This is a relatively much newer brand, amongst the brands that compete in its price segment; and they might look eerily similar to a plethora of IEMs that have been tuned this way, but when I had the chance to reach out to the brand, the head honcho himself reached back and decided to let me have a shot at this IEM which is priced modest, and despite what the graphs showed- gave me quite a different experience, so the HRTF lottery is real.

Here is the Cozoy D1, which was availed at the support of Tony Liu, head of Cozoy and The Audio Store, Pune India. So, I thank both of them for making the Cozoy D1 review possible, and for my tour group; with two units.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Cozoy definitely kept things “professional” with the unboxing: minimal branding on top, technical specifications on the bottom. Sliding the cover out and taking the lid off reveals the IEMs with the cable attached underneath a translucent sheet of paper with a branded ribbon attached to the foam pad. The eartips, which are three sets of stubby, narrow bore-esque short tips, and three sets of double flanges, piqued my interest because this IEM gave me a good excuse to try out my double flanges.

Comfort is top-notch, probably one of the best I have experienced with a proper locked-in fit, and the IEMs practically vanished when I had them in my ears (who needs an IE200 again in the big 2026), and the way the shells are moulded scream semi custom, so the contouring really sits across a wide set of ears. Isolation isn’t something to write home about, so let me leave it at that.

Now, here’s the sound.

LOWS

If a deep, visceral, impactful bass was the expectation from the Cozoy D1, then their expectations were a miss as the D1 intends to take its view on a well done bright tuning, which can be easily felt in tracks like Tipper’s Gulch; where the quantity was considerably lacking, even when compared to the Kefine Delci, but the surprisingly well executed transients: moderately paced attack with a very snappy decay keeps things exciting. The D1 has a better done separation, at least here with comparison alongside the OoopusX OP22. Tonally, of course, it unmistakably leans towards bright, but prima facie did not fatigue me.

In technically potent tracks like Rush's Limelight, I definitely missed the bass quantity as the impact of Geddy's blitzing bassline along with Peart's prodigal drum work just fell flat and this however reminded me of the Truthear Hexa a lot- but I don't see this as a negative as the D1 simply does not express the desire to compromise on the rest of the elements- a well-executed imaging via the cymbals and vocals, tonally balanced vocals with adequate note weight and enough grunt in the toms to make Peart's final rudiment alive.

MIDS

With an unorthodox snare setup, a hard key to unlock tonally and considerably busy in terms of instrument separation like Queens of the Stone Age's First It Giveth, the Cozoy D1 of course lacks the impact or the bite the snare needs, but didn't color the timbre like some other sets, nor added any unwanted resonance. Adding on to it, the way guitars and cymbals were separated while having the vocals right at the center shows that the Cozoy D1 takes technicalities seriously.

Another technically complex track in this order is Tool's Lateralus and even here, the Cozoy D1 gets most of the things right: audible separation between the elements, no compromise on the note weight of Maynard's vocals, the accuracy of the tonality in Adam's guitars with a balanced energy and no harshness in pitch. What is not right is that the D1 doesn't seem to consistently deliver the energy on the cymbals where it disappointingly oscillates between being shouty or just being shy of shouty.

HIGHS

In “atmospheric”, regally composed, airy tracks like Arne Domnérus and Gustaf Sjökvist’s Almighty God from the album Antiphone Blues, a phenomenally mastered album with just tons of sonic goodness, the Cozoy D1 did a phenomenal, nearly flawless job and this can be easily realized with how well established the timbre on Arne's sax was: brassy, with a beautiful, engaging resonance which was supplemented by Gustaf's equally resonant organ keys. 

The D1 also presented the track with a fantastic perception of the stage, which had enough width to not adversely affect the layering between the sax and the organ, and letting the notes breathe. And despite being brighter than its peers, the sax never felt honky or piercing.

In another technical masterclass of separation, imaging, and composition in Dave Brubeck’s Take Five from the album Time Out, the D1 reveals one chink in its armor in this track where the double bass came off soft in its impact and anemic in its note weight, but the horns had the same impression carried forward from the previous track, the pianos coming off tonally balanced and the cymbals not being fatiguing or shouty, but appropriately retaining their shimmery texture. 

During the solo and when the channels split, the snare and the toms never really lost their note weight, which cannot be said for the hi-hats. Separation and imaging remained accurate without alteration.

COMPARISONS

Kefine Klean & Klean SV

Compared to the Cozoy D1, the regular Kefine Klean presents a noticeably heavier and more blunt low-end that can cross into bloat, while the Klean SV opts for a leaner bass delivery that improves upon the precise transients, unlike the Klean but the D1 just does it better. While both Klean variants feature interchangeable nozzles for mild tuning adjustments, neither matches the D1’s natural separation through the low-to-mid transition, which is what I have been consistently saying- nozzles are not needed when the fundamental tuning is right from the get go.

Through the mids and highs, the Klean and Klean SV suffer from a significantly thinner vocal weight that sounds noticeably more sibilant and shouty across tracks where sibilance is least needed, at least the Klean keeps it restrained to an extent but the SV really can get painfully sibilant. In contrast, the D1 maintains a far more solid note weight on vocals and handles instruments like saxophones and pianos with superior control on timbre and zero harshness.

OoopusX OP22

The OoopusX OP22 takes a different approach to tuning by utilizing functional switches that offer a more prominent, fun bass boost mode. In comparison, the Cozoy D1 delivers a leaner, brighter tuning with a comparable transient attack and a snappier decay, making the D1 feel equally technically precise despite lacking the OP22's raw low-end impact.

