GIVEAWAY TIME on r/IemReviews

We’re beyond excited to bring another special giveaway to this amazing community!

This time, the giveaway is proudly hosted by Twistura in partnership with r/IemReviews and the Sonether team, and we couldn’t be more grateful for their generosity.

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What’s up for grabs?

The newly released Twistura Delta

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How to enter:

Follow r/IemReviews

Upvote this giveaway post

Comment below answering this (in English):

What song would you listen to first with the Twistura Delta?

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Extra Chance to Win:

– Upvote the giveaway post shared on the Twistura Facebook profile

– Upvote the giveaway post shared on MalcriadoAudioLover’s Facebook profile

And as a special thank you, make sure to show some love and follow Twistura here:

Facebook Profile

Instagram Profile

Because without their incredible support, this giveaway simply wouldn’t be possible.

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Giveaway Timeline:

• Starts today: Friday the 1st

• Entries close: Friday the 15th

• Lucky Winner announced: Sunday the 17th

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That’s it — no essays, no frequency response wars, no graph battles.

Just music, passion, and your first sonic adventure with the Twistura Delta.

Good luck, and may your bass hit deep, your mids shine beautifully, and your treble sparkle with grace.

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A massive thank you to the entire Twistura team for making this possible.

Twistura continues to prove why passionate brands matter so much in this hobby. Their dedication, generosity, and commitment to the audiophile community help keep this space growing, evolving, and inspiring new listeners every day.

It’s companies like Twistura that move this community forward — and we are incredibly thankful for their trust and support.

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In this community, music is more than sound — it’s connection, discovery, and the endless pursuit of that perfect moment. Keep listening, keep sharing, and keep the passion alive.

Overview (TL/DR)

The NX8Ti is a balanced soft U-shaped IEM with a very energetic and engaging sound that, PZT timbre aside, will offer you comfort, detail and immersion, with one of its major downsides being that is a Limited Edition, which means that they will eventually run out of stock, so, if you are looking for a comfortable early endgame pick, you might want to check those.

With a present low end that packs a deep-reaching sub-bass rumble along an authoritative, agile and clean mid-bass punch; a fairly present mid-range that offers consistent male vocals and lively female vocals; and a well extended treble, that packs a impactful bite and immersive detail while still being somewhat controlled, NX8Ti is great, though, it might be a bit too much for treble sensitive people.

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WOULD RECOMMEND:

* For people that like more energetic and slightly bassy sound signatures.

* For people that want very good quality of bass but don’t want a bassy IEM.

* For people who want a mostly balanced sound on an IEM.

* For people that want a sturdy and durable IEM.

* For people looking for a very comfortable and lightweight IEM, either for small ears or for long use sessions,

* A direct technical upgrade coming from the OG NX8, and a great next step from cheaper PZT-using IEMs like Simgot EW300.

* For people that like to do EQ, since it works well with it.

* For people looking for a decent assortment of stock accessories.

* I personally enjoyed it for Electronic music and some Pop/K-Pop.

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WOULD NOT RECOMMEND:

* Not for people that like very thick and very full (lush) vocals.

* Not for people that like more warm/bassy or relaxed sound signatures.

* Not for people looking for an excellent “performance to price” ratio.

* People who are very sensitive to treble should be cautious with this set (even with EQ).

* If you struggle with the PZT driver timbre, better consider other options.

* People that use iems at high volumes should be cautious with this set.

* IMO, the treble amount and PZT timbre doesn’t work the best for Rock genres.

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

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I will leave the official links here given the product right now is on its pre-sale period, and, with this code: 【NNX8TI】 you can get the price down to $359 on AliExpress, It expires on May 20th.

AliExpress Store Link (Click Here).

Official NiceHCK Page (Click Here).

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REVIEW

INTRO

As a somewhat seasoned reviewer there is nothing more frustrating than reviewing an IEM that you just genuinely love but it has an specific detail that makes it complicated for you to easily recommend it, and despite how much I appreciate NiceHCK because it feels like they genuinely care for good sound, It also would be great if they could make my “job” easier for recommending their stuff.

So, when I tried the NX8 I felt like it had potential that ended in nothing remarkable, now with the revamped NX8Ti, they fixed nearly everything: better performance, better sound, even better comfort, is genuinely great, however, preference will always play a huge role on enjoyment, and it will depend on if its sound works for you, so, before making a choice, let me tell you about it.

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Fit and Drivability

I, 9/10 times, struggle with fit because, apparently, i have weird ears, however, NX8Ti just goes in like a glove, you just need to know what eartips to pick, and with the 4 different sets of included eartips, 2 pairs for each size, plus the ergonomic, small and relatively light weight shell of the NX8Ti, you have near 0 chances of struggling with getting a good seal, which is always extremely welcome.

Besides the very ergonomic fit of the IEM, the Ti on its name stands for “Titanium” which you can find in the sturdy “Titanium Alloy Laser-Etched” face-plates that makes the set feel more premium and durable while keeping the weight at a minimum, an upgrade compared to the basic NX8. Also, for the record, I will be using the (Kbear-style) NiceHCK 07 and 08 included eartips, both on its small size for this review.

Now, after all the good stuff, is time to mention one of the major catches that NX8Ti has: those are kind of power-hungry, they definitely do better with more power, so, take the advice from this clown that asked for a 3.5mm cable and do not, I repeat, DO NOT get NX8Ti with the 3.5mm cable, just get the 4.4mm version and plug it on the most powerful DAC you have around.

As for what’s recommended to be used for power delivery, despite its 112.3dBs sensitivity and 18 ohm impedance specs, which aren’t particularly heavy on paper, I do recommend the use of a DAC, like a CX31993 dongle with 60mW of power output, as the bare minimum, that said, my best experience using NX8Ti was with the NiceHCK Octave in its 4.4mm connection which offers 550mw of power output.

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THE BIAS.

Before the sound review, I need to mention a few things about me: Bear in mind that every person perceives sound in a different way, and those differences are key to understand what each person does or doesn’t like, and how that will translate into a review.

My preference is a “neutral with bass boost” type of tuning, I don’t like too boosted treble, however, I can handle intense upper treble quite a bit, so, what is not too bright, too treble forward for me, could actually come as harsh for you, and what is bassy enough for me, could be too bassy or even muddy for you.

I’m also a bit susceptible to IEMs with boosting on the upper mid-range and the lower treble area of the sound (around 4Khz-6Khz), which affects things like high pitched vocals and instruments. Having boost peaks in those areas makes the sound be a bit too intense and harsh for me, so, when I say that the sound could be “shouty,” or too intense in treble or vocals for some, I’m mostly talking about this.

Last thing is that I usually don’t struggle with iems with the called “Metallic / BA / Planar” Timbre that some people can’t really enjoy, I normally don’t have problems with neither of those, but I do struggle with PZT driver timbre.

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SOUND

Bass

Despite the NX8Ti being an overall balanced-sounding IEM, it is packing enough low end that it could be considered slightly bassy, which works well given its strong yet responsive bass quality, making it engaging without turning overbearing, plus the overall bass presentation is pretty clean, with just an small amount of bleed into the mid-range.

For the sub-bass, it has a deep reaching an enveloping presentation, with a fairly present vibrating rumble that is almost on part with the mid-bass punch however, this just stands ever so slightly over the rest of the sound without getting on the way, so it is only heard when the music calls for it, plus, it has a nice texture to it.

On the side of the mid-bass, it is everything you could ask for, it is very punchy, with a nice degree of physicality to it, while keeping an agile, fairly fast response, which lets it adapt well to different music genres, being forward when needed, or just keeping a sense of rhythm when the music requires so, is not a basshead amount of bass, but it is a decent amount of it nonetheless.

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Mid-range (vocals)

As I said on the TL/DR, the NX8Ti is a soft U-shaped IEM, which means that vocals, do take an small hit and, while the overall presentation is fine, natural-ish and kind of present, they aren’t the most lush or the most accurate, specially thanks to the PZT driver which, at least for me, always makes female vocals sound a bit off.

The lower mid-range, where general instruments and most male vocals are prevalent, is decently present overall, but still a bit “on the background” for the very low area of mid-range, it doesn’t have the most body, is just acceptable, especially with the extra “warmness” coming from the bass, so male vocals doesn’t feel too “thin” outright.

In terms of upper mid-range, were most high pitched vocals / instruments exist, MX8Ti presents a more lively side, however, vocals still aren’t the fullest feeling, also, because of the PZT driver timbre, high-pitched vocals could feel a bit odd at times, like with a hint of a “lisp”, besides, if you are very sensitive to boosted upper mid-range, there is a chance the vocals could feel borderline shouty on a few songs.

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Treble

With PZT drivers treble is always a mixed bag, depending on your tolerance of timbre and the recording quality of the song, you might or might not get a bit of a “noisy” sense of treble overall, but with well recorded audio in general, is usually not a problem at all, included the “lispy” vocals mentioned earlier and, compared to the original NX8, in the Ti version this PZT timbre is a lot more controlled.

On the lower treble, the area that could make some vocals feel “shouty”, is, as said before, fairly controlled with decent presence that adds some bite to the music, although at times it could feel a bit too intense for sensitive people like me, it is overall fine, giving good energy and sense of detail to the music.

As for upper treble, it is well extended and detailed, with some sparkle, and enough feeling of air, but back with the PZT driver, depending on your tolerance of the timbre, it could feel a bit too much on some songs, it also depends on the mixing of the music, for music that has controlled treble and makes vocals or bass stand out, it won’t get on the way, but if the mixing makes treble stand out, it will give it to you.

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Technical performance

Now, the NX8Ti normal price is about $400usd, but is down to $359usd for launch/pre-release period, also, with the PZT driver timbre on top, is a bit harder to properly judge this IEM, there is always a degree of subjectivity involved, so, in my opinion, technical performance, for a $400 IEM, is fine but not the most impressive, however, one has to bear in mind that part of the price is also because is a limited edition.

Resolution: Resolution is often what can impress more people out of the gate and, with a very crisp and clear resolution, the NX8Ti definitely offers a good performance for $400usd.

Detail retrieval: The capacity of convey detail is good for an IEM around $400, however, depending of the eartips used, detail could be a little less obvious based on how much the selected eartips affect bass and treble presence.

Note-weight: This NX8Ti, as said before, packs some bite, so note-weight is more on the strong side, but nothing too aggressive, just enough so the music feels more energetic, with more body.

Soundstage: Is more on the open, expansive side, but I wouldn’t call it too wide, it really depends on your audio and eartips of choice, still, it’s a reasonably open soundstage for its price.

