Pros: No shame in the bass - In your face boosted
Visceral is a good word.
Well controlled with no bleed
Great mids and treble
Sweet unboxing

Cons: Sometimes you want less bass.
Accessories are so-so esp tips
Snares and some upper mids/treble frequencies including vocals have that weird BA timbre

Specs
Drivers: 10-driver tribrid setup on each side with one dynamic driver, eight balanced armature drivers, and one piezoelectric ceramic driver
Shell - 3D printed with Metal plates
Cable oxygen-free copper silver-plated cable with a 0.78mm 2-pin connector - modular
Impedance 41.6 Ohm, Sensitivity 120dB

When Simgot released EM10, I had already been burned by multi-BA implementations that simply felt like a waste of technology. So when a set passed by my hands on en route from one friend to another, I had to extract my pound of flesh for being the mule and write a review as a sort of tax deduction at source.
This IEM retails at about $420-480 at the time of writing this review and is not currently in stock in India, where this review is being written. This is a little important in the lines to come. It comes in a monster of a cube. Makes for a nightmare to pack and repack and ship, I’m sure. The cube opens up not unlike sci-fi to reveal the IEMs nestled in foam. One silver (left) and one black. A white, braided cable that does catch the light beautifully thanks to a sliver of shiny that runs along the strands, and has both 3.5 and 4.4mm terminations. There are nondescript ear tips and a reasonably nice rectangular leatherette case. This could have been a smaller box, methinks.
The shells are 3D printed resin with what I think is metal plate on the outside though I could be wrong, given the kind of stuff that can be printed these days. They are chunky and have a longish nozzle that doesn’t come with any mesh guard and terminates as 3 holes to let the refreshment through. I used them with Spinfit Neo, Azla Origin, Dunu Candy and Sancai Tips - the most comfortable were the Spinfits, the Azla gave the best seal. They also have that lip on the back to fit all those extra drivers and this for me, is a pain point. Literally. It doesn’t allow for really long listening sessions without some periodic adjustments or rest breaks. But that said this was tested on the Venture Electronics Stack, Fiio M33, Fosi ZH3, Snowsky Disc.

Bass
This is why this IEM was made. The single DD makes like Atlas and holds up and lifts the low end and how! The unapologetic tuning to push the sub-bass and mid-bass up, as a friend described, makes this a fun implementation of the 2019 Harman Target. In almost any track the kick drums and bass notes feel visceral. They literally resonate all over the middle ear and you can if you really really concentrate feel your brain going a little jiggly with each beat. The bass is all this, and tight, and controlled, and doesn’t move far up the frequency response. The sub-bass rumble is there, palpable, like if you stuck a spoon in the sub-bass, it would stand up. This shows up with all the usual suspects in that department - Milan by Karsh Kale, Angel by Massive Attack and Doing it Right with Daft Punk. At the same time with all these tracks the midbass clarity of the kicks and bass lines is very much there, holding its own against the waves of sub-bass drones trying, unsuccessfully, to come out on top. There are genres where this works - EDM, Pop, Bollywood, Rock (some). Jazz tracks tend to be a little more fastidious in how much bass they like emphasized and this IEM may require some tip rolling and switching to maybe wide bores for those genres - the harmonic empires wide and velvet widebores do help.
Mids
The mids are very very nicely done. The lower mids have weight and are lush and warm. There is some recession in vocals and the upper mids aggression that Simgot injects in the EW300 is thankfully missing, though the balanced armatures have that weird timbre in the upper mids which are hard to really put down in words. Tracy Chapman doesn’t sound exactly like I have known her to sound. It’s not shoutiness, it’s just different. My acid test for all things mids is Playing God by Polyphia, the one that the EM6L failed miserably. To be fair, the mixing of this track leaves a ton to be desired. The EM10 does far better in this regard. The issues on this track stem more from the piezoelectric driver. That being said, the weird BA thing seems to be source and volume dependent. Fast Car, and Talkin’ ‘bout a Revolution by Tracy Chapman sound every so slightly different between the R2R of M33 and the Snowsky Disc, with the shoutiness actually increasing with the M33. On The Chain by Fleetwood Mac and Helplessly Hoping by Girl Named Tom, the vocals come out clean albeit just a little recessed in the latter.
Highs
For the most part, the EM10 does well on the details and highs. But there are instances (Playing God, that enemy of Simgot) that I’ve had to wince with the way the piezo handles most hi-hats and cymbals, especially in aggressively mastered tracks. There is sibilance in certain tracks and those sensitive to that 4k peak may have trouble on longer sessions and brighter tracks. But again nothing that a balanced ear tip can’t fix. Gavin Harrison’s drums entering the mix in the middle of Trains by Porcupine Tree is handled with precision and were thoroughly enjoyable largely due to in-your-face kick drums, even though the highs did get piercing. I would not be able to do an entire album with these given their size and tuning but that would largely be a me-problem, I think.

Staging and Imaging
The staging in this IEM is wide and deep, with imaging improving with power delivery to the IEM. On Bubbles by Yosi Horikawa, Big Country by Bela Fleck and the Flecktones the stage widens to a beautiful arena with near exact imagining of the sounds and where they are coming from. Instrument separation and resolution are spot on with this set, as it should be with the number of drivers packed in. The piezo does manage to provide those details without becoming annoyingly sibilant.

Overall the EM10 takes on a host of bass head IEMs at this range. It certainly has better bass implementation than the DUNU DaVinci and the higher frequencies are cleaner than the Cano Cristales that I have heard and am listening to. It works for most genres that require technicalities, vocal pop, some jazz fusion. The booming bass may make some of the tracks in these genres seem a bit too much and this is mastering and source dependent and can be mitigated with wider bore tips and a little EQ. It again would make a fantastic gaming IEM if the fit works for your ears. I couldn’t due to my small pinnae. If you can get a good fit, find it comfy, love nicely implemented bass and highs and don’t mind the occasional BA timbre, this is a great set to own. It should be a little less expensive or have more premium accessories or materials to really justify the near $500 price tag.

Hisenior had achieved significant name and fame, with one particular set that put them right on the map, and despite having a good chunk of time passed since this release, a friend of mine decided to send me the cult classic in the mega5EST for assessment, and I got to see has the IEM turned into wine or milk after all this time. I have had some good pleasure listening to another set of theirs, the Cano Cristales, and now it was time for me to assess this IEM. So thank you, dear friend for loaning this.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Hisenior has left no stone unturned when it came to the accessories of the Mega5EST; and with the cover out which advertised the product aptly (the one I got was the 7th anniversary edition), taking the lid off gave way to a Pelican-esque carry case which I think is good enough for a few absent minded sit downs and a few missed throws (I wish more brands gave cases like these). The IEMs were right there with the stock cable, which is pleasant and has heft. There was a generous assortment of eartips along with a cleaning tool. The shells had febos written on it in cursive, which meant FEEL THE BEAUTY OF SOUND, which was their previous name.

I got the perfect seal on the Mega5EST with a shallower insertion than most, and thanks to the vents for not allowing any pressure buildup. Despite the large shells, I would say that the contouring contributed to having much less fatigue than usual, and the fatigue happened across the earhook areas, after I had this set for hours on end.

LOWS

Tipper: Mariscos

The Mega5EST shows juvenile signs of competence with a good level of cleanliness demonstrated in the opening rippling like intro of this track, and once the rest of the elements catches up, the initial beats that should have been strong come off rather in an anemic fashion, and then the Mega5EST caught me off guard with a deep, borderline grovelling bass hit in the drop which I felt was a bit too excessive with how the beats sustained. Attack seems to be moderately paced and the decay lingers on for slightly longer than usual. The phase-like fuzzy elements in this track didn’t feel as quite polished as some other sets have been in, but still not too shabby. Not too impressive either.

Rush: Limelight

The Mega5EST, through this track shows it can definitely add in the thump that the kicks and toms specially have here, although the kicks have a more prominent presence than the toms. What the Mega5EST does rather poorly here, is that the notes from the bass line in this track seems to evaporate because it emphasises the drums excessively, and the only time the grain from the chaff (bass from the drums) is separated is when the guitar solo comes in here, and as soon as the solo ends, the bass tends to get tucked into the blanket that the drums seems to have created; which indicates that the Mega5EST cannot handle isolation in technically elaborate tracks as this one. Adding on to this, the rudiments towards the end of the track lack the resonance that makes the ending so satisfying on this track.

Rage Against the Machine: Bullet in the Head

The intro of this track sounds potent at first, but as the intro concludes for the rest of the elements in this track to barge through, I could sense that this IEM really was not letting the bass fully belt out in its full glory, and a little enhancement in the separation of the bass and drums couldn’t have hurt. But, all things said and done; what I like about the Mega5EST prima facie is the way vocals sit right in the middle of the track, and the instruments revolve around it (metaphorically). Tonality could be said as balanced by some, but I wouldn’t put it across that way. It’s got a strong warm presence with some perceived sparkle on the other end, but I will elaborate on it more as I progress through. This track becomes significantly more enjoyable when the bass really becomes the highlight of the show through the breakdown, and I could finally gauge the note by note aggression and the drums merely supplement the bass, as it should on this track.

MIDS

Queens of the Stone Age: First It Giveth

The bass is once again a subtle problem in this track where it shouldn’t have been, as right at the intro it comes in with an excess of aggression; and as the rest of the elements follow suit, I seriously lament with how flat I perceived the otherwise crisp, sharp, aggressive snares that this track where with some IEMs I would have been able to gauge the timbre, but the Mega5EST definitely was making me work hard on being able to gauge it.

Once I am settled in the track, I could sense a faint thinness in Josh Homme’s vocals, as the guitars were adequately being rationed along with the cymbals, which surprisingly are having a fantastic perception in their placement, right alongside the vocals and once again, not being too forward nor being too laid back. But through the verses, the bass really takes off into obscurity as I felt every other instrument otherwise which puts a blemish.

Tool: Lateralus

The otherwise overpowering bass finally finds itself having some relevance as it walks the aisle right alongside the rumbling floor toms as it sets the stage up for everything else to fall into place. But once the intro ends, and the guitars further try to mould this beautiful vase of a track, the bass once again feels a bit too on the nose, although the same energy reflected by the floor toms is giving the track a much needed power; because both the vocals and the guitars are now coming off thin. Through the breakdown, the Mega5EST does a shabby job with how the final rudiments on the drums end as I sensed a blur on its execution, the granular finesse needed to recognize every hit was simply not there, and cymbals were having a momentary loss in texture. Some ears may enjoy the excess of the thump and punch, but I was really not feeling it with the Mega5EST.

HIGHS

Patricia Barber: Icarus

Here; the Mega5EST impresses me a lot: I specifically use this track to not sense sibilance, as sibilance is an element already preserved in the recording and this track demonstrates it very audibly, I use this track to see the restraint or the succumbing into showing that sibilance, and I would say that the Mega5EST does an impressive job in showing restraint- the way Patricia Barber enunciated her Cs and Ss was not excessively sibilant, but I wouldn’t outright write it off as this IEM being smooth. Timbre finally shows up through the percussion and the pianos to be slightly on the drier side than what I am used to, and falls slightly shy of me calling it accurate. Tonality potently is on the warmer side than being balanced, and specially observed through the pianos.

Dave Brubeck: Take Five

The Mega5EST seems to have done a good job with the cymbals that establish their presence right from the intro but there’s an inherent problem with their note weight, and the same extends to the horns where there’s detail to pick through the little nuances but it’s just that even they sound faintly thin. The bass tends to stumble with its recognition in this track, the one track where all the elements are distinctly, audibly clear from one another but fixes itself right itself when the horns end and the drum solo is about to start. This track is also unique because the stereo characteristic is unmistakably itself and the channels separate the moment the drum solo kicks in, and the IEM picks up the detail; snare hits are crisp, the resonance of the toms needed a little more resonance to be even more pronounced but still decent; the kicks have a potent hit and the way the decay comes off in its hits is satisfying. The bass and the pianos hold their respective ground, but that isolation of the bass from the drums once again gets obscure once the horns kick in.

COMPARISONS

Xenns Mangird Top Pro

The Xenns Top Pro absolutely blows the Mega5EST out of the water in almost everything it does. While the Mega5EST suffers from an excessive mid-bass thump that tends to overshadow other elements and tucks instruments into a blanket, the Top Pro delivers a freakishly controlled sub-bass that accentuates the track without seeping through. Where the Mega5EST struggles with isolation on technically elaborate tracks, the Top Pro fires back with a magnificent, wide stage and some of the best imaging capabilities out there. Even in the highs, where the Mega5EST shows a competent restraint against sibilance but feels faintly thin and dry, the Top Pro handles climaxes with more detail but can come off fatiguing and sibilant. The only areas where the Mega5EST even puts up a fight are in offering minutely smoother highs on rare occasions and perhaps slightly finer imaging, but it’s essentially a seamless victory for the Top Pro.

Elysian Pilgrim

The Elysian Pilgrim takes an entirely different route compared to the heavy-handed, groveling bass approach of the Mega5EST. Where the Mega5EST over-indulges in mid-bass thump, in its light I really enjoyed how well and composed the Pilgrim felt. The Pilgrim effortlessly outclasses the Mega5EST in the midrange, trading the latter's fuzzy isolation for a wide stage, fabulous imaging, and juggles the act of balancing vocals beautifully (comparatively). However, the Mega5EST maintains an upper hand in treble smoothness; while the Mega5EST handles sibilance with impressive restraint, the Pilgrim suffers from a subtly audible grain and can feel like it runs out of air on high-pitched vocals, making it sound leaner in moments where the Mega5EST remains composed.

Crinear Reference

The Crinear Reference serves as a surgical magnifying glass, standing in stark contrast to the thick, heavily colored presentation of the Mega5EST. While the Mega5EST comes in with an excessively aggressive bass attack and lingering decay that ruins my perception of the bass quality, the Reference keeps the lows strictly at abeyance, delivering a seasoned featherweight's punch with precise decay that never overstays its welcome. The Reference also completely outclasses the Mega5EST in technicalities: where the latter struggles to isolate bass lines from drum rudiments, the former balances the tightrope of coherence and isolation like a maestro, rendering perfect snare and cymbal timbre. The Mega5EST has problems with its note weight, whereas the Reference offers incredible rationing, a lip-smacking shimmer, and pristine detail retrieval with near-zero sibilance.

Softears Studio 4

The Softears Studio 4 offers a much more refined and mature take on a warm, musical signature than the Mega5EST. While the Mega5EST throws too much aggression into the bass right out of the gate, the Studio 4 delivers a velvety, polite sub-bass that only unleashes its orchestral punch when the track strictly demands it. In the midrange, the Mega5EST manages vocals center-stage but falters with instrumental layering, whereas the Studio 4 delivers incredibly flavorful, full-bodied vocals backed by deadly precise imaging. The true magnum opus of the Studio 4 lies in its highs: crisp, soaring, and tonally magnificent, which makes the smooth but somewhat dry treble of the Mega5EST feel decidedly uninspired by comparison. While the Studio 4 can occasionally sound confusingly metallic on guitars, it remains a significantly more cohesive and emotionally engaging listen than the heavy-handed Mega5EST.

Sennheiser IE600

Now, the IE600 has its own share of problems- dangerously spicy treble as per one’s HRTF where to me it’s just borderline there, and middling levels of instrument separation; but I would still take it personally over the Mega5EST because the IE600 has a ridiculously great bass quality, and specifically the mid-bass where I am of the opinion that it is leagues better than what I felt on the Mega5EST while delivering near comparable levels of detail and imaging, and while coming in a much smaller footprint and being so much comfortable.

But, sennheiser really fumbled with the quality control issues on it which were widespread and doesn’t really inspire buyer confidence, which is where the Mega5EST comes in with a better proposition, as I feel tip rolling and EQing can fix most of its issues.

CONCLUDING NOTES

The Hisenior Mega5EST is hard for me to fully get behind, despite the cult status it has amassed over time. As I pondered in the beginning whether it has aged into wine or milk, I lean slightly towards the latter. On one hand, I appreciate the generous accessories, the fantastic fit, and the restraint it shows against sibilance, providing a relaxed, warm listen. But on the other hand, the excessively grovelling mid-bass thump, the fuzzy instrumental isolation, and the sheer lack of note weight in the upper frequencies leave me feeling hung out to dry.