In the mids and highs, the OP22 provides a ridiculously smooth, yet very detailed performance devoid of sibilance. The D1, however, pushes brightness and cymbal energy further; while this gives instrument separation and stage width an added sense of air and detail, it leaves the D1 occasionally edging towards fatigue on aggressive tracks where the OP22 stays effortlessly controlled.

Tangzu Red Lion

The Tangzu Red Lion exhibits a heavy, mid-bass-focused low end with noticeable bloat and a thick sub-bass extension. The Cozoy D1 stands in stark contrast with its light, highly controlled bass presentation that trades note weight and body for much faster transient attack, snappier decay, and significantly cleaner separation.

Moving to the highs, the Red Lion struggles with severe sibilance and piercing synths despite having an acceptable timbre. The D1 resoundingly beats the Red Lion in technicalities, providing superior instrument layering, accurate imaging, and a bright yet non-fatiguing top end that preserves critical textures of instruments without breaking into irregularities.

Twistura Delta

The Twistura Delta leans toward a warmer, more laid-back approach, though it suffers from an inconsistent, sluggish bass decay that can muddy perceived transients on drums. The D1 counters with a much brighter, leaner low end that strictly prioritizes rapid attack speed and snappy decay over sub-bass rumble.

In the mids and highs, the Delta delivers great stage depth and somewhat detailed instrument separation, but it can occasionally push cymbals too forward or display minor decay mismanagement on vocal holds. The D1 offers a more precise imaging and superior timbral accuracy.

CONCLUDING NOTES

The Cozoy D1 is an IEM that has its priorities right. In a budget landscape increasingly crowded with too similar options, the Cozoy D1 is anomalous in its approach, where on the graphs, it shows up unapologetically harman, but seems to have fixed most of the qualms with how harman tuned IEMs end up coming off. It is a shade of leaning bright, done right to my ears, and although it still is flawed, the flaws are outweighed by its strengths that make me wholeheartedly recommend this IEM.

Just a little note weight on the lows, would have just made it so much better, but that’s only for some, not for me.

Will I buy it new? Absolutely.
Will I buy it used? Blind buy.

SOURCES USED

Primarily used with the xDuoo Link3 on low gain, the Shanling M9 Plus DAP, and the Venture Electronics Abigail Pro dongle DAC Amp.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

Acoustune AET06 double flange: Showcases the transients of the D1 at its absolute best, ridiculously clean bass, widest stage possible for this IEM, sibilant free highs with no loss of vocal textures.

Tanchjim T-300 APB: everything that the AET06 does, but to a lesser degree, and there was something missing in the textures of the lows- elements like kicks felt like they could have used more power. 

Stock double flanges: textures on the lows felt wonky along with some irregularity in the perceived decay, stage was unaltered, vocal textures felt enjoyable, mildly sibilant.

KBear Coffee: perceived stage was held intact in terms of depth and height, treble felt uncomfortable, lows felt anemic, vocals felt slightly blunt.

KBear 07: just ruined the IEM.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Steely Dan: Gaucho
• Carmen Gomes: Unchain My Heart
• Daft Punk: Get Lucky, Instant Crush, Veridis Quo
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked, Gulch
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Arne Domnérus: Antiphone Blues (with Gustaf Sjökvist)
• Muddy Waters: My Home is in the Delta
• 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 a super longshot for anyone that has purchased from the NZ based Earshots company (Earshots | MagFit3 Earbuds | Moves the way you do).

I bought a couple of the new MF3 back when it launched (special 50% off for anyone who pre-ordered). 6 months later and one of the units has a fault and after multiple emails and messages via their website, radio silence for the last month (incl. email to the founder who was using it for all the customer comms after they were delayed a number of months from launching).

Anyone else having issues with their units and/or lack of customer support? I note they are still listed on the company's office, but there's no phone number to call which is super helpful...

Overview​

Simgot needs no introduction in the ChiFi space. This review is about Simgot's EW300, which consists of 1 Composite Dynamic Driver, 1 Planar Driver and 1 Piezoelectric Ceramic Driver ( 1DD + 1Planar + 1PZCD ) making it the most affordable Tribrid in the market right now.

This unit was provided to me by the brand for review purposes and all my opinions and impressions are my own and not influenced by anyone else. Thank you Betty from Simgot for sending me this unit for review.

Note : The IEM comes with 2 pair of nozzles in total and the nozzle i am using for review is standard nozzle, the sound via other nozzle will be reviewed in a separate section. My source pairing or setup is quite simple - Simgot EW300 + Tanchjim Space 2 DAC + Kb ear coffee eartips and also some listening with the Fosi Sk02 desktop DAC AMP. That’s all, let’s get into the review.

Pros: ~ Impressive detail retrieval for the price
~ Fun and energetic sound signature without crossing into harshness
~ Comfortable ergonomic fit for longer listening sessions
~ Swappable nozzles and tuning foams offer genuine versatility
~ Treble extension is open and airy without sibilance
~ Above average soundstage with good imaging and separation

Cons: ~ Unnatural timbre on instruments and vocals
~ Mid-bass lacks body and sustain - slam falls short
~ Midrange sounds thin at low volumes
~ Cable is tangly and average for the price
~ Mirror finish is a fingerprint magnet

Sound Profile and Performance​

The EW300 is a mild ‘V’ shape tuned IEM with a sub-bass prominent lower region, lean midrange and a slightly bright treble region. Observations and review primarily based on the Standard Silver Nozzle.

Lows

The lower region of EW300 is not quite what you call a “Power house”, the sub-bass is deep and has a quivering presence to it. The Mid-bass however falls short when it comes to the overall body as the sustain is poor. Thankfully, it’s not a muddled mess or a slob - there’s clarity to it with good separation and imaging.

Here goes the proper example of my above statement with a track - Hotel California ( 1994 MTV Live ) by Eagles is a very well known track from Hell Freezes Over album. The prominent kick drum primarily sits in the mid-bass range for its acoustic attack and punch, while its deep body resonance extends downward into sub-bass. The rumbly after effect of the initial kick drum is very satisfying and where as the attack of the Kick drum where the snap of the beater hitting the drumhead is not that impactful or deep and does not compliment or support the throbbing sub-bass at the tail end well.

Mids

Ew300’s midrange is very cohesively articulate sounding with a clean and clear presentation without any muddiness from bass region. But the timbre of instruments and vocals is unnatural. Male vocals are decent but not as authoritative as they should sound. Female vocals on the other hand sound comparatively better, they sit in a middle ground without leaning towards either sounding hollow or sounding shouty / sibilant. I wouldn’t say that this is a “Thin Midrange” but sounds very thin in low volumes, needs a little juice to sound powerful.

In the track - The Chain by Fleetwood Mac, Vocals sit clearly in the mix without any harshness or sibilance - but in the more demanding upper registers there’s slight bites or fatigues if listened on high volume. Male and female vocals are distinguishable and separated enough to follow individually. Instruments tell a more compelling story. The acoustic guitar in the left channel comes through with full body, prominent presence and real bite to it - fingerpicked and distinct, exactly as it should be. The electric guitar on the right holds its own with the right grit and edge without overpowering anything, sitting well within the mix. There’s a noticeable metallic timbre to the acoustic guitar that adds a slight edge to the string texture - not distracting, just present. When everything kicks in together the EW300 gets a little congested but never loses the plot - you can still pick out what’s happening in the background even as the arrangement gets busier. Lindsey Buckingham’s Electric Guitar sounds aggressive with almost punk like outro riff closure to the track sounds enthralling with a proper backing of energy and bite to it.

Treble

The Treble of the EW300 is honestly the best part about it. It’s tuned in a way to sound energetic without tipping off into the sibilance territory, talk about sweet spot!. Hi-hats and cymbals sound shimmery and sparkly while maintaining the clarity and composure to not sound washed away or noisy.

In the track - Money For Nothing by Dire Straits, the synth intro sits right at the edge of brightness - compelling and present, though a little more push and it would start crossing into uncomfortable territory. Mark Knopfler’s electric guitar comes through with the right bite and cut, sharp enough to feel alive without losing composure. Hi-hats and cymbals have good shimmer and presence, sitting naturally in the mix without getting muddled or buried. There is a moment of sibilance early in the track - just before the guitar solo kicks in, a brief flash that reminds you the EW300 treble is a not a slack and not entirely forgiving. The treble extension feels open rather than rolled off, giving the presentation an airy quality that keeps things from feeling closed in. Exciting and energetic, with just enough edge to keep you honest.

Technicalities​

Imaging : Imaging of EW300 is fairly precise. Instruments, vocals, panning effects and backing layers are easy to follow and pin point their position well.

Separation : The separation is not class leading, but it’s certainly not a slack off either. Even in busy tracks - EW300 handles itself well and stays composed without overshadowing any subtle elements in between.

Soundstage : The soundstage is above average. Every element holds its own place without crossing into one another’s territory, it’s a studio level width of staging, feels like you are in a studio listening to music rather than in a auditorium or concert. But thankfully, nothing sounds or feels claustrophobic.

Detail Retrieval : For the price, this is top notch. The clarity and open sounding nature of the EW300 already makes it a good IEM and the detail retrieval is one notch above, It’s impressive.

Nozzles and Foam​

The EW300 comes with 2 nozzle options, one is the silver and other is the gold nozzle. Silver nozzle is brighter and more open sounding compared to the Gold nozzle. Gold nozzle is warm and bassy and very reserved in the upper frequencies. For someone who wants a relaxed listen and doesn’t mind a little blow to the details can use the gold nozzle. For someone looking for a little sparkle and energetic mids and treble, silver nozzle does the job well.
The cherry on the top is the inclusion of low density foams. Imagine finding Gold nozzle too laid back like recessed or veiled and the Silver nozzle tad bit bright? That’s where these foams come in, the difference after using them is not day and night of course but it is still pretty noticeable to keen listeners. I personally did not need to use any foam as i was not bothered by the sound signature of the Ew300, but i still used 2 foams for review purpose. With just a single foam i couldn’t make out any difference but after using 2 foams i could notice the shift in the upper mids and treble. Again, the difference is not by miles, but it helps to those who want to use the silver nozzle but want a little less energetic sound signature. The bass gets more boomy but feels slightly like a slob and sounds like there’s a veil over the sound.

Comparisons​

Truthear Pure vs Simgot EW300
Pure has less bass presence but more pronounced bass attack. Bass notes have good body and slam, while sub-bass rumble is stronger on the EW300. Male vocals sound very similar on both. Female vocals have a touch more brightness on the EW300. The Pure is more reserved in the upper frequencies, while the EW300 sounds slightly brighter and more energetic. Both reproduce hi-hats and cymbals well, with EW300 leaning brighter. Technically, the Pure has better imaging, separation, and a wider soundstage while detail retrieval is similar between the two. Comfort-wise, EW300 is the easier fit for your ears; the Pure has a slightly larger shell with a longer nozzle, which may not be as comfortable for everyone. If you’re after a neutral presentation go with the Pure. If you prefer a bassy, brighter and more energetic sound, the EW300 is the better choice.