Imaging: The imaging is very precise and lets you follow the sound around pretty well, so if you were worried about it, it does offer a very competitive performance in this area.

Separation: Separation is decent but, given the extra presence of treble thanks to the tuning and the PZT driver timbre, sounds could get a bit “blurry” on very complex tracks like with some Rock music genres.

Replay: With NX8ti it really is all about the replay, if your audio is not the best recorded or produced, it might not play well in this IEM, especially if it has too much treble, but well done tracks sound excellent in it.

Harshness control: For harshness control PZT timbre is never my favorite, if you often listen to music that you feel it could sound harsh, and listen at high volume on top, the treble on NX8Ti might be a bit too intense for your ears.

Sibilance: So far for me, all PZT drivers I have tried have this extra… “zing” in the sound that can feel like hints of sibilance, so, the NX8ti doesn’t deal with recorded sibilance the best for me, and that can be a major downside if your music struggles with it.

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Overall sound

The NX8Ti is a balanced soft U-shaped IEM with a very energetic and engaging sound that, as long you don’t mind the PZT driver timbre on the treble, will offer you comfort, detail and immersion into your music, with one of its major downsides being that is a Limited Edition model, which means that the price won’t change much over time, and they will eventually run out of stock, so, if you are looking for a comfortable early endgame, you might want to get it while you can.

With a present low end that packs a deep-reaching sub-bass rumble along an authoritative, agile and clean mid-bass punch; a fairly present mid-range that offers consistent male vocals and lively female vocals; and a well extended treble, that packs a impactful bite and immersive detail while still being somewhat controlled, though, it might be a bit too much for treble sensitive people.

I personally think that, if you are kind of a treblehead, and want something comfortable, detailed and engaging, this is by far one of the safest choices to pick, with also a very good sober-looking and sturdy build quality, my only gripe being the cable and the “Limited Edition” status, but with Dunu candy eartips, those might become my personal daily drivers.

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Now, 3 quick comparisons so you can grasp were this IEM lands:

First, versus the Dunu DN242 (And DN142), for me, the NX8Ti is like an in-between the Dunu twins in terms of tuning, a more energetic 242, or a more controlled 142, with a performance that sometimes stands out over them, but being the comfort the major point that NX8Ti has, still, I personally like 242 a bit more because is the more natural-sounding for me.

Then, versus the NiceHCK NX8 (OG), what else can I say? As stated in the intro, is better at everything the OG NX8 does, and easily a “double the price double the performance” upgrade, great next step if you liked the OG but wanted more, also, it could, too, be considered an upgrade coming from other PZT IEMs like the EW300.

And versus the Dunu DK3001BD, In this case the $100 extra does make a notable difference, DKBD remains unbeatable in openness, detail and texture, but characteristics like an extended sub-bass and treble, the NX8Ti does has its moments of brilliance where it wants to rival more expensive stuff, especially in resolution.

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Accessories

The unboxing of the NX8Ti is very premium but not everything is perfect, as I mentioned before, you have a great assortment of accessories… except for the cable that is, IMO, a miss for the product, either way, it is usable, so the package ensures a good user experience overall.

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• The cable included is a thick, sturdy but also not that flexible, ash-blue (gray) color, 0.78mm 2-pin “7N Single-Crystal copper custom cable” cable formed by 2 thick strands, and embellished by “Titanium Alloy components” like the chin slider.

Honestly, this cable makes me kind of upset, is not even the fact that for something over $200 we still don’t get interchangeable nozzles that, let’s be real, it should be a must at this point, but even the right side of the cable is market by a random elastic red O-ring in the cable? I just don’t think this cable belongs with this IEM, period.

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• On a good note, NX8Ti includes 4 different sets, with 2 pairs of each size, of eartips, that offer the well liked (Kbear) NiceHCK 07 and the comfortable 08 models, as well as some NiceHCK C04 tips and some generic black eartips.

I don’t have much to say, besides the black stock tips, all the others fit comfortable and work fine with the IEM, good on NiceHCK for not only give us a good assortment of tip options, but also include spares just in case, love to see it.

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• You can also find in the box a round “NICEHCK EBX25Ti Earphone” carrying case.

I honestly liked the larger stock case of the OG NX8 better, with that thick cable included it feels too crammed, but either way, it works fine, it will protect your iems.

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• Finally, in the package comes a plastic, black brush for cleaning the IEMS, a pair of tuning nozzles than barely change sound (mostly some more treble), 2 pairs of replacement filters for said nozzles, and some sort of “connection guards”, called “pin covers”, that are supposed to help protect the 2-pin connections.

There is a lot of interesting and useful extra stuff to ensure durability and ease of use and for that I still compliment NiceHCK on the accessories.

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So yeah, for a $400 price-tag, the inclusions are as fine as it gets, no nonsense like uncomfortable eartips, plus replacements for anything that might could worn down overtime, besides the cable, NiceHCK has done a great job for the accessories.

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Conclusions

My struggles with PZT drivers might affect to some degree my perception of this IEM, my brother which is kind of a treble-head LOVES the NX8Ti, I can’t seem to agree in its sound supremacy but, to be fair, for a limited edition product, despite the, just a bit, steep price IMO, is hard to lose if you bet on this IEM if you are looking for a daily driver end-game and like treble detail.

After some testing around in these past days, the NX8Ti, with Dunu candy tips, might as well become my daily driver for once, because it has everything, good performance, great comfort, and the PZT doesn’t bother me unless with certain songs, it really is a good set overall, but preference is always king.

A big thanks to NiceHCK and Da Bao for the opportunity to test this exciting model, and I hope NiceHCK keeps giving us more and better IEM bangers in the years to come.

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

The Juzear Defiant Gamefidelity Edition is not your usual “gaming tuned” IEM that throws massive bass and sharp treble at you for fake excitement. Instead, Juzear took a more refined route here.

This is a hybrid setup featuring:

• 1 Dynamic Driver
• 3 Balanced Armatures

And rather than sounding overly aggressive, the Defiant Gamefidelity focuses more on clarity, positioning, layering, and long session comfort.

Honestly, this feels less like a gimmicky gaming IEM and more like a proper audiophile set that also happens to work very well for gaming.

Build, Cable & Accessories

The Defiant Gamefidelity Edition looks premium immediately.

The shells have a glossy resin finish with a very clean and polished appearance that honestly looks more expensive than its price bracket. Fit is comfortable overall and the shells sit securely without becoming fatiguing during longer sessions.

Unlike the standard Defiant, this version comes with:

• 3.5mm cable with MEMS microphone
• USB Type C adaptor included

This makes the package much more convenient for mobile gaming, Discord calls, handheld consoles, and general plug-and-play usage.

You do lose the modular 4.4mm termination system from the standard version, but for the audience this edition targets, I think the included setup makes more sense practically.

The MEMS mic quality is surprisingly decent too and gets the job done for casual communication and gaming.

Sound Overview

The Defiant Gamefidelity Edition goes for a balanced U-shaped tuning with a strong focus on detail retrieval and separation.

What immediately stood out to me was how controlled and refined the presentation feels.

This is not a “huge slam and excitement” type of IEM. Instead, it focuses more on:

• Clarity
• Precision
• Layering
• Smoothness
• Imaging

And because of that, it becomes a very easy IEM to listen to for long hours.

Bass

Bass here is clean, textured, and controlled.

Subbass has good extension and rumble, but the midbass stays restrained and avoids becoming overly punchy or bloated. Because of this, the Defiant sounds more technical than energetic.

For gaming and competitive positioning, this tuning actually works very well because bass never overwhelms details.

For music though, this can become a double edged sword depending on your taste. If you enjoy aggressive rock or highly energetic genres, you may want a little more impact and slam.

Still, the bass quality itself is undeniably good.

Midrange

The midrange is clean, spacious, and slightly relaxed.

Vocals are not extremely forward, but they come through naturally with good clarity and separation. Instruments have excellent placement and the overall presentation feels organized even during busy tracks.

Some people may find the mids slightly recessed depending on the recording, but personally I think Juzear intentionally tuned it this way to improve depth perception and avoid fatigue.

For longer sessions, this tuning works surprisingly well.

Treble

Treble is probably the strongest aspect of this IEM.

There’s a lot of detail and air here, but Juzear managed to keep it smooth enough to avoid harshness. The Defiant extracts micro details very well without sounding sharp or piercing.

This is one of those rare sets that feels technical without becoming tiring.

The upper end especially helps with:

• Positional accuracy
• Imaging
• Environmental details in games
• Instrument separation

Technical Performance & Gaming

Technicalities are excellent for the price.

• Strong detail retrieval
• Very good layering
• Clean instrument separation
• Accurate imaging
• Spacious presentation

The soundstage is not gigantic, but it has very good depth and positional accuracy.

For gaming, the Defiant Gamefidelity Edition performs genuinely well because of its controlled bass and strong imaging but i am not a hardcore gamer. Only games i Tested were Valorant, call of duty and Forza. Footsteps, directional cues, and smaller environmental sounds are easy to pick apart without the mix becoming muddy.

And unlike many “gaming” products, this still remains a very capable music IEM too.

Dunu Titan X enters the budget segment with: seriously premium build and a loaded accessory package. Full metal shells, quality cable, plenty of tips, and even Dunu Candy eartips in the box already make it feel a step above the usual budget release.

But build alone means nothing if sound does not follow. Thankfully, Titan X is not just about presentation.

Sound Impressions

Bass

Titan X has a full bodied and weighty bass response. It gives enough quantity to keep music engaging, but it does not dominate the tuning. The bass leans more toward thickness and body rather than sharp punch or fast bounce.

If you want ultra snappy slam, there are stronger options. But if you enjoy a richer and more musical low end, Titan X does a good job.

Midrange

This is where Titan X gets interesting. Vocals come through with a slight warmth and fullness that makes both male and female vocals enjoyable.

Lower mids add body, preventing thinness, while upper mids have enough energy to keep vocals clear and present. There are moments where upper mids approach the edge, but overall it stays controlled enough to avoid fatigue. Although it has a strong peak at around 3k which might boost the females vocals a bit forward.

Treble

Treble is mostly smooth and safe, with decent enough extension for the price. It avoids harshness and scratchiness, which is something many budget single DD sets struggle with.

Do not expect huge sparkle or airy brilliance here. Titan X plays it more controlled than flashy.

Technical Performance

Detail retrieval is respectable for the price. Imaging and separation are decent, though not standout level. Soundstage has decent width without sounding especially large.

Overall, Titan X focuses more on a pleasing listen than chasing raw technical flex.

Build, Comfort & Accessories

Honestly one of the best parts of this set.

