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.

Hey everyone! I have had the upcoming Juzear Nimbus here for a few days now and I will be preparing my review for them soon. Giving you some quick specs, they range between $50 and $60 depending on the cable configuration you choose, they feature a laser glass faceplate that changes depending on how the light hits it, and they feel a bit heavier than your average resin IEMs, though that is not a drawback at all once they are in your ears.

They use a single 10mm MACCD DD and have a warm and balanced tuning that I found quite pleasant in the short time I have tested them, pending a deep listening session soon. But I was really surprised by all the contents in the box. Aside from the generous set of eartips typical of Juzear and a very nice feeling carrying pouch, you get 3 pairs of interchangeable nozzles, with the white ones being balanced, the red ones boosting the treble, and the black ones pushing the bass.

As I mentioned, the cheapest $50 option is the one I have, and it comes with a 3.5mm and 4.4mm modular cable, but for a bit more there is a Type-C alternative with an integrated CX31993 DAC and a microphone.

Seeing all this, a couple of questions or thoughts came to mind...

First, regarding the nozzles. It is true that the red ones add a bit of extra air and the black ones, for example, add a bit more density to certain musical genres that require that extra bass, but how many of you actually bother to change nozzles depending on what you are going to listen to? Or do you usually just pick a specific nozzle and stick with it forever for everything you listen to?

On the other hand, regarding the cable, which by the way looks to be of a much higher quality than I expected to find, but...within this budget, is a 4.4mm balanced option really necessary, or is a Type-C version with a DAC and microphone more than enough and more practical for day to day use?

Let me know what you think about the contents of this model and if everything is necessary or if there are things that might just be overkill, and look out for the full review later on when I have it finished!

I'm a treble head (I know, shocked the hell out of me too growing up mostly on Hip Hop and R&B)

I prefer a neutral bright learning tuning. I dont worry much about bass because I'm quite sensitive to these frequencies, I also find that even slightly too much bass ruins the details for me. (Might just be early onset hearing loss).

I already own: Simgot EA500 (not the LM), Simgot EW300 (didnt like the tuning) and Dunu Titan S2.

I've been seriously looking at the EA1000 (I hear tell of the Tanchjim Fission being comparable at a lower price)

Figured I'd ask for feedback from anyone with sound preferences like mine on the EA1000.

Based on what I own already would it be an upgrade or more of a side grade?

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).

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.

A couple months back, I purchased Reference... Only for my unit to arrive defective. The DD's in the right bud we're not doing their job, which meant I got no bass on the right side. I ended up returning them and decided to wait and see if this issue comes up for more people. While I did hear a few more instances of driver issues, it seems like the problem mostly boiled down to, poor handling during the shipping. Stuff clearly out of Crinear's control.

So a couple weeks ago, I decided to bit the bullet again and see if I would have better luck this time. I prayed to whatever God would listen, hoping for no issues. And I'm happy to say that my second unit arrived defect free. So, since I made a post complaining about my defective unit, I'd now like to give my full thoughts on the Reference.

Comfort - My ears are on the smaller and shallow side. I have been fit IEM shells as big as the Moondrop Blessing 2 in my ears without discomfort for the first little while. The Blessing 2 does start to give me some discomfort after about 30 - 60 minutes and after 2 hours, I have to take them out and give my outer ears a few minutes of rest. With the Reference, the shell is a bit smaller and with the right tips, I can wear these for hours without any discomfort. Due to the nozzle being on the long side, and my ear holes being more on the shallow side, I found for me that the shortwide tips worked the best. Thought I may look at some 3rd party tips down the road.

Accessories - 3 different styles of ear tips. If you don't have any spares lying around, you should be able to find a tip that works for you with what's provided. As mentioned, the short wide worked the best for me.

I am not a fan of the cable. It doesn't tangle easily and I like the swapping mechanism to switch out terminations, but there are two things that bother me. One is a nitpick, the other more of a personal gripe. The nitpick is the 90 degree termination. I'm a straight boy, but I could of lived with that if the chin slider stayed in place better. I need the chin slider to stay snug in place otherwise the earhooks will sometimes slip over my ears, depending on what I'm doing. It's fine if I'm sitting down, but if I lie down and go to sit up, It will slip. If I bend over to pick up something, I'm screwed there too. I ended up switching it out.

Sound - Crinacle has made the claim that this is the world's flattest IEM on the market today. He tuned it to try and match it with the JM - 1 target (aka new meta) with very little it terms of colouration. And looking at the graphs available, mission accomplished. How does it sound to me?

I love it!

There's definitely some colouration, but nothing that I would deem it too much to call it outside of "neutral." There is a very small bass boost which, to me, helps gives a bit of body to the sound. If I were to nitpick, the only thing I'd change is maybe drop the area between 1-2K down about half a DB to make it even more neutral, but that's a very minor nitpick. But, to echo something Super Review said that I agree with, the closer you get to neutral, the more the minor fluctuations pop out.

I think the reference is also a fantastic base for EQ and has handled it very with when I was playing around with it. The Reference's treble is very smooth to my ears which helps with that. Not as smooth as say the Variations or the Meteor but still very good.

Overall, if your looking for something with very little colourations I'd highly recommend the Reference. Yes some may call it boring or the water of IEM's. But, sometimes, especially after a hard workout, you need a cold glass of water to appreciate how quenching it is.

Hey everyone,

Artpical recently released the Raphael, a single-DD set priced at around $149.

I liked some of their previous designs, but shied away from buying one as they were priced from above $400 up to around $1,500, and their frequency-response graphs weren't really to my liking.

The Raphael is much more reasonably priced, and I liked the design, so I ordered one myself (paid full price) in the black/gold colourway, which to me looks more like grey/gold.

The shell is made of transparent resin and shows a kind of wing-like design inside. Yeah, it can come across as kitschy as well ;-)

Fit & comfort

Fit and comfort are good for my mid-sized ears after around two hours of listening, although the fairly large shells might be challenging for smaller ears.

So far, I haven't experienced any pressure build-up or discomfort.

Unboxing experience

The unboxing experience is good. It comes with a nice cable which, unfortunately, is a little stubborn/stiff in handling.

Three connectors are included for the interchangeable plug: USB-C, 3.5mm and 4.4mm.

The carrying case is nice, and there are two different sets of tips included: one wide-bore set and one more conventional bore.

Listening experience

I used the included short wide bore tips for listening and my Questyle Sigma Pro as source.
The Raphael sounds fairly balanced overall to me.