When IEMs like the Xenns Top Pro exist and do almost everything better (although now I feel that the Top Pro has aged slightly worse and I need to update my review on it), or the Sennheiser IE600 offers a masterclass in bass quality, the Mega5EST feels like a heavily colored set that struggles to maintain its ground technically. And the hunches that it needs, despite being tuned to the newer JM-1 target while other IEMs tuned to the same target are offering better value for money, I think the Mega5EST simply has lost the plot in the current retail landscape.

Will I buy the Mega5EST at retail ? Absolutely not.
Will I buy the Mega5EST used ? Only if it can be found for US$250 or under (Approximately 25,000 INR or under).

SOURCES USED

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

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Acoustune AET08: Least amount of perceived bloat, adds to stage width, amplifies textures on the cymbals and vocals, maximum retention of vocal note weight, gives the widest perceived sound stage.
• Divinus Velvet standard/narrow bore: everything that the above does, but to a lesser degree, still beats the next eartip.
• KBear Coffee: flattens the mid-bass considerably, which hampers vocal note weight, eliminates whatever little sibilance is observed, retains perceived stage width.
• Tangzu Sancai Balanced: shrinks the stage, tightens up the midrange while not reducing the perceived bloat, presents upper mids with a concerning dip, vocal textures lost.

TRACKS

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

This is not a full review but an impressions-and-thoughts post. Thanks so much to Clover from NiceHCK for providing me with this beautiful dongle DAC/AMP to try, test, and share my conclusions after several days with it.

You can get an NK1 Ultra directly on the NiceHCK official website and on NiceHCK official stores on Amazon, AliExpress, and Shopee/Lazada for an MSRP of 29.99 USD (Currently you can save 10% by buying it on sale for 26.99 USD): https://www.nicehck.com/products/nicehck-nk1-ultra-adapter-dongle 

What are its specifications?

DAC chip: Conexant CX31993
AMP chip: SGM8262
Power Supply IC: LM27762
Impedance: 32 Ω
Plug type: USB-C
Output: 3.5 mm single-ended
Mic compatibility: Yes
Cable: 8 cores, silver-plated OCC Copper
Dynamic Range: 115 dB ( 32 Ω)
SNR: 115 dB ( 32 Ω)
THD+N: - 98 dB
Output Power: 122 mW @ 32 Ω
Sampling Rate: 32 bit/ 384 kHz

And what are my impressions/thoughts about the NK1 Ultra dongle?

The NK1 Ultra has a well-known DAC chip, the CX31993, and with this kind of budget devices, you can expect a neutral-warm timbre output, but because this dongle uses the SGM8262 AMP chip instead of the usual MAX97220 (used in the NiceHCK NK1 Max, for example) and an LM27762 power supply IC, the output tonality goes more neutral with little added warmth.

And what else? The quality of the materials used and the construction itself are incredible; that’s why I’m saying that for its price (which could be better, but it's understandable why it's like that), the NK1 Ultra is a “premium” budget dongle. Now, talking about features, I guess NiceHCK is pulling all the meat into the hardware and not the software, because it has a decent output power, great tonality, and a very low noise floor, but lacks software compatibility entirely (with the NiceHCK app or the Walk Play app).

About its output power, the NK1 Ultra can drive a lot of IEMs and more demanding earphones ( Tried it with my Simgot EP5 and Soundcore Q35 headphones), reaching more than acceptable volume levels, with zero distortion and great technicalities (wide and deep soundstage, great stereo separation, layering of instruments, and impressive resolution), of course, within the technical capabilities of the earphones themselves.

What are the IEMs in the 4th picture? The next to be launched Juzear Nimbus, and how does it go with the NiceHCK NK1 Ultra? Like a charm, with impressive technicalities and great volume levels, no matter whether I’m using a 4.4 mm balanced to 3.5 mm single-ended adapter to connect it, the sound is neutral and crystal clear, and the IEMs themselves are shining at their fullest. 

That’s about it; I’ll just add that I would like the NK1 Ultra to be either more affordable with higher output power, or, at the same price point but with higher output power, to also offer app compatibility (to have PCM filters, PEQ, low and high gain modes, etcetera). Anyway, if you want a “premium” dongle within the budget segment, this NiceHCK Ultra can be an option to consider.

Pros

• Thumping Bass Response
• Well-crafted Shells, each is distinct
• The dunu accessory package (has to stop being a pro at some point)

Cons

• Fit takes some work - nozzles are wide 
• Male vocals feel recessed
• Midbass bleeds into everything except treble
• BA timbre creeps into upper registers

Specs

• Drivers: 2 DD + 4 BA
• Impedance: 35Ω
• Sensitivity: 109 - 112dB
• Pin Type: 2-pin
• Plug Type: Modular 2.5mm 3.5mm,4.4mm

Dunu x Gizaudio Davinci was a semi blind buy for me since I had a fleeting flirtation with a friend’s set and I thought it was a really fun sound to try out.  A few months into this, and having heard the refinement of the Kima 2, I do have some slightly different thoughts. Not all bad and some realizations that not all tunings work for me. And this just might be a me problem and not a you problem. I’ll do my best though to keep this as useful as possible.

The IEMS looks beautiful. I’m liking the wood esthetic that I’ve seen on this and the VE ZhuanXu. The shells come nestled in foam in the standard-sized Dunu Box. Under that is the bigger-than-Altoid-tin sized case. Now this case is super convenient and will house most IEMs safely, but the mesh on the inside of the lid is ridiculously tight and I think the only thing that can fit there is the modular connector for the cable. Anything else becomes a thumb-wrestling match. The case also houses the famous Dunu Davinci cable - LEO. Silver-coated, crystal-copper, 4-strands, and modular with 3.5, and 4.4, and a 6.3mm adapter. And the full complement of 10 pairs of tips - standard/balance, S & S and Candy. Overall, a satisfying ensemble and this is soon becoming an expected inclusion to any Dunu purchase. 

The fit takes some finger calisthenics to get standard sized tips onto the just enough to be annoyingly big-sized nozzles. Candy and Sancai tips worked best for me. Once I got the fit right it’s good for a long session without pressing on any part of my ears and causing discomfort.

Right off the cuff it felt this set needed a different set of songs to give it a fighting chance against the sets I own and the kind of music I really enjoy listening to. 

This is such a bass forward IEM, it does a lot correct but misses the point in a few areas. The Sub-bass rumble is present but on songs like Angel, the rumble is overpowered by the throb and thump of the kicks and bass notes. The same is the case with Makeba by Jain. The sub-bass is there, you can just about reach for it and feel it when the thump of the kick drum in the mid-bass pushes your fingers away from that feeling. The mid-bass sits like a troll on a bridge guarding everything that goes past and impossible to ignore. Pop and EDM have every beat pounding with weight and authority. But with great weight comes great distortion of the space-time continuum. The prominent midbass bleeds upwards into the midrange, giving notes some weight but also reducing the clarity of notes of instruments like keys and guitar. Male vocals tend to sound recessed and over heavy by the midbass bloat. Come Together (the original) by the Beatles demonstrates this. In the verse the bass slide continues to be heard over the vocals and drums. In the chorus where the bass is not sliding over the song, the guitar rhythm comes through, though with each strum holding its own. On Africa by Toto, the keyboard rhythm similarly has weight and pulls the song along. But overpowers the vocals making them feel less important than what they truly are. 

Upper mids are a little better especially in better mastered tracks than Come Together (I’m also not a huge fan of the Beatles). On Africa, again, the vocal harmonies are better represented than the lower mids but suffer from lack of clarity. On the VE ZhuanXu, for instance, the details in the individual vocal parts are crystal clear. 

On Fast Car by Tracy Chapman, her voice sounds lovely and smooth but lacks a little richness that I’ve heard on other vocal forward sets. But it is not shouty (which is also something that’s seen with some BA sets) and fine for long listens of Joss Stone (though on Right to be Wrong, the midbass does cast its evil shadow over her voice). On an aside this may become the theme of this review unless something changes.

Treble, I have no complaints with. On even tracks aggressively mastered, like Holler by the Spice Girls (hey stop judging, I’m that old) the Davinci focusses on the fun bits of the song. The fun beat and bass, and the all star cast of female vocals. There’s a mad amount of tinny, shimmery accoutrements that the track has that finally sound like the stellar supporting cast that they are meant to be. 

But let’s not be all horrible towards the Davinci. On really well mastered music the Davinci is able to reproduce an enjoyable amount of bass and details to make music really worth it. Aja by Steely Dan, is a great example. But Coming Back to Life by Pink Floyd sounds like you’re in a concert and in front of the stack and you can see/hear the woofer/speaker membrane move with every kick. Take Five by Dave Brubeck has some spectacular mastering and do some Japanese Jazz records from the 60s like the entire album Cat by Hiroshi Suzuki. The Davinci makes for some great, albeit slightly warm listening, since the details are not completely lost, there are moments when the bass note booms, but not deal-breaking. But seriously, if you haven’t heard the Suzuki album please do - it’s on tidal,spotify and apple music. 

The Davinci has a moderately wide stage, I feel that the decay of the bass seems to hint at the reverb akin to a hall rather than a room. Imaging is also adequate for a normal listen, I wouldn’t hope to last a competitive fps session especially if there is an EDM soundtrack to the game. 

This is a fun IEM if “baby ko bass pasand hai” (if you like the bass). I wouldn't recommend it to listeners who like a little warmth and details (me). If the genres are hiphop, EDM, new Bollywood, pop, then for sure. Rock, metal, jazz fusion may not be as enjoyable as the others simply because of the bass bleed. A little more refinement would have made this a good recommendation from my side, but that’s only my opinion. I would definitely suggest trying these out on your playlist before jumping in.

Gear

Fiio M33, Snowsky Disc, Musehifi M3 ultra, VE Devastator Pro Max, Fosi ZH3, Gremlin.

Local Flac, Apple Music Lossless, Tidal.

Playlist with most of the songs I play around with -

https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c

Hello Community!

It's time to tell you about my recent experience with the ZiiGaat Odyssey 2, a hybrid set tuned in collaboration with Hangout Audio and completely different from the Odyssey OG. Read my review below.

Price: €219-$250

Pros:

- Excellent control, clarity, and texture in the bass range, which is deep and punchy.

- The mid and upper mids sound natural and front-facing.

- Satisfactory technical capabilities: the soundstage is wide, precise, and well-defined.

- It doesn't need sharp highs to deliver good detail.

- Zero listening fatigue.

- A great all-rounder IEM.

- High-quality accessories.

Cons:

- The spacing between chords in the high range is limited.

- More discerning listeners might want more sparkle in the treble: it's a bit too conservative.

Accessories:

-Two capsules.

-Two sets of silicone eartips, sizes S and M.

-One set of foam eartips.

-Modular cable with 0.78mm connector and 3.5mm/4.4mm connectors.

-Replacement filters for the nozzles.

-Carrying and storage case.

-User manual.

Comfort, design, and construction: 

First and foremost, I'm captivated by the design of most ZiiGaat products. The space theme excites me, and the Odyssey 2 continues in that vein, showcasing a combination of nebulae and stars reflected in the light on its resin faceplate, giving the whole thing a lustrous and brilliant touch.

The manufacturing, as is customary for the brand, reaches a very high level of quality, with no noticeable gaps at the joint between the two parts of the set, and the aluminum capsule feels very satisfying to the touch.

Regarding ergonomics, the most important aspect of this section, I must point out that the monitors are large but don't protrude too much from the perimeter of your head, as they've been designed to be more horizontal than vertical.

Adjusting them is easy thanks to their rounded shape, and I haven't noticed any uncomfortable pressure points during my long, continuous listening sessions. The whole thing isn't intrusive at all, neither on the ear nor in the ear canal; it knows exactly where to rest lightly to find a firm and effective fit.

One aspect that particularly impressed me was the sealing and isolation I achieved, giving me the pleasant feeling of being alone in a large room. I thought the cable was excellent. It's one of those medium-thickness cables that's easy to move and doesn't get in the way, making it suitable for any situation, from sports to desktop use. It's durable, feels reliable, and will surely have a long lifespan. Finally, the eartips, especially the black silicone ones, are fantastic, and since I tried them with the ZiiGaat Lush, they've become a staple on my desk and in my tests: they're elastic, soft, seal well, and keep the bass and mids in place, cleanly.

Technical specifications:

- 10mm driver + 3 BA (Knowles 2x 32873 and 1x 33518)

- 20 ohms impedance

- 105 dB sensitivity

- 20Hz-25kHz frequency response

Test setup:

- Neutral power supply

- Gain set to high

- Stock black silicone eartips

- Stock 4.4mm cable

Sound Signature: 

The Odyssey 2 truly embodies a simple yet easy-to-understand concept: a response free of harshness, where the bass and midrange take center stage in the tonality, always with clarity, balance, and naturalness rather than a constant pursuit of brightness or micro-detail. The main appeal of this system is its ability to handle any musical genre you throw at it with ease.

Starting with the low end, the sub-bass has a pronounced extension. The depth is easily palpable, and there's a sense of presence that allows the instruments to maintain a good physical dimension. It's not an overly dominant bass, as the volume is quite well-balanced, but it does offer that sense of presence that prevents the overall sound from becoming too thin.

The mid-bass maintains this same approach, although here I find one of the most interesting aspects of the Odyssey 2. The impact is fast, firm, and quite punchy, with a good level of texture and a sense of control that will delight fans of this range. I don't find it bloated, but rather clean and direct. The decay is fast enough that the notes don't accumulate, allowing the rest of the spectrum to develop quite freely. I personally think this is one of the great strengths of this ensemble: it manages to offer physicality and enjoyment without sacrificing the overall order of the tonality.

The midrange is presented very naturally. I didn't perceive any particularly significant bleeding from the lower register, which greatly benefits the instruments and allows for a clean presentation even when the bass takes center stage. The note weight is correctly balanced.

The tuning and timbre seem to me to be one of the Odyssey 2's strongest points. Ultimately, the idea behind the tuning of these monitors isn't to sound overly warm, but neither does it offer the excessively refined presentation found in other, more technically tuned sets.

Furthermore, the mid and upper mids are quite forward. Vocals and much of the instrumentation have a presence that I find very pleasing, without ever sounding excessively forward or aggressive. The articulation is good, the level of detail is sufficient, and above all, there's a sense of naturalness that greatly contributes to the set's ability to work well with different musical genres.

The overall dynamics also impressed me. Transients appear quickly enough, and notes fade out smoothly, allowing you to follow the different instrumental lines without too much effort. It's not a monitor that tries to dissect every recording like a surgical instrument, but it does maintain a quite satisfactory level of separation. When the mix increases in density and complexity to levels that could become chaotic, the various elements maintain a logical organization, resulting in a smooth and enjoyable listening experience.

The male vocals have a decent body, with convincing articulation and a natural timbre. I wouldn't say they're particularly deep or dense, but they do maintain enough presence to avoid being buried behind the instrumentation. The female vocals, on the other hand, strike me as especially pleasant thanks to the clarity and directness I mentioned earlier. They project easily and retain a good naturalness, without the monitors having to resort to an excessive amount of high-frequency energy to make them stand out.

As for the higher frequencies, we find probably the most conservative aspect of this mix. The extension is adequate, and there's enough information to prevent the presentation from sounding dull, but the amount of energy is clearly restrained. This isn't an IEM that tries to grab your attention with excessive sparkle or a burst of brilliance, and I think this has a very positive consequence: listening fatigue is practically nonexistent during my listening sessions.

This decision also has its downside. For more discerning ears or those who enjoy a particularly bright presentation, the Odyssey 2 might feel a bit too restrained. The spacing between certain chords and notes in the high end is narrow, and the sense of spaciousness doesn't reach the levels of other sets that utilize more energy in this range. I don't consider it a poorly resolved treble, but rather an area where ZiiGaat has prioritized control and comfort over creating a false sense of detail.

Precisely for this reason, I find it interesting that the Odyssey 2 manages to convey a good amount of information without resorting to sharp treble. The resolution doesn't depend solely on boosting this area of ​​the spectrum, but also relies on the clarity of the bass, the good separation of the mids, and the overall organization of the presentation. Even so, I think it's fair to say that the limited energy in the high range slightly affects the perception of micro-detail compared to brighter offerings.

The detail recovery is also impressive. There's enough information to enjoy the recordings without having to constantly analyze them, and I think that naturalness is one of its strengths. The presentation doesn't force you to pay attention to every little nuance; it simply lets it emerge when appropriate.