• Full metal shells feel premium and sturdy
• Excellent included cable
• Large tip selection (3 diffrent styles included)
• Dunu Candy eartips included
• Comfortable despite the metal build

At this price, Dunu really overdelivered here.

Comparisons

Tangzu Waner Red Lion

This is the obvious comparison right now.

Build: Titan X wins comfortably. Full metal shells feel much more premium and durable.
Accessories: Both are strong. Tangzu gives good extras, while Dunu includes Candy tips which are genuinely useful.
Sound: Very different tuning styles.

• Red Lion has boomier bass with more obvious low end presence
• Titan X sounds more balanced across frequencies
• Vocals are better on Titan X to my ears: warmer, fuller, more musical
• Treble / technicals / perceived stage are fairly close

My pick: Titan X feels like the more refined all rounder.

GK Streak

Build & accessories: Titan X easily feels more premium.
Sound: GK Streak sounds more mature and balanced overall, with better treble extension. Titan X sounds warmer and more musical.

Kefine Klean (OG Black)

Very competitive matchup.

Build: Both feel solid and well made.
Accessories: Titan X wins.
Sound: Quite close overall, with no massive gap either way.

This one comes down more to preference than clear winner.

Final Verdict

Dunu Titan X feels like a budget IEM made by a brand that actually cared about the whole package. Great build, strong accessories, pleasant musical tuning, and vocals that stand out nicely.

It may not be the most technical or hardest hitting set in the bracket, but it delivers a mature and enjoyable tuning wrapped in premium hardware.

If you want a warmish, smooth, well built budget single DD that feels more expensive than it is, Titan X is an easy recommendation.

Today I was thinking to myself what to do this weekend. after a long time I am looking at two free days on weekend and nothing new to work with or tinker with. Somehow some divine intervention has

Just happened.

I received Moritz Audio Enzo. I have never tried any product from them. This is my first ever encounter with the brand. I am quite excited to test this 1DD+6BA+2Planar hybrid. Now need to open my box of sources and start pairing them with Enzo to find out synergy.

What ever may the outcome of my tinkering be. One thing is for sure my weekend is all set. See you soon in few days with my review of Moritz Audio Enzo.

I have been blessed once again with a consignment that has been sent across by one of my patrons for my audio reviews, and this consignment contains a lot of kilobuck IEMs, but even in that; a few very affordable ones exist. And out of that, I am picking out the Kotori Audio Zephyr to opine on, as reviews are very scarce; and I just want to be a helping hand to the best of my abilities. So, I thank him for giving me the opportunity to review this.

I don’t have the full set, but only the IEMs with an aftermarket cable. Disclaimer: I am not a believer in cables changing sound, so that has no role to play in this review.

Fit and Comfort

The Zephyr is one of those IEMs that needs some wobbling in terms of getting the fit and seal right; but it is a very light IEM and I had zero problems with wearing it for extended periods. The cable surely aided in the comfort. Also, I must comment to choose eartip size wisely as the shells are designed in such a way that the sizes will radically alter the seal, which I went through specially on the Divinus Velvet to the point where I simply had to rank it at the bottom for eartip preferences, on the other hand, where I expected L sizes to work; the M size in JVC Spiral Dots just did a perfect job.

Enough radio chatter, here’s the sound.

LOWS

In tracks like Rush’s Limelight, a track known for its blitzing bass lines and mathematical drum work, the Zephyr impressed me right out of the gate with its crisp, fast attack and well-controlled decay, while the sustain carries just enough presence to let the bass line lead the charge without suffocating the kicks. There is a delightful warmth here that gives the otherwise laid-back and thinner vocals a surprising amount of energy and drive, and, let’s admit it, Geddy Lee always had thin vocals. Even then, the Zephyr manages to give them some much-needed weight and body.

In tracks like Daft Punk’s Instant Crush and Get Lucky, two of my picks to gauge punch and slam, the Zephyr carries a touch of excess energy that can occasionally make the bass lines feel mildly bloated, something that could have been cured with slightly better sustain through the end beats. Thankfully, the lively upper vocal presentation cuts through almost immediately before things become overwhelming. Nitpicks aside, this IEM has an addictive sense of groove, as this clearly lets everything that makes these two tracks THE tracks shine in their adequate moments of glory- be it Julian’s melancholy through that punchy upbeat vibe, be it Pharrell and Nile Rodgers duking it out for the spotlight; the Zephyr handles it without spilling its guts out.

MIDS

In tracks like Tesseract’s Juno, Animals as Leaders’ The Woven Web, and Periphery’s Marigold, which are my picks to gauge imaging, detail retrieval, and separation, the Zephyr does not impress with outright dollops of detail or surgical separation. Instead, it reminds me of the Softears Twilight in the way it prioritizes engagement over analysis. It may not be the most detailed set in its class, but it kept me completely hooked into the music. Guitars carry a strong sense of energy while vocals ride comfortably alongside them, and paired with the surprisingly fast bass attack, the overall presentation comes across as coherent, engaging, and genuinely fun. Timbre sounds natural throughout, especially with strings, while cymbals further showcase the superb imaging capabilities of the Zephyr.

In tracks like First It Giveth by Queens of the Stone Age, the Zephyr’s slight lack of finesse can leave me missing some of the crispness and sharpness in the snare hits that other IEMs in its class, notably the Truthear Pure, are capable of delivering. Even then, the handling of tonality and timbre remains excellent, which stands in stark contrast to how the Aful Explorer sounds. Vocals sound lively and well-positioned, while guitars maintain enough isolation for the overall presentation to feel cohesive rather than congested.

HIGHS

This is one of those IEMs where the actual listening experience simply does not reflect what the graphs may suggest, at least to my ears.

In tracks like Celine Dion’s All By Myself and Bonnie Tyler’s Total Eclipse of the Heart, where the vocals lean lighter, especially during strong dynamic swings, and in tracks like Adele’s Easy on Me and When We Were Young, two emotionally charged ballads with baritone-ish vocal presence, the Zephyr impresses me by leaps and bounds. Everything from its control over sibilance and pierce to the way it handles yodelling, vibratos, straight note sustains, and dynamics throughout the passage feels exceptionally well-managed. The Zephyr simply nails these moments.

In tracks like PinkPantheress’ Stateside featuring Zara Larsson, a track filled with aggressive phonk-style synth work and bass, the Zephyr rarely comes across as piercing or fatiguing. Vocals remain well-positioned throughout, and despite their thinner presentation, the Zephyr still injects enough body and weight to prevent them from sounding lifeless or hollow. Once again, sibilance is kept completely in check, and everything remains composed and controlled throughout.

Concluding Notes

The Kotori Audio Zephyr is an IEM that never intends to try hard and never promises a world full of wonders. It was never labelled as a giant killer the way many IEMs in its price segment often are. In fact, this IEM never tried to be one, and I am glad I gave it a shot. I also thank my patron for letting me try this IEM.

The Zephyr does not overwhelm with energy like the Defiant, feels livelier than the Truthear Pure, and does not push itself into the abyss the way the Explorer did. In fact, after hearing the Zephyr, I dislike the Explorer even more while appreciating the Truthear Pure far more. There are still a few shortcomings here, mainly its inconsistency in maintaining energy through the lows, a slight recession in the midrange, a mild lack of detail, being fairly eartip-dependent, and playing the highs a little too safe. Even then, this is an IEM that can be worked into some genuinely satisfying heights, and I hope more people give it a chance.

In fact, I will be adding this IEM to my personal roster. That is how much I believe in it, and that is why it earns an A from me.

Will I buy this new? Absolutely.
Will I buy this used? Absolutely.

Sources used: SMSL Raw MDA-1 and Venture Electronics Megatron desktop DAC amp, Shanling M9 Plus, iBasso DX340 with the Amp 17 card and Cayin N3 Ultra DAPs, FiiO KA17 and Venture Electronics Odo dongle dac amps.

Eartips used (ranked in order of performance): JVC Spiral Dots, Final E, Penon Liqeuer Black, Divinus Velvet Narrow Bore

Tracks

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message In A Bottle
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Avicii: Levels
• Periphery: Marigold
• Tesseract: Juno
• Kanye West: Stronger, Flashing Lights, Devil In A New Dress
• Altin Gun: Goga Dunya
• 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
• AR Rahman: Tere Bina
• Alice in Chains: Down In A Hole (live)
• Allen Stone: Give You Blue

Fola -

Build, Fit & Accessories

The Fola keeps the familiar Tanchjim shell style with a compact all metal construction. It feels premium in hand and sits very comfortably in the ear for long sessions without pressure buildup.

The faceplate has a reflective finish that looks sleek, though like most polished metal shells it can pick up scratches over time.

The included modular cable is decent in quality and gives multiple terminations 3.5mm / 4.4mm / Type C DSP, which is a huge plus. Personally, I found the cable slightly thin and not the best in handling, but functionality wise it delivers.

Accessories are generous:

• 6 pairs of eartips
• Extra tuning nozzles
• Good quality carry pouch

Driveability

Single dynamic driver based on Tanchjim’s DMT5 architecture.
16Ω impedance / 126dB sensitivity

Very easy to drive. Worked well from every source I tried.

Sound Overview

The Fola goes for an energetic, clean, slightly bright neutral tuning with enough fun factor to avoid sounding sterile. It sounds lean, crisp, spacious, and controlled.

Tuning Nozzles

This is one of the more useful nozzle systems I’ve tried.

• S = Most balanced / default option
• L = Upper frequency emphasis
• D = Bassier option with slight presence dip

I preferred the S nozzle overall as it gave the best balance.

Bass

Bass is clean, punchy, and surprisingly capable.

There is solid slam and rumble when called for, with a tasteful midbass presence that gives energy without muddying the presentation. It stays tight and controlled rather than bloated.

If you want a warm basshead sound, this is not that. If you want fast, satisfying, quality bass, it performs very well.

Midrange

The midrange is one of Fola’s strengths.

It sounds clear, transparent, and well separated. Lower mids have enough texture, while upper mids are handled in a neutral and controlled way.

Vocals come through cleanly without shoutiness. I would have liked slightly more body in the lower mids for male vocals, but overall the presentation is refined and easy to enjoy.

Treble

Treble is detailed, crisp, and well managed.

It sits on the brighter side, but avoids harshness and sibilance impressively. Cymbal hits have satisfying presence, and the top end adds air and clarity without becoming fatiguing.

A strong showing for people who enjoy clean treble done properly.

DSP & App Features

The Type C version includes a DSP cable, and this is where the Fola becomes even more interesting.