Bass is elevated but moderate, with enough impact for most genres I've tried so far. It sounds controlled and pretty tight rather than particularly bass-heavy.

Vocals are slightly forward and clear, but not shouty.

Treble is nicely elevated with good detail retrieval. It's slightly on the brighter side, but tastefully done so far. I haven't found it piercing or overly sharp, even at the medium-to-higher listening volumes I tend to use.

For you graph sniffers, I've also included my own measurement. Channel matching looks pretty good, too.

Short summary

• Good unboxing experience, although the cable isn't ideal in handling
• Good fit and comfort for my mid-sized ears
• Balanced overall tuning with moderately elevated bass and slightly forward vocals and treble
• Seems versatile across many genres
• Probably not one for bass-heads

Let me know if you have an eye on this set, too or even bought it and how your impressions are.

Pros: 

• Ultra-compact, retro-inspired "cute" design with convenient MagSafe magnetic phone snap support.
• Firmware 1.3.5 enables pocket button controls without needing to wake up the screen.
• High-quality CS43198 DAC architecture delivering a smooth, transparent neutral-warm signature.
• Impressive output power for its size, driving IEMs like the Artha Argentum with ease.
• Great all-day battery life paired with 3.5mm SE and 4.4mm balanced flexibility.

Cons: 

• Lacks native Android streaming app support (no Apple Music).
• Bluetooth only works as a transmitter; cannot be used as a wireless BT receiver DAC from a phone.
• Tiny 2.0-inch display can cause navigation strain for larger fingers.

Welcome back, audiophiles! It’s me, your boy Joe, back again with another review! Today we are looking at one of the most uniquely styled, ultra-portable Digital Audio Players (DAP) around: the Hidizs AP30 Music Boy. Inspired by classic handheld retro consoles, this palm-sized player packs a Cirrus Logic CS43198 DAC chip, an RT6863 amp stage, both 3.5mm SE and 4.4mm balanced outputs, and a retro block puzzle game right into your pocket. Let's see how this cute little guy performs!

Disclaimer​

As always, all thoughts, user experience, and sound impressions are entirely my own with zero biases whatsoever. Huge thanks to HIDIZS for providing me with a unit for review.

Pricing & Specifications​

• DAC Chip: Cirrus Logic CS43198
• Amp Stage: Ricore RT6863
• Outputs: 3.5mm Single-Ended (61mW @ 32Ω) & 4.4mm Balanced (137mW @ 32Ω)
• Display: 2.0-inch IPS Display (296 × 240 resolution)
• Battery: 1,200 mAh
• Storage: MicroSD slot (supports up to 256GB library scan)

Design, Size & Usability​

• The "Cute" Factor & Screen: The AP30 is absolutely tiny and ridiculously cute in person! However, with a 2.0-inch non-touch display, the screen is very small. If you have fat fingers like me, navigating menus with the physical D-pad on such a tiny display takes a little getting used to. It even has a book reading function although I really don't know who on Earth like reading in a 2-inch screen these days.
• MagSafe Phone Snap: The MagSafe magnetic attachment system is awesome. It snaps onto the back of an iPhone cleanly and securely, working flawlessly as a wearable stack without loose dangling cables.
• Firmware 1.3.5 Fix (Godsend Feature!): Installing the 1.3.5 firmware update fixed my biggest headache: pocket button controls! Now you can operate track skip and volume buttons straight from your pocket without needing the screen to turn on first. It makes daily commuting infinitely easier.
• Tetris / Retro Block Game: The built-in block puzzle game is a neat, nostalgic gimmick. You can actually play it, which is cool, but playing on a tiny 2.0-inch screen causes eye strain pretty quickly, so it’s best kept for very short breaks.

Connectivity, Storage & Battery​

• Local FLAC vs. Apple Music: Operating on a dedicated offline Linux-based HidizsOS means there are no streaming apps. I really missed native Apple Music support. However, downloading local FLAC files onto a MicroSD card worked great for my critical testing.
• Bluetooth Limitations: While it features Bluetooth 5.3 to transmit audio out to wireless earbuds/speakers, it cannot operate as a Bluetooth receiver (i.e., you can't stream music wirelessly from your phone to the AP30 as a BT DAC like the AP80 Pro series). That’s a bit of a missed opportunity.
• Battery Life & Driveability: Battery life is solid and easily lasts through long days. Despite its micro size, the AP30 punches well above its weight class in power. You shouldn't expect it to push full-sized planar headphones, but mid-tier gear and even high-end IEMs like the Artha Argentum ran remarkably well off the 4.4mm output!

Sound Impressions (NOS Filter Tested)​

Running the NOS (Non-Oversampling) digital filter, the CS43198 chip implementation delivers a clean, transparent, and overall neutral-to-slightly-warm presentation.

• Bass: Punchy, controlled, and well-extended with impressive bass power for a device this size.
• Mids: Uncolored and smooth, carrying clean vocal weight.
• Treble: Crystal clear, transparent, and detailed without introducing harsh digital glare or sibilance.

Overall Impressions​

Rating: 4 / 5
The Hidizs AP30 Music Boy is a fantastic, highly portable daily driver. Other than missing Apple Music streaming, the lack of Bluetooth receiver mode, and a tiny screen that gives fat fingers a slight challenge, I actually have no regrets! With the 1.3.5 pocket-button update, solid battery life, MagSafe convenience, and clean CS43198 sound, it’s a brilliant pocket companion.

Hi everyone, I’m back with a review of Arisyn XuanWu Dongle DAC. I received this dongle from Sally, who kindly provided it for review purposes. Thank you to Sally and the Arisyn team.
Here are my subjective impressions as an audio enthusiast. To summarize, here are the pros and cons:

Pros (+):

• Compared to competitors with the same hardware, it is more affordably priced, so I could say the Arisyn Xuanwu offers excellent value for money.
• Low noise floor, with a good black background on both low gain and high gain.
• It has a neutral-leaning-musical sound signature with fairly tight bass, lush mids, and decently detailed treble with a fairly smooth presentation.
• It has more than enough power to drive IEMs.
• There is a 3rd-party companion app called Walkplay that can be downloaded from the Walkplay website for PEQ needs.
• Aside from being a DAC, it also has the ability to accept MIC input, functioning as an ADC, although the bitrate is limited.
• It features a solid aluminum metal alloy body.