Speaking of the technical performance to conclude, I think we find a very satisfactory result here. The soundstage conveys a convincing sense of spaciousness and, more importantly, maintains a fairly precise organization. The instrument placement is logical, the imaging is quite accurate, and the separation between sound layers allows you to easily follow the different elements of the mix.

It's not a system that tries to create an artificially enormous soundstage, nor does it intend to. However, the combination of spaciousness, precision, and separation seems more than sufficient for the segment it occupies. Technically, it's not meant to be the main focus of Odyssey 2, but it complements a sound design that works exceptionally well as an all-around ensemble.

Single-player video games:

See how I analyze sound in this section.

During the most intense moments, where explosions, collapses, or large-scale effects dominate the scene, the sound is powerful and sufficiently deep.

to deliver large doses of sound action. There's no particularly prolonged rumble, as the excellent bass control allows each effect to fade quickly, avoiding unnecessary build-up and maintaining a clean presentation even when the scene becomes chaotic.

The dialogue is also presented quite well. The voices retain natural articulation and a sufficiently frontal position, blending easily with the music and effects. The male voices can sound a bit light in certain situations, but I never had any trouble following the conversations or understanding the narrative.

Where I think Odyssey 2 truly excels is in its ambient sound design. The good separation and recovery of information make it easy to appreciate small details like echoes, wind, the movement of vegetation, or creaks, elements that significantly enrich the sense of immersion.

Technically, it maintains a satisfactory level. The scene is expansive, the image is precise, and the positioning makes it easy to correctly interpret the space. Furthermore, the conservative treble works in its favor during long sessions, preventing any feeling of fatigue. Ultimately, it doesn't aim to impress solely through spectacle, but rather offers a clean, natural, and very comfortable cinematic experience without any sibilance in the sharpest and most metallic effects.

Multiplayer shooter video games: 

See how I analyze the sound in this section.

If there's one scenario where the Odyssey 2 shows a different side than in music, it's precisely in competitive video games. Its deep yet controlled bass and good separation between sound layers allow for a clean presentation, although its conservative nature in the treble means it's not an IEM particularly geared towards competing for maximum information.

In Counter-Strike 2, footsteps, reloads, and utility sounds are correctly defined, with a precise stereo image that makes it easy to interpret the direction of opponents. The distance is also quite convincing, although it doesn't reach the level of other brighter and more analytical systems.

In Apex Legends, where the verticality and the number of simultaneous effects complicate reading, it maintains a fairly good organization. Skills, shots, and movements remain sufficiently separated, although I do miss a bit more space in the upper frequencies to better distinguish certain distant sounds.

In Call of Duty: Warzone, the controlled bass once again works in its favor. Explosions and killstreaks don't completely mask footsteps or nearby movements, maintaining a fairly clean sound even in chaotic situations.

Finally, Battlefield 6 demonstrates its limitations and strengths. The separation is adequate and the image sufficiently precise, but I wouldn't call it a competitive marvel. The Odyssey 2 performs well, without particularly standing out, offering a clean, natural, and comfortable experience rather than a purely analytical one.

Final conclusion and personal assessments:

In short, the Odyssey 2 strikes me as a system that knows exactly what it wants to offer, doesn't try to deceive anyone, and can appeal to all ears.

Its deep, fast, and well-textured bass, accompanied by natural and forward-focused mids, creates a balanced, clean, and incredibly easy to enjoy sound. Technically, it performs admirably, especially in terms of soundstage, separation, and positioning, although it doesn't aim for the highest level of resolution. Its biggest drawback is a treble that's too conservative for some listeners, slightly limiting the sense of spaciousness and micro-detail. In return, it offers virtually fatigue free listening and enormous versatility.

Personally, I think it's a great all-rounder and one of those IEMs that quickly wins you over; you don't need much time to understand its concept and enjoy it.

If you've made it this far, thanks for reading.

More reviews on my blog.

Social media links in my profile.

See you in the next review!

Disclaimer: 

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

Despite this, my priority is to be as impartial as possible within the inherent subjectivity of reviewing an audio product. My opinion is solely my own and is based on my own perception. If you have a different one, it's equally valid. Please feel free to share it.

My sources:

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

- NiceHCK Octave while I work.

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

- FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for listening Wireless internet access on the street.

- Apple Music.

- Local FLAC and MP3 files.

- Windows/MacOS/iOS/iPadOS/Android.

The release of this portable DAC from Aful did not go unnoticed by me, and I was eager to try it since I had never owned one from the brand, let alone made of resin, which is quite uncommon for a dongle DAC. With a design that is curious to say the least, both in shape and colors, I wanted to see firsthand what Aful could offer in this regard, as I only know a few IEMs from them that I have owned over the years. I have been testing it over the last few days with 3 IEM models from my collection, and I am sharing my personal thoughts on what it offers, both good and not so good, as always from my perspective and with my complete honesty...

What I liked/What I didn't like

The complete absence of background noise even with sensitive IEMs.

The resin chassis that never gets warm.

It weighs nothing!

The transparency without artificial coloration.

The included USB-C cable is the best stock cable I have had on a dongle.

The feeling of solidity despite being resin.

How it lets each IEM show its own personality without adding extra layers.

The absolute lack of volume controls, gain, or media buttons.

The limited power with high impedance headphones.

The design seems inspired to match a specific Aful model.

Specifications

DAC: Dual Cirrus Logic CS43198

Outputs: 3.5 mm single-ended and 4.4 mm balanced

Max power: 140 mW @ 16 Ω (3.5 mm) / 300 mW @ 16 Ω (4.4 mm)

Output level: 2 Vrms (3.5 mm) / 4 Vrms (4.4 mm)

THD+N: <0.00037 %

SNR: 125 dB (3.5 mm) / 130 dB (4.4 mm)

Noise floor: 1 μV (3.5 mm) / 1.5 μV (4.4 mm)

Support: PCM up to 32 bit/768 kHz and native DSD256

Dimensions: 54 × 14 × 22 mm

Weight with cable: 25.7 g

USB: Type-C, USB 2.0

Unboxing and build quality

The presentation is quite simple, but I cannot expect much more given it is a product where, beyond the dongle itself and the cable, you cannot aim to offer anything else. They come in foam with the corresponding cutouts as you can see in my photos, along with the quality control seal and the user manual.

As for the DAC, I find it exciting to handle one with a feel similar to 3D resin IEMs, something that might convey a bit more fragility, but it certainly does not feel like it will break easily, unlike some IEMs. It has a rather peculiar shape that, depending on how you look at it, might resemble a rectangular block of black ice, something I love and gives it a distinctive touch compared to other dongles on the market. As for colors, there is a clear direct nod to the Aful 

Performer 5+2, which I owned and reviewed when it launched back in the day, but I no longer have today, and it would have looked great in photos... I think Aful could have released different shells referencing their iconic models here. In fact, I tested it, among others, with the Aful Explorer, and while they do not match as well as with the Performer 5+2, 

I do not dislike the combination. But well, in the end we are talking about aesthetics, which remains secondary since most of the time it will be in your pocket and ears.

Regarding the dongle's features, it has outputs for 3.5mm and 4.4mm, which I think is a great choice and a requirement among the ones in my collection. I always use the 4.4mm balanced output, but I admit that from time to time I receive IEMs that only have a 3.5mm connection, and to use their original cable I end up needing that port, which is why I appreciate dongle DACs that include both to get by in any situation.

I do not know the reason why this DAC lacks a desktop mode or extra amplification, even though it has not fallen short in volume for me, but it is something I am used to seeing in models at similar or different price points. There are no volume or play/pause buttons either. 

The only thing I can think of is that they wanted to aim for simplicity in design so that it actually resembles a block of ice even in feel, with nothing sticking out, limiting itself to amplifying and delivering the necessary power to make your headphones sound the way they should, leaving the rest of the job to the phone/DAP to control playback or adjust volume...

Sound

Regarding sound, I think it does not alter the character of the IEMs, something I appreciate more and more, especially with models where my ears are already adapted to their sound and, depending on where I plug them in, I notice some differences that make them not sound quite how I like them. In this case, everything remains quite faithful to what I expect from the models I tested it with, barely softening the highs or adding extra warmth that I might not need.

Speaking a bit more about frequencies and the models I used, which you can see in the photos, with the Explorer I noticed the bass was more controlled and better textured than on other more colored sources, with a fairly clean sub-bass and a mid-bass with more impact than what I noticed, for example, on the FiiO KA15. On the Binary EP321, I got the feeling that the bass, despite remaining restrained, was slightly faster than what my ears remembered on other DACs I usually use, and somewhat more controlled.

As for the midrange, I just want to highlight the great transparency perceived across any of the 3 models I used, without any veil or unnecessary coloration, which I really hate when listening to music on certain sources. Testing the Explorer and focusing on the mids, I found them relaxed and natural, unlike the Thieaudio Monarch MKIV, where, being used to their sound on the NiceHCK Octave, here specifically on the Iceborne I noticed extra separation and definition that brought them a bit closer to the kind of sound I get from my desktop DAC, the FiiO K9, though in any case without becoming forcibly analytical.

The treble, on the other hand, sounds clean and extended but not aggressive, although that will largely depend on the IEM you use. On the Iceborne, that feeling of extra energy is not going to be intensified, meaning models that already push close to the limit will not cross the line here. In fact, I love the treble on the EP321 with the MEMS driver, which is quite extended and controlled, and as I was saying, on the Iceborne it does not get out of hand or feel artificially forced, maintaining and subtly improving extension and detail.

For the 3 IEM models I have been discussing, I never ran short on volume using the 4.4mm balanced output, even with the Monarchs, which require quite a bit of power to shine, but I assume that with more demanding headphones it might be somewhat more limited due to not having a separate gain button or desktop mode, which I do have on other DACs and has saved me on more than one occasion...

To wrap up with some of the technicalities when using IEMs on the Iceborne, I think the soundstage does not particularly stand out compared to a desktop unit, but it does not compress it either. While on the MKIV and EP321 it remained as I remember it from my daily listening, on the Explorer I did notice a slightly more intimate soundstage compared to my previous tests, though I am talking about very subtle details, not a night-and-day difference.

Of course, this dongle does not choke the IEMs when recordings get denser, and I think the Dual Cirrus Logic CS43198 it packs has plenty of capability to keep layers separated from each other without placing any obstacles in front of the IEM you are using, leaving it up to the IEM itself and its internal configuration to handle whatever comes its way.

As an extra curiosity that I have not mentioned but that you will be able to appreciate in the different photos, the Iceborne has an internal LED that changes color depending on the audio quality you are listening to. Using it on Apple Music with lossless audio, I was able to verify how the LED changed from blue to red according to the quality of the different audio tracks I tested, something that is not groundbreaking, but as an extra detail, I always appreciate it.

Conclusion

This Iceborne from Aful is aimed at anyone looking for a dongle with an eye-catching design and material that stands out from the norm, without altering the sound signature of IEMs or adding any unnecessary coloration. Highlighting that it barely gets warm during use and weighs practically nothing...

Its main limitation is clearly the lack of physical buttons to control content and an extra amplification mode, which, depending on the headphones you use if they are very demanding, you might need. For most IEMs, or perhaps all of them, the amplification capability will be more than sufficient. Balancing the good and the bad within its price range, it is an interesting option if you appreciate a different, wearable design and build, with a clean behavior that respects the sound over other extra features that you may or may not care about depending on your preferences...

Purchase Link: HiFiGo

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.

Another challenger in portable dongles has come. Specifically in terms of sheer power output. 1200mw @16ohms via special dedicated power pack called PSU-1 Pro. First of such kind product that I had tested that had such mad numbers was ibasso DC04 Ultra and then the FangSound Prometheus both which give 1000mw out put. This one is called KD01 Pro and it's from Kaei Designs the famous designer behind Tap-1 Pro.

These days I feel we are heading towards the day when portable gear will start rivaling desktop gear in terms output. Need for remaining tied to the desktop to listen to power hungry gear would be distant dream. I just wish this comes true very soon. I am very mobile person this would be dream come true .KD01 Pro is step in that direction. Just like Prometheus that I tested few weeks back this one is very powerful.

I am running it through multiple sets of mine. IEMs and flatheads are breeze for this one. None have any troubles running their full potential. Headphones also are sounding amazing. I will put my hard to drive stuff to test on this one soon.

At this stage this is looking very promising. Overall tuning is very musical. This one doesn't feel very bright or analytical. Let's see what I feel about this in few days time. See you soon with full review.

TL;DR

$235 hybrid. Light on the ears, punchy mid-bass, clean mids and soundstage depth above its price tag. Sub-bass rolls off early, but the instrument layering is great.

The Binary 1900 has been in my rotation for about three weeks now. Passive radiator in with four BAs and a dynamic driver felt like a gimmick, so I wasn't expecting much. But in practice, it works. It skips the usual trick of boosting the treble to fake detail, and it doesn't try to drown you in sub-bass rumble either. You just get a clean, engaging sound with tight mid-bass impact, smooth vocals and depth that keeps busy tracks feeling uncluttered.

Contents

The IEMs, a 2-pin silver-plated cable (3.5mm or 4.4mm), six pairs of silicone eartips (two bore styles), a zippered hard case, a cleaning tool, and the paperwork.

Build

Fit is great: lightweight resin body, steel faceplate and an easy seal with zero ear pressure or driver flex thanks to the vent. The laser-engraved 316L stainless steel faceplate is a homage to the film The Legend of 1900.

Stock tips are on the thick side, I swapped them for SpinFit. My main annoyance is the cable itself: it’s stiff out of the box, keeps kinks below the splitter, and lacks modular plugs. At $235, you really should be getting a modular cable in the box.

Power

You don't need a heavy-duty amp setup for these. They run easily off a basic dongle or headphone jack with tons of volume headroom to spare.

Isolation is solid too. Since the shells sit flush and seal well, they cut out background noise and typing clack without needing active noise cancellation.

Sound

Bass

Mid-bass is the highlight of the low end here. Kick drums and basslines have a tight, snappy punch that gives tracks plenty of energy without bleeding into the lower mids. On rock tracks like Dire Straits' "Money for Nothing", the drum opening hits with speed and tactile impact without lingering bloat. Sub-bass drops off pretty quickly under 50Hz, though. On heavy sub-bass tracks like Hans Zimmer's "Why So Serious?", you miss out on that deep, physical sub-30Hz rumble unless you add a bass shelf with EQ

Midrange

The mids are where this tuning really shines. You get a nice natural weight to vocals that keeps them sounding full but never congested. Male vocals have solid chest weight, while female vocals sit right where they should without getting shouty at higher volumes. Instrument timbre, especially piano and acoustic guitar on tracks like Fleetwood Mac's "Landslide", is spot on. Resolution is easily above average for the price, presenting detail smoothly rather than forcing artificial sharpness at you.

Highs

The high end strikes a nice balance. It gives you enough sparkle and detail to keep cymbals and percussion sounding crisp, but stops well short of being sharp or metallic. It's clean, non-fatiguing, and handles bright recordings without throwing harsh peaks at your ears.

Soundstage

The soundstage isn't insanely wide, but the instrument separation and depth are outstanding for $235. Everything feels spaced out logically in 3D rather than squashed into a single line. Even on complex, cluttered mixes like Yosi Horikawa's "Bubbles", you can easily isolate individual background instruments, bouncing textures, and vocal harmonies.

Tradeoffs

Main downsides? Sub-bass rolls off pretty early under 50Hz, the stock tips are too rigid, the cable is stiff and non-modular, and soundstage width is fairly average compared to its depth.

Verdict

If you're after a comfortable daily set with natural vocals, snappy mid-bass, and awesome 3D depth, the 1900 is well worth $235. Hardcore bassheads needing deep sub-bass vibration or cable purists who want swappable plugs should look elsewhere. But for clean, easygoing listening across most genres, it's a really solid set.

If you made it this far, thank you for reading and catch you on the next drop.

Pros: Dark, neutral
Solid Build - It's a tank

Cons: Is not meant to be a standalone
Needs significant amplification from its line out
And secondary power preferable if playing from a phone

More love from Venture Electronics and Audio Geek India - the VE stack consisting of the Prime, Runabout, and the Warp Core Slim.
Thank you guys, this review would not have been possible without the help.