Through the Tanchjim app you get:

• Multiple presets
• 5 band PEQ
• Easy tuning adjustments
• Stable and intuitive usability

The app experience is smooth and genuinely useful instead of feeling like a gimmick.

While i don't usually prefer Type c over analog. I found out that all the features which you can access through type c dsp plug, you can access all those features on analog mode via Space Pro dac.

Technical Performance

This is where the Fola clearly punches above its price.

• Strong detail retrieval
• Excellent imaging
• Spacious stage
• Great instrument placement
• Impressive layering and separation for a single DD

It sounds more technical than many sets in this bracket and creates a wide, organized presentation.

Final Thoughts

The Tanchjim Fola feels like a very complete package.

You get:

• Strong tuning
• Useful nozzle customization
• Real DSP features
• Great comfort
• Above average technicalities
• Easy drivability

Space Pro -

Build & Design

The Space Pro has a CNC machined aluminum body with tempered glass on top, giving it a premium and sturdy feel in hand. The version I have is the Asano Tanch edition, which adds a nice visual touch.

It feels solid, compact, and easy to carry around. Weight is around 20g without cable, so it remains portable without feeling flimsy. Infact it's even smaller than my Black pearl.

Box contents are practical:

• Space Pro unit
• High purity USB C to USB C cable
• USB C to USB A adapter
• Manual / QC card
• Stickers

Only downside here is the stock cable. It works fine, but long term durability could be better.

Specs That Matter

Inside, the Space Pro uses:

• Dual Cirrus Logic CS43198 DAC chips
• Dual SGM8262 amplification chips

Outputs:

• 3.5mm single ended
• 4.4mm balanced

Power output is impressive for a dongle:

• 505mW @ 32Ω balanced
• Up to 618mW @ 26Ω balanced

This means it has no issue driving most IEMs and can even handle many harder to drive headphones surprisingly well.

It also supports:

• PCM up to 32bit / 768kHz
• DSD256

Sound Impressions

The Space Pro goes for a clean, neutral, uncolored presentation.

No fake warmth, no forced sharpness, no unnecessary coloration. It simply lets your IEMs sound like themselves, which is exactly what I want from a DAC.

What stood out most:

• Strong detail retrieval
• Clean background
• Great imaging
• Good layering
• Spacious presentation
• Excellent control in bass regions

Micro details come through nicely, but without sounding clinical or dry. It stays musical while remaining accurate.

If your IEM already has a strong personality, the Space Pro won’t interfere with it.

Power & Real World Usage

This dongle has serious power.

It handled sensitive IEMs quietly with low noise, but also had enough headroom for demanding sets without sounding strained.

Balanced output especially wakes things up with stronger dynamics and better control.

It does warm up a bit during longer sessions, especially on 4.4mm, but nothing alarming.

Tanchjim App Features

This is one area where Space Pro becomes more interesting than many rivals.

The Tanchjim app (Android + Windows) gives access to:

• 10 band Parametric EQ
• PCM filters
• Gain modes
• DAC output stage modes
• Firmware updates
• Sound presets like Tube / CD / Vinyl
• 5.1 and 7.1 surround sound presets

These are not gimmicks either. If you enjoy tweaking gear, there is a lot to play with.

My only complaint is limited platform support. macOS, iOS and Linux users miss out.

Small Negatives :

• No LED / display indicators
• Stock cable could be better
• App limited to Android and Windows
• Gets a little warm on balanced output
• Higher battery drain when using 4.4mm (expected)

Final Thoughts

Instead of focusing on one flashy feature, it does almost everything well.

Check out my full review of the EPZ 550 here:  https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/epz-550-review/

EPZ 550 Review 

-Five-driver all BA (Sonion & Knowles) 

-$499 (early bird) 

What is up everyone? I just published my latest review of the wildly talented EPZ 550. The 550 is the latest in EPZ's “500 series” of balanced armature earphones and clearly their flagship model. Friends, this set is absolutely wonderful in so many regards. An unboxing which is (in my opinion) on level with the best in the price point, if not more. The build is exceptional, the aesthetic is exquisite, it's intricate no matter how you turn them and simply screams “premium”. EPZ has leveled up. No doubt about it. What you have is a reference leaning yet wholly musical sound with as much musical engagement as you have detailed precision. Not an easy thing to do. High clarity, high resolution, very well dimensioned, spacious stage, multi-layered, sweet toned, smooth, and effortlessly harmonious. I have a lot to say about this one folks and I cover everything in my published review along with some select comparisons (that I have on hand). Of course, as good as it is, there are downsides and the 550 is not going to fit everyone. Though, that should go without saying. However, I do try to outline those subjective issues. All in all, if you can get with (enjoy) this style of tuning, then I suggest not sleeping on this one. EPZ truly made a special set in the EPZ 550. Anyway, if you'd like, my review is at the link above. I thank you in advance. If not, no sweat, just have a wonderful day, jam out to your tunes and I'll see you in my next review period. 

🔥🔥 550 Pros🔥🔥 

-The unboxing is one of the best in the price point

-Build Quality is top shelf

-Extremely intricate design/aesthetic makes the 550 one of the most beautiful iems 

-Great accessories (cable, case, tips) 

-All day comfort, lightweight, ergonomic

-Great tonal balance, very clean, transparent, and yet engaging sound

-Solid neutral-natural timbre

-Clean and well defined bass, just enough oomph, high quality

-Midrange is so well tuned. Awesome for both male and female vocalists

-Highly musical and highly technical

-Treble has sparkle, great control, high resolution, nice extension

-Highly detailed

-Imaging is spot on and pin point

-Multi-layered sound field

-Stage is spacious, airy, and very well-dimensioned 

-Simply a fantastic sounding all-BA iem

🤷🥶 550 Cons🥶🤷 

-Look may not be for everyone (is this a con?) 

-Not for bassheads or even marginal quantity bass lovers

-Those sensitive to upper mid glare may have an issue with the 550’s upper mids

-Mid-treble can get a hair bright for warm, dark lovers

-This is one set which will highlight all poorly recorded tracks

-Not for anyone who desires a rich, ultra-smooth, and warm tuning

Check out my full review of the EPZ 550 here:  https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/epz-550-review/

Hello Community!

The new release from GK is called Streak. Will it be another market breaker? I’ll tell you below.

Price: €20-$22

Link

Pros:
-Good depth in the bass
-Pleasant tonality across the entire spectrum.
-Technically very competent for its price.
-Warm, pleasant sound, easy to enjoy.
-The treble is sufficient and controlled, no fatigue at all.

Cons:
-Mids are somewhat recessed.
-It may seem somewhat dark for many people.
-The stock accessories could be greatly improved.

Accessories:
-Two shells.
-A set of ear tips in SML sizes.
-Cable with QDC 0.78mm connection and 3.5mm termination.

Comfort, design and build quality:
The truth is that in this aspect there are more negative points than positive ones, but then, for the umpteenth time, I remind myself of the value of the product and I understand many things although, little by little, the industry is growing in the added value of higher quality products in this price range.

The cable is annoying and both sitting at my desk and walking around, the cable takes uncomfortable positions, with the latter situation, being in movement, suffering some pulling that caused adjustments issues in my ear.

On the other hand, the ear tips, although they achieved a correct seal and fit, are still of questionable quality. As with the Kunten, the accessories do not do justice to the well-tuned sound.

The good news about all this is that it is a set that I believe deserves to be upgraded with higher quality accessories. GK has cables and tips available, which I have not yet received due to an error in the warehouses, however, I will try to receive them.

As for ergonomics, they are medium-large sized shells, with a classic oval shape that does not create pressure points and I can assure that I have spent several 6-hour sessions with this set in my ears.

The insertion into the ear canal is deep but not exaggerated. Once the appropriate ear tip size is chosen, the fit is very firm. As I said above, the in-ear comfort would improve with softer and more elastic materials.

In terms of construction, it is nothing out of this world: a resin body according to the manufacturer, although to me it seems like plastic, which allows you to see the interior of the IEM, and a faceplate that the brand advertises as CNC-machined metal and which honestly, I struggle to recognize as that material. It is correctly finished, without edges or impurities, and the nozzle has a paper filter with micro holes.

Aesthetically it is minimalistic, not very flashy, but that matters the least.

Technical aspects:
-1DD+1MP configuration.
-32 ohms impedance.
-111dB sensitivity.
-Declared response 20hz-40khz.

Pairing for the tests:
-Warm/neutral source.
-Gain set to low.
-Stock ear tips.
-Stock 3.5mm cable.

Sound signature:
The low end has quite a lot of presence and it becomes noticeable quickly. The bass comes in with weight, with a warm and wide but smooth punch, generating a sensation of a full and fluid foundation. It adds energy without becoming too brute. The sub-bass also has a certain elasticity that makes it feel more immersive and physical depending on the genre. It is not the driest nor the most disciplined bass in the world, but honestly I think that is part of its charm, because it never gives me a cold or boring sensation.

The mids follow a fairly relaxed line and coherent with the rest of the signature. The instrumentation has a smooth and pleasant tone, with considerably acceptable thickness which leads us to a presentation that feels comfortable since it is not aggressive at all or too forward although in a certain way, they are somewhat behind in the stage. The vocals are not constantly pushed forward searching for unnecessary protagonism; instead they appear integrated within the mix, showing naturalness.

I do notice that in busy songs some elements could have much more separation or definition, but the Streak normally prefers to maintain a fluid presentation rather than sounding analytical. To this day and after several weeks, I still debate with myself whether that is favorable or a disadvantage considering the driver configuration chosen for the set.

Up top, in the treble, is where it surprised me the most for the price. I expected the typical somewhat messy and uncontrolled treble from some budget IEMs, but here I found an example of liveliness and space. There is brightness, there is sparkle and enough energy for small details to appear gracefully, although without entering too much into sharp territory. I do appreciate this, even though I prefer more strength up top most of the time.

The frequencies and even small textures have presence and help the music breathe better. Evidently it does not reach the level of refinement of more expensive models, but I also do not feel that it tries to pretend to be something it is not. It has a fairly clear way of presenting treble, always maintaining a light and dynamic sensation.

With deep male vocals I perceive quite a lot of body and a very pleasant warm texture, somewhat recessed for my taste and not entirely the timbre with which I could say they are completely natural. However, normal male vocals do maintain good balance and naturalness, although at times they can feel slightly soft. In female vocals I find quite a lot of freshness and energy, bringing emotion and air without becoming excessively intense.

On a technical level, it seems more competent to me than I expected considering its price. The soundstage does not try to create a gigantic scene, but it does achieve enough width for the music to breathe comfortably. The imaging responds quite well and allows me to locate sounds easily, especially in tracks with good production while the layering also leaves good impressions because the main layers rarely overlap chaotically, although when the mix becomes too complex it is noticeable that it prioritizes musicality over absolute precision.