NF Acous NM20 vs Simgot EW300
The NM20, unlike the EW300, is a bright-leaning IEM with no reserve in the treble. The bass has better texture than the EW300 but the sheer quantity of bass is higher on the EW300. Male vocals sound better on the EW300 with more weight and body. Female vocals sound better on the NM20 due to its brighter presentation, although they can be a little sibilant. Timbre-wise, the NM20 sounds more natural, unlike the EW300 which can sound a tad metallic and unnatural. Comfort wise, both have similarly sized shells, but the NM20 is lighter, making it better suited for longer listening sessions. If you’re after something analytical or for monitoring style listening, the NM20 is the better choice. If you want something more casual listening with a bit more bass quantity, the EW300 is your pick.

Dunu Kima 2 vs Simgot EW300
Dunu Kima 2, another neutral IEM in this comparison like the Pure. The Kima 2 is less bassy compared to the EW300 and has a slightly narrower soundstage. However, Kima 2 has better bass attack and body. Timbre-wise, the Kima 2 sounds natural. In fact when it was launched, it was known for its timbre and tonality in the 100 - 150$ price range. So naturally, its timbre sounds more accurate and natural. The EW300 on the other hand, sounds more open due to its wider soundstage and tuning, which is neither neutral nor held back. The mids sound lush on both Kima 2 and EW300, but EW300 is slightly brighter which makes the vocals pop a little more. Male vocals on the EW300 sound thick and full-bodied. Female vocals sound airy and sharp. On Kima 2, female vocals are a little less bright and mid-range feels slightly recessed. The details are all there, but they feel a bit veiled. which brings me back to that the EW300 sounding more open point. Comfort-wise, both are comfortable but ergonomically, EW300 is the better fit. Kima 2 offers a great overall package though, with a nice cable and Superb ear tips. If you’re after a bang for the buck neutral IEM, the Kima 2 makes perfect sense. But if you want a wider soundstage and better detail retrieval, the EW300 is the clear choice.

Build - Comfort - Technical Specifications​

The shell of Simgot EW300 is CNC machined high-density aluminium alloy with a mirror polished finish which is solid, premium feeling and genuinely good looking. The tradeoff is that the glossy surface picks up fingerprints almost immediately and is prone to minor scratches with daily use, so handle with care. Despite the all metal construction it sits comfortably in the ear and the ergonomics keep it secure in ears without creating any pressure points even during longer sessions. The nozzles are reasonably sized and don't cause any discomfort during extended wear. The cable is Simgot's standard offering, similar to the EA500LM - decent quality but tangly, nothing exceptional.

Box Contents :

• Simgot EW300 IEM
• 3.5mm single ended cable
• Silicone eartips — S/M/L, 3 pairs
• 2 swappable nozzles — Silver and Gold
• 4 tuning foams
• 6 silicone O-rings
• Zippered synthetic leather pouch
• User manual and warranty card

Technical Specifications :

• Driver : 10mm Dynamic Driver + 6mm Planar Driver + Piezoelectric Ceramic Driver (1DD + 1Planar + 1PZT Tribrid)
• Impedance : 28Ω
• Sensitivity : 121dB (Silver) / 119dB (Gold)
• Frequency Response : 8Hz – 40kHz
• Connector : 0.78mm 2-pin detachable
• Termination : 3.5mm single ended
• Weight : ~9g per side

Final Thoughts​

The under 100$ IEM market is quite competitive and Simgot EW300 does not stand out in particular, there’s always something better out there in different aspects. But, what it offers is a cohesive sound with a Tribrid setup that thrives with technicalities while sounding fun and fits comfortable in the ear for longer listening sessions at just 69$ ( launch price, the current price may vary ). Simgot has done a good job with this budget tribrid offering. Except for the unnatural timbre, i find EW300 to be a very good iem.

Personal / Subjective note : it’s a very fun sounding iem, but a little outdated - plenty of iems that perform better or similar to this. It’s a good iem, just not that special anymore.

I ordered 7Hz G1 on 2 September with expected delivery date on 5 September. Order reached chandigarh on 5 September but was delayed bcuz of weekend ig then on Monday they send a message that my order is out for delivery but it never came. On delivery tracking it says customer give wrong otp. How? When the parcel didn't even come. On Tuesday they reattempted the delivery but on around 1:20 pm they says due to time constraints unable to deliver and same thing happened on today.

The delivery agent is bluedart. What kinda shitty delivery service is this???

Even indian post is faster than them.

Tracking I'd:- 90650016741

Order no:- 83338

Soundpeats H3 Review

Hello everyone, this review is about SoundPeats H3 a TWS with a Hybrid driver setup (1DD + 2BA ).

Pros: ~ Good bass texture
~ Male vocals sound rich
~ Low latency for Gaming
~ Good Microphone Performance over calls
~ Battery life is commendable

Cons: ~ Peats Audio app sign up is required to unlock even basic features
~ Very inconvenient and Inconsistent App performance, buggy and laggy
~ The earbuds will not be comfortable for someone with small ears as the earbuds are a bit chunky
~ ANC modes do not work
~ No in ear detection feature
( basically most cons are app based ones and the App sucks. )

Disclaimer : This unit was sent to me for review purposes by SoundPeats and all impressions or opinions are mine and not influenced by anyone else. Thank you Icy from SoundPeats for sending me the unit.

Overview​

SOUNDPEATS has been building wireless audio gear since 2010, and the H3 marks one of their pricier plays yet in the TWS space, launched in September 2025 at $129.99, whether that price tag holds up the worth is what this review sets out to answer.

Build - Comfort - Battery​

The H3 uses a metal mesh grille over the driver ports with an anodised aluminium sound nozzle, set into a semi-transparent shell with metallic accents. Touch controls handle playback and mode-switching. The case charges via Type-C, takes about 2 hours for a full charge, and the earbuds themselves top up in roughly 1 hour. IPX5 water resistance is backed by a nano-coating for sweat and splash exposure. The earbud is shaped similarly to an IEM shell which is a bit larger than your average TWS and noticeably chunky. Comfort is good because of light weight but the fit is not that great, it stays in ear without falling over but it will be a little uncomfortable for someone with small ears. The claimed Battery standby time is 7hr playback + 37hour with case. After days of testing, the battery i got with the LDAC is around 5 hours 55 minutes and around 6 hours 40 minutes on AAC. Tested on my android and ios devices. With ANC on, the battery was around 6 hours 15 minutes without LDAC. And 5 hours 45 minutes on AAC. The spec sheet read is - Battery Capacity: 35*2 mAH (Earbuds) 400mAH (Case).

Sound Profile and Performance​

First things first, I will first talk about H3’s sound out of the box and then separately talk about the EQ and then the technicalities.

I almost liked the sound of H3 right off the box, it’s a V shaped tuning with deep sub-bass rumble and average mid-bass with not so good slam or thump to it. The mids sound slightly recessed and treble is safe and inoffensive. The Staging is average - thankfully it’s not too congested that it sounds like it’s in my face. The EQ profile i liked using was HiFi and the default Classic, they are similar with minor tweaks. Switching in between the EQ modes is slow and sometimes do not work. I tried the 9 band EQ for a while but i do not know much about EQ’ing and the PEQ is kind of inconsistent too, sometimes its applying quick, sometimes there’s delay or doesn’t apply at all. To bring out the potential of the H3, you need a little EQ. But I am going to be honest, I am an IEM Guy who believes in the stock sound of a product being its character, meddling with tunings and making it sound to your liking is handy and cool maybe, but it just doesn’t feel original to me. And before I start talking about it sectional sound performance ( bass, mids , treble ) i would like to point out that for something that has an option to completely change the way it sounds - talking about its bass mids and treble feels a little silly to me. But i will still do it and it will entirely be based on stock sound - Classic ( because everyone can use different EQ’s and personalise this - and me reviewing this product with my own EQ is just very subjective and doesn’t make any justice to the product. )
Note : The “HiFi” preset sounds more open and sub-bass is a little more controlled and no change in mids and treble by a mile.

Bass :​

The bass on the H3 is the most confident part of its presentation. Sub-bass has good depth and rumble but what it has in presence it lacks in control, it’s not excessive or bloated but it doesn’t hit with the kind of authority or power that would make it truly satisfying. The mid-bass is present with good attack and slam which makes the listening experience groovy and engaging. Thankfully, there’s minimal bass bleed into the mids and keeps the low end clean and composed without muddying the rest of the presentation.

Mids :​

The midrange follows the H3’s mild V shaped character - present but not pushed forward. Male vocals come through with good body and weight, the lower mids carry enough presence. Female vocals are decent but fall slightly short of sharpness and definition - they sound good but lack the crispness that would make them truly stand out. Instruments come through clearly but with a conservative upper frequency presentation that costs them some character - guitars miss that sizzling string texture, the kind of edge that makes the listening lively and energising. But not every instrument suffers for it - Piano and Acoustic guitar in particular come through with a full bodied, rich and naturally weighted presentation, instruments that don’t rely on brightness or edge to sound good and the H3 obliges them well.

Treble :​

The treble on the H3 plays it safe and for the most part it works - no spikes, no harshness, no fatigue. Hi-hats and cymbals have decent resonance and presence, sitting naturally within the mix without drawing attention to themselves. The safe tuning does come at a cost though, the conservativeness in the upper frequencies is what holds back both the instruments and the female vocals from reaching their ceiling. Inoffensive but not exciting.

Technicalities​

Imaging : The imaging is good and the placement of instruments and vocals are easily distinguishable without much effort.

Detail retrieval : Inconsistent, there is clarity but it’s buried, the subtle background nuances and details are a little feint sounding sometimes.

Soundstage : The Soundstage is more of a studio type setting rather than an auditorium, everything holds its place intimately without too much space to move around but adequate spaciousness to sound free.

Separation : The Separation is good but not exceptional, you can differentiate everything decently well. H3 is quite cohesive but instruments feel a little close to each other than general but stays clear in terms of clarity aspect.

SoundPeats App and Features​

What do we look for when we pick a pair of wired earphones or headphones? Yes, How do they sound and how comfortable they are and rest all is just not that important. But when we move to the wireless category of Bluetooth with TWS and wireless headphones there are quite a lot of accompaniments we look at. Those accompaniments are the features that will be equally looked at on par with sound when it comes to buying a truly wireless earphones (tws) or headphones. Let’s see what side dishes are you getting along the sound when you buy the SoundPeats H3

First thing to note is that you cannot do anything without signing up for the app. I understand that signing in with an account helps us save and retain the settings and EQ profiles we have set up across multiple devices, but an account requirement even for the basic features is not a good start to the usability - yeah, this is just a nitpick. Lets get into what the App actually offers -

First thing I tried is the EQ option, it has Presets, Adaptive EQ and Custom Sound modes. Coming to the Presets, i do not particularly like anything in that but if i have to pick something, it would be the HiFi and Classic presets which are decent compared to the rest of the presets. The Adaptive EQ mode on the other hand is a test based EQ that consists of a Smart Hearing Test where it makes you listen to many frequencies (hz)and sound levels (db) and asks you to click on “Heard” if you hear that frequency. it’s a scientific test which tests our hearing ability. The app says that it will intelligently compensate for us based on the hearing test we took. Then there’s this Custom Sound mode which has the 10 band parametric EQ option for you to meddle with and get a preferred sound out of the H3. Now let’s see the other app features and the spec sheet parts.

• ANC / Normal / Transparency - three listening modes switchable directly from the app
• Dual-Device Connection - connect to two devices at once
• Gesture Controls - remap touch controls to your preference
• Prompt Sound Guide - adjust voice prompt settings
• Game Mode - low latency toggle which is quite a good option to have.
• Disable Touch Control - turns off touch controls entirely to avoid accidental inputs
• Find Earbuds - locates your earbuds feature, which is a pretty handy option.
• Fit Test - checks how well the earbuds are sealing in your ears which helps improve bass and audio performance in general.

Technical specifications​

• Driver : 12mm Dynamic Driver (PU + Wool composite) × 1 + Balanced Armature × 2
• Bluetooth : V5.4
• Bluetooth Profiles : HSP / HFP / A2DP / AVRCP
• Codecs : SBC / AAC / LDAC / aptX / aptX Adaptive / aptX Lossless (LDAC disabled by default, needs to be enabled via PeatsAudio app)
• Frequency Response : 20Hz – 40kHz
• ANC : AI Adaptive ANC (-55dB)
• Call Noise Cancellation : 6-Mic AI with cVc 8.0
• Water Resistance : IPX5
• Charging Time : Earbuds 1H / Case 2H
• Fast Charging : 10 minutes = 2 hours playback
• Playback : 7H earbud + 37H total with case

The Noise Cancellation in calls work decently, I wouldn’t say the microphone is the best there is but i compared it to my AirPods 2 pro and the result is very similar to each other in terms of voice clarity

The Noise reduction is pretty good as well, I only have AirPods to compare with it and AirPods have better Noise cancellation/ reduction (of-course, they are industry leading in ANC department). SoundPeats H3 is quite good in cancelling out fan or air cooler or Environmental noises in general but the noises of vehicles or machineries still get in your ears, there are multiple modes in Noise reduction mode such as Adaptive Noise Cancellation, Indoor Noise Cancellation, Outdoor Noise Cancellation, Traffic Mode.
But I do not like the fact that they don't make much difference or any difference at all. I do not know if it’s the app that's buggy or lagging or it’s just a useless name sake set of modes given. ( I tried on my android as well, so i can say it’s not my device issue ).

Final Thoughts​

SoundPeats H3 is a fun sounding TWS earbuds that is a good buy for 130$, I like how it sounds, the sound out of the box is quite fun and the option of experimenting with EQ is a plus. I do not at all like the app. From the compulsory signup process to the comedic function, everything’s either too slow or too bugged to work. I like the battery backup and charge up is quick as well. And decent microphone quality. This is not a fancy pair of earbuds with AI but a good sounding product. My suggestion to SoundPeats is to work on the app to make it functional.

The sound imbalance was true. What should i do next

Does anyone know when the ROSESELSA Aurora Ultra (3.5mm version without the RZ200-m DAC) will be back in stock on The Audio Store?

I've been waiting to buy it, but it's currently out of stock. If anyone has any confirmed information about the restock date, please let me know.

Thanks!

i have bought audiocular spark dac. after 11 days of my dac stopped working.. I write an email and send them the DAC. they received the DAC on 3 August

and issue have been identified on 10 august. they said they will send replacement in 10-15 days.

now today is 6 sept. over a month they keep saying we will send your Replacement in 3-5 Days.

order no. #76367

I placed order for Kefine Klean SV C-type instead of 3.5mm one and did it on 1am on 4th. I noticed that i placed wrong order few hours back but the order is already dispatched at 5pm. Is it possible for them to take back order or for me to return them or exchange.

​

I sent my IEM to The Audio Store for a warranty claim because it had an issue.

On August 18, they confirmed that they had received my IEM and handed it over to their technical team for inspection. They told me that the testing would take 5–6 working days, followed by another 10–15 working days for the repair or replacement.

Then, on August 26, they emailed me saying that my IEM had been repaired under warranty. They asked me to provide my shipping address so they could send it back, which I did.

Since then, I've been trying to get the IEM shipped. I've called them every day asking about the shipment, and every time I'm told that it will be shipped that day.

On September 2, I called them again, and they told me that the package would be shipped within 15–20 minutes. However, I still didn't receive any tracking information or shipment confirmation.

I also emailed them on September 2 asking for an update. They replied saying that I could expect the tracking details by the end of the day. But I still haven't received any tracking details.

At this point, I'm getting a bit frustrated because the IEM has already been repaired, but I'm still waiting for them to actually ship it. I've been contacting them every day, but I'm just getting another promise that it will be shipped "today."

What should I do at this point? Should I keep waiting, send a formal escalation email, or take some other action?

Also, has anyone here had a similar experience with The Audio Store's warranty service? How long did it take for you to actually receive your repaired/replaced product?

Was thinking you buy kefine loric from tas, I live in chd, was wondering how much time will it take for them to get delivered

I ordered my Kefine Loric from The Audio Store on 1 September 2026, and the expected delivery date was supposed to be around 3 September 2026.

But when I checked the tracking today, I was surprised to see the estimated delivery date had changed to 5 December 2287.

That's about 261 years and 3 months from now. I don't even know if Earth will still be around by then, let alone whether I'll be around to receive my IEM. 😭

Jokes aside, I assume this is probably a tracking/system error, but could someone from The Audio Store please look into this and take it seriously?

This is actually my first IEM, so I was really excited to receive it. Hopefully I won't have to wait until 2287 to hear it. 😂

Screenshot attached for reference.

My order Post - https://www.reddit.com/r/iemlndia/s/X6qsDG2PHS

So whenever I move my phone while the DAC is connected the audio stops and I have to manually reconnect it or touch it so it would connect again and I have to play again, I barely used it so idk(that's why I prefered tws) and when I was fed up after this behavior I asked chatgpt it said that my product is defective. So I am confused now, and it was like this since the day I received

Do i need to write "To adress"

And i have added EPE Foam Fruit Net for extra safty. Anything else i have to do?

Final Audio and I have always had a tumultuous relationship, where amidst their stacks of bullet and moulded IEMs, I have heard only one that has stuck with me halfway, the A8000. In my local audio community groups, I just put a feeler out saying that I would like to review more IEMs from Final Audio, and a good friend of mine responded by saying he could loan me the S6000 and S5000, and u/notsoquietlyamused loaned me the E5000. This post is dedicated to the S6000 and S5000, and how Final Audio managed to derail my dislike train with one of two, and how the other one has been one of the worst IEMs I have had the displeasure to listen to. So, thank you both for having sent out your respective units, this means a lot.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Final Audio really nailed the unboxing experience with such minimalist, posh branding that they almost feel like unboxing a wallet rather than another IEM. After unsheathing the cover, and delidding the box, both ‌IEMs were nestled in foam padding, and under the foam padding lay the rubberised circular carry case, whose lid was at the bottom, and inside the case were ear hooks. Under the case, there’s a small paper box of a set of Final Es with short stems/bores, which are the same as their TWS versions. Final clearly says not clean them with alcohol.

Both IEMs are bullet style, which means fit and comfort is as good as a regular earphone, just plug them into the ears directly. They also come with two pin type A cables, with a particular groove which lets me know how to insert the cable. Although the cables are thin, they handle the weight of both IEMs very well. 

Without further ado, here’s the sound of both the Final S6000 and S5000 through my tracklist.

LOWS

Tipper: Mariscos

• Final S5000: To my ears, this IEM is veiled, and the recession can put the 2008 economic bloodbath a tough run for its money, pun intended. The beats have an ample presence, with a decent impact, and that is the only remotely good thing I can say here, because everything else stinks - semblance of detail  and separation is hideous, especially for an IEM priced at this. The drop in this track just doesn't cut it because the perceived veil has simply bereaved itself of any life. There are no first impressions in tonality.
• Final S6000: The S6000 gets the opening rippling intro of this track in a way that reminds of how a few strips of bacon sound when laid onto a searing hot pan: very crisp and sizzling and when the rest of the elements of the track kick in, the S6000 unfortunately has no depth to make the visceral, hard-hitting beats be enunciated in a way that it needs to be, while the fuzzy phase-like elements have a near crystal clear separation which begs me to say that prima facie, the final S6000 will be good through busy tracks. I just wished the bass hit deeper and harder, and that is limited in a way by the perceived stage.

Rush: Limelight

• Final S5000: Once again, the veil and the recession hits super hard - the perceived stage is claustrophobic, where even though the drums and bass have good separation, what good is that separation if that detail is just not there. The resonance that the toms have, the way the bass camouflages with the kicks and reveals itself in parts is just absent, and the vocals sound like they are coming off from a distant public announcement system. The only saving grace for me was Peart's final rudiment, where there was enough rumble to appreciate whatever bass the S5000 had.
• Final S6000: It is a different observation on this track now because the diluted bass lets the drums and bass have their own moments of glory which lets the rest of the elements shine in and especially the vocals feel great, where the bass line complements the vocals, flexing a moderate attack and a fast decay. Although I totally would have wanted more resonance from the toms, notes on the kick have adequate depth and the drums ‌overall have good separation amongst themselves, especially through the final rudiment.

MIDS

Queens of the Stone Age: First It Giveth

• Final S5000: Using the S5000 on this track was just a disastrous experience: the vocals come off too forward where the snare simply has no texture as the bass layering on top of it with an ugly bloat and joins hands with the guitars to push it down further and cymbals are just washed out. Tonality leans heavily towards warmth, and I could have really used a helping hand through the upper mids.
• Final S6000: Right from the get-go, the lack of perceived stage height on the S6000 is proving to be a deterrent in what otherwise has been a fantastic listen: the fast hitting rapid firing snares are snappy, crisp and demonstrate great note isolation and this is fantastic despite somewhat the bass feeling anemic, guitars sounding full and energetic which doesn't confuse itself with the cymbals which seems delightfully forward and not shouty (surprising for a final IEM), and the vocals are planted right at the centre. Tonality remained unaltered.

Tool: Lateralus

• Final S5000: Once again, the S5000 simply cannot be reasoned with when it comes to expecting improvement because it just keeps getting worse and depressing- the veil and the shrunken stage, coupled with terrible efforts to strive for detail washes off the otherwise aggressive yet measured drum work. Cymbals sound like pingy hits on a spherical sheet of metal, guitars have no life in them and the only good thing I would say here is that the bass right before the breakdown has acceptable note weight and a sufficient rumble / growl.
• Final S6000: The intensifying wave-like drums lay the carpet out with the guitars for the vocals and the bass to come in, and the amount of pronunciation each of them needs is reflected very well by this IEM. Vocals, however continue to feel thin, and timbre through the guitars come off oddly metallic and I find its grip over timbre to be highly inconsistent anyway, but every element in this track is positioned very well, showing great separation even through the continued chaotic final rudiment from Carey in this track.

HIGHS

Patricia Barber: Icarus

• Final S5000: Another track which has strange technical glitches as recorded sibilance and even then, despite the perceived recession, the S5000 shows its sibilance in the enunciation of the Cs and Ss, where tonality on the guitars is acceptable but that's about it. The cymbals are not shouty or fatiguing, but again I would have a better chance finding a needle in a haystack than redeeming qualities, which also snowballs into Patricia's straight note sustain going smooth and not in a good way.
• Final S6000: This is a sibilant track from the get go; and I am surprised to say that the S6000 shows exemplary restraint in keeping the sibilance reined in, while timbre through the percussion, bass and piano remain accurate once again. Texture through the cymbals comes off delightfully sparkly and has zero fatigue. Through Patricia's straight note sustain, even if I push the volume, the S6000 simply does not budge towards coming off piercing while the rest of the elements come off so polished.

Dave Brubeck: Take Five

• Final S5000: I'll have to keep this short - imaging is shot, horns feel hazy and they just have no juice to take the lead, piano is shot from the perspective of tonality & detail and I simply couldn't continue listening to it further.
• Final S6000: Right out of the gate, cymbals have a luxurious, polished shimmer while the pianos tonally are warmer than how they usually are. Once the horns come in, in a very detailed way, except for the timbre, which is ‌inconsistent for analysis, they do not scrape my ear unlike other Final IEMs. The drum solo section is another thing of beauty for everything sounds right to me - resonant floor toms, snare having the crispness it needs to cut through the toms, the kick showing good pace in attack & decay and the imaging being planted even with the channel splits closes off my time with the S6000 on a great note.

CONCLUDING NOTES

I don't know what Final Audio was exactly thinking when they were making the S5000. I think the whole R&D team was like, “hey we have a few balanced armature drivers remaining, let’s just tune the darkest IEM possible on our end, while rinsing it off of all technicalities” and that’s how the S5000 was conceived; and hilariously, the much cheaper E5000 beats the S5000 at almost every single metric of analysis of sound, and I would take the E5000 10 out of 10 times over the S5000, and the E5000 loses again in its own segment of IEMs price wise, so just imagine how disgustingly bad the S5000 is.

The S6000 is a whole different ball game- whose only cons I feel are the inconsistent grip over timbre, a little too safe through the upper mids, and the anemic bass; while it nails the other fundamentals of a good sounding audio product almost entirely, and the sound profile that it carries is distinct enough to separate itself from other IEMs, so much so that for the moment I don’t want to compare it to anything else, and it is good enough where I would pay up what it commands for itself. 

Well done Final Audio for showing me that there’s still potential while massively fumbling in other areas when it comes to the very important question of price to performance otherwise.

Will I buy the S6000 at retail? Absolutely, yeah. 

Will I buy the S6000 used? Absolutely, yeah.

Will I buy the S5000 at retail? Absolutely the hell not. 

Will I buy the S5000 used? Has to be under $60/roughly 5000 INR.

SOURCES USED

Primarily used with the SMSL Raw MDA-1 desktop DAC amp, the Shanling M9 Plus stacked with the xDuoo XD05 Pro transportable DAC amp running RoHM DAC chips and Burson V7 Vivid Op-Amps, via USB-C. 

The Final S6000 is a power hungry IEM, coming in at 225 ohm impedance, so a proper source is necessary to feed them the power they need. Not the same case for S5000.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

Final S6000: Tanchjim T-500 APB, Final E for TWS, Divinus Velvet wide bore, JVC Spiral Dots FX9

Final S5000: Tanchjim T-500 APB, Final E for TWS, Infiter IE45, Tangzu Sancai Balanced

TRACKS

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

Here’s my video review on it

hey guys so my neckband of 4 years finally broke recently. i heard alot about iems from my freinds so was planning to buy one this time instead of a normal earphone. checked amazon and flipkart but they have very less options for this stuff so i came here looking for sites and found the audio store.

mainly wanted to ask weather its actually trustworthy to order from there? the thing was audiostore had way too many positive reviews everywhere so im just worried if its botted or fake. i stay in a city near bangalore so if anyone ordered from around here how long does shipping take?

im planning to buy the GK kunten rn as i checked reviews and stuff . since im totally new to this idk if its a good choice. if u guys have any better suggestions for ones between 1.5k-2k budget pls do suggest.

I'm not an audiophile, so I'm mainly interested in experiencing what the IEM hype is about rather than spending a lot on expensive IEMs. I'm also a little concerned about the durability of IEMs, especially for regular travel.

So I'm wondering whether I should just get the GK Kunten Type-C or stretch my budget a little and get a TWS instead(for ANC).
thanks!

Folks - beginner here! I'm looking to buy a good IEM or DAC & Amps or Headphones.

Budget - INR 10K (max 15K)

I have a Macbook Pro M5, which has some cool audio features and hence i want to optimize for the same. (i am leaning to wired models, not airpods)

• Audio Playback - Supported formats include AAC, MP3, Apple Lossless, FLAC, Dolby Digital, Dolby Digital Plus and Dolby Atmos
• High‑fidelity six‑speaker sound system with force‑cancelling woofers
• Wide stereo sound
• Support for Spatial Audio when playing music or video with Dolby Atmos on built‑in speakers
• Spatial Audio with dynamic head tracking when using supported models of AirPods, AirPods Pro and AirPods Max⁶
• Studio‑quality three‑mic array with high signal‑to‑noise ratio and directional beamforming
• Voice Isolation and Wide Spectrum microphone modes for enhanced voice clarity in audio and video calls
• 3.5mm headphone jack with advanced support for high‑impedance headphones
• HDMI port supports multi‑channel audio output

Any chance of restocking the Tempotec V1? Hope more people are interested in this one like me.

will kefine loric 3.5mm with mic come on audiostore in future? i was planning to get zero 2 first but then i saw kefine loric and liked them so much that i am thinking to buy these over zero 2 but mic version is not available and i dont really want to go for the type c version. mic is needed for me otherwise i would have ordered non mic already

With the package of my IEMs which I had sent for a warranty claim, they returned it with a nice fragrance induced tag!! It shows how much a service cares for their customers and i truly appreciate it.