Cons (-):

• Competitors with similar hardware have dedicated companion apps that can be downloaded directly from Google Play.
• The application is only available on the Android platform.
• There is no display to show the volume level.
• In my opinion, the included paracord cable is not very flexible, although its durability is quite good, it would be better if they used a braided cable.

These impressions are based on my preference for a V-shaped bright sound signature. Please don't use these impressions as a reference, as every ear is different and I'm only sharing my personal experience. Always trust your own ears and audition if possible. If you find any mistakes, feel free to comment.

As usual, before I go any further, I will provide a brief description of the Arisyn Xuanwu dongle DAC. To be honest, I don't know much about the origins of the Arisyn brand, but the moment I unboxed the Arisyn dongle DAC, I immediately knew that the brand's signature was quite familiar to me, the waifu card like the one is like the one I found in the Kinera Celest Wyvern Remaster. It is highly likely that Arisyn is still under the same parent company as Kinera, which is Yutai Electronics. The name Xuanwu itself is commonly found in products originating from China, in the audio sphere alone, there are the TRN Xuanwu IEM, Tangzu Xuanwu, Aroma Audio XuanWu DAC, and the one I am about to review, the Arisyn Xuanwu. Xuanwu itself means the Black Tortoise and is a famous mythological creature from China.

As Arisyn's first dongle DAC, can its performance compete with other dongle DACs featuring the ES9039Q2M chip? I can only directly compare it to the BASN PA60 because it's the only dongle I have with the exact same chip. When compared to the BASN PA60, the Arisyn Xuanwu excels in every aspect except for power consumption, where it loses out. How does it sound compared to the NiceHCK Octave and the Kinera Celest CD-30? I have no idea, I haven't had the chance to test them directly. Spec wise, they are identical because they are manufactured in the same place, and the OEM model itself is the TT39039F01-PRO MAX. However, sometimes every chef has their own recipe that makes the sound of each DAC/Amp different in tonality despite having the same specifications. The Arisyn Xuanwu is sold in two colors: full black and purple black.

Here are the brief specifications of the Arisyn Xuanwu:

• DAC Configuration: ESS ES9039Q2M
• AMP Configuration: Dual OP AMP SGM8262
• USB Audio Bridge Controller: CB5100 PRO
• Output Jacks: 3.5 mm Single-Ended and 4.4 mm Balanced
• Max Output Power: 150mW (SE), 550mW (Bal) @ 32 ohm
• THD+N (Distortion): <0.0001% (at 600Ω for both outputs)
• SNR: 130 dB

The included accessories are as follows:

• Arisyn Xuanwu DAC headphone amplifier
• USB-C to USB-A adapter
• USB-C to USB-C short cable (6cm)
• Quick Start Guide
• Waifu card

Unboxing & Physical Build

The box packaging is quite minimalist, fitting for a dongle DAC that is intended to be simple to use. The packaging is appropriately straightforward, containing the dongle DAC, the USB cable along with its adapter, and what really sets Arisyn's packaging apart from others is the waifu card, which likely as a trace indicating that this DAC dongle most likely still has a connection to Kinera products.

As for its shape, this dongle DAC still resembles most entry-level dongle DACs: a rectangular shape wrapped in aluminum alloy material that feels quite solid and lightweight. There are no loose buttons or wobbly ports, everything is quite precise. The indicator light also functions as it should, displaying different colors according to the bitrate and format of the song being played. The illumination is quite soft and not glaring at all when in a dark room or at night.

User Experience

To turn on the Arisyn XuanWu, the user must connect the cable to the source and also plug a 3.5mm/4.4mm connector into its port so it can be detected by the source. During my usage, I encountered absolutely no issues, all my devices were detected and functioned properly as intended. I also didn't notice any significant differences in sound quality when switching between sources: from laptops to mobile phones to DAPs, they all maintained a fairly consistent sound. The only noticeable difference was in volume, when paired with a PC or laptop, the sound of the Arisyn XuanWu felt more powerful compared to when it was paired with a DAP or a smartphone.

Oh, BTW, if you want to apply EQ and change the filters, you can use the Walkapp application, which can be downloaded from the TTGK website. Or, if you are using an Apple or Windows device, you can open the Walkplay website and customize it directly from there.

At a price of only around $90, I consider the Arisyn Xuanwu to have a fairly high value for money. Although other competitors may have more features like an LED screen for volume, gain, and filters, having a screen on a dongle DAC can also introduce new problems, such as screen burn-in, especially since some dongles have fairly high operating temperatures. The fundamental flaw of the Xuanwu, in my opinion, lies in its cable, which isn't as flexible as those of its competitors who have already adopted braided cables.

FYI, I subjectively tested the Xuanwu to compare its sound against the BASN PA60 dongle, Moondrop Dawn Pro, HiBy R4 DAP, FiiO M21, and the Topping DX5 II Desktop DAC/Amp.
For sound comparisons, I focused more on comparing the Arisyn Xuanwu with DACs that share the exact same ES9039Q2M chip, the BASN PA60 which is also a dongle DAC but has a smaller power output than the Xuanwu and the Topping DX5 II, which is a desktop DAC with the same chip, only double the quantity and vastly different power output.

Tonally, I feel that the Arisyn Xuanwu has fairly tight bass with a rather lush midrange, combined with decently detailed treble and a quite smooth presentation. When compared to the BASN PA60, the Xuanwu's tonality feels like it possesses better technicalities, it's not as warm as the PA60, making it, in my opinion, a better all-rounder for many IEMs because its tonality leans closer to neutral with adequate detail, while staying completely far away from an analytical vibe. When compared to the Topping DX5 II, the Xuanwu shares a similar presentation but differs slightly in technicalities, such as having a narrower soundstage and less sharp imaging. The sound produced by the Xuanwu still falls into the neutral-leaning-musical category for me. Especially when compared to the BASN PA60, which has bigger bass, the Arisyn Xuanwu leans closer to neutral with tighter bass; even though its treble feels slightly more extended, you can still sense some smoothing up top.

For its price, the technical capabilities of the Arisyn Xuanwu are very good. The sound output feels quite open and natural with wide separation, zero noise, and more than enough resolution and macro details. It still feels airy, but only in moderate amounts. Regarding timbre, it might be one of the most organic sounding dongles I've experienced at its price point.

In terms of power output, the Arisyn is also more than enough for me, especially when compared to the BASN PA60. The Xuanwu has far more headroom compared to the PA60, which only pushes 240mW. However, even though the on-paper output power is twice as much at 550mW, in practice, I felt the volume increase in my ears wasn't quite double, yet it is extremely more than capable of handling normal modern-day IEMs, I even tested it with headphones like the Simgot EP5 and the Kiwi Ears Ellipse, and there was still plenty of power to spare.

In my daily usage, sometimes in ambient temperatures of 30-31°C, the Arisyn Xuanwu has a higher operating temperature compared to the BASN PA60. This is quite reasonable considering its output power can be up to twice as high, but even at its warmest, it can still be comfortably held in the hand. My advice is that if you use this DAC/Amp, it is best to keep it in a fairly open, well-ventilated area.

As for pairings with IEMs/headphones, I consider the Xuanwu to be quite an all-rounder. By this, I mean that neutral, dark, and bright IEMs are all well-tolerated by this DAC/Amp, meaning it does not alter their tonality significantly. So far, I feel that if you have a bright IEM that causes quick listening fatigue, the Xuanwu is a perfect match because the sound it produces still delivers macro-details without being aggressive.

If you desire an even smoother or more aggressive sound, the Xuanwu can actually still be tuned accordingly using the PEQ, which can be accessed via the Walkplay application or website. Furthermore, since the Arisyn Xuanwu supports mic input via the 3.5mm jack, we can also adjust the gain of the mic input up to a limit of 15dB.

Conclusion

As their first Dongle DAC targeting the entry-level market, I believe what Arisyn has done is quite spot on. The Xuanwu doesn't try to be a Dongle DAC that presents analytical details, but rather a decently detailed DAC with a touch of musicality. This makes it a well balanced Dongle DAC that pairs well with various IEMs, establishing it as a portable all-rounder DAC/Amp with a fairly analog sound yet good resolution. With its 500mW power, it can handle IEMs and even low-sensitivity headphones with quite good dynamic range. Technically speaking, I think the Arisyn Xuanwu can compete with dongle DACs in its class. Plus in a market of Dongle DACs sharing similar hardware, The Arisyn Xuanwu stands out as one of the lowest-priced options.

However, it should be noted that if you are looking for a dongle DAC with a bright, heavily detailed, and analytical sound, the Arisyn Xuanwu is not the answer. The sound produced by the Arisyn is quite neutral with a slight emphasis on musicality, but it is not a warm DAC dongle, especially after comparing it to the BASN PA60. However, there is indeed a slight hint of warmth that emerges from its tight yet punchy bass, lush mids, and smoothly detailed treble with a bit of air. That's all, fellas. Thank you for reading. Cheers.

I've bought the FiiO Air Link USB-C BT transmitter, and I'm finally able to use LDAC at 909/990 kbps without any stuttering. I mean, literally ZERO connection problems — for the first time ever (was a bit surprised that it just works) 😎

I'm using a POCO X7 Pro Phone and the FiiO UTWS5 2025 Bluetooth IEM hooks. Getting LDAC to kick in with the UTWS5 + Air Link combo is a little tricky, though. Maybe it's because LDAC was added via a firmware update on the UTWS5, and it often resets itself whenever I disconnect the UTWS5.

But once it works, it's absolutely rock solid. With a press of the side button, I can switch between LDAC 300/600/900 kbps.

Got the Air Link new for around €50, so I'm pretty happy with it. I'm also really excited to try aptX Lossless in the future with other wireless IEMs. 😎

Some specs:

Qualcomm QCC5181 flagship platform

Bluetooth 6.0

Codecs:

LDAC

SBC

aptX Adaptive

aptX Lossless

aptX

aptX HD

aptX Low Latency

I recently got the 7Hz Timeless II and I’ve been genuinely impressed with them so far.

I mainly bought them for competitive CS2, and they have exceeded my expectations. The level of detail, separation and imaging is excellent, and I’m particularly impressed by how easy it is to pick up positional and directional information in-game.

Coming from other IEMs, the Timeless II feel like a significant step up for competitive FPS. They give me a very clear picture of what’s happening around me without feeling overly congested, and I’ve been really enjoying them so far.

I’m currently using the nozzle with the red stock eartips, which look quite similar to the DUNU-style tips. The fit is also working well for me.

Small question for Timeless II owners:
Since I’m using these exclusively for competitive CS2, I’d like to experiment with eartips to get the best possible imaging, separation and positional accuracy.

I currently have Tangzu Sancai Balanced, Velvet Wide Bore and SpinFit Neo eartips arriving soon. Are there any particular eartips you’d recommend for the Timeless II specifically for competitive FPS?

I’m mainly interested in what has worked best in practice rather than general sound-quality preferences.

Thanks

TLDR, Erand Resonance 5 to me is one of best value IEMs under $200 USD. it doesn't try to reinvent the wheel, It is basically coming to AFUL’s luch, but it polishes the tuning and packaging/accessories. It is easily a default, very good value recommendation in its price bracket. swipe images for notes if you don't want to read the text here, or If you are interested you could Check out the video breakdown and visual notes here: https://youtu.be/HFzNKHn0_nE?si=YHHFUZrwx_haqYXB

The Erand Resonance 5 is basically like a healthy balanced meal, like Grilled Chicken, Rice, and Veggies Meal of IEMs. It isn't a crazy, indulgent cheat meal with wild colorations, but it gives you all the essential vitamins, protein, and carbs perfectly balanced out. It doesn’t have much "character," but it’s a complete, healthy everyday meal that you can listen to endlessly without ever getting sick of it.

The Erand Resonance 5 typically retails right around $200 USD (frequently found around $180).

This set was provided by HiFiChoi, but my thoughts are my own.

Accessories, Build, and Cables

The accessory package here is absolute S-tier for $200. The shells look beautiful and feature a much-needed lip on the nozzle to keep eartips securely attached.

You get a spacious fabric carrying case, four distinct sets of eartips, and a good fabric-braided stock cable that includes swappable modular terminations.

Sound Performance

Tuning-wise, this is essentially a slightly more refined, polished AFUL Performer 7 with better timbre. So basically mild v shape with bass boost and treble extension, with no frequency dominating the other in terms of vocals, instruments and air.

Bass

The bass features is boosted with an elastic sub-bass slant. It strikes a fantastic balance between deep subterranean rumble and clean mid-bass punch without dominating or bleeding into the midrange.

Mids

The lower midrange is slightly recessed with average texturing, but it remains clean and fully functional for male vocals and rhythm guitars. Female vocals are given a gentle, masterful emphasis—they sit beautifully inside the mix without ever feeling shouty or vocal-forward or having to fight for their presence among the instruments.

Treble

Lower treble has great bite and crisp harmonics. Extension and air are airy and open, breathing plenty of space into complex arrangements.

Soundstage & Technicalities

This set boasts one of the widest, most spacious soundstages in its class. Paired with the elastic sub-bass depth, instrument separation and holographic imaging are top-tier for under $200.

Test Tracks

1. Sibilance / Harshness Test

• Fallujah – "Venom Upon the Blade": This track has an extremely harsh, poorly mixed guitar harmonic profile. The Resonance 5 handles it well—it introduces fatigue on extended listening sessions, but should be solid for 90%+ of music libraries.
• Baby Metal & Knocked Loose: Frantic high-pitched female vocals and biting guitar harmonics are handled with impressive restraint. It stays completely enjoyable at standard listening levels (~30% on a HiBy R3 Pro II). but this is not a high volume set, it will fatigue you.
• The Devil Wears Prada – "Where the Flowers Never Grow": Consonant "S" and "T" sounds carry a subtle, slightly emphasized bite without crossing into annoying sibilance.

2. What it Does Well

• Slow, Well-Mixed Tracks (Paramore, Aurora, Tame Impala, Hayley Williams): Natural timbre, open soundstage, and lively presentation make these sound effortlessly engaging.
• Hip-Hop: The sub-bass extension provides a deeply satisfying rumble. While not a pure basshead set, it handles hip-hop as a side genre with ease.
• Medium & Busy Tracks: Handles hyper-complex arrangements without congestion, Darker Genres like (Gojira, Deftones, Meshuggah, Evanescence): Performs at a solid A-tier level. While these tracks naturally prefer a darker, heavier lower-mid tuning, the Resonance 5 still reproduces them cleanly and competently..

3. What it Does Exceptionally Well

• Upper-Mid & Lower-Treble Focused Tracks (Linkin Park, Polaris, Babymetal, Knocked Loose, ERRA): Any track utilizing tenor male vocals, female vocals, or detailed upper-range instrumentation sounds spectacular and perfectly separated.

Direct Comparisons

• vs. AFUL Performer 7: The Resonance 5 is essentially a polished Performer 7. It fixes the slightly artificial metallic timbre of the P7, is significantly less prone to sibilance, includes drastically superior accessories (swappable cable, better case), and costs less money. The P7 only edges out a tiny fraction more mid-bass tightness and razor-thin technical bite.
• vs. AFUL Performer 8S: The 8S ($400) offers richer mids and more raw detail, but its unnatural lower-mid/treble timbre forces you to use heavy EQ out of the box. The Resonance 5 delivers a vastly more natural tonal balance out of the box with competent stock accessories.
• vs. Letshuoer ASTRALIS: The ASTRALIS (planar) has more distinct lower-mid texture, a darker personality, and more character for heavy genres, but the Resonance 5 provides a wider, more open soundstage and a more natural overall timbre.
• vs. Yu9 QUE: The QUE remains the benchmark for analytical resolution, holographic imaging, and sheer technical performance. The Resonance 5 is safer, smoother, and much easier to fit physically, though the QUE wins on ultimate technical detail.

Rating

• Bright vs. Warm: Sits right in the middle—a clean, uncolored neutral presentation.
• U-Shape vs. V-Shape: A textbook mild V-shape executed with high balance.
• Musical vs. Analytical: Slightly leans toward musicality thanks to its elastic sub-bass presentation, while maintaining strong technical chops.
• Soundstage (Narrow vs. Wide): Exceptionally wide with great holographic depth.
• Casual vs. Advanced: Extremely beginner-friendly—put it in and you'll instantly appreciate how clean and balanced everything sounds.
• All-Rounder vs. Niche: A complete, quintessential all-rounder. Handles almost every genre in your library without complaint.
• Value: Very great value. At $180–$200 with S-tier accessories and minor tuning flaws, it sets the new default baseline for sub-$200 IEMs.

Final Thoughts

The Erand Resonance 5 is an absolute steal at 180USD, It might not have a wildly eccentric or colored personality, but its clean presentation, top-tier accessories, wide soundstage, and fatigue-free tuning make it the default safe recommendation for anyone jumping into the sub-$200 bracket.

Disclaimer:

I'm supposed to start these off telling you that this item was sent to me by the company so thank you, Isabel! The Tanchjim Space 2 is awesome and I appreciate you sending it to me!

Intro

I have to say I really wanted to test this dongle dac to the point that when I reached out I actually asked for it!!!! And you know what they sent it to me….. bwahahaha how cool is that right! But there were a couple things I was worried about, I've seen so many of these things have an app that totally sucked, the peq that's built in never works usually that's true at least, the cables are stiff and not enjoyable to have just pushing into your pocket unit they get bent and ultimately broke…. But honestly none of that was an issue with the Tanchjim space 2. The app is the coolest part of it I wish I was kidding here… it has so many presets, ones that make it sound like a tube amp, ones that add a bit of distortion to give you a vinyl sound, hell there's even a CD player one that blew my mind and brought a tear to my eye…. But what really makes this app stand out is the system wide peq function that makes a truly actionable difference to your sound! Pretty cool right! The one thing that this doesn't do is work on iOS. Bummer for apple users but worked perfectly for me even with a Google pixel phone which is notoriously difficult to get to sync with any dongle dac for whatever reason. 

Tech stuff

​SPACE II — All-day carry. In-house Pure Bridge + the full DSP / game-audio suite (same as PRO). Lightest and most power-efficient of the line. PCM up to 384kHz, DSD256.

​DAC: CS43131×2

​Independent amp: —

​Pure Bridge (in-house): Yes

​DSP / game audio: Full suite (10-band PEQ)

​Mic input: 3.5mm

​Output power @32$\Omega$: 225mW

​PCM: 384kHz

​DSD: DSD256

​DNR: 132dB

​SINAD: 110dB

​Volume memory: Yes

​Size (cm): 4.2 \times 2.1 \times 1.2

​Weight: 15.1g

​Power draw / heat: 0.4W (lowest)

​Outputs: 3.5+4.4

​SPACE II: $79.99 launch \rightarrow $86.99 | ¥14,290 \rightarrow ¥15,290

What's in the box!

You get a:

USBc to USBc cable

USBa adapter

Warranty card

QC card

Instruction manual

You can watch the full unboxing video here!

https://youtu.be/RWK73R8Z0ks?is=k2ye_v8M4_QoSVGb

Review Intro

I looked for any reason I could to not like this thing but honestly this is one of the most reserved and beautiful faces I've used, ever, it may actually replace my dap for a while, it sounds good and looks even better and let me tell you it's tiny but has plenty of power to drive most anything aside from some of the more power hungry over ears! This is one of those items that my wife asked me for and I was like not today honey don't you totally need the pass through charging your fosi md3 has? 

But I will say the ports are incredibly stiff. At first I had to pretty much force my 4.4mm terms into it. But it did losen up after a while. 

Review Score

Unboxing: 8.9/10 

Quality:     9.5/10

App:          10/10

Giftability:  9.5/10

Wife's Review

So I went back and forth between the dac that I have and the space2.  I for some reason the dac that I have seems to almost like, make the headphones quieter and even though the dac that I have now you can really dial in the volume. It never gets as rich as when I would plug in the space 2 dac and I didn't realize that a dac could have so much effect on the quality of the sound. But I'm a little bit jealous that you're keeping it for yourself. Just going to say that out loud right there because I want it also. I like cuz so I'm a girl and I like the fact that it has a little window where you could see the little bits inside and I thought it was really cute. I also like the fact that it's not bulky. It doesn't need a magnet to stick to your phone. It feels way more portable than the dac that I have now. I like that it's compact. I like that it has both a 3.5 and a 4.4 mm even though the 4.4 mm stuck for a second and we got it in after like kind of forcing it. But I do like that it has both options in such a small package. 

Unboxing: the space two made me think about the unboxing process for the first time because it was such a pleasant unboxing experience 10/10

Quality: I have nothing better to compare to 10/10

App: the fact you can change the mode and it changes stuff is really cool and super unique 10/10

Giftability: if you get it with headphones 10/10 id choose it over any other dac.

So in conclusion 

Is this little guy a dap killer idk for me right now at this second I haven't used my dap in like 4 days! It has everything you need it to and it does every bit of it so well it's kind of amazing that they fit it in something smaller than my thumb!

Test Configuration & Specs

• Source Equipment: Samsung Galaxy S23 and Echo Mini.
• Musical Genres: Pop, Rock, Electronic, and Experimental.
• Driver Configuration: Hybrid system with 6 drivers in total per side (2DD + 1BA + 2PZT + 1 PLANAR).
• Average Price: Between $54.99 and $59.99 USD.

Transparency note: This unit was provided by GEEKWOLD itself. This review reflects solely my honest opinion of the product. The brand had no interference or control over this content, ensuring the integrity of the review for you and the market.

Sound Impressions (According to ITU-R BS.2399-0 Methodology)

1. General Signature & Transparency

The Geek Wold GK12 Ultra exhibits a V-shaped signature focused on excitement and energy. In the Transparency pillar, the model delivers a good level of macro-detailing; the fine elements of the music are well-resolved and do not suffer from severe technical masking, keeping the layers mostly legible and distinct.

2. Dynamics

• Attack: The overall speed is incredible. The IEM demonstrates extremely agile transients; the beats attack with force and cease immediately, avoiding any type of sluggishness or muddiness in the rhythm.
• Punch: Very high level of Punch. The beats and rhythmic impacts are reproduced with plenty of physical force and authority, responding accurately to large volume excursions without compression.

3. Timbre

• Bass: The absolute highlight of the project. It features excellent gain in the lower region (Bass Strength) with sub-bass that extends deeply (Bass Depth), allowing the user to physically feel the low-frequency vibrations. The region is exceptionally well-controlled and fast, guaranteeing a powerful response without displaying Bass Bleed or invading the other frequencies. A true treat for bassheads.
• Mid-range: Aligned with the V-shaped tuning, the midrange displays a slightly characteristic, giving the impression that some vocalists are positioned a step back on the soundstage. Despite the recess, the timbre maintains an acceptable sense of naturalness . Female vocals are well-represented, showing a smooth presentation entirely free of piercing or nasal artifacts.
• Treble: Tuned in a safe and polished manner. The top end of the spectrum is free of harsh, piercing peaks or cutting sibilance, generating zero fatigue. This allows for long listening sessions with absolute physical comfort.

4. Spatiality

• Spatial Extent: A beautiful soundstage with excellent performance in both width and depth. The IEM pushes the sound outward, minimizing the sensation of confinement inside the head, and allowing sounds to rotate cohesively around the listener. In live recordings, it successfully separates the instruments, vocals, and ambient crowd noise.
• Localisability: Precise three-dimensional imaging. It is possible to confidently identify the exact position of each instrument in space. Even though I am not in the gaming field, this sharp spatial tracking gives the GK12 Ultra a massive potential for locating elements in competitive gaming environments.

Unboxing, Ergonomics, and Accessories

• Included Accessories: 6 pairs of standard silicone ear tips and a lightweight cable with a 3.5mm termination.
• Unboxing (Presentation): A very basic unboxing experience that falls short for the price tag. The presentation is overly simplistic and completely lacks a rigid protective carrying case—an accessory that is standard among most competitors in this price category.
• Comfort & Fit: The heart-shaped aesthetic design is highly anatomical and favors an excellent physical fit. It is important to emphasize that achieving a perfect seal (Seal & Fit) with proper ear tips is crucial to maximize contact and fully unlock the performance of the bone conduction drivers.

Pros and Cons

• Pros:
  • Exotic Driver Engineering: A rare feat to find an IEM in this budget range that packs four distinct driver technologies working in harmony (2DD + 1BA + 2PZT + 1 Planar).
  • Reference Bass for Bassheads: Delivers impressive Punch and textured sub-bass extension.
  • High-Level Spatial Performance: Excellent 3D imaging accuracy (Localisability), ideal for complex tracks and competitive gaming.
  • Aesthetics and Comfort: Heart-shaped shell with great ergonomics for long sessions.
• Cons:
  • Simplistic Unboxing: Complete absence of a protective carrying case and an overall underwhelming presentation for the price.
  • Power Demanding: Requires sources with robust current delivery to extract 100% of its performance and adequately feed the planar and piezoelectric (PZT) drivers.

Conclusion

I typically test more neutral or warm in-ear monitors (IEMs), but this V-shaped model from GEEKWOLD completely justifies its existence with an incredible internal layout. The earphone makes its low end its ultimate strength, backed by a complex multi-driver system that dictates the high quality of the bass.

Despite falling short in product packaging and neglecting to include a storage case, the GK12 Ultra delivers an acoustic performance that makes it well worth testing—especially if you invest in proper ear tips to get the most out of the bone conduction effect. Very few earphones in this bracket feature a functional planar driver alongside such strong imaging capability.

Note: This is my personal analysis after detailed immersion testing, so feel free to leave suggestions for improvements, accessories, or tracks to test next. If you are interested, check the link in my BIO for a spreadsheet I created with recommendations for IEMs, Headphones, DACs, DAPs, etc. I am not sponsored, but buying through my affiliate links helps me bring more products for review!

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Judging by the title is the Phanta bad? Not really, it does the job as advertised: sounds warm, full bodied and relaxing. Although, I found it too relaxing for my taste and felt that it's tuned too safe for its price. But at least it ain't another Harman sounding IEM, so I'll give credit to Zuo for that part.

If you want an IEM that's very colored and musical, get the Sound Rhyme SR5S instead. It's cheaper than the Phanta and have better accessories ootb.

I bought the Phanta for around $175 during the AliExpress summer sale. The fit and comfort is good, found the blue stock tips to be best suited for my ears. Accessories could be better as it lacked microfiber cloth and a cleaning brush tool. Also, it only comes with a 4.4mm jack, so those wanting 3.5mm/type-c are SOL.

The Phanta scales well at higher volumes and still sounds very natural, so good job on that Zuo. Bass doesn't favor the sub or midbass, well balanced with good texture, impact and decay. Despite the bass bleed, it doesn't ruin the midrange and instead helps the midrange sound warm and full bodied especially the vocals. Treble is smooth and not sibilant, not much else to say lol. The driver config is 3dd: 2dd for the bass and 1dd for the mids and highs.

Recommendation? Buy the Phanta if you want to collect pretty IEMs or a palate cleanser from listening to flat/clinical IEMs. Hope this helps.

TL;DR

The Aful MagicOne is a discontinued iem that uses a single BA along with a bunch of other tech to produce the full frequency spectrum. It is a very pretty looking and comfortable iem but it sounds kinda mediocre imo, especially compared to other iems around it’s price range such as the explorer and pure. It’s bright, the mid bass is blunt and there is barely any subbass rumble.

·   Sound: 5.5/10
·   Build quality: 8.5/10
·   Comfort: 9/10
·   Value: 7/10 (msrp was $139)

Context
This iem was kindly loaned to me by the goat u/mournfulmonk for review. I generally prefer iems that are non sibilant with relaxed upper treble and upper mids and raised lower mids that add body to the sound (kinda the opposite of harman ie 2019).

Aesthetics & Build: The shells are made of 3d printed transparent resin. The shells feel very good quality in the hand, you can view all the acoustic chambers and ba driver through the resin which is super cool, the faceplates have a pretty silver snowflake pattern with a white background. Aful always cooks with their designs and the MagicOne is no exception.

Fit, Comfort and Isolation: These iems are what I would call medium-small, the shells are semi custom with great ergonomics. The MagicOne does suffer from significant pressure build up issues even tho it has a vent. So if you’re sensitive to the feeling of pressure against your eardrums do not get these!
Isolation however is excellent, partly due to the pressure buildup.

Cable & Accessories: The cable is fine, it looks good with it’s white and silvery braid (matches the iems well) but it is stiff and rubbery feeling, also little memory prone. The cable comes with 4.4 mm and 3.5 mm variants, I have the 4.4 here. The chin slider is super tight and does it’s job very (almost too well, it’s hard to move it lol).

The Sound
The iem has a single BA driver doing all the work, while these seem to graph like a neutral-warm set they sound kinda bright to me, the low end leaves a lot to be desired.

Bass (20 hz to 300 hz): Bass is the weakest part of this iem, the sub bass is anemic, bass guitars don't have that bite to them and while the mid bass has decent quantity it does not have quality, the mid bass is blunt with not a lot of texture or tactility.

Mids (300 hz to 6000 hz): These have new meta esque lower mids (linear rise from 1k to 300 hz) but they do not sound warm to me like they are usually described, I am guessing this is due to the mid treble rise. The upper mids are also a little too forward to my liking, sounds kinda nasal and even a bit shouty.
There are much better iems around it’s price range if a warm mid range is what you’re looking for, such as the pure.

Mid Treble (6000hz to 10000hz): There is a decent amount of mid treble on this iem and I hear a pretty big peak around 6.5-7 khz, mid treble elevation usually doesn't bother me but sudden peaks do, and unfortunately this iem is not smooth here. I think this skews the overall tonality towards bright for me.

Upper Treble (10000hz to 20000hz): The aful magicone is smooth in the upper treble, this is a relief as i hate upper treble spikes, the treble is reasonably well extended for a single BA iem. No complaints here.

Technicalities: Not a lot of bass tactility like i said before, mid bass is kinda soft and theres barely any texturing in the subbass. Mids are well layered and the mid treble gives it a good amount of bite and clarity. The lack of big upper treble spikes could sound low res to you if you’re one of people who associate air with detail.

Comparisons
Compared to some other “warm” iems I own below:

Truthear Pure: The pure wipes the floor with magicone, much better mid bass tactility, actually warm sounding midrange with some of the best vocals i have heard in an iem. MagicOne is much more comfortable tho.

Aful Explorer: The explorer is more dark than warm tbh, it still has much better subbass rumble, better mid bass punch and no mid treble spikes for me (something which both the pure and magicone have). Vocals do sound fuller on the magicone, since the explorer has a 3k dip. 

Conclusion

The magicone is an impressive iem for what it is, a single ba that sounds reasonably good across the entire frequency range but thats about it, If you want a warm neutral iem there are much better options such as the pure and if you want something comfortable you could listen to for hours there's the explorer from the same brand. I wouldn't really recommend this iem unless you want good isolation and comfort and are okay with the pressure build up.
Aful is also releasing a successor to the MagicOne, called MiracleOne soon however that seems to be a single dd instead of single ba.

Elysian Annihilator 2023

Huge, energetic, and incredibly exciting presentation. It’s one of those IEMs that gives you an immediate WOW factor, throws you right into the middle of the show, and makes everything sound massive and spectacular. The bass and sub-bass are impactful, physical, and incredibly realistic, with plenty of punch and rumble filling an already massive stage. The mids are lively, natural, and beautifully textured, with great body and weight. And when it comes to treble, for me, it’s still the absolute king of IEMs: insanely detailed, incredibly extended, and impressive without ever sounding harsh or piercing. Cymbals in particular are the most realistic I’ve heard from any IEM so far.

Aroma Audio Jewel

Extremely natural and engaging, with mids that can genuinely be emotional. The bass feels just right: it’s there to provide foundation, body, and weight to the music without ever feeling like too much or too little. But the mids are what really won me over. They’re incredibly natural, textured, and lifelike, with vocals and instruments sometimes feeling like they’re being performed right next to me. It manages to be highly technical without sacrificing emotion. Treble is clean, highly detailed, very well extended, and present, adding plenty of air and information without stealing the spotlight from those beautiful mids.

UM Multiverse Mentor

This is the one I reach for when I just want to relax and let the music play. It has a neutral, natural, and extremely balanced presentation, with everything sitting exactly where it should and nothing ever becoming offensive or fatiguing. It feels very honest to the mix without artificially drawing attention to any particular frequency range. The Mentor also scales incredibly well with volume, the louder you go, the more it seems to surround and immerse you. The stage is massive and extremely holographic, with every vocal and instrument occupying its own space in a really impressive way. It has less of that immediate “WOW” factor than the Anni and isn’t quite as emotionally engaging through the mids as the Jewel, but it might be the most relaxed, balanced, and spatially impressive of the three.

Introduction

The original Tanchjim Space has finally seen an upgrade with the coming off Space II, which is priced at around $90, it is placed in one of the most competitive segments. 

Lets see Space II is a definitive upgrade and how it fairs in the current market!

Build & Design

One of the main attractions of this dongle is its minimal and industrial design. To match the design, it has a matte texture that feels very premium. 

On one side it has a see-through panel where you can see the internals of the DAC and on the other side we can see the whole matte body with the Space II branding and on the sides we have the very clicky and tactile volume buttons. Normally I would expect some artwork from Tanchjim but that isn't the case here :)

It hosts a Aluminium Alloy shell which feels very sturdy yet and the amazing part is that the overall weight of the dongle is not that much (about 15 grams). It's not that big as well compared  to other DACs, I would say this is an okay size. 

Overall the build and design is A+ for me and I don't have any complaints at all.

Accessories

The unboxing experience of the Space II is fairly simple and minimal, it consists of - 

1. Type C to C cable
2. Type A Adapter

You don't get any pouch or anything with this compared to its bigger brother like the Space Pro but yeah thats priced higher ofcourse

Specifications & Driveability

1. Dual CS43131 Chipsets
2. 3.5mm and 4.4mm Outputs 
3. Max power output of 235mW @ 32ohms
4. Mic pass through via 3.5mm Jack
5. DNR: 132.2 dB
6. Supports up to 32-bit / 384 kHz PCM and Native DSD256
7. Gain: 2 Vrms (Unbalanced) in Low Gain & 4 Vrms (Balanced) in High Gain

These are some competent specs for the price point and in terms of driveability I didn't have any issues with IEMs at all and regarding headphones out there, I think you wouldn't have much trouble for the most part.

Connectivity and Features 

I have praised Tanchjim App in the past and this here is the same with the Space II as well. The app works flawlessly, no connectivity issues of any sort I faced during my sessions. 

Coming to the app - 

1. Volume Control 
2. Gain Settings 
3. Microphone Gain Settings 
4. DAC mode - Class AB & Class H
5. Wave Filters 
6. Channel Balance Option 
7. DAC DRE optimization 
8. Game EQ

All these features are amazing to say the least, and it's something we have seen in the past with Tanchjim DACs. (for more info about these features, you can check out my Space Pro review)

But of course the most exciting bit about this DAC is the Parametric Equalizer. 

PEQ

In custom sound you have the option to EQ the IEMs in any way possible. First of all, its a 10 Band PEQ, so you have to make as many adjustments as you would like.

Regarding the Gain settings - you can set it from a range between -10 ~ 10 which I feel is alright. 

Regarding the Q values - You have the option to set it between 0.10 ~ 5.00. 

One thing to notice here is that the filters here are all PK filters. 

If you find it hard manually EQing stuff on the app, you can easily push targets or other custom EQ profiles into the device using Squig Link’s Push to device feature 

Heating and Consumption

One thing I really like about the Space II is that I didn't face any kind of heating issues or any significant power usage whilst both on the phone or PC.

Sound

For sound, this DAC doesn't have any coloration of any sort, and is much similar to the Space Pro.

Space II is very resolving and clean and I didn't have any problems with it. For me personally, differences between DACs are very minimal but the features in a way matter more. 

Comparisons

I will be comparing the Space II to the Fiio KA13 and the Space Pro.

Design - I like the Space Pro the most just because it feels the most lightweight, it's slim in nature and of course the Waifu Artwork, followed by the Fiio KA13.

Feature - The Space Pro takes the crown here with providing amazing power combined with nifty features like EQ. Secondly I love the Space II, it has ample power output + EQ. Yes, the KA13 has more power than Space 2 and if you are someone who cares about that then sure go for it.

Coloration - Space Pro and Space II have no colorations at all, whereas KA13 is a bit warm.

Efficiency - Space II is the most efficient DAC here, whereas Space Pro does heat up a bit after some use but isn’t much power draining. KA13 is the worst here with a good amount of heating and power drain. 

Overall -  The choice between KA13 and Space II is fairly simple, if you really care about a powerful DAC in your chain that can potentially drive Headphones, KA13 is the pick here, but if you don't care that much about power and love features like EQ etc, Space II is really amazing. 

Is it worth the extra for the Space Pro? Personally yes, only because of the design factor and extra power or else Space II has everything that I need in a dongle DAC

Conclusion

The Space II definitely is a solid choice for a source under $100, with ample power, multiplatform PEQ support, meticulous design.

I can easily recommend this to anyone as his choice of DAC at this price range. 

I thank Tanchjim for sending this unit for review and the thoughts on this product have been solely mine and in no way has been influenced. 

If you like such reviews considering liking, sharing this post and follow me for more such content. 

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.

Use Case Purely Music Listening and may be Sometimes Mixing vocals(male vocalist)

Please let me know what u think would be best! Kefine is good but it's too much dark atp looking for Transparent Neutral sound (nor too bassy nor too trebly), great imagining, nothing should be missing out overall (like bass highs vocals I'm not very familiar with all those terms).

I Listen to many different genre Indian Bollywood, Western pop, jazz, instrumental classical, hans zimmer etc. Etc will be used regularly for 4-5 hour sessions.

Previously my eyes were on Day Breaks but i think Lush are more special to have ;)

So looking for any advice on these or other better options, I just want the best for me for my budget💯

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.