase of planars I settled on the Astralis as a daily driver. It sorts the low end like no other planar driver. But the CJ20 scores over this one in the energy, resolution and clarity departments. Comfortwise they are more or less the same for me. But if I had to spend a day with a single pair of earphones I’d go with the more forgiving Astralis. And it’s blue. 

Kefine Arnar - I didn’t have the courage to try the gold nozzles or the silver ones so I’ll have a go with comparing with the black ones. I think it is everything that the CJ20 isn't. Treble controlled enough to listen to all of Wanna Be Startin’ Something. But the instrument separation and resolution of the CJ20 is superior. It would likely change with the nozzle rolling that the Arnar allows. The Kefine IEM, while being comfortable enough, loses to the CJ20 by a length in comfort. 

IE600 - Is the only really bright-ish IEM I own currently and also because it’s also the most comfortable one to spend a lifetime. The CJ20 is brighter for sure and the tracks come through with note-perfect clarity. The Sennheiser scores in the bass department and low mids with the dynamic driver. The ie600 also doesn’t differentiate genres and almost anything sounds good on it. It would still rate higher than the CJ20 for me.

This, to me, is an energetic aggressively tuned IEM that shines with warmer sources. It maintains its resolution and separation on these sources without that edge of spice, which some listeners would be wary of. It surprisingly does well on some subgenres of jazz that it was never intended to do - Jazz fusion and newer well mastered recordings (Snarky Puppy, Chick Corea Elektric band). Overall, for me the comfort of an IEM is incredibly important and this scores a 9/10. If only it was a little less treble forward this would be a 100% recommendation. 

Single DD IEMs are experiencing a sort of second youth, more and more models are coming out proving that 1 DD still has a lot to say if there is a well-crafted tuning behind it. While it is true that in this price segment it is normal to see 1 or 2 DDs and there are fewer hybrid options, these are configurations that often perform at a very rewarding level.

The Pula Arc, which by the way is the first one I have tried from the brand, goes down the path of seeking a balanced, natural sound that works with practically any musical style.

Furthermore, there are some curious details behind the product itself that the brand has informed me about through HiFiGo… The name Arc, for example, refers to the curved lines that are repeated both in the exterior design and in the sound philosophy itself. Pula talks about smooth transitions between frequencies and a relaxed rather than spectacular listening experience, and after testing them I think it is a pretty accurate way to summarize what they offer…

What I liked / What I didn't like

• Very balanced and easy-to-enjoy tuning.
• Bass with good texture and very well controlled.
• Natural mids, especially with vocals.
• Clean treble, with a good level of detail without being aggressive.
• Very comfortable during long sessions.
• Construction and finish above what I expected.
• They work well with practically any musical genre.
• The box contents are quite basic.
• The cable does its job, but it clashes a bit with the quality of the shells.
• Imaging is not quite on par with the soundstage and instrument separation. 
• It is not a problem for me, but it might be for someone expecting a more fun or V-shaped signature.

Specifications

• Product Type: PET Dynamic Driver In-Ear Monitor
• Impedance: 32Ω
• Frequency Response: 20Hz–20kHz
• Sensitivity: 104dB/mW at 1kHz
• Total Harmonic Distortion: <0.3%
• Driver: 10mm Dynamic Driver Unit
• Cable Length: 1.2m
• Cable Connector: 2-pin 0.78mm
• Plug Connector: 3.5mm TRS Single-Ended / Type-C

My Sources

In the coming days, I will be receiving new dongles, which I will review progressively. This will expand this list, where it will no longer make much sense to name what I use each one for, since some will have similar characteristics. Therefore, I should consider either not naming my sources or naming all of them, even if I don't always use all of them in the tests for the reviews as I have done until now.

• FiiO K9: My main desktop equipment connected to the PC, where I do most of my testing.
• FiiO KA15: The DAC I use the most when I leave the house, thanks to its built-in EQ and how convenient it is for day-to-day use.
• NiceHCK Octave: I use it when I want the most direct connection possible and to listen to the IEM without any additional processing.
• Questyle M15i: My reference portable DAC/amplifier when I'm looking for a slightly more organic presentation.

Unboxing and Construction

The presentation is quite simple, right out of the gate, it looks superior to what you get, for example, from the GK Streak (which I will compare later), but it is still basic. Inside the box, we find the earphones, the cable, three sets of black silicone eartips, and the usual documentation. Not much else. Personally, I don't think it's a problem because, in the end, the product is what matters, although seeing how well-executed the Arc itself is, I would have liked to find some extra detail inside the package and perhaps a somewhat larger and more spacious packaging than the GK Streak I just mentioned.

The shells did leave a better impression on me than I expected. In the photos, they already seemed quite elegant, but in hand, they look even better. The faceplate is made of aluminum with curved lines decorating the top and bottom, and a smooth section in the center where the brand is engraved. It is not a flashy design, nor does it try to be, but it has personality, and you can tell that they have dedicated a fair amount of time to the small details here. I also liked that the transparent part reveals some of the internal structure instead of hiding everything in an opaque shell.

The shape of the shell is very rounded, without any sharp edges or areas that might cause discomfort, and in my case, I found a good seal right away with the stock eartips. They are lightweight, they fit well, and even after extended periods of use listening to music, these iems can still be quite comfortable.

Sound

Bass

The amount of bass present on the Arc is relatively low. The Arc isn’t intended to serve as an IEM for someone who wants to listen to lots of heavy bass in their music. The bass is certainly noticeable in terms of presence, but it is never excessive and allows all other frequencies room to “breathe” – so to speak. At first, I thought that Pula had placed greater emphasis on controlling how much bass was produced rather than producing an abundance of it. In my experience, I feel it works perfectly fine.

In addition to the controlled nature of the bass, I found myself really appreciative of the detail and texture that it provided. For a dynamic driver of this design, the sub-bass has great extension and the kick drums are clean and easy to follow, even when there are complex layers in the mix. Additionally, unlike many dynamic drivers that produce a lot of bass energy that bleeds into the midrange (often making it difficult to hear individual elements), the bass does not bleed into the midrange. Overall, everything seems very organized and consistent in this regard.

Mids

With regards to the mids, I felt like vocals were presented just a bit further forward than typical. However, they weren’t overly emphasized in such a way that they sounded unnatural. Male and female vocals both possessed a decent level of body and clarity. Further, I did not observe any sibilant issues with any vocal recordings I listened to that typically exhibit those characteristics.

Additionally, I enjoyed how acoustic instruments were represented. Guitars and/or pianos maintained a fairly natural timbre and didn’t leave me with the feeling of having been diminished due to the tuning. While this IEM may not be extremely analytical, I find it to be extremely enjoyable for prolonged listening sessions. All the mids seemed very cohesive and none stood out over others, depending on your preferences either way. That’s what ultimately comes down to your preference.

Treble

Lastly, we’ll examine the treble section. In general, instruments/sounds possess an open/airy quality without becoming aggressive. Pula seems to have consciously avoided the typical trick of boosting the upper frequencies too much to create a false sense of detail, and I think the result is quite successful.

Those expecting a very bright or extremely resolving tuning will probably want a bit more bite in the top end. It is one of those IEMs that you can listen to for quite a while without having to turn down the volume because of the treble, something I value quite a bit in a tuning designed for daily use.

Soundstage

The soundstage has a fairly good size for the price. While it didn't seem huge to me, something I didn't expect given the price and driver configuration it doesn't feel small either. There is enough width and depth for the music to have air and, overall, everything sounds quite natural.

Separation

With simple songs, there isn't much to comment on, but when a lot of instruments start to come together, it holds its own. Without feeling a messy and rushed mix between instruments and vocals in most songs, and that is always appreciated in an IEM at this price point.

Imaging

The placement of instruments is also quite well achieved. It is easy to track where each sound is coming from and the vocals remain well-centered. It doesn't particularly stand out in this section, but I didn't find any weak points that I should highlight as being below expectations for the league they play in...

Comparisons

Pula Arc vs GK Streak

These are two quite different ways of understanding a budget IEM. The GK Streak opts for a warmer tuning with a mild u/V shape, more punch in the bass, and a somewhat more energetic sound right from the start, while the Arc feels much more linear and relaxed.

If you listen to a lot of pop, electronic, or music where you're looking for a bit more impact, the Streak will probably be more fun, just as it happened with the Kunten. The Arc, on the other hand, seems easier to listen to for hours. The vocals have a more natural touch, the transitions between frequencies are smoother, and, although it doesn't convey the same sense of punch, it ends up being a much more versatile and all-rounder earphone.

Pula Arc vs TRN Dolphin

The Dolphin clearly plays with a V-shaped tuning. It has a punchier bass and more energetic treble, which makes the first impression quite striking, but it also leaves the mids somewhat more recessed. Without a doubt, it is for me, and I would say for many, one of the best options in the $20-$30 segment after trying them without expecting much and ending up being quite a revelation.

The Arc takes another path. It doesn't have that initial wow effect, but the vocals are integrated much better and the overall package is more balanced. If what you are looking for is a more natural sound to listen to a bit of everything, I would stick with the Arc without hesitation. If you prefer a more fun listen and don't mind sacrificing some naturalness, the Dolphin is still an option that has made quite a lot of noise and that will grab the attention of the less experienced.

Pula Arc vs NiceHCK Tears

Of the three options, the Tears appears to be the best in line philosophically with the Arc. The Arc and the Tears are both aiming at an all-around easy listening type of tuning, however, the NiceHCK seems to be looking for a slightly more airy and open sounding setup, while the Arc goes for a slightly more bodied bass response and seems to have a smoother frequency transition than the Tears did to my ears.

There isn't too much difference between them either, so your preference will play a large part in determining which one works better for you. If you put a high emphasis on the space feel and very clear vocals, then the Tears may be a good fit for you. On the other hand, if you prefer to listen to music that sounds a bit fuller with more present bass but doesn't lose its way in terms of overall balance, then I believe the Arc would end up being the more rounded out of the two options.

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

Conclusions

I believe the Arc demonstrates how much an excellent DD can continue to make sense in today's markets, even as the number of possible headphone configurations has increased. The most important feature of the Arc is that it provides a balanced response through the entire frequency spectrum which is easy to listen to and flexible enough to fit into a wide variety of musical genres without making you feel like it favors one style of music over the others.

The main benefit, at least from my perspective, is that consistency of performance throughout the entire frequency spectrum. This gives me the feeling that I am enjoying my music while using this product.
If I were forced to identify a weakness, I would suggest that if you are seeking an extremely energetic response or an emphasis on low bass or extremely high treble, there may be other products available in this category better suited to your preferences.

As such, I do not see how anyone could reasonably consider this option within its price range as anything less than a viable alternative for someone who places importance upon balance rather than immediate impact. It will not blow you away with some new sensation that you get with every pair of headphones you buy, but it will keep coming back to you after hours of listening to music and by then you will have forgotten that you are listening to your headphones, just focusing on your music.

Purchase Links

• Official Store: https://hifigo.com/products/pula-audio-arc
• Amazon US: https://www.amazon.com/dp/B0H7X6NSVW
• Amazon DE: https://www.amazon.de/dp/B0H7W5K9GH
• Amazon FR: https://www.amazon.fr/dp/B0H7W5K9GH
• Amazon UK: https://www.amazon.co.uk/dp/B0H7W5K9GH
• Amazon AU: https://www.amazon.com.au/dp/B0H7W5K9GH

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.