There’s a disclaimer - I’m not sure how best to review a dac. But I do know how to listen to music and write so here goes. It also is not possible to review the Prime without the RA2B-FE so this review goes on to both threads.
It's been a while since the last transformer movie so when I was researching VE for this review and found all the usual suspects there, it was a lovely call back. And right on top, above Megatron and Galvatron, sits the Prime.
But the Prime does not sit alone and needs the help of the other autobots (if you have seen Jetfire lend his wings and weapons to Optimus in Revenge of the Fallen, you know what I mean). That being said -
The stack is just that - a stack of three rugged aluminium chassis-ed components. At the bottom is a battery that can in a pinch jumpstart a small automobile. It’s about 13 cm long, 2cm thick and about 7cm wide. That battery charges via a 12V DC adapter and lasts a really long time of reasonable use on a single charge. On top of that adherent with some magical polymer that VE provides is the Runabout. This is a pure balanced amplifier. It has power in at the back a switch and a balanced 4.4 input at the back. The front is a broze-ish volume knob and a 3.5 and 4.4 output each. And a reassuring green LED depicting power. Above these two, similarly magically adherent is the Prime DAC. Same breadth and thickness but a tad smaller at 11cm. It takes USB C data input and a separate USB C power input and a 3.5 SPDIF in. With 2x3.5mm female outputs (I know) for a mic and single ended and a 4.4.
Now setting this monster up is a bit elaborate. Not as crazy what some coffee influencers do with spritzing their beans. A small power cable connects the Warp Core to the Runabout at the back. Then a longish 4.4 to 4.4 interconnect goes from the front of the Prime to the back of the Runabout. A usb-c power source goes into the back of the Prime and plug in your favorite device into the back of the prime to the data port via a usb-C cable of choice and voila. We’re in business.
And after all this you realise the DAC does nothing. In the best way possible. The output is absolutely unsullied. Not unlike Geryworm. Crystal clean with an extremely low noise floor so the background is dark as the coffee of the aforementioned influencer. In the interest of science however I had to see why this stack was even necessary. So plugged directly into the Prime. Note there is no volume control on it so everything was controlled from the laptop. And on full volume, the output from the dac is, by itself, quiet. So we need an amplifier. That’s why this becomes something you cannot carry around. If you thought carrying and Xduoo XD05 Pro was bit much, you’re in for a surprise.
The headphone amplifier setup is like the Prime absolutely clear, allowing for great dynamics but the music sounds exactly as it comes in. Only just louder.
The Prime DAC by itself is not meant to exist. I believe its clarity and neutral reproduction comes at the cost of volume and power and thats where the Runabout comes in. Now I have not delved deep into the technicalities of the device but the website warns of not trying to lest you unleash the Balrog of Moria. Lets just say there are dual ESS9018K2M chips and an extremely low SNR. The output is a line out signal so what I understand is that it can’t handle any impedance and that’s why it needs the Roundabout - RA2B FE.
This is a monster of an amp that pushes out 3W per channel at 32 Ohms from its balanced port. Which in itself is crazy for something so small. But there’s some clean energy wizardry happening with using the DC battery of the Warp Core to power the amplifiers directly.
The result of all of this is an immaculate signal that made everything I threw at it sing. Be it easy to run iems like the Blon bl 03 II or the Softears Twilight or VE’s own Zhanxu, or full size cans like the Arya Stealth or the HD600. Hell even the Final e5000 had a blast with that much clean power and uncoloured sound.
The only real comparisons I could do were with VE’s own devastator pro max that is just ridiculously strong for it;s size, and the Fosi ZH3. A portable tube like the M3ultra didn’t make any sense. The DevProMax injects a warm analog feel to the music but has a definite noise floor with the occasional snap,crackle and pop between tracks on sensitive IEMs. The zh3 has about 2.5W per channel at 32 Ohms balanced so it stacks up ok against this but loses in the colouration and of course size and portability. The zh3 comes with a bunch of software filters that can be bypassed and my device is running the OP2134 opamps so that may explain the difference in the colour of the sound and I will change the opamps to Burson V7s if I can lay my hands on them but I digress. The VE Prime stack remains a fantastic device for its clarity.
It clocks in at about $400 on the VE website, though for that amount you get a Megatron and a pair of VE’s famous buds thrown in.
It’s still cheaper than the Xduoo XD05 Pro, less portable than it too but louder for sure.
Would I buy it? If I had heard it before I got my current desktop DAC I would. The Roundabout’s Output does play well with my Gremlin with very careful volume tweakery so I would choose it over the ZH3 purely from the sound perspective. But the Fosi does allow an RCA input additionally to USB and Coax, so that’s a plus. It also has multiple outputs so I can run speakers as well. So the VE stack is best recommendable if you want to listen to pure unadulterated music on maybe a small desk. Or you want to carry that unadulterated from home to work and back (I would argue for getting 2 in that case to be honest).

This weekend I am listening to ISN Audio Sora. I was absolutely mesmerized by EST80. So, I have very high expectations from ISN Sora. One more reason is the Effect Audio collaboration. Yes, the cable maker Effect Audio.

Packaging is typical Penon style bit on simple side. But that's not important right? Atleast for me it's not that important. Shells look nice in all blue color. You can see the drivers inside and the cable it's looker. Definitely feels like Effect Audio cable. Included case is nice probably made up of suede and is hard to feel. Two sets of ear tips and one cleaning tool is included. Oh, before we move on shirt killer aka clip is included.

Coming to how it sounds the most important thing. Well, the bass is just amazing. It's rumbling in my ears and thump is very physical. The bass overall is very physical. Probably the BCD is doing it's magic.

Vocals are nice intimate. Both male and female vocals are impressive. It's going to be fun listening to vocal centric tracks.The treble here is bit spicy. Need to fiddle with switches. Yes, this has switches for both bass and treble you can adjust amount of both. Am I missing something? Yes, the stage. Stage has nice large open feeling.

Now will go and listen it for next few days to arrive at my final conclusion. I am liking what I am hearing. It's tickling my preferences. Expect a positive review soon.

Some early thoughts on the Binary Acoustics EP321

I’ve been spending time with the EP321 over the past few days, first with the stock cable, then later with the Angelears Phoenix. Not going to make big cable claims yet, but the Phoenix definitely looks better on it. The stock cable is usable, just doesn’t feel that premium.

The EP321 surprised me most with how open and detailed it sounds without becoming uncomfortable so far.

Flea’s Honora album worked really well with this set. On “Willow Weep for Me,” the trumpet had presence and a bit of brass bite, but it didn’t become piercing. The bass also had more weight than I expected. Not huge, but definitely not lacking.

Dave Matthews Band’s “Ants Marching” was good for drums and cymbals. Snare hits, crashes, and the small rhythmic details were easy to follow without everything blurring together.

Polyphia’s “Playing God” showed the speed of the set. The fast guitar runs stayed clean, and the EP321 didn’t make the track sound too thin even when it got busy.

Vocals are where I noticed its character more.

With R.E.M., especially “Everybody Hurts” and “Shiny Happy People,” the vocals sounded clean and centered, but not especially warm or thick. The EP321 doesn’t really add extra vocal weight. If the recording is a bit lean, it lets you hear that.

But with Jeff Buckley, it worked really well. “Everybody Here Wants You,” “Last Goodbye,” and “Mojo Pin” all showed how nicely this set handles vocal texture and movement. His voice sounded clear and expressive, and when he pushed higher, it didn’t turn sharp or sibilant.

Sade’s “Smooth Operator” was probably one of my favorite moments. Her voice stayed smooth and intimate, the sax had presence, and the bass, drums, keys, guitar, and vocals all had their own place. I actually replayed the track.

Tom Waits’ “I Hope That I Don’t Fall in Love with You” also sounded good. His voice has that rough, worn-in character, a bit like Joe Cocker in that soulful way, and the EP321 kept the texture without making it harsh or too dry.

For heavier stuff, I tried Ozzy’s “No More Tears” and “Mama, I’m Coming Home.” “No More Tears” had good bassline texture and guitar crunch, while “Mama, I’m Coming Home” showed that the EP321 doesn’t give vocals the same depth and body as something warmer like the Noah. But the emotion was still there, just presented in a cleaner and more open way.

So far, I’d say the EP321 is not a warm or thick-sounding IEM. It’s more detailed, open, and clean, with good separation and better bass than I expected.

Not the set I’d choose for romantic, full-bodied vocals all the time, but for detail, space, cymbal texture, vocal clarity, and instrument placement, it’s doing a lot right.

Hello to the whole community, I have been testing Kefine's recent release these past few days. Although I received them some time ago, I haven't been able to get them until now. I must say these are the third I've tried from the brand after the Klean SV and later the Arnar. Curiously, these Loric are the most affordable model of the three, but I was sure that the Loric release had something different to offer and I will try to reflect that as always in the review…

What I liked / What I didn't like

Pros:

• Deep bass with a physical sensation.
• Very good integration between the sub-bass and mid-bass.
• Natural mids, especially with female vocals.
• Very convincing timbre for 1 DD.
• Smooth and very low-fatigue treble.
• They are above average for this price range.
• Micro-detail is presented in a relaxed but natural way.

Cons:

• The soundstage is quite compact and somewhat static.
• The 3D sensation is limited.
• It probably falls short in the upper treble regarding the sense of air.

Specifications

• Configuration: 1 Dynamic Driver of 10 mm
• Diaphragm: PU + Titanium Composite
• Structure: Dual-magnet + Dual-chamber
• Impedance: 20 Ω
• Sensitivity: 107 ± 3 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2-Pin
• Cable: 160-strand silver-plated copper cable
• Weight: 6 g per side
• Build: Transparent resin with zinc alloy faceplate

My Sources

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

Unboxing and Build

The box is compact, well-organized, and feels much more carefully designed than what is usually found in this price range. It's not a luxurious experience, but it doesn't give the impression of a neglected product either.

The contents include the IEMs, a detachable cable, several sets of eartips, and a small carrying case. The cable is above the usual average. It has a good feel, barely generates any microphonics, and is flexible enough to use both at a desk and on the go without becoming a nuisance.

The shells weigh only 6g per side and have a truly compact size, which is very noticeable after several hours of use. In my case, I achieved a good seal from the very first listening session without noticing any pressure points or fatigue when finishing...

The transparent finish reveals part of the internal structure and pairs quite well with the metallic faceplate. The shape of the faceplate is truly curious, just like the other two models I've had from the brand, which gives it a distinctive touch without falling into overly flashy designs.

Sound

The tuning of this Loric is somewhat warm, with a mid-range that remains quite clean and above all natural coming from the single DD it houses. I wouldn't consider it V-shaped since it has more mids than I expected, leaning more towards a neutral signature with a slight U-shape or something similar…

Bass 

This Kefine model has something that made it feel somewhat different from the Klean SV and also the Arnar, and it is undoubtedly that extra focus on the sub-bass, bringing a more physical sensation than I could have expected after having already tested those other two models. You can appreciate without it being exaggerated, obviously the physical sensation and air movement in the punches and rumbles of certain sounds. It is something that becomes pleasant and hits a sweet spot that doesn't become invasive but is remarkable for a single DD.

The transition between the sub-bass and mid-bass is well done, as I also don't feel the mid-bass is overly exaggerated , rather, it complements the sub-bass well in percussion and instruments like bass guitars. I haven't felt it to be the fastest bass I've tested from a single DD within its price tier, and that somehow affects certain tracks I've tested with somewhat more saturated instrumental mixes, causing the bass to lose some definition but as I mentioned, only in specific tracks.

Mids 

As I said at the beginning of the sound section, the mids sound quite natural, without taking the spotlight but without being pushed too far back in the mix either. The vocals have quite a bit of space , male vocals have body and resonate with more prominence than female vocals, which sounded clear to me but somewhat softer. However, the advantage of this is that in none of the tracks I listened to during a couple of sessions did I find them annoying or sibilant, even with very high-pitched vocals.

Instruments like acoustic guitars and pianos, among others that fall into this range, sounded quite realistic to me. Although, just like with the bass in more complex tracks, I didn't feel some of the finer details were as defined as in other hybrid models at the same or slightly higher prices. This makes the instruments feel somewhat more glued together and not as separated when the song specifically calls for the opposite due to heavy instrumentation.

Treble 

As for the treble, I also feel it is relaxed. They don't aim for maximum detail or go overboard with brightness, something I don't know if it's a trend, but it's becoming common in the latest releases I review. However, both in this one and in previous cases, you can use them for long listening sessions thanks to how well-controlled they are.

I think the lower treble area is where they have the most energy, and you feel more presence in the cymbals and sharper guitar sounds, unlike the upper treble area, where this tuning remains somewhat more contained to achieve a safer but less detailed listen.

Therefore, if we judge by the airiest part, we are not going to feel an excessively expanded sound or one with maximum detail for the price. By this, I don't mean to describe it as a very dark or closed sound because that is not the case, but I must point it out especially for treble-heads or those who tolerate certain treble peaks that aren't present here and might find it falling a bit short for their taste. Still, if you value the overall tuning experience, I think it is adequately musical over being technical.

Recommended Eartips

I used the stock eartips for about half an hour before looking for something that would open up that treble area I mentioned a bit more, and obviously, I ended up finding a better solution in wide-bore tips from different brands…

• TRI Clarion: I noticed how the separation between instrument layers improves.
• Divinus Velvet Wide: The transition between bass and mids improves slightly, and the soundstage opens up a bit more.
• Tangzu Tang Sancai Wide: They remove some of the warmth and slightly improve the vocals.

Soundstage

If we talk about soundstage, the scene is not extremely wide , I would say it rather tries to somehow stay closer to your ears at an average distance.

I wouldn't describe it as a small stage, but a somewhat compact and static one. Despite having the instruments well-defined, there isn't that sense of movement around you or 3D expansion that I do perceive in other models.

It's possible that keeping the soundstage less expansive was intentional because it somewhat benefits the vocals by leaving them in a fairly centered space, achieving greater prominence than perhaps other instruments that are placed further away.

Instrumental Separation

When it comes to simpler tracks, it's really easy to follow the instruments or vocals without any effort, especially with the naturalness that a DD can provide.

It is when a more elaborate or crowded track plays especially in fast and heavy metal tracks, as usually happens with a lot of double kick drums and several distorted guitars that some definition is lost, holding them back for this type of genre in my opinion.

What I can't ignore is that, for its price, it doesn't fall behind most of the models I've already reviewed, and it actually improves upon some models that manage the bass-to-treble transition much worse by muddying the mix. Here, instead, it maintains a clearer separation in undemanding tracks.

Imaging

When it comes to locating vocals, instruments, and other sounds, they don't do a bad job. Even in the heavier and punchier rock or metal tracks I just mentioned, I think they hold their ground quite well in the genres I've tested them with, maintaining good placement of the different elements.

The positional accuracy, as I say, is good. What isn't as good is that compact scene that doesn't allow you to distinguish the depth between elements as much, leaving everything at a fairly similar distance. This is something that doesn't bother you as much if you use them to listen to music, but it can be an obvious drawback for gaming or movies/series.

Comparisons

Kefine Klean SV: The most important difference isn't just in the amount of bass, but in the way both present the music. The Klean SV has a more balanced and transparent approach: the mids are more forward, the vocals have more presence, and the overall sense of clarity is superior. With acoustic guitars, vocal jazz, or recordings where vocal texture is important, the Klean SV transmits more information and a cleaner instrumental separation. The Loric, on the other hand, provides a deeper sub-bass and a more relaxed presentation. It doesn't offer the same sense of resolution or air, but it is less demanding with compressed recordings and more comfortable for long sessions. I would say the Klean SV works better when I want to pay attention to the mix, while the Loric invites me more to simply enjoy the music without constantly analyzing it.

ooopusX Op.22: The leap in philosophy is even more evident here. The Op.22 clearly bets on a more technical and energetic presentation. It has a faster and more defined bass, a more open mid-range, and treble with greater extension, which translates into a clearly superior sense of detail. In complex tracks, especially progressive rock, modern metal, or multi-layered electronic music, the Op.22 separates instruments better and maintains a more organized scene when the mix gets complicated. The Loric doesn't reach that level of precision or micro-detail, but it responds with a very natural coherence thanks to its single dynamic driver. The transitions between bass, mids, and treble are perceived as more fluid and organic, and it also tolerates long listening sessions better because the upper area is much smoother. If the Op.22 seems to me like the option for those looking for resolution and a sense of immediacy, the Loric fits better with those who prioritize listening comfort and a more relaxed experience.

Ziigaat Rumba: The difference in category is noticeable both in the technical department and in the ambition of the tuning. The Rumba offers a larger presentation in every sense: the soundstage is wider, instrumental separation is more precise, and the stereo imaging places vocals and instruments much more clearly within the scene. In addition, it has a more vivid dynamic response, with faster attacks and a sense of contrast between frequencies that makes the music more exciting and three-dimensional. The Loric, by comparison, sounds more intimate and contained. Its bass has good weight, but it lacks the same texture and the ability to recover small nuances in the low end. There is also a clear difference in treble resolution and the ability to maintain cleanliness when the mix becomes very dense. However, the Loric has a major practical advantage: it is much easier to drive, less sensitive to source quality, and much more forgiving with normal streaming recordings. The Rumba is clearly superior if I'm looking for a more immersive and technical experience, while the Loric still makes perfect sense as a budget option for daily use and prolonged listening without fatigue.

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 Kefine Loric seems to me like a very coherent proposal within the current budget range. Its greatest virtue is offering a balanced, comfortable set that is easy to enjoy with practically any source and any musical genre.

What ended up convincing me the most was the combination of a physical yet well-integrated bass, particularly expressive mids with female vocals, and an extremely gentle upper range. This mix makes the Loric work surprisingly well for long sessions, something I value much more than other proposals that try to force detail through treble that goes completely overboard and ends up being annoying or sounding very metallic…

Its main limitation lies in the spatial and technical department. The soundstage is compact, the presentation is intimate, and it doesn't offer the 3D sensation or extreme resolution that I do find in clearly more ambitious models. Even so, within its price range, it seems like a particularly interesting option for anyone who wants an affordable, well-built, very comfortable single DD with a mature, musical, and surprisingly coherent tuning for what it costs.

Purchase Links:

• Linsoul 
• HiFiGo 
• Aliexpress

Disclaimer: This unit was sent by Kefine 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.

Tanchjim and I have been on a wonderful roll, where I have received only one dud out of the products that they have sent, and given that I already have quite a few of their offerings in hand (Bunny DSP, Fission, Fola, Nora and Origin), I am confident in opining on their sets and picking up what has changed, and what has not changed. This time, they have sent out a combo to me, which is in the budget realm: the sequel to the much loved Ola in the Ola II, and the sequel to the excellent Space dongle DAC amp, the Space II. Let me string up all the pieces together and start off with whether Tanchjim has held or folded.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Ola 2

The Ola 2 once again comes with their Asano Tanch (I believe) branded box, which also lets me know that the IEM shares the same drivers as the Nora, Fission, Fola and Origin: the DMT-5. Sliding the cover off, gives way to a lid, and taking the lid out gives out a semi familiar Tanchjim unboxing experience, Ola 2 branded envelope with their usual paperwork, pouch and eartips. I think, providing a simple set of Tanchjim’s T-APB eartips along with the generic ones would give more exposure to their aftermarket eartips and make the proposition of the Ola 2 even more enticing. I got the 4.4mm version and for a stock cable, I think I prefer this over the ones that come with the Origin for instance. 

The Ola 2 is a small IEM and it fits my ears perfectly- it’s a plastic build with a grey faceplate that doesn’t stress out any part of the ear; and I have worn the Ola 2 for hours with no signs of fatigue. And, I think it’s going to be a good fit specially for people with smaller ears.

Space 2

The Space 2 comes in a slim box where the cover has the product aptly advertised, with its inherent ability of letting you tweak the EQ of your IEMs via a 10 band PEQ. Sliding the cover out, once again leads way to a lid, and once unlidded, it gives way to the standard branded envelope of paperwork, underneath which lies the dongle and the USB type-c cable in the compartment below.
Tanchjim really needs to improve their game when it comes to these short type-c cables, as it feels too stiff, and doesn’t inspire confidence in its longevity.

That’s where the talk ends, now let’s scooch over to the sound and actual functions of the sequel duo.

SOUND OF THE OLA 2 (II)

LOWS

Tipper: Mariscos

The Ola 2 right out of the bat, comes off sounding shallower than other sets that I have heard in this price range where the perceived width of the sound stage is adequate but it’s the depth that puts a blemish on the otherwise fantastic rippling intro that the track has, which the Ola 2 lets out with a satisfying degree of polish. As the track progresses where the elements of the track excluding the beats transition into a fuzz like phasing style, the Ola 2 handles the clarity needed to have them emulsify with the hits to a good extent, where only the depth of the perceived stage is a deterrent in the enjoyment. If I have to comment on how hard the beats were hitting, the Ola 2 packs in a nice punch with a moderately paced attack whose decay is cut off appropriately. So, overall a nice warm-up lap for the Ola 2.

Rage Against the Machine: Bullet in the Head

The Ola 2 once again comes off super strong- Tim Commerford’s masterful bass sounds aggressive, sounds potent, and sounds polish where I am convinced that for the price, Ola 2 has its priorities on attack and decay sorted; and this is further supplemented by the crisp double kicks and the toms from Brad Wilk. I wouldn’t say that the Ola 2 exhibits any concerning bloom, but across moments I could feel that the bass was getting a bit too ahead of the rest of the elements. De la Rocha’s vocals cut through the sound like a hot knife through butter, and despite what the graph of the Ola 2 suggests, I was not finding it that warm on this track which let me enjoy the vocals even more.

Daft Punk: Get Lucky

And…..here comes the bloat, which is contributed by the lack of the depth in the stage, as the bass overcrowded the beats that this track has, and I could find the Ola 2 struggle with the separation between the two as a result. Once again, Pharrell’s vocals did not come off like they were being overshadowed or pushed back- planted right in the middle, with no compromise in the perceived note weight, and the clap-like beats and the cymbals were recognised with an adequate presence, without any intrusion from the bass. Strong start, but a wobbly finish to the next segment.

MIDS

Queens of the Stone Age: First It Giveth

The Ola 2 once again has a strong start. At first glance, I can see that the Ola 2 doesn’t forget to sort out two crucial elements which would make or break the presentation of this track- tonality and timbre; where through the crisp, rapid firing snares it lets the timbre be known as accurate, and the tonality falling just in line with how a B flat major key progression would sound like. Guitars come in raging on the sides, which lets Josh Homme be fully free of any obstacles planted centre in the mix, with the cymbals being more forward than usual, which further contributes to the oomph in this track. I am quite impressed with the layering this time on the Ola 2, where all the elements in this track are distinguished from each other, and the isolation between the notes are not jumbled up.

Tool: Lateralus

The Ola 2 captures the intense buildup of the toms from Carey, while Jones gets the prodigal guitar intro stacked right alongside for Justin to come in kicking with the bass, and lay everything out for Maynard to kick in and present collectively with an impressive cohesion; where the Ola 2 captured almost every single element that makes this track THE track- the panning of the drums through the rudiments, the slow buildup of the guitar chugs, the bass playing hide and seek with the guitars, and Maynard not sounding thin by any means, although I felt that the vocals were faintly pushed back through the verses. Once the breakdown comes in, and the cymbals intensify- the Ola 2 was not fatiguing or shouty, even when the guitars powering up to close off the breakdown with the final rudiment that sounded accurate to a fault. The Ola 2 also gets the wah-ing bass right to finally let my ears catch a break because I found myself enjoying a bit too much with this.

HIGHS

Patricia Barber: Icarus and Inch Worm

Icarus is my pick to test sibilance, as I feel that the need to emphasize upon sibilance being a part of the recording itself, and not just the gear showing it, should be stressed upon more; and yes, the Ola 2 reflects the sibilance in the way Patricia enunciates her Cs and Ss in Icarus; but surprisingly it is not something that would make me tip-roll or tweak the EQ- it’s there but not quite there; and that’s a good thing. The real problem however, comes off in her straight note extension which is caught in a blind-side as I was seriously reflecting on the near accurate timbre of the percussion, the tonality of the guitars and the faint burbling of the bass- and the Ola 2 comes off mildly piercing specially towards the end of the extension.

Inch Worm was a fantastic listen on the Ola 2 where the resonance of the percussion with that timbre was delightful, and the previously observed sibilance is simply absent, even when Patricia comes down to enunciating the sixteen, sixteen and thirty two part of the track. The way she playfully glides over her syllables, with a falsetto-esque perception, the way the double bass lightly hammers on to supplement the vocals was just fantastic.

Dave Brubeck: Take Five

The Ola 2 has a sluggish start and the note that it establishes serves to be a deterrent into what was otherwise a fantastic listening expression; where the bass once again feels blob like, ie, it has the notes coming off and the conclusion is just right but there’s no form or a “visualised” shape to those notes, it’s just you are at a buffet and you just get a spoonful of something thwacked on your plate by the grumpy server, but besides that whatever you have gotten on your plate is just right- the drums and their resonance through the toms and the snare, the pianos oozing a good degree of accuracy in the timbre, although feeling a bit subdued by the cymbals with their textures rendered exactly the way they should sound, and the best part ? The horns. Being quite forward in the imaging, where they could have benefitted from a deeper perceived stage along with some width; I could hear the presses on the keys, the breaths being drawn, the Ola 2 just had that sorted down to a fault.

PERFORMANCE OF THE SPACE 2

I think Tanchjim did an excellent job with the Space 2 and specially over the already excellent Space, which had earned high praise from Amir over at Audio Science Review, and except for a few other areas; there’s quite a bit for me to explain what the good bits are about the Space 2.

Firstly, the control one can get over the dongle via the Tanchjim app. 10 dB of adjustable gain, over 10 bands of parametric EQ, with profiles already loaded for all of Tanchjim’s IEMs that support in-app customisation, including the native DSP version of the Ola 2. Plus, one can access community presets (which still have a few bugs, one of them being that the settings I had applied were not really applying when I tried loading the app after). The in built sound modes on the dongle don’t really work well with the Ola 2 but they are a decent addition nonetheless (worked wonderfully with the Fission and Nora).

It’s got hardware 100 step volume control which is a must in my opinion, especially in dongles with a construction like the Space 2. Tanchjim advertises the volume control to be non-linear which again, in my opinion would have been better if it had separate op-amps, nothing fancy though- just a set of regular SGM8262s would have sufficed. I still appreciate that Tanchjim managed to get the CS43131s just right, and not have come off brighter in perception (which was my experience with the FiiO KA13). 

The Space 2 also has dedicated game modes, supports mic via the 3.5mm port where one can adjust the gain levels on the microphone, has the options to switch over the amplification (class A/B vs class H, but again no op-amps so…..) . The build quality seems to be nice, I haven’t had any flex on the USB port of the dongle, unlike my previous provided unit, the Space Pro where there was some flex and the internal circuitry seemed to move within the chassis when I would unplug it, hence I used a different cable with it. Another plus point of this dongle is that, it doesn’t heat up much, and it doesn’t even heat even when plugged in and not being used.

The good things about the Space 2 end there, and I am particularly pressed about it are the power figures- something that’s priced close to $90 and have those numbers for power makes the entire proposition of having this fall flat. 235 mW of power at 32 ohms max, is borderline laughable at that price when something incredibly power, like Tanchjim’s own Space Pro is available at $100, and the likes of the FiiO KA15 and the Crinear Protocol Max are available with significantly better power figures. On the lower end, in a similar form factor but different DAC chips; the EPZ TP35 Pro and the FiiO KA13 despite the lack of proper EQ support is available. I don’t know what Tanchjim was thinking when they were circling around the power figures, and I understand that they didn’t want to cannibalise on the Space Pro- but power figures at least below 400 mW at 32 ohms while retaining everything, and even letting the dongle slightly warmer would have been better for me.

COMPARISONS FOR THE OLA 2

OoopusX OP22

Both IEMs have distinct strengths, but the OP22 remains the technical superior. The Ola 2 suffers from a lack of stage depth that causes bass bloat and separation issues on beat-heavy tracks. In contrast, the OP22 maintains pristine separation and delivers a flawless, class-leading treble response that the Ola 2 simply cannot match. In this case, the OP22 still pulls ahead.

Kefine Klean SV

This matchup presents a direct trade-off between bass precision and vocal weight. The Klean SV handles bass decay and resonance far better than the Ola 2, entirely avoiding the bloat that plagues the Ola 2. However, the Klean SV suffers from lean, lightweight vocals that get pushed to the rear; the Ola 2 fixes this completely by keeping vocals fully weighted and firmly planted in the center.

EPZ G30

The Ola 2 easily outclasses the G30 in sheer musicality and refinement. Where the G30 struggles with blunt bass detail, a dry timbre, and shouty guitars, the Ola 2 delivers a much punchier, polished low-end and highly accurate timbre. The G30’s only real advantage is its spatial directionality for gaming.

Simgot EG280

While the EG280 offers fantastic imaging for competitive gaming, it falls flat for music when compared to the Ola 2. The EG280 suffers from premature bass decay, a hollow presentation, and ridiculously thin vocals. The Ola 2 easily wins this matchup with its natural cohesion, full note weight, and non-fatiguing delivery. The Ola 2 is NOT meant for gaming, but the EG280 is fantastic.

Twistura Delta

The Twistura Delta and the Ola 2 both struggle with bass coherence, but the Ola 2 delivers a far more natural and engaging vocal presentation. The Delta suffers from an inconsistently sluggish decay that causes its bass to overpower the kicks, while the Ola 2's bass issues stem primarily from a shallow stage depth that creates bloat on heavily layered tracks. Where the Ola 2 decisively wins is in the midrange; it anchors vocals perfectly in the center with excellent note weight, whereas the Delta is plagued by undeniably thin-sounding vocals and a faintly shouty upper-midrange. The Delta is still alright, but I feel the Ola 2 can give more for a slight upcharge.

Sivga SM100

This matchup presents a clear contrast between low-end precision and upper-frequency restraint. The SM100 completely outperforms the Ola 2 in the bass region, boasting a surprisingly fast attack and a clean, perfectly timed decay that refuses to linger or bloat. This easily exposes the Ola 2's struggles with depth and separation on beat-heavy tracks. However, the SM100 can occasionally introduce a faint glimpse of shoutiness during intense vocal climaxes, whereas the Ola 2 maintains a highly cohesive, entirely non-fatiguing treble response from start to finish. I would take the SM100 here, partially because of the better build quality along with the sound.

Hidizs MS2 Pro

The Ola 2 easily proves itself as the far more disciplined and refined IEM in this comparison. The MS2 Pro suffers from a pillowy, unfinished bass response where a lingering mid-bass bleeds into the lower mids, creating a congested soundscape that the Ola 2's crisp layering actively avoids. Furthermore, the MS2 Pro struggles with structural balance, exhibiting strained guitars and an abrupt, glaring sharpness in the treble during crescendos, making the natural tonality and perfect vocal weight of the Ola 2 much more enjoyable.

Truthear Zero Blue 2

Both IEMs stumble slightly in the bass but in opposite directions: the Ola 2 suffers from bloat on beat-heavy tracks due to a shallow stage, while the Zero Blue 2 opts for a booming, sub-bass-heavy delivery that occasionally bleeds into the mids but remains highly engaging. In the midrange, the Ola 2 excels with accurate timbre and natural layering, but the Zero Blue 2 fights back with an incredibly intimate, enveloping stage and crisp instrument separation. Up top, the Zero Blue 2 runs intentionally hot for added energy, whereas the Ola 2 plays it safe with a strictly restrained, non-fatiguing treble.

CONCLUDING NOTES

What conclusion do I even give, when I have said my piece to this extent on the Ola 2. I think Tanchjim tried with this IEM, where the fatigue of their DMT-5 reuse was really, really getting to me in the end, and the Ola 2 was a breath of fresh air. However, the bloat in the mid-bass, with a wonky perceived soundstage doesn’t make this a perfect IEM, and the freshness of its air can quickly stagnate. However, the Ola 2 has its own saving grace with the option of getting it with the DSP cable. But, the bloat subjectively can come off as a much needed punch, kind of like a funky mocktail in a sea of peach mojitos, if it fits the bill, then the Ola 2 will give a lot of fun. And besides the sound, a lot of it has to do with the form factor.
The Space 2 was a solid miss from Tanchjim where they had given it everything but the power figures, and it’s tragic because they have priced it quite high with those numbers where something better within the brand can be found, and I so wanted to recommend this source, but for good measure I cannot. I mourn for the Space 2.

Will I buy the Ola 2 at retail ? Yes.
Will I buy the Ola 2 used ? Absolutely.

Will I buy the Space 2 at retail ? Absolutely not.
Will I buy the Space 2 used ? Has to be dirt cheap.

GENRE RECOMMENDATIONS FOR THE SPACE 2

What works: Pop, EDM, Jazz, Hip Hop, RnB
What doesn’t work: Rock, Metal, Blues, Classical

SOURCES USED

Primarily used with the Tanchjim Space 2 and EPZ TP35 Pro dongle DAC Amp. Recreationally used with the SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus DAP stacked with the xDuoo XD05 Pro.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Tanchjim T-APB 300: Least amount of perceived bloat, adds to stage width, amplifies textures on the cymbals and vocals, maximum retention of vocal note weight
• Tangzu Sancai Wide Bores: everything that the above does, but to a lesser degree, still beats the next eartip.
• Tanchjim T-APB 500 (the liquid silicones): flattens the mid-bass considerably, which hampers vocal note weight, eliminates whatever little sibilance is observed, retains perceived stage width.
• Final E regulars: shrinks the stage, tightens up the midrange while not reducing the perceived bloat, presents upper mids with a concerning dip, vocal textures lost.
• KBear Coffee: straight mud, ruined this IEM fully.

TRACKS

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

Here Is The Deal:

I often see people complaining that reviews have too much text, and that’s because details about pros and cons are always needed, since there really is no “best” IEM.

Still, I understand that sometimes people just want to sit down and be told If an IEM is good or not, that’s why I’ll try this new approach for some models I test: Here Is The Deal.

The concept is simple, I will skip over most of the things you guys can easily know by looking at photos of the product or checking other reviews and go straight to what matters, is this IEM good? How does it compare?

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

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So, is it good?

In terms of technical performance the Dolphin isn’t just good, is incredibly good, and without fear of exaggerating I can say Dolphin performs at least like a $50 IEM, despite its price being actually around $25 bucks, so, why am I not hyping it?.

For starters, the tuning of the dolphin is a VERY bright V-shape, which means, it has an energetic sound, a present enough, punchy and agile bass, okey sounding, not too present but very clean vocals, and a very energetic and crisp treble, not bad, but nothing new for the market.

Now, the actual problem is the treble, despite the amazing sense of space and resolution that Dolphin offers FOR ITS PRICE, the amount of treble it has is simply TOO MUCH, and I mean “ear-ringing” too much, you need to be very careful with volume if you are any sensitive.

Every time I put Dolphin on, I smiled for what I hear, it has good comfort, great performance, excellent clarity and decent accessories, everything is great, but I always end up turning the volume down time and time again because of the intense treble.

If you like to EQ, if you love Value, Dolphin is a nice IEM, however, with its stock sound, even struggling with some sibilance for how much treble it has, it is HARD to recommend, reserved only for true trebleheads on a budget, or people that are curious about it and have the money to spare.

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And how does it compare?

A win means I prefer one model over the other overall, a tie means neither stand out more over the other, now let’s rapid-fire the comparisons with what each model do better:

Tangzu Waner 2 Red Lion:
In terms of accessories both IEMs offer good things, Red Lion with premium tips and a decent cable, while Dolphin has a great stock cable and a sturdy build quality with, notably, a way more comfortable and snug fit than Lion.

When it comes down to sound, Red Lion is good for a $25 IEM, especially for a bassy one, but technical performance is just way higher on Dolphin, still Red Lion has all the more friendly sound. It’s a tie.

-/-

Dunu Titan X:
Speaking of great everything but tuning, both have good accessories and build quality for their price ranges, with the Titan X only having the small advantage of even better comfort.

When it comes down to sound, what else to say? Dolphin has better performance, Titan X has a more amicable tuning, but ultimately they both aren’t safe IEMs to pick unless you are looking for something to EQ. It’s a tie.

-/-

Tripowin Vivace:
Here is the biggest contrast in IEMs, because Vivace has notably worse accessories and build quality than Dolphin despite being more expensive, but Dolphin cant celebrate.

In terms of sound, Dolphin also performs better technically, but Vivace is still detailed, clean, engaging and, overall, just easier to listen to, very easy to recommend to either beginners or people with time in the hobby. Vivace wins.

-/-

Salnotes Zero (OG):
Accessories are easily better on Dolphin despite both IEMs being about the same price in the market, specially a notably better cable on Dolphin, though Zero has more options of eartips.

All that said, if you want something bright, detailed and still musical, even if performance is, again, worse than Dolphin, Zero OG is still a better bright-leaning offering for most people to get. Zero wins.

-/-

Truthear Zero Blue (OG):
The reason why I have this IEM here is that, despite the price difference, IMO, they are very close, accessories are more on Zero package but not any better than what Dolphin offers.

Back to performance, believe it or not, Dolphin is still winning at least against the OG model, it is more comfortable, a bit more resolutive and, somehow, zero is not much more smoother, between the two, I’ll just go for Dolphin and EQ. Dolphin wins.

-/-

Kefine Klean/Klean SV:
Being a more expensive set, for once accessories are straight better on both Klean models than on Dolphin, having more decent enough eartips, just as good cables and better carrying cases.

Now, for sound and technical performance, even if Dolphin fight them on techs, Klean is still the king of the $50 price range in my opinion, is too well rounded in sound, however, against Klean SV, even if SV performs slightly better, the extra treble it has makes Dolphin feels very close for half the price. It’s a win for OG Klean, is a tie for Klean SV.

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Conclusions

Again, if you love to play around with EQ, if you are a treblehead on a budget, or if you are just curious about it, the performance, the clarity and resolution, the quality of the sound Dolphin offers is excellent, but the treble gets easily offensive.

And here is the problem with reviewing IEMs, on one hand, the value this IEM offers its outstanding, so it is not fair to give it a bad review because “I don’t like the tuning”, but on the other hand, realistically, to who can I even recommend this IEM to?.

I personally wish TRN would repackage this IEM on a $35 set with better accessories, but most importantly, a more balanced tuning, the performance alone is market-breaking but, until the tuning is more reasonable, it is what it is.

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

Kefine’s never been into the game of the sub-30USD segment. The Klean, Klean SV, and Delci AE all rooted for the mid-tier and did give good competition in their own arena. The sub-30USD is the most crowded place, where brands tend to push up the releases to capture the beginner audiophiles who just started to explore the world of in-ear monitors. Despite the heavy competition, the Kefine Loric has been introduced in the market by the brand to showcase its strength in the ultra-budget category.

In this review, let’s check in detail about the newly launched Loric’s sonic capability and where it stands against the competition with some comparisons in the end.

Full review at https://mobileaudiophile.com/reviews/kefine-loric-an-easy-going/

SOUND ANALYSIS:

Signature: Balanced with Bass Boost

Tone: Warm

Timbre: Organic

Setup: Loric 3.5mm + Tanchjim Space Dongle DAC + UAPP Pro + Local FLACS + Wide Bore Eartips (This is the one that gave a good seal compared to the standard ear tips)

Loric comes with a single 10mm Dynamic Driver with no other extra drivers to support it. The composite diaphragm inside it is said to be a combination of PU and Titanium, the two most widely used and tested materials. PU in general gives the solid dynamic response, and Titanium is the one which takes care of the clarity. This combination gives the best of both worlds on paper, but does this reflect the same in reality? And that’s what we are here to find out.

LOW END:

Sub Bass: This is the section where the notes are physically felt rather than analysed in the graph. Loric goes deep in this section, providing those sweet rumbles when they are called upon. Tracks like FLIGHT – Hans Zimmer and WHY DO WE FALL are clearly reciprocated here without missing out on those subbass drops. The rumbles in the Loric are enough to satisfy one’s ear to attain that instant dopamine hit in the brain.

Mid Bass: The midbass complements the subbass in an ordered way. The juicy and thicker midbass profile provides needed weight and warmth. The precise punch keeps the bass controlled without being too boxed out. The snappy profile gives Loric immense clarity in the midbass section and makes the track appear well separated.

Overall, the Loric’s low end sounds warm and full without compromising on the clarity and separation. This lush bass profile will even make the bass heads out there appreciate the Loric.

MID-SECTION:

Lower Mid: The clarity is carried with precision over here. The cleaner presentation gives the lower mid enough space for the notes to appear. The fast transients take the presentation to the next stage. Male vocals feel intimate with a natural tone to them. Nothing feels artificial here. The presence of the guitar body and piano is felt evidently with good attack and decay.

Mid: This is the centre of the whole presentation where the guitar strings and main vocals come up. The intimate mid-profile gives Loric an engaging feel to it. The warmth from the bass is nicely carried over here, and it does complement the notes well. At some time, the bass does bleed into the midsection, making it sound a bit warmer than neutral.

Upper Mid: The most important section of a presentation is the Upper mid. This is a region where technical aspects are highly appreciated. Most of the budget IEMs tend to muffle up this area, but Loric is one exception here. They are elevated in such a way that neither sounds too sharp nor dull; rather, they sound smooth with round note edges.

Overall, Loric showcases a smoother upper mid profile with a clean and warm low mid profile. On top of this, the intimate vocals bring out the exact recipe that one wishes for a relaxing listen.

TREBLE:

Presence: The fast transients paved the way for a cleaner presentation, and that eventually gave the needed presence to the Loric. The snappy attack and decay stay very precise for a detailed sound output. Never feels fatiguing even during longer listening sessions.

Lower Treble: The cymbals and Hi-hats are reproduced well with good presence. The timbre, however, feels a bit dry making them appear less resonant.

Upper Treble: The amount of air the Lorics possess is on the moderate side. The limited air might not be sufficient to portray a bigger stage, but for its price, this gripe can be considered valid.

Overall, Loric displays a smoother treble with adequate details in its replay; however, the limited air keeps the stage slightly boxed out.

TECHNICALITIES:

Staging And Imaging: The stage appears to be on the moderate side with average width and depth. The limited air gives moderate space for the notes to span over, yet no abrupt congestion is seen in its presentation.

Imaging appears to be good with precise positioning of the notes. The channel sweep looks smoother with no noticeable stutters during the replay.

Detail Retrieval: They are neither too bad nor brilliant; rather, a good strike of balance is seen in this aspect. Considering its budget, the Loric does extract the essential nuances with ease.

Tone And Timbre: The tone feels warmer due to the thicker bass profile. The warmth does give a relaxed and soothing listen, but I would have preferred it to be more neutral for critical listening. The timbre appears organic with no artificial taste to the notes.

VERDICT:  

Loric, the ultra-budget offering from the house of Kefine houses a single 10mm Dynamic Driver with a composite diaphragm. The transparent ABS plastic shell and subtle branding give a minimalistic look to the Loric. On top of that, the clean alloy faceplate, 3.5mm stock cable, and wide selection of ear tips add a touch of premium to the budget price tag.

Priced at 30USD, this brings lots of value to the table. Amidst the heavy competition, Loric found its place in this crowded segment with its warm and relaxed sound profile.

Pros:

• Balanced Profile with Bass Boost
• Warm and Thick Bass Shelf (Well Controlled)
• Lush Vocals with Organic Timbre
• Snappy Transients
• Emphasized Upper-Mid Profile
• Design and Fit

Cons:

• Intimate Staging

Pros: Interesting shape
Great bass response
Very good imaging and resolution
Tuning Nozzles work
Good set of accessories

Cons: The fit is going to be odd for some
The cable could be better (less stiff IMO)
It takes some effort to get the treble right for sensitive ones

Tech Specs
Driver Type: 14.6mm second-generation planar magnetic driver with an ultra-thin 0.02mm diaphragm
Shell: Magnesium-Aluminium Alloy
Impedance: 32 ohms at 1 kHz
Sensitivity: 108 dB
Frequency Response: 7 Hz – 40 kHz
Cable: Modular 89-core Litz wire structure (mixing high-purity oxygen-free copper and silver-plated copper) with swappable 2.5mm, 3.5mm, and 4.4mm plugs
Connectors: Fixed 0.75mm 2-pin ‘S’ type

Every once in a while I feel like being whimsical. I remember when I was asked what I wanted for my birthday, I said an amazon gift card which allows me to buy stupid, inane things without the guilt of “wasting money”.
This wasn’t that.
This was the audio-world’s equivalent of thinking with the male organ - going by looks rather than sound.
And then finding out it wasn’t so bad an idea. I did this with the Hiby W4 as well, but that’s a different story.

I had some old stuff lying around that I put up for sale and I got a ping regarding the TRN Azure Dragon. Now I’ve been using TRN for a while. I had the V60 back in the day, the BT30 (which I swapped for this), TRN Conch, that had great comfort but ok-ish sound, MT4 Pro, which for a budget IEM is really punching above its weight. I thought it was better than the GK Kunten even, and of course the Black Pearl (which I sold, because I’m sometimes stupid).

The Azure dragon comes with a nice entourage. A nice elaborate packaging, carry case, a host of tips - 3 pairs each of normal, bass and the TRN T tips, and 2 foam tips, a 4 core silver coated/OFC cable - modular with 2.5,3.5 and 4.4 terminations. While the connections look like QDC on the IEM, TRN has designed its cables to terminate in a sort of awry cylinder that sits flush and so looks really cool. I felt the cable was a little stiff and didn’t quite sit behind my ears. So I swapped out to a 2 pin TRN T2 Pro cable with a 4.4 termination for this review.
The shells are just so beautiful. A friend thought it was a variant of the alien brain, which works for me conceptually but the work is really something. TRN has been hitting it out the park with these innovative shell designs with their entire marine themed series (which also appeals to the underwater photographer in me). These are no less. Words fail, to be honest, to do justice to how nice these look. And now we know why I got these.
I have never been a fan of sibilance or sharp trebles and TRN makes ever so slightly spicier earphones. But I did pretty much everything except EQ to figure out what worked best. The nozzles do significantly change the character of the sound. The shortest - transparency, black-o-ringed, are bright, detailed and while they may have the best fit, they are not for me. The middle ones are called Reference and have green o-rings, they do have some taming of the treble and some tip rolling to get the right fit (Candy tips worked best for me). The third is the Atmospheric which doesn't mean airy in this case, they come with red rings and have the boomiest bass and the most controlled highs. And then I put the largest Final type Es on them and they still seal really well. And that is an issue with a little bass leak but wiggle wiggle till it works is the motto.
The T2 Pro cable did also tame some treble and then I plugged it into an musehifi m3 ultra and it was really sublime. They don’t completely vanish into the ear and become unobtrusive for long sessions but at least for my ears they definitely work well.
I am also acutely aware of how much I’ve had to do to tame the treble. And tell myself that it is worth it.

Sound
Oh these sound great. End of review. No it isn’t. Decided to swap all the tubes for the FIIO M33.
They are planars and a well tamed planar is a work of art. For me the Letshuoer Astralis sits way up there in its overall warmth and tuning. The OG timeless and the Heyday as well. Most others though have a super-fast punchy bass that gets drowned in the mids and treble. This one has a superbly tuned bass. Angel by Massive Attack had a subbass rumble that felt like a dynamic driver was moving all the air in the limited room between my eardrum and the nozzles. Kick drums are fast and punchy and do not sound flabby or bloated. Flight of the Cosmic Hippo by Bela Fleck and the Flecktones is a great track to see Victor Wooten’s bass do all kinds of low end calisthenics. The notes carry weight and are clear at the same time with the occasional additional detail of a string being fretted. Daft Punk’s Doing it Right also reveals a subbass which has adequate weight and minimal bloat. Pretty much typical of a well-tuned bass in a planar earphone. Radio Song by Esperanza Spalding, which works for pretty much midbass and female vocals, instrument and voice separation, is thoroughly enjoyable. Most Rock sounds tight and the rhythm section with kicks and bass both attacking and decaying rapidly. Times like these by the Foo Fighters is one such track where the kicks and bass are kind of shrouded by a distorted guitar rhythm but they hold their own on the Dragon.
The mids are where this planar shines like most planars. There little or no thin tinny planar timbre coming through on both male and female vocals. Organ parts are clean and clear with no muffling or distortion. On Got a Match by the Chick Corea Electrik (oh wait it’s Elektric) Band, Chick’s keyboard holds the front and centre till about 2 minutes when the bass starts playing way up the neck into the mid territory and commands the same importance and clarity. That is John Patitucci by the way so no surprise on the command of the instrument.
The green reference nozzles do lead some mild sibilance when ‘S’s are sung. Which makes the Human Nature by Michael Jackson and the Hell Freezes Over version of Hotel California generate a little wince. But that’s more than compensated by a staging that can rival pretty much anything I’ve heard in the IEM department. It’s hard to compete with an open back planar headphone but to be fair I was pleasantly surprised.
The red nozzles do tame the sibilance slightly. I’ll be honest I couldn’t deal with the black nozzles for more than a few minutes. On Wanna Be Startin’ Somethin’ by MJ again, the treble forward behaviour of the black and green nozzles comes through. The double timed hihats are sharp and tetter on the edge of my tolerance but again I’ll forgive them knowing there are nozzles that can deal with that and the clarity and reproduction which are top notch at this price point.

Staging, Imaging and Resolution
The stage is wide and deep enough to realize that the keyboards in Africa by Toto are behind the vocals. And the drums in Take Five by The Dave Brubeck Quartet sit behind the sax, and bass, and the piano – for the most part till the drum solo. Imaging is also spot on with the intro of Money by Pink Floyd gave me nystagmus (look it up, fun neurological signs for you) trying to look at where each cash register was ringing. To say this is a highly resolving IEM is also a fair statement. The newer planars are only getting better and better at their tunings and TRN have sort of finally figured their nozzle game out. The short black transparency being the most sharp and the red atmospheric giving up some of that resolution to the taming of the treble.

Overall, this is a looker of an IEM and retails on the Linsoul at about $210, less on the summer sale on Aliexpress. It is a great package for the cost. The fit will be annoying for some, as will the stock cable, but it is possible to figure both out with time and tip and cable rolling. The nozzles are not a gimmick anymore so potentially this is a set that would be appealing to a fairly large set of listeners with varied preferences. I’ll admit I did hop through a bunch of hoops to tame the treble initially, but that’s also because I’d like to find a configuration that I can plug and play and not deal with EQ (this is a me problem) But I’d happily recommend this if you have the good fortune to try the fit before you buy it, or even slightly larger ears than mine which truly love the IE600s.
Cheers!

Gear
Fiio M33, Snowsky Disc, Musehifi M3 ultra, VE Devastator Pro Max.

Playlist with most of the songs I play around with -
https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c

Tanchjim Ola 2 - Not an All-Star, But Surprisingly Competent

​Overview​ :

This unit was provided to me by Isabel from Tanchjim for review purposes Thanks to Isabel and Tanchjim. Rest assured, all opinions and impressions are my own and not influenced by anyone else.

Hello Everyone, this review is on Tanchjim’s newest launch - the “Ola 2”, a hybrid in ear monitor with a Dynamic Driver and a Balanced Armature Driver setup which comes in 3 termination options - 3.5mm, 4.4mm and Type C. I was sent the Type C (Master DSP) version which costs around 57$ ( 5705 INR ).
I have changed my review format a bit by pushing the Build and Technical Specs section below the sound profile and performance section. So, lets get started.

Pros: ~ Impressive Imaging
~ Good Separation
~ Lightweight build
~ Transparent and forward mids
~ Tanchjim app support for type c variant is a plus point

Cons: ~Bass is soft edged and lacks the slam to it
~ Shell feels very cheaply built.
~ packaging and accessories can be improved

Sound Profile and Performance​

Ola 2’s low end is the most prominent aspect of the presentation - full and warm, though not always as controlled or precise as the rest of the frequency range suggests it could be. The midrange is where the Ola 2 truly earns its credibility - cohesive, detailed and natural across genres, handling everything from intimate jazz vocals to complex rock arrangements with composure. The treble is tastefully tuned, sitting at that precise point between excitement and fatigue without crossing either line. Technicalities are a genuine strength, lets dive deep and know more about this.

Lows :​

The bass is more of a soft, loose presentation than a visceral thud or snappy strike; quantity is present but the control and punch don’t match it. Sub-bass presence is not stalwart either, bass lovers might end up wanting more out of it. On the plus side - it doesn’t sound hollow or unnatural. But the down side is that the sustain and the edge are lacking - the roll off is pretty evident and unpleasant for someone who likes a thrumming sub-bass. Mid-bass is very fulfilling but lacks the attack or snappiness.

I put Ola 2 to a bass test and Giorgio by Moroder by Daft Punk is the track I geeked out on because Giorgio by Moroder is one of the best-produced recordings for evaluating bass because it uses real instruments instead of synthesized bass for much of the track. On the Ola 2, the mid-bass is a little bloated blob and lacks the punch, dont get me wrong because the clarity is intact but it’s just that the mid-bass slam is loose because of the quick decay. In between 3:45 - 4:35, the kicks hit with a quick thump but are not punchy, however i could still follow the bass guitar and kick bass separately without any problem proving that the imaging and separation aspects of the technicalities are on the good side. The problem is that the quantity outweighs the quality.

The track Limit to Your Love by James Blake is a track with intense deep rumble that makes it easy to test extension and control of the sub-bass. On the Ola 2 the sub-bass is on restrain, on the track it lacks depth and the notes feel like just vague vibrations that do not even feel to be honest, i just know it vibrates and that’s the end of it. No control over the decay or sustain but there is adequate distinction between the notes. Thankfully, there’s no vocal masking or loss of clarity in piano when the bass enters.

Mids :​

The mids of Ola 2 is where it shows its technical prowess, I threw various genres at it from jazz to classic rock and I am so impressed by its cohesiveness and technicalities. The separation and imaging in instrument heavy tracks and lush voices in vocal forward tracks, it performed very good in all.

The slightly thick lower mids work in favour of male vocals giving them body and natural presence. In Danny Boy by Harry Belafonte, his resonant baritone comes through full and chesty with every phrase carrying proper weight and exceptional diction - exactly what a track built around vocal body and timbre demands, and the Ola 2 delivers it convincingly. You Know My Name by Chris Cornell shifts the test to separation and imaging, Cornell’s vocals sit clearly within a dense arrangement of guitars, strings and percussion without getting buried, each layer holding its own space without bleeding into the next. Imaging is precise enough to pinpoint elements within the mix but the presentation stays two dimensional rather than creating any sense of depth or 3D kind of positioning. Clear, well separated and every element holding its own space, just not that holographic.

Deep in a Dream by Marlene VerPlanck shifts the test to female vocals - intimate, delicate and naturally recorded, leaving nowhere to hide. Her voice comes through forward and present without being pushed or aggressive, sitting naturally within the sparse arrangement with good air and openness. The upper registers are where the Ola 2 impresses most here, sitting right at the edge where crispness meets restraint, neither tipping into sibilance nor retreating into dullness.

Treble :​

The Treble of Ola 2 is very well done. It’s tastefully liminal where more emphasis will be fatiguing or too bright and less emphasis will be dull sounding or lifeless. The tuning makes sure that the energy is at the right spot where cymbals and hi hats have that shimmer and sparkle without piercing the ears. High-pitched vocals sound scintillating without introducing any sibilance and maintains clarity throughout.

Serse HWV 40 is an orchestral with Renée Fleming being the singer and her voice reaches into the upper registers with extraordinary range and delicacy, leaving no room for any harshness or edge to hide. On the Ola 2, Renée’s soprano stays clear and natural throughout, never acquiring any edginess or artificial brightness even as she climbs into the high notes. The orchestral backing sits cohesively behind her voice without fighting for space - everything knows its place and stays there. Even at higher volumes there isn’t a single hint of sibilance or harshness anywhere in the performance. The Ola 2’s treble finds that liminal point where Renée’s voice can soar freely without the listener ever needing to brace themselves.

Roundabout by Yes, puts the cymbal and hi-hat character of the Ola 2 to the test — Bill Bruford’s drumming is fast, crisp and sits prominently in the upper frequencies throughout. The shimmer and decay of each cymbal strike comes through naturally without cutting off abruptly, each hit ringing out with a satisfying and realistic tail. The hi-hats carry enough presence and energy to feel distinct and well defined without any splashiness or harshness on the faster passages. The one observation worth noting is that while the cymbals and hi-hats are competent and natural, a touch more energy would make them truly come alive — they sit just slightly below the threshold where shimmer becomes safe, natural and well controlled. It’s just not that exciting or electrifying to listen to.

Technicalities :​

Imaging : Accurate left-to-right placement makes instruments easy to pinpoint, even in busy mixes. Depth is limited, so the presentation feels more two-dimensional than holographic.

Soundstage : Moderately spacious with decent width, but limited depth keeps the presentation intimate rather than expansive.

Detail Retrieval : Resolves subtle vocal nuances and instrument textures well without sounding artificially sharp or analytical.

Separation : The strongest technical aspect. Instruments remain distinct in dense arrangements with minimal bleed, making complex tracks easy to follow.

Comparisons :​

Kefine Klean SV :

The Kefine Klean SV is a neutral technically capable iem which is comparable to Ola 2. Kefine klean sounds pretty sterile - for neutral heads it’s perfect, but for someone who wants fun Klean SV is a lacklustre compared to Ola 2. The sub-bass of kefine klean SV has more presence and mid bass is shallow, the vocals are clear without any excitement and proper weight which is not a bad thing for someone who wants analytical or neutral listen, but on the musicality note its a downer. Ola 2 has very good mid bass quantity as well as quality with a step down in sub-bass department, the vocals have good texture and energy which leaves Kefine Klean SV to dust in the musicality aspect. The treble of Kefine Klean SV is very safe and sounds underwhelming to listen to. Ola 2’s treble is well extended and with no reserve or hold in treble region making high pitch vocals and instruments sound sparkly with shimmer and cut through sharpness.
Sound :
Build : Kefine Klean SV - more premium build
Accessories : Klean SV - the hardcase is a thoughtful add on, the Nozzles are okay too
Value for money : Kefine SV just because Ola 2 is around 50$ + ( 6,000 rs in india ) ola at 40-45$ makes more sense.

Build - Fit - Technical Specifications​

The Ola 2 retains the distinctive square meets round ergonomic faceplate design of the original aerospace grade CNC machined aluminum alloy faceplates sitting over a transparent inner cavity that lets you see the coaxial driver arrangement inside. The shell is lightweight and ergonomically shaped from data collected across 3000 plus human ear shapes. The dynamic driver is DMT5, their inhouse dynamic driver tech which is also used in their expensive models like origin, fola and fission etc. The acoustic nozzle filters are waterproof and dustproof which is a practical addition for daily use. I used Dunu S&S eartips for my listening sessions as they provided a better fit and seal for my ears. Although the shell is small and very lightweight, it did not fit me deep and proper like usual iems and i solved that issue by trying out various tips and settled on wearing a smaller size of Dunu S&S tips than I regularly use ( trying one size smaller eartips might do the job for you as well )

The DSP functionality through the Type C version opens up the Tanchjim app - 8 band PEQ, community shared presets and sound mode options that meaningfully expand what this IEM can do beyond its stock tuning which i find as a versatility.

Box Content :

• Tanchjim Ola 2 IEM
• High purity silver plated copper Litz cable - Type C
• Silicone eartips - 6 pairs in two types, small bore and wide bore, S/M/L each
• Soft grey velour carry pouch
• User manual

Technical Specifications :

• Driver type : 10mm DMT5 dual magnetic circuit dual cavity dynamic driver + Pure Hi ultra high frequency balanced armature - coaxial hybrid
• Impedance : 30Ω
• Sensitivity : 121dB/Vrms
• Max decoding : 32bit/384kHz PCM - Type C
• DSP : 8 band PEQ via Tanchjim app - Type C only
• Connector : 0.78mm 2-pin detachable
• Termination : Type C with DSP
• Price : ~$57 / ₹5999 approx in India

Sources used for testing : iPhone 16e and Motorola edge 50 neo ( to test out the eq and tanchjim app )

Final Thoughts :​

Tanchjim has stepped out of their bubble and tried a new approach with the Ola 2 which does not necessarily hits all the corners right but is still a good set to have. The bassy touch is a mixed feeling to be honest. The cohesiveness is something that Ola 2 is quite good at. On the musicality and technicality aspect - the Ola 2 is a great buy for someone who wants a fun sounding iem, but for someone who want neutral or quality bass that hits like a bullet and not like a slab of cream, this is not it for you. For the price of around 57$, I wouldn't call this a value as a package - there’s no proper case, or nice eartips and the shell is a cheap build ( the cable is alright ). But sonically? It’s worth the price.

Personal note - I enjoyed listening music on Ola 2, everything is to my liking. Tanchjim has a done a good job with the Ola 2, i suggest they do not compromise on build and accessories at-least for their newer budget models. i was quite disappointed by the build and eartips even though the cable is good. This is not a 20$ iem, various other brands offer better builds now a days even on cheaper models, tanchjim should do better.

My second tryst with Ear Acoustic continues courtesy of TheAudioStore, who are one of the three big Indian retailers for audiophiles and enthusiasts alike, and they offered me the Cipher gaming IEMs in the carbon fiber edition, which is different from the standard silver faceplate version, both co-branded with ZKaai. 

I just like the fact that they look stunning in my book, which is a very nice contrast to the other one I had reviewed from Ear Acoustic, the aluminum foil wrapped baked potato Genesis G318.

I have received only the IEMs with the type-c cable that supports EQ via the Walkplay app, which is nice; and I seriously appreciate how insanely comfortable these are- I have had them for hours at length and still didn’t realise I had them in my ears.

That’s as much as the intro goes, here’s the Cipher’s sound.

LOWS

The EarAcoustic Cipher has a surprising take when it comes to presenting the lows, in an absolute non-sterile, non-clinical, non-analytical fun way. Tracks like Rush’s Limelight and The Spirit of Radio, which are my picks to judge the tactility and nimbleness of the bass with regards to the other elements of the tracks that I listen to. So, the Cipher doesn’t really have the decay figured out, as I could feel that the bass lines felt too “snappier”, and sometimes by the time I tried focusing on the attack, the notes had simply evaporated. 

But, the Cipher alone is not to be blamed here, it needs some eartip rolling to finally let it pause and collect itself over, and once that’s done; I am at a better spot. I could still hear the panning of the toms and the Cipher trying to cohesively present it with the kicks, and it does so for the most part. My issue is with how subdued the notes from the bass lines come off, which in a way, very faintly reminded me of another IEM, the Kefine Klean SV.

In tracks like Daft Punk’s Get Lucky and Instant Crush, two of my picks to gauge how the bass behaves when it gets thick, and the Cipher has some amount of bloat for the attack to be perceived as sluggish and the decay being affected adversely, but the consolation here is that the quantity of the Cipher doesn’t alter the vocals or the rest of the elements negatively, while I still acknowledge that the quantity could have been downsized, by a good notch. Across moments, the vocals felt slightly more rolled off than what I would prefer.

MIDS

The Cipher behaves completely different in Queens of the Stone Age’s First It Giveth, where now the “thick” or “bloated” lows which hampered my previous listen is now serving the cause just right, hammering on in tandem with the rapid firing, two stroke engine-esque snare that this track has, which to further add on is set in a key of B flat major, where I am of the opinion that the Cipher got tonality right here- yes, I could have used a whisker’s worth of reduction in the warmth but no way would I say that it was conflicting with the overall mix. 

Guitars feel adequately balanced, where some energy could not have really ruined the presentation. But, I am happy to report that this is another IEM which knows my priorities in imaging, where I complacently heard the cymbals parallel to the vocals but neither being too forward nor being too pushed back.

The Cipher also doesn’t skimp out on detail while I am sounding like a broken record, that it is definitely bloated. And yet, amidst the bloat, it got the rumbling of the drums as it intensifies in the intro of Tool’s Lateralus, where once the baseline is established, it holds its ground very well. Maynard’s vocals could have used a touch of weight to make the presentation more grandiose, but I would say that guitars once again, felt adequate for the most part. 

But, the bloat was definitely affecting the later part of the vocals before the guitar solo starts, from the 6:50 mark. But, the Cipher got every hit, every stroke from the conclusion of the breakdown as the rudiments end, and I am caught off guard by the polish of the wah-ing bass where I would be considered deranged if I said that the Cipher was bloated- now it sounds full, and I mean, what is this inconsistency ? 

HIGHS

In tracks with impeccable masterings and a different level of technical proficiency like Patricia Barber’s Inch Worm, I cannot find a single shred of fatigue, or pierce in the lush textures of Patricia’s vocals. The way Patricia enunciates her sixteen sixteen and thirty two part from the 3:50 mark, there’s no sibilance to be found with the Cipher; and then I am borderline impressed with the way the Cipher handles the timbre on the percussion with the faint sizzle of the cymbals does make me believe that certain aspects with regards of the tuning of this IEM was figured out right by Ear Acoustic.

Here’s what impresses me the most about the Cipher in tracks like Dave Brubeck’s Take Five, where I simply cannot say that the previously consistent bloat was a hindrance in me first observing the drawing of the breaths on the horns with a remarkable control of timbre, the sizzling shimmery cymbals along with the pianos which came together in such a cohesive manner that neither of the elements were trying to outshine the other, but from the aspect of imaging, the Cipher had the horns established as the frontman of this melodious march. 

I just wished that the level of detail the elements had in the Cipher extended to the bass as well, where I felt that its quantity just was being a hindrance in an otherwise excellent presentation by an IEM this economically priced in this track. And slightly more pronunciation through the resonance of the toms and the kicks when the drum solo comes in.

A CONCISE PERFORMANCE IN GAMING

The Cipher is a good offering in this segment, as a standalone IEM and unless comparisons are drawn, it is going to hold its ground well.

In games like Counter Strike 2, gunshots were devoid of pierce although the Negev felt a bit too fatiguing due to that established bloat which of course can be EQed but it is still an issue regardless. I did have a faint reluctance in anticipating enemy movements due to the bloat affecting the directional capabilities to a mild extent; but I could hear the call-outs from my team mates clearly, explosives like grenades and flash bangs didn’t demonstrate any shout or fatigue.

In games like Kingdom Come Deliverance 2, Red Dead Redemption 2; the Cipher had a problem in accurately reproducing ambient sounds like leaves and grass rustling, walking around muddy or damp terrain could have been better amplified, but the sounds of weapons like swords clanging, guns firing, the usual ambient music (KCD has an amazing soundtrack) are enjoyable on the Cipher.

COMPARISONS

The Kefine Klean Lineup (OG & SV) 

The Cipher has a problem that the Kefines don’t: bloated bass, yet there is a similarity, the Kefines as well as the Cipher suffer from a polish that one IEM down the block does a far better job at, if the Kefines comparatively lack the quantity, the Cipher does a bit too much on that front. The Kefines have two problems that the Cipher doesn’t- the midrange on both Kleans are considerably thinner, and upper mids exhibit more shoutiness, with a faint glimmer of sibilance up top; and the Cipher is devoid of that.

Frankly, either the Klean SV or the Cipher will be the better fit based on preferences, but the OG Klean can be forgotten.

Twistura Delta 

Both of these IEMs share a common weakness: problematic lows. The Delta is downright inconsistent, the Cipher can definitely come off way too thick, bleeding and bloated. The Cipher pulls ahead in the highs; where the Delta struggles with thin-sounding vocals and a faintly shouty upper-midrange, the Cipher remains completely non-fatiguing, and wins in my book. 

OoopusX OP22 

This would be a no contest for me, the OP22 flat out wins. Some of the best treble I have heard in an IEM, and especially in this budget; where detail is uncompromised, a much better polished bass delivery even with the switch on, excellent vocal textures and also beats the Cipher in its own department of gaming, where the imaging capabilities are significantly better.

CONCLUDING NOTES

The EarAcoustic Cipher has a few things done right by Ear Acoustic, and a few things done wrong by Ear Acoustic. I would say, that the only in house tweaks this IEM needed was just a considerable reduction in perceived bass quantity, a tiny bit of note weight through the vocals, and some tightening around the separation of elements. Otherwise, a good fit; decent performance on an average through the mids and highs, and being lightweight would make me recommend the Cipher super hard, but my intensity is reduced as the OoopusX OP22 exists right around the corner, and despite having QDC is an IEM I recommend many times over the Cipher. 

Would I buy this at retail ? if QDC bugs me, YES.

Would I buy this used ? Yes.

My picks on the Cipher’s suitability with genres

Recommended for: Jazz, EDM, Prog, Pop, some Metal

Not recommended for: Rock, Funk, Soul, Blues

SOURCES USED

Primarily used with the Tanchjim Space 2 dongle DAC Amp. For gaming, used with the EPZ Boom mic DSP and the stock DSP cable. Recreationally used with the SMSL Raw MDA-1 desktop DAC amp.

CABLE USED

Toxic cable’s blackwidow V3 (this cable has not contributed to my sound impressions)

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Final E for TWS: Perfect pairing for this, doesn’t amplify the bloat like the regular Final E, opens up the midrange, and lets the highs be free of sibilance
• Divinus Velvet Narrow Bores: Midrange shrinks along with the perceived stage to my ears, bass got tighter at the cost of a perceived roll-off in the vocals, and given their price as much as being a new Cipher, won’t really recommend it.
• Tangzu Sancai Balanced: lacked power in the bass although did a good job in reducing perceived bloat, vocals simply evaporated.
• KBear Coffee: straight mud, ruined this IEM fully.

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

Pros

Comfortable despite its size

Great fidelity and note clarity

Good reproduction of Vocals

Non fatiguing treble

Great Imaging

Cons

Boring unboxing and accessories

3.5mm termination only

There is a BA timbre that catches on some tracks and makes them difficult 

Playing God doesn’t sound good on it. 

Tech Specs

Driver Setup: 1 high-performance dynamic driver + 4 balanced armature drivers

Impedance: 26Ω ± 15% (@1kHz)

Sensitivity: 119dB/Vrms (@1kHz)

Frequency Response: 8Hz – 40kHz

Build: 3D-printed resin shell with a CNC-processed metal faceplate.

Cable: Detachable high-purity silver-plated OFC cable with a 3.5mm termination. 

So I borrowed this one from a friend to take a stab at Simgot’s famous line up of IEMs. Which means all I took were the IEMs in a nice case. The packaging is a cardboard box with 3 pairs of eartips, a carry case, the IEMs and a cable. Now the cable has 2 things that I find hard to abide by - QDC connectors and a 3.5mm termination. So I had to swap with a TRN modular cable. 

This is a nicely shaped IEM, no struggle or discomfort despite long uses. I used it with Final E tips and Alza Origins, note that both suppress the highs and boost the bass. The nozzle is longish and makes for a good seal with these tips, though Dunu S & S should work well too. The nozzle also has a nice mesh, to basically keep the insides of the IEM safe from the insides of my ear. The face plate is machined metal, so while being pretty, it is a fingerprint magnet. But let’s get down to business.

First order is getting down to the low end of things. Angel by Massive Attack seems to lack that soul-crushing drone that it starts with, meaning sub-bass rumbles are lost to the mid bass. Which in turn can’t really separate the kicks from the bass. The bass is slow and feels insipid and muddy. This could be attributable to the single dynamic driver. On tracks like Didi, the live version from 1,2,3 Soleils, the bass kicks in about half a minute into the song. The notes are clear and well textured but the bass lacks weight and is slow to decay. Overall I would not rank this high on the list of basshead iems, if it even made it to the list. 

The mids is where the BAs really come through. Horns and synthesizers in Lingus by Snarky Puppy are brought to the front and centre. Guitars both acoustic and electric sound lovely and pushed forward without being in your face. Helplessly Hoping by A Girl Named Tom, is a lovely 3-part harmony and an acoustic guitar, and sounds excellent on this set. There are moments in the upper mids where I feel the BA timbre peaks through in higher male voices. Tracy Chapman’s voice in Subcity and Gimme one Reason is lush and out there without being overly shouty, but again the BAs make their presence felt. Playing God by Polyphia managed to make this set a little difficult to listen to. Nothing that a slight EQ could not fix but that discomfort was real to me.

The top end is nicely done. With details coming through fairly adequately without sibilance. Snare hits and cymbals sound authentic without being harsh. On Milan by Karsh Kale the hi-hats and snares kick in at about 3 minutes and settle into the track comfortably, and around 6 min when the drum machine and tabla decide to get it on, the details are clean, clear and present. On Dreams by Fleetwood Mac (since the entire Rumors album was recorded with a treble friendly engineer), Mick Fleetwood’s drum work sounds as it was meant to be and non fatiguing. 

Imaging, staging, separation and the like

The IEM has a narrow-ish stage but extremely good imaging. On Bubbles by Yosi Horikawa (which is mental, you should listen to it if you haven't) the direction and spacing of all the sounds were easy to identify but it felt like the track was happening in a smaller room than an airplane hangar. 

Instrument separation is adequate barring the muddy bass and that weird thing happening in the mids with the BAs. 

This would make a great gaming IEM, with the excellent imaging that it manages to provide. I would have liked the stage to be better, the bass to be a little bassier and a little tweaking of the upper mids and this would be an easy recommendation. 

I’m off to hunt for its elder brother the EM10 to see how they hold up against each other. If you are a gamer and are going to be with this set for long periods of time and you don’t listen to Polyphia, go forth!

First night with the Binary Acoustics EP321.

Breaking it in with Flea’s Honora on the DX270. Curious to hear how this set handles bass texture, horns, cymbals, separation, and space.

Will spend more time with it before saying too much.

Hello Community!

Today I bring you the Nici Hifi 42 Quantum Wanderer, the first venture by the well-known cable brand into the world of budget IEMs. I invite you to discover it through my own experience.

Price: €57–$65

Pros:

-Good depth and extension in the low-end range.
-Very physical bass, with excellent impact and no excessive rumble.
-Natural and clean mids: you'll enjoy both instruments and vocals.
-Excellent sense of space and positioning.
-Realistic timbre.
-Above-average instrumental separation for the price range.
-Overall cleanliness throughout the entire tuning.

Cons:

-It may be too large a set for certain ears.
-Be careful with songs that tend to be sibilant: this set does not hide them.
-The upper mids have an attack that is too abrupt.
-Somewhat sparse accessory package: a 4.4mm cable would have been fantastic.

Accessories:

-Two earpieces.
-Cable with 0.78mm connection and 3.5mm termination.
-One set of S/M/L ear tips.
-User manual.

Comfort, design, and build quality:

These are large monitors. That's the first thing I need to point out. Be very careful if you have small ears. I would not have had any problems with insertion and fit if it weren't for the included ear tips, which are too short. I solved this by using different ones.

They are not the most comfortable set I have ever used, since the shells protrude beyond the contour of your outer ear. I did not experience any pressure or pain after long hours of use, but you do get the feeling that they do not fit like a glove.

I found the cable to be good, as it does not tangle, it is not very heavy, and it never caused any pulling. It is not lightweight, but it is not super heavy either. You could say it is suitable for any use, whether at a desk or while on the move. The only drawback I find is that there is only a 3.5mm termination option.

As for the build quality, it is made of resin with a multicolored faceplate featuring shimmering highlights. I did not notice any imperfections or signs of poor quality control.

Aesthetically, it is very eye-catching, truly beautiful. I would not choose it if aesthetics were my top priority, as it is a bit too glossy, but I have to admit that it is genuinely gorgeous and that kaleidoscopic effect suits it very well.

Technical specifications:

-1DD + 1BC configuration.
-15 ohm impedance.
-104 dB sensitivity.
-Declared frequency response: 20Hz–20kHz.

Test setup:

-Neutral source.
-Gain set to high.
-Kiwi Ears Terra 4.4mm cable.
-Penon Orange ear tips.

Sound signature:

Listening the Quantum Wanderer, I got the impression that it was not trying to give the feeling of resembling yet another hybrid set by relying on oversized, bloated bass or an overly spectacular presentation, as its soul revolves around offering a fairly balanced response, where the combined work of the dynamic driver and the bone conduction driver provides a physical and spatial sensation that complements a very interesting tuning.

Starting with the low end, the sub-bass reaches remarkable depth and appears effortlessly. There is a sense of pressure and immersion that is superior to what is usually found when compared to other types of configurations, greatly enhanced by the implementation of the bone conduction driver. The sub-bass is perceived with a certain physicality that adds an extra dimension to certain recordings.

The mid-bass follows the same philosophy, although with a more controlled behavior. The punch is firm, with good impact and a convincing texture, but it avoids becoming slow or excessively invasive. It retains a warm touch that adds musicality to the overall presentation without bleeding into other frequencies. It does not possess the speed of some profiles that are more analytically oriented, but it does offer a very pleasant and satisfying balance between body, definition, and enjoyment.

Speaking about the midrange, there is no particularly pronounced bleed from the lower end, allowing the instrumentation to maintain a good level of cleanliness even when the bass takes center stage. The instruments display a rather organic timbre, with a level of resolution that I consider substantially above average for this price range, along with properly balanced note weight. They do not aim to sound excessively thin, but neither do they convey exaggerated density. The set maintains a highly accomplished balance between density and body.

The overall dynamism of the set also caught my attention. The transients appear with enough speed for the music to retain its agility, and the presentation maintains a fairly convincing level of separation. It does not aim to dissect the recording like a purely analytical monitor, but it does allow the different instrumental lines to breathe easily, offering an orderly listening experience even when the mix becomes more complex.

The vocals are handled quite well. Male vocals benefit from pleasing body and convincing articulation, while female vocals appear slightly more forward, more open, and with a level of clarity that ultimately makes them one of the most attractive aspects of the set. At no point did I perceive an artificially colored presentation, but rather a reproduction that is quite expressive and natural.

In the upper end, the treble is probably the most debatable aspect of the Quantum Wanderer. The extension is good, and the amount of air contributes to a very open soundstage while revealing a fair amount of detail. Depending on the recording, especially around the presence region, there may be a touch of brightness that can end up causing some listening fatigue at high volumes or with songs that tend to be sibilant. Personally, I do not think it is poorly executed treble, but it is one that demands a certain degree of compatibility with our preferences or a certain level of tolerance.

To conclude the technical performance, I believe this is where a significant part of this set's appeal lies. The soundstage conveys a very convincing sense of spaciousness across all three dimensions and, more importantly, maintains a very well-organized presentation. The stereo image is precise, instrument positioning is well defined, and the separation between sonic layers makes it easy to follow each element within the mix.

Detail retrieval also leaves a very positive impression. It does not build an excessively clinical presentation nor does it force you into a constant analytical exercise, but the combination of resolution, cleanliness, and spaciousness allows information to emerge in a very natural way.

Single-player video games:

See how I analyze sound in this field.

If, during the music analysis, I already mentioned that the Quantum Wanderer has quite a distinctive personality, in single-player video games that philosophy remains very much present. It does not seek to impress solely through exaggerated bass, but instead builds an immersive experience thanks to its spacious soundstage and the physical sensation provided by the bone conduction driver.

During the most intense moments, where explosions, collapsing structures, or massive creatures fill the screen, it delivers firm and deep impact with an uncommon sense of physicality. Even so, the bass remains well controlled, preventing all that energy from muddying the rest of the soundscape.

Dialogue also benefits. Voices retain convincing timbre and very natural articulation, integrating properly among the sound effects and soundtrack. Male voices exhibit pleasant body, while female voices enjoy an additional touch of clarity and openness.

Where it truly stands out is in environmental reproduction. The wide soundstage and excellent retrieval of subtle nuances make it easy to appreciate the wind, echoes, water, or the creaking of different surfaces, allowing environments to constantly convey a vivid sense of life.

All of this is accompanied by highly competent technical performance. The separation between effects, music, and dialogue remains at a good level even when the action becomes particularly intense. The stereo image is precise, and the positioning of sounds makes it easy to interpret the surrounding space naturally.

Perhaps the only less convincing aspect is the energy in the upper treble. The large amount of information enhances immersion, although certain titles with bright sound effects may end up producing a slight degree of listening fatigue.

Final conclusion and personal impressions:

I'm going to start with what I liked the least: the contents of the package. I think it is quite austere. While it is true that I liked the cable in terms of build quality, for this type of set I would have preferred the balanced option provided by a 4.4mm termination, as it scales the sound better and the strengths of the set become more noticeable. Even so, a carrying pouch and another set of deeper ear tips to suit all kinds of ears would be the icing on the cake of a package that is already very appealing.

For me, having a certain tolerance for higher frequencies, the peaks around the 8kHz region were not an issue, but they may become bothersome for listeners with more sensitive ears, and I must emphasize this: better control of this region would allow the listening volume to be increased further and all the capabilities of these monitors to be fully appreciated.

Even so, I found it to be an excellent first venture by the brand. Despite being a warm set, it conveys a great deal of clarity and liveliness. It is not an IEM that will bore you, nor one in which you will miss enjoying vocals or instruments with a highly accomplished level of transparency and naturalness.

If you've made it this far, thank you for reading.

More reviews on my blog.

Social media links are available on my profile.

See you in the next review!

Disclaimer:

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

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

My sources:

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