Finishing with detail retrieval, it maintains a similar line: it does not chase obsessive microdetail nor does it seek to analyze every minimal nuance, but even so it manages to retrieve enough information for the experience to feel rich, dynamic and very enjoyable for hours.

Single player videogames:
Always seeking the most cinematic experience possible, tested in narrative and action-intensive titles. Check my blog to see the specific games and the audio analysis conditions in videogames.

In this field, this set has a fairly entertaining way of getting you into the match without feeling excessively cinematic. In action scenes I notice hits, explosions, reverberations and rumbles with quite a lot of presence. I do not feel it is a dry sound, but rather wider and with a certain vibration that makes scenes feel intense and dynamic.

Dialogues remain clear most of the time, with voices close to naturalness and easy to follow even when the game begins filling the scene with effects. For my taste, somewhat behind, but nothing dramatic or that ruins the experience.

However, where I liked it the most was in immersion: small environmental sounds, distant echoes, wind or residual footsteps constantly appear in the background, making the game world feel more alive without the need to force details and while feeling great and sweet listening comfort.

Layer separation works better than I expected for an IEM in this range. When there are several simultaneous effects I can still distinguish gunshots, music and voices without everything ending up converted into a confusing mass.

The stage has enough width, so in that aspect nothing can be reproached: the accuracy of the representation of the scale of the worlds where I tested the Streak was reasonably sufficient.

In addition, I really appreciate that the sibilance is relatively controlled; sharp effects such as glass, gunshots, metallic hits or certain voices do not end up tiring me quickly.

Positioning also leaves good impressions because the sounds maintain fairly coherent and easy to identify directions.

Multiplayer videogames:
Always seeking the most analytical possible experience of the stage, tested in competitive shooter titles. Check my blog to see the specific shooter games and the audio analysis conditions in videogames.

In competitive multiplayer, it left me with a curious sensation: it is not a set that analyzes the environment and captures every sound element and places it clinically, but even so it maintains a fairly competent spatial reading.

In Counter-Strike 2 I can identify footsteps and lateral positions with enough precision to react quickly, although in extremely busy scenarios the soundstage becomes somewhat more compact.

In Apex Legends it feels especially fun because the bass adds energy to abilities, explosions and movements without completely destroying the clarity of the environment.

In Call of Duty: Warzone the performance is fairly solid thanks to good spatial coherence, allowing me to distinguish directions and distances in a relatively natural way.

Where I felt most comfortable was in Battlefield 6, because it manages general chaos quite well, separating gunfire, vehicles and ambience with relative and sufficient order so as not to easily lose important information during matches.

Final conclusion and personal evaluations:
With GK Streak something curious happened to me: at first we did not connect well but the more time I used it, the less desire I had to analyze it and the more I ended up simply enjoying it. It has a very clear personality and, instead of chasing that obsession of sounding ultra technical or excessively precise, it bets on a much more relaxed, dynamic and easygoing experience for hours.

What I value the most is the coherence of its character. It has energy, space and enough liveliness to always maintain a dynamic sensation, but without losing that warm and comfortable character that allows me to use it for hours without ending up fatigued. I never felt that it sought unnatural protagonism, instead it conveys a fluid and very easy to enjoy sensation, something that over time ends up having enormous merit.

I also like that it maintains a certain lightness even when the sound gains intensity. There is a constant sensation of width and air that helps everything breathe better, providing immersion without the need to exaggerate details or force technicalities.

Evidently, in especially complex situations it could offer a somewhat cleaner or stricter reading, but honestly, I think prioritizing musicality and comfort was the right decision for a set with this philosophy. Besides, dear readers, we are talking about a €20/$ set.

For me, it is very directed at those who seek an entertaining, comfortable sound that can appeal to the masses. On the other hand, those who prefer an extremely clinical presentation or focused solely on precision probably will not connect the same way with its proposal.

If you made it this far, thank you for reading.
More reviews on my blog.
Social media on my profile.
See you in the next review!

Disclaimer:
This set of monitors has been sent by GK. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed when creating this analysis.

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

My sources:
-FiiO K11 for music and videogames on the main PC.
-FiiO KA13 while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO BT11 + Iphone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

Greetings to the whole community, this review marks a turning point regarding planar or hybrid planars since I have recently owned and reviewed models like the Simgot ET 142, the Kefine Arnar or some time ago the Hidizs MP143. This Roseselsa CJ20 directly becomes my favorite option of the 4, I have not had the chance to try alternatives like the Timeless II although I did have the Letshuoer Z12 at the time (already discontinued) but focusing on the music I listen to and what I expect from a pure planar IEM, they take the first place and I will tell you in detail the reason for this decision...

What I like / What I don't like

• Its design and size are a total success, combining a very elegant aesthetic with excellent comfort and a top level metallic finish.
• The nozzles are somewhat short, which compromises passive isolation and the fit with the stock eartips, forcing you to try from your own repertoire to achieve a good seal.
• Its speed and the authority of its low frequencies offer an ideal texture to transmit all the energy of the instruments, standing out in genres like rock and metal.
• The included cable is modular and with a secure threaded lock but it has a somewhat annoying tendency to keep the shape of the folds.
• Instrumental separation and spatial precision are one of its biggest strong points, maintaining order even in chaotic musical passages.
• Its raw texture and its lack of exaggerated sub bass make it less recommendable for dense electronic music or highly processed pop.
• I love that it does not try to be an analytical and boring earphone, it has a very dynamic and fun character for day to day use.

Specifications

• Driver Unit: 14.2mm Planar Magnetic Driver
• Impedance: 24Ω ± 10% u/ 1KHz 155mV
• Sensitivity: 102 ± 3dB/Vrms@1kHz
• THD: ≤3%@1kHz@1.0mW
• Frequency Response Range: 20Hz a 20kHz
• Cable Material: 1.2m Graphene Plated OCC Single Crystal Copper Wire
• Interface Type: 3.5mm / 4.4mm Moduled
• Connector Type: 0.78 2 pin
• Single Earbud Weight: 5.4g

My Sources

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

Unboxing and build

As you can see in my photos where I try to show the almost complete experience from the outer box to the lower layers, we have a cardboard cover with the IEM broken down into pieces. Inside the package we find a selection of silicone eartips in different sizes, a cleaning brush and cloth and a carrying case with a finish that imitates black leather where the IEMs fit without a problem with the cable, a case that reminded me of the ones Hidizs includes in several of its models. And of course the modular two pin cable is also included with both 3.5mm and 4.4mm adapters.

The braided cable is made of good quality copper and features an interchangeable modular connector system. By the way, if you look at the photo that I have put together divided into three parts, you can appreciate a curious detail in the first panel. The 3.5mm connector had some wear marks and chipped paint, and the funniest thing is that I took that photo right after opening the package to put the 4.4mm plug. It is a slightly ugly aesthetic detail straight out of the box, although fortunately it has not affected its performance at all. Mind you, to compensate, I must praise that the modular cable connector has a threaded ring. I always like to mention this addition in the models that do include it, as it gives a spectacular extra peace of mind knowing that the cable is not going to split in two after an involuntary pull.

The work on the aluminum shells is impeccable and, just as I show you in the close ups of the housings, the circular grille of the faceplate and the golden details of the pins give it a very premium touch. I have not been able to find any imperfection in the joints. The shape of the shell is ergonomic and sits well in the ear, but the Achilles heel is that the nozzles are somewhat short. In fact, with many eartips, including the stock ones, I failed to create a proper fit in my ears. I had to keep trying from my wide repertoire until I solved the problem. And this is exactly where I highly recommend using a pair of SpinFit CP 100+, which you can see mounted on the shells in the photo next to the FiiO K9. Because the CJ20 has such short nozzles, the articulated axis of these specific eartips manages to penetrate and adapt to the ear canal, improving passive isolation in the process without having to resort to the typical foams, which unfortunately I am not a fan of.

Sound

Bass

In the bass section, the Roseselsa CJ20 proves that being a pure planar has its definite advantages over those other hybrids I mentioned at the beginning of the review. In my experience, the low end has a very physical punch and a control that prevents the low frequencies from getting where they shouldn't in the rest of the mix. The sub bass has a notable extension, managing to vibrate clearly when the music requires it but recovering with enough speed so as not to leave a trail of dirt behind that would take away the logic of a planar. Being an IEM focused on rock and metal, genres in which I move comfortably, I have run tests with specific and recent tracks like Seven Serpents by Kreator, the bass shows solidity in every double kick pedal hit. The positive thing is that the kick drum sounds dry and defined without losing the necessary impact in thrash metal. The negative thing is that if you are looking for an extra rumble that vibrates inside your ear, you might feel them too controlled or not visceral enough for your personal taste. On the FiiO K9 specifically I have noticed that this low area becomes even more authoritative and defined, proving that this model is designed to enjoy the punch of rock and metal where the double kick drum demands an immediate response without delays, something that unfortunately the dynamic drivers of most models do not manage equally well and even more so at these prices and below...

Mids

The mids are clear and have a presence that I found very pleasant from the first moment. They are not the main characters since this model seeks balance, but the vocals sound with a very realistic and close texture. In the lower mids, male vocals have enough body so as not to sound thin, while in the upper mids, female vocals and wind instruments have a clarity that does not become annoying for anyone at any time, if I want to nitpick I can say that it might slightly lack some weight in this frequency range to better feel the weight of some instruments and voices but I cannot put it as a con but rather as a simple observation. With my tests among my 3 usual dongles I must say that the FiiO KA15 has been where the mids become somewhat richer, helping the listening to be more relaxed and pleasant. Upon getting this IEM I went straight to a recent album that I have already listened to quite a bit and started to analyze the sound in Giants On The Run, that typical fast and frantic power metal track that opens the Giants and Monsters album by Helloween from this 2026, the lower mids provide fantastic support to the vocal harmonies of Kiske and Hansen. You can see in one of my photos using them alongside the FiiO KA15. The plus point is the naturalness with which the electric guitars are presented, galloping at full speed with a very authentic roar that does not sound processed. In tracks like this where you have a lot of drums, many guitars playing different melodies apart from another one with the rhythmic bases you feel how the model can tame the complexity and separate the elements clearly.

Treble

Regarding the treble, being a model that does not allow changing nozzles like the others I will compare below, they could fall into the error of offering fatiguing treble but luckily the tuning in this range without being the most detailed has just the right amount to make the listening enjoyable and even raise the volume to medium, medium high without that auditory fatigue that ruins so many long listening sessions. The high frequencies are energetic and bring a lot of air to the mix, which helps the sound not to feel enclosed or suffocating. The lower treble has the necessary power so that cymbals and synthesizers have definition, while the highest and airiest treble stays within a safe limit to avoid annoying sibilance that I said they could have fallen into and luckily that is not the case. In my experience, the planar driver manages energy peaks very well, avoiding those artificial metallic flashes that I hate so much. Listening to them with the NiceHCK Octave, the treble response feels very direct and transparent, ideal for those moments when I want to analyze the quality of the original recording with a higher fidelity than the KA15. Going back to metal, this time trying a track with only female vocals I did tests on the track End Of You by Poppy, Amy Lee and Courtney Laplante, the upper treble shows surprising resolution for this price range. The digital effects and cymbals sound crystalline and with a lot of definition. During the listening of this track and some that followed right after it caught me testing them with the Divinus Velvet, I have to say that the seal was not as perfect as with the CP100+ but they still kept the treble controlled so they are a good option to consider if you feel the sound with the CP100+ is somewhat duller than you would like.

However, not everything can be rock and metal where I already see and especially hear that they move great, when we take the CJ20 out of its comfort zone, things change course a bit. I have tested these earphones with dense electronic music and modern commercial pop from 2026, and in my experience, they are still compatible to enjoy these genres but not like they are for rock and metal. In electronic music, a sub bass with a slower decay and a more exaggerated vibration effect that fills the entire acoustic space is often sought after as I get with models like the Punch Audio Portazo, something that the control and speed of the CJ20 do not fully offer, resulting in a listening experience that can seem somewhat dry or lacking massive impact. If you want to solve this and give it that visceral touch it lacks, although not at the level of the model I mentioned you can try the Penon Liqueur Orange. As I have photographed in my tests with electronic music listening to Bob Moses alongside the Octave, these orange eartips have a super sticky material that vacuum seals the canal and fattens up the low end in a tremendous way, providing that extra weight and decay that these types of tracks cry out for. In pop tracks, the energy they have in the upper mids to make electric guitars shine can be a bit excessive for vocals passed through autotune filters that are already odious in themselves, making them sound too sharp or unnatural here. The CJ20 has a tuning with a very raw and realistic texture, which is a positive thing for analog instruments but can be a bit too revealing with synthetic sounds and modern pop productions of today.

Soundstage, Instrumental Separation and Imaging

The soundstage of the ROSESELSA CJ20 is more than adequate for being a closed design monitor that seeks isolation from the outside. It is a stage that extends slightly beyond your ears in a coherent and logical way. The width is notable and allows the music to breathe, preventing instruments from feeling piled up in the center of the head as happens in much more basic models. In depth it also does a decent job, allowing you to distinguish layers of sound that go from front to back, which helps create a more immersive and realistic experience for the listener looking for depth.

As for instrumental separation, it is easy to place each instrument in its corresponding place without some blatantly covering others. Even in complex musical passages with many elements playing at the same time, the Helloween track from before serves again, the CJ20 manages to maintain composure and present each melodic line individually. It is a vital aspect to enjoy bands with many members where instrumental chaos can ruin the listening if there is no order and here you do not have to worry about that...

The imaging is precise and quite coherent at all times during playback. The ability of this earphone to position sounds in three dimensional space is surprising considering what it costs and against its competitors that I reviewed recently. You can follow the path of a sound effect or the exact location of a string section very easily and without too much effort on your part. There is no feeling of emptiness between positions, but a smooth and logical transition that helps the spatial representation be credible. In my experience, this precision helps a lot to make the listening more entertaining and less monotonous, allowing you to discover small details in recordings that you already knew perfectly well but now take on a very interesting new spatial dimension, something I love and makes me go back to classic tracks in my library.

Comparisons

If we compare it with the Simgot ET 142 the most recent hybrid planar I reviewed days ago. While the CJ20 is a pure planar, the Simgot model adds a piezoelectric driver to the main planar for the highest frequencies. This makes the ET142 have much more extended treble and a brightness that can be excessive for some ears if you do not play with the assortment of included nozzles or personal eartips. The CJ20 on the other hand has a much more punchy low end with greater organic texture than the ET142, which usually opts for a profile more inclined towards extreme technical clarity. The ET 142 feels physically more robust although it is also larger and heavier which must be taken into account, and the CJ20 its lighter metal body offers a more complete listening experience for those who enjoy a sound with more weight in the bass, although Simgot's piezoelectric wins in terms of capturing microdetails in the highest frequencies and justifies its addition to the planar it incorporates.

Putting it up against the Hidizs MP143, we are facing a direct duel of pure planars with no additions. Both share that characteristic speed of planar technology, especially in the decay of the fastest notes. However, the CJ20 offers a timbre that, in my opinion, is more natural and less artificial in the mid frequencies. The MP143 can sound somewhat metallic in certain areas that I have barely noticed in the different tracks with the CJ20 which is more versatile and easy to drive with any small portable device without barely losing performance. Furthermore, the ergonomic fit and the machining finish of the CJ20 seem superior to me for daily and intensive use, giving a much more premium product feel to the touch.

Finally, against the Kefine Arnar, the one I have most recently and you can see my review on my profile, we find a hybrid design that combines in this case a planar with a BA driver. The Arnar uses that BA to reinforce the upper mids and treble, which gives it an extra crispness in vocals that makes it stand out somewhat more in this aspect compared to the CJ20 but it offers less punch in the bass and its soundstage feels somewhat more compressed to me. The Roseselsa CJ20 to me has a finish that feels much more professional and durable but this is not an opinion we are all going to agree on. Commenting on some more aspects about the sound of both, the Arnar has a tuning that seeks to be safer, warmer and more relaxed, making it ideal for very long listening sessions but at the cost of losing some of the excitement and detail that the CJ20 does offer which has a superior tonal coherence by not mixing different technologies, which in my experience places it a step above for purists of direct and coherent sound.

Global Ranking Link

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).

Final thoughts

To wrap up this review I consider the Roseselsa CJ20 a very solid option for anyone looking for a well built IEM with a fun sound but with the necessary technical balance, also designed for those who hate that game of nozzles trying to minimize treble or maximize other frequencies without really knowing what their favorite sound is, here you have a tuning that works exactly as it comes, with pros and cons as always but that will satisfy the majority if they listen to the genres it was designed for. Its aluminum construction and the use of a 14mm pure planar transducer make it a safe bet that surpasses for me others in similar ranges and obviously everything that falls below its price that I have tried to date in terms of planar or planar plus another driver. If you value a fast and detailed bass punch, natural vocal clarity and you move mostly between rock and metal, this model should be on your immediate purchase priority list.

You can buy it at these links:

HiFiGo

Roseselsa Official

Disclaimer: This unit was sent by Roseselsa for review. My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my personal tests and listening sessions with my reference equipment.

Thank you for reading and I hope to read comments since in some reviews I don't see enough participation and I always love seeing how someone counters an opinion as long as it is with respect, or how they bring another model to the comparison which I could try to bring in the future and assess whether or not it sits above this CJ20 for me, I'm reading you!

This is my first time writing a review for an IEM in this price bracket (the $200 range). To give you some context, I'm writing from Brazil, where high import taxes and a volatile currency make gear at this level extremely inaccessible for most of us. I managed to snag this unit through a trade for several of my lower-tier sets, so being able to finally experience something in this category is a big deal for me.

​In the international market, it usually goes for around $190 - $210 USD on AliExpress. It’s a competitive price point, filled with heavy hitters, but the NX8 definitely brings something unique to the table.

​Technical Specifications

​Drivers: 1 Dynamic Driver (Bass) + 6 Balanced Armatures (Mids/Highs) + 1 Piezoelectric Driver (PZT for ultra-highs)

​Impedance: 12Ω

​Sensitivity: 110dB/mW

​Cable: High-purity silver-plated copper, 0.78mm 2-pin

​Shell: Medical-grade resin

​Build and Comfort

The NX8 is a looker, but what really blew me away is how it just "disappears" in the ear. With 8 drivers per side, I was expecting a massive hunk of resin, but honestly, I have no idea HOW they managed to fit everything in such a small shell. It’s incredibly comfortable, lightweight, and the anatomical fit is spot on.

​A quick shout-out to the accessories: the NiceHCK C05 liquid silicone eartips are fantastic. They are super soft, don't irritate the ear canal, and provide a grippy seal that helps maintain the bass response without sacrificing comfort.

​Tuning and Sound Signature

The NX8 was released about two years ago and follows an "old meta" philosophy. It ignores the current trend of JM-1 or Harman-target-everything that’s flooding the market right now. It focuses on a classic neutral-ish profile but with a very tasty and present bass boost. It’s an addictive signature that keeps you coming back. A nice reminder that we don't always need to follow the latest tuning hype to enjoy great sound.

​Bass

The bass here has authority but remains well-controlled. You get that deep sub-bass extension that lets you feel the rumble, though the main focus seems to be on the mid-bass. The result is a punchy, "clean" impact that gives body to the music without sounding bloated. However, on some tracks, the bass can bleed slightly into the lower mids, making the sound feel a bit "muddy" or congested. It’s not a dealbreaker, but if you’re looking for clinical separation between bass and vocals in busy tracks, you might notice it.

​Mids

The mids are smooth and very natural. It’s not an aggressive "in-your-face" presentation, but the vocals aren't buried either. There's a tonal coherence here that’s hard to find in high-driver-count hybrids. String instruments and pianos have a very realistic texture, avoiding that "metallic" BA timbre that usually causes fatigue after 15 minutes.

On the flip side, I did notice a slight "honkiness" or nasal quality in the vocals occasionally, depending on the recording. It’s a minor timbre quirk that doesn’t take away from the overall technical performance, but it's there.

​Highs

This was my first encounter with a Piezoelectric (PZT) driver, and it surprised me. There’s something different about the treble here that’s hard to put into words. It reaches incredible extension in the upper frequencies without ever becoming sibilant. For someone like me who is sensitive to treble peaks, this is a godsend. It’s smooth but detailed.

That said, if you’re a "treble head" looking for extreme "crispness" or tons of air, you might find it a bit too safe. It prioritizes a relaxed, musical listen over aggressive micro-detailing.

​Technicalities and Performance

For Metal, Post-rock, or Jazz, the performance is exceptional. The driver speed is impressive, especially during fast drum transitions or complex experimental passages. The soundstage is quite wide, and the instrument separation is well above anything else I’ve used.

I’ve read some reviews comparing it to rivals like the AFUL Performer 5+2, suggesting the NX8 might lag slightly behind in pure resolution, but since I haven't heard those, I can only say the resolution here is already very impressive for my ears.

Albums with high speed and technicality, like the deathcore masterpiece 'The Poetic Edda' by Synestia, sound surprisingly effortless. The NX8 stays fast, doesn't get congested, and delivers great technical resolution while keeping that signature smoothness.

​Conclusion

The NiceHCK NX8 has officially become my favorite all-rounder. It handles almost any genre with competence. It’s the perfect IEM for someone who wants a refined, technical sound but refuses to deal with ear fatigue.

It has its flaws, like the occasional nasal mid or the slight muddiness in the bass, but the overall package is incredibly strong. It doesn't try to "wow" you with artificial peaks; it wins you over with naturality and authority. If you want a "one and done" IEM for long listening sessions, the NX8 is a solid recommendation.

​Thanks for reading!

This IEM was my entryway into the money pit of a hobby that is audio. And it was also the IEM that made music go from noise to a composition; a form of art that had layers and edges to it that I never noticed. But is it still something I’d recommend after trying multiple other budget pairs?

Pros:
+ Mass appealing, V shaped tuning
+ Decent bass
+ Very well done mids
+ Affordable, great value

Cons:
- Treble on the verge of being too safe
- Questionable fit
- Below average packaging and accessories
- Overemphasised mid-bass may turn certain tracks muddy

Source Chain:

• DAC/Amp: FiiO JA11
• Source: iPhone 17 Pro / Acer Predator Helios Neo 16
• Music: Apple Music (Hi-Res Lossless)

Packaging, build, and fit​

At first glance, the Zero:2 looks better than the price would suggest: a light plastic shell with a metal faceplate and simple, etched branding. Nothing special. The build is OK for the price, and there’s nothing here that feels really premium.

Accessories is where this IEM really falls short. No case, so-so tips, and a very…flimsy cable to say the least. The fit is another area where this IEM misses the mark. Short nozzles and large overall shells are not ideal for most ears, including mine. I ran into discomfort after about 90 minutes of uninterrupted use. All in all, don’t expect much here. I’d recommend exploring aftermarket tip options given how disappointing the stock tips were.

Tuning and Tonality:​

If a company was to settle for a tuning that offended nobody and wowed the majority, this would be it. A very safe, mass appealing V-shaped tuning. Emphasised bass, scooped mids that give the overall sound some space to breathe, and treble that follows through fairly naturally.

Bass // Giving It 120%​

The bass isn’t bad in any way. It’s nice and punchy with great extension. But the midbass has a little too much thickness to it, making tracks with lively bass loops like "Cinderella 99" by Cult Member feel a little unrestrained. This is also carried over into tracks that can be considered hostile. “Poltergeist” by Deftones is rather fast paced, and when there’s a lot going on you start to hear some note smear.

Mids // Easygoing​

My personal favourite part of this pair. We have a slight dip in the lower mids which compensates for the thick bass quite well and gives baritones, drums and vocals a solid balance of depth and warmth. Upper mids are also quite good. There’s a noticeable elevation which I enjoy, since it enables female vocals and overall clarity. This overall mix makes everything sound rather “correct” and natural, even if this set doesn’t push detail the way more resolving sets can.

Treble // Oh So Close​

The treble here is very in-character. It’s soft, relaxed, and has a very safe feel to it. Very easy to listen to and even easier to enjoy. However, it feels as if the tuning was hesitant to fully commit to the V shape sound signature. Had it a little more detail and some more air, it’d open up some much needed stage. Something the Zero:2 falls just short of. That does not mean it is veiled, or dark. It is still good, just not great.

If I had to, I'd AutoEQ this to the IEF Pref. 2025 target, or at least nudge it towards it. A little trimming in the bass, a slight bump to the mids, and a less resonant treble response is what you'll get out of it.

Technicalities:​

On the technical side of things, the Zero:2 is rather average, but still respectable given the price. There’s not much stage width, as previously mentioned, which makes instrument separation and positional cues in-game feel a little “in your head”. All in all, the technicalities can be considered mediocre.

Conclusion:​

The Zero:2 is what I would call the ideal beginner’s IEM. It has all the ingredients to make a very competent piece of gear, and although the final product isn’t exactly perfect, it’s still quite nice. As a baseline for good tuning in the budget space, the Zero:2 is definitely there. An example of a budget set with no fatal flaws.

I wouldn’t buy it now, but I’m glad I bought it first.

TL;DR

The Kefine Arnar is a hybrid set consisting of one planar and one balanced armature which strikes a good middle ground between technical performance and relaxed sound highlighting its musicality and versatile tuning options as its strong point.

Its strengths:

●       Non-fatiguing, musical sound signature (with black nozzles to my ears)

●       “Relaxed” and balanced sound without typical planar harshness

●       Tight and clean bass impact

●       Scales well with volume

●       Works well with different music styles

●       Versatile tuning options with three different nozzles ranging from balanced to bright

●       Good build quality and fit

●       Good accessories including a nice cable with interchangeable termination

Its weaknesses:

●       Not an extreme technical performer

●       Might not be ideal if you are a treblehead or a basshead

●       Bass can sound very clean but not especially thick or physical

●       Needs a bit more volume to come “alive”

Summary

The Kefine Arnar is a slightly warm and relaxed-leaning IEM with a clean, balanced presentation, forward vocals and good technical performance for the price. Its biggest strength is not one extreme feature, but the way it combines musicality, control and good details to stay engaging across many genres.

It is not a basshead or treblehead set, and it does not try to be an analytical monster. Instead, it works best as a clean, musical all-rounder with good bass control, forward vocals, an intimate and well-organised stage and a non-fatiguing tuning. For my ears, the black nozzles and a deeper fit gave the most balanced result.

 

Best setup for my ears

Nozzle type: Black nozzles
Eartips: Spinfit Omni L / Tangzu Sancai M / Spinfit Neo for deeper insertion
Source: natural or clear source, moderate to higher volume

Sound Landmarks: Where Does the Arnar Fit?
It is always somewhat challenging to describe exactly how an IEM sounds, because terms like “warm”, “relaxed” or “neutral” can still cover a lot of different nuances.

For a better point of reference, I would say that the Kefine Arnar may be especially interesting for listeners who enjoy IEMs like the Aful Explorer or Kefine Delci, but want slightly more treble and a more technically capable and more refined version of that general direction. Both the Explorer and Delci lean into a warmer, smoother and more relaxed sound signature. The Arnar keeps some of that easy-going and musical character, but adds noticeably more clarity across the whole frequency range without becoming harsh or spicy.

Compared to the Explorer and Delci, the Arnar sounds noticeably cleaner, more open and more precise to me. Instruments and vocals are easier to separate and small details are better brought forward. Bass impact is also a step up to my ears. Faster, cleaner, better defined and more tactile without turning into an overly thick low end.

The biggest difference compared with those two sets is the technical performance. Soundstage, layering, contrast, dynamics, articulation and transient definition all feel clearly ahead of those two sets. Vocals are more distinct and more forward than on the Delci or Explorer with extra clarity and texture while still avoiding an aggressive or overly bright presentation.

So if the Explorer or Delci represent a warmer, relaxed and musical entry point, the Arnar feels like a more mature and higher-resolution take on that kind of musical tuning without sounding too dark or too bright.

Important Fit Note - The Arnar rewards deeper eartip insertion

During testing, I found the Arnar to be more sensitive to tips and insertion depth than expected. With my usual preferred Divinus Velvet wide bore tips, the fit was already good and the Arnar sounded convincing, but I later tried the Spinfit Omni (size L) that allowed a deeper insertion and changed the presentation noticeably.

The Tangzu Sancai (size M) worked pretty well too and gave me a similar result with deep insertion. I can recommend as well the Spinfit Neo eartips. All the mentioned tips are on the longer side and seem to help the Arnar sit deeper and maintain a more secure seal in my ears.

With the deeper fit, bass response became stronger and better anchored, while the upper-mid focus felt better integrated. Treble details also came across cleaner and the overall presentation became more direct, balanced and coherent to my ears. I would therefore not judge the Arnar too quickly with only one set of tips. For my ears, the right insertion depth made a meaningful difference.  

Brand, Concept & Review Angle

Kefine is a Chinese IEM brand founded in 2022, known mainly for value-focused releases such as the Klanar, Delci, Klean and Quatio.
Their newer Arnar moves a bit further up the ladder, combining a 14.5 mm planar driver with a Knowles balanced armature, CNC-machined aluminium shells and interchangeable tuning nozzles.

What made the Kefine Arnar interesting for me was its driver concept. Kefine does not present it as just another planar IEM, but as a hybrid approach using a 14.5 mm planar driver together with a Knowles balanced armature. According to Kefine’s own product material, the planar driver covers the full frequency range, while the Knowles BA becomes involved from around 800 Hz and is meant to improve sensitivity, soundstage and the handling of the mid/high frequencies.

Kefine also claims that this combination, together with damping on the BA side, helps control harshness and sibilance while keeping the sound detailed and coherent.
In practice that was exactly the part I was curious about if the Arnar could retain some typical planar strengths. Fast bass, clean mids, good detail retrieval and control without falling into the sharper treble behaviour I have heard from some planar IEMs.y

At the same time the Arnar is not trying to be a perfect all-rounder, a basshead set, a treblehead set or a pure technical set.
After around 50-60 hours of listening during travel and at home, plus quite a bit of tip and source rolling I found it even more interesting.

So this review is less about calling it “the best” and more about explaining why it worked so well for my ears, and where it may not work for yours.

Disclaimer & Review Context

This unit was sent to me by Kefine in exchange for my honest opinion and Kefine had no influence over my review.

I have no affiliate links and I don't receive commission or any other compensation for writing this review.

These impressions are based on my ears, my music library, my sources and the ear tips I used. My ears are not better than yours and you might hear it differently.

Listening time during my review: between 50-60 hours

Sources used: iPhone 15 Pro Max, Hiby R4 and Fiio K13

Ear tips used: Divinus Velvet wide bore L and Spinfit Omni, Tangzu Sancai and Spinfit Neo for the best sound results with a deep fit.

Music service used: Qobuz

For my ears, deeper insertion mattered more than bore width. A natural or clear source also worked better for me than a warmer/tube-like pairing.

My prefs in terms of sound:
I don't like too bright leaning sets with or overly done V-shaped sound signature with too much scoop in the mids.
The more balanced a set is the better. I do like a good amount of clean and impactful bass which doesn't colour the mix too much (a bit is fine, “organic”).
I like my vocals forward but not shouty and without or only with small hints of sibilance. Since I am coming originally from home audio, I expect a sound replay which comes at least close to loudspeakers and a natural replay of instruments.

Specs & Accessories

Price: USD189 / EUR161 available eg at HifiGo (not affiliated) https://hifigo.com/products/kefine-arnar

Driver configuration: 14.5mm planar driver, one Knowles balanced armature

Impedance: 13Ω

Sensitivity:  107dB±3dB

Frequency response: 20Hz-40kHz

Shell material: CNC-Machined Aluminum Alloy

Connector type: 0.78mm 2-Pin Connectors

Cable termination: swappable 3.5mm+4.4mm, USB-C optional

Nozzle size: 5.8mm

Included ear tips: 4 different types in 3 different sizes

Included case: black pleather case

Other accessories: 3 different nozzle types, black (most natural), silver (middle ground) and gold (brightest)

Tested with: black nozzles mostly

Build, Design & Cable

The aluminum shell feels solid and premium and at the same time they are still pretty lightweight and size-wise very manageable for me.

The design is less flashy but could be described as elegant with its faceplate grille which resembles a Chinese Wish Window pattern.
The Kefine is not an open-back IEM even if the mesh-like faceplate could suggest it.

The nozzle is of medium length and pretty average in diameter.

The connector is flush 2-pin.

Cable

The cable is of medium weight and thickness and quite pliable.
It has a slight plasticky feel and a clear structure to the touch.
Handling of the cable is without flaws, it doesn't tangle and is only slightly memory-prone.

The cable is not microphonic which made it easy for me to wear it while commuting and travelling.

The earhooks made sure that the earphones stayed in place. I avoided pulling them too tight as the texture of the cable would cause a slight discomfort after long listening sessions.

The chin slider stayed in place very well and was even pretty hard to move as it was tightly attached to the cable.
Overall, a nice cable to me with the convenience to allow as well to swap out the termination which makes it compatible to 3.5 and 4.4mm.
There is an additional USB-C adaptor available which can be purchased separately.

Fit, Comfort & Isolation

The Kefine Arnar is for my medium sized ears comfortable to wear even for longer listening sessions (5+ hours). The fit was very easy, no issues with either nozzles or shell size.

I would describe the Arnar’s shell size as medium.

As mentioned the nozzle size did not give me any problems with a normal or even deep insertion depth. Isolation is good, no issues here.

Thanks to the venting in the shells I did not experience any pressure build up.

Sound Impressions

The tuning nozzles

In the overall tonality section I am referring to the tuning with the black nozzles.
The silver and golden nozzles emphasize the upper mids/lower treble by about 2dB each. Specifically, the ear gain region between 1.5k Hz-2.5k Hz is more elevated than with the black ones where the golden is the brightest and is followed by the silver nozzles.

The black nozzles have the smallest increase in the upper mids/lower treble region and are the best fit for my preferences in most cases.
Occasionally I would use the silver nozzles as well depending on my daily treble tolerance which was a good thing to have.

The silver nozzles definitely introduce even more forward vocals and lower treble energy which was occasionally too much for me depending on the track but I can definitely see that for some listeners this is the better pick if you are not sensitive to forward vocals and lower treble energy. The gold nozzles were overall too fatiguing for me. 

Overall Tonality

The Kefine Arnar has a slightly relaxed leaning sound signature with mid emphasis, controlled bass and a relaxed but still present treble response.
With mid emphasis I mean that the treble is slightly recessed which lets the Arnar sound more relaxed, mid centric.
Vocals on this set are forward with the black nozzles and even more with the other two nozzles. Even though the Arnar cannot be described as bright, it brings details very well forward and has to my ears pretty good contrast and technicalities.

The overall presentation is musical and clean rather than overly energetic or analytical.

It is not trying to be a highly technical, bass or treblehead set but rather aims for enjoying the music throughout different genres with its balanced and relaxed leaning tonality.

Bass

With the deeper-fitting tips, bass gained noticeably better body, impact and deeper rumble. The sub-bass reach was initially moderately deep and with the deeper fit it went at least one level up in reach. Its decay stayed fast which avoids bass bleed into the mids or drowning out the rest of the mix. Its rumble I would describe as satisfying while being an equal part of the mix.

Mid-bass has a good punch without sounding intrusive but stays like the subbass aligned in the mix.
Kick drums sound tight and punchy. The kick drum on Metallica’s “One” lands with a good punch but the beater attack has a softer, more rounded character. It does not come across as a sharp “click”. Instead, the hit feels more padded and natural, with impact coming from body and pressure rather than from an exaggerated leading edge.

For EDM, Hip-Hop and RnB, the bass feels most of the time satisfying but not overwhelmingly so.
Kaleida’s album “Think” is a good example of how well the Kefine Arnar works with EDM.
All effects and instruments are clearly audible and the bass feels satisfying especially on higher volume. The bass hits are fast and disappear fast and leave space for the other elements in the mix.  Or on Trick Daddy’s “Let’s Go” the subbass has a nice rumble which is never bothering the vocals but impactful enough.   

For Rock and Metal I felt the bass is as well satisfying and of good impact.
Throughout my listening I noticed that the bass is very balanced as it always had a decent impact but never interfered with the rest of the mix. The result was a pretty detailed presentation. 

Mids & Vocals

The mids are one of the strengths of the Arnar. They are so well implemented that they give excellent contours to guitar strings, both electric and acoustic. The upper midrange has a forward touch which accounts for the sense of intimacy in tracks and brings vocals close to the listener without the shout even at higher volume.
Male vocals sound natural while female vocals can occasionally sound a little darker and less open.
Vocals sit slightly forward and centered in the mix. They never disappear but are, like the rest of the mix, so well positioned that they are clearly audible.

Timbre is mostly natural and clean, where the Arnar’s fast decay can leave a slight dryness.

There was no shoutiness on the tracks when I listened with the black nozzles and borderline for me with the silver nozzles and definitely too much with the golden ones.

Treble

The Arnar is not a bright or aggressively sparkly IEM, but it still has enough upper-treble presence for detail and occasional bite.
Cymbals and hi-hats sound mostly natural and well pronounced where I could see them at times a little bit better articulated.

While there is a certain treble energy there was no sibilance to my ears.

For treble-sensitive listeners, the Kefine Arnar is mostly safe. I would say mostly as there can occasionally be some slight sharp transients which never became uncomfortable for me.

Technicalities

Technical performance is good to very good for the price.

The soundstage is intimate but one of the few sets where it was relatively easy for me to hear width, depth and even vertical placement on some tracks.
This is especially impressive for a set that shines more through its midrange and overall balance than through one standout technical trick. 

Imaging is good on the Arnar. The mix stays very clean which makes it easy to locate instruments precisely.

Separation is at least good in my opinion which is especially in busy tracks very audible as the Arnar doesn’t have any bass bleed where bass, mid section and treble are very well separated with distinctive contrast and control.
Eg on Metallica’s “One” at around 5:20 the track gets very busy with different electric guitars and drums where everything stays very well separated and not ending in a chaos.

Layering stays always clear when the mix becomes dense.

Detail retrieval is good and a result of the Arnar’s good separation and excellent control. Thanks to the controlled treble presence and good contrast, it feels easy to catch details in the mix.

Transients are fast and mostly on a natural side.

Decay is quick for a clean presentation where occasionally this might come across as too quick or slightly dry as it can occur with planars.

The overall driver coherence is good where I never have the feeling that the crossover was not implemented well as the sound seems to stem from only one driver with a tonality that doesn’t over emphasize any region. If at all I could say that the Arnar has a slight mid emphasis due to its more relaxed treble and very controlled and fast bass.
The Arnar’s overall timbre is mostly accurate with exceptions.
While the set is well balanced it is occasionally too relaxed with Hi-hats, cymbals and snares.

What I Like about the Kefine Arnar

●       Sounds musical without any special emphasis

●       Soundstage is on the intimate side

●       Works with almost all of my music

●       Arrangement comes across as balanced

●       Mostly tame, relaxed and safe treble great on higher volume

●       Versatility due to different tuning nozzles

●       Nice accessories including a good cable

 

Where there is room for improvement

●       Occasionally I would have liked to hear more treble details

●       Some extra sense of “air” in the arrangements could be added

●       Would like to have occasionally more bass impact

●       Timbre is not always accurate eg with snare, cymbals, hi-hats

 

Who Is It For?

The Kefine Arnar could be a good fit for (treble sensitive) listeners who want a musical, slightly relaxed sound signature with an overall balanced tonality.

During my review I found that the Kefine Arnar works especially well for rock, metal, EDM, Jazz, RnB, Pop and with most HipHop, Rap tracks due to its great bass control.
Occasionally, when I wanted to have more rumble, that extra hard punch, I would reach out for my specific basshead sets.

The Arnar is also a good option if you value a solid metal build paired with good accessories and a nice cable.

I would not recommend it to listeners who want a huge bass or treble emphasis or a technical beast.

Conclusion

The Kefine Arnar is a relaxed sounding allrounder with a “clean” sound signature and very decent technicalities paired with a forward vocal presentation.
I think its official mission to avoid the typical planar harshness and tune it for musicality without losing the planar’s advantages is well done in my opinion. 

Its main limitation lies in a rolled off treble extension and the last bite of technical performance. It is definitely not a set for bassheads either.

For my ears, once fitted correctly, the Arnar became a very easy set to enjoy for long sessions. It sounds clean, musical, controlled and more refined than its relaxed tuning first suggests.  

Thanks for reading.
Comments and questions are always welcome.

 

Songs used for this review (excerpt)
Kaleida - “Think” (Album) - EDM
Deadmou5 - “Quezacotl”
Deadmou5 - “Science”
Kneecap - “Fenian” (Album) - Electro Rap
50 Cents’ -  “Just a lil’ bit”
**Trick Daddy- “**Let’s go”
Fleetwood Mac – “Sisters of the moon” (2015 remastered) / “Brown Eyes” (2015 remastered)
**Billie Eilish - “**HIT ME HARD AND SOFT” (Album)
Nirvana – “About a Girl” (MTV Unplugged in New York – Live)
GoGo Penguin – “State of the Flux”
Supertramp - “School” (Remastered 2010)
Dire Straits - “Sultans of Swing” (Remastered 2022)
Metallica - “Enter Sandman” (Remastered 2021), “One” (Remastered 2018) and others
Simon & Garfunkel - “Scarborough Fair”
Two Door Cinema Club - “Beacon” (Album)
Lana Del Rey - “First Light”

Pros: 

* Premium, comfortable metal shells
* Organic V-shaped sound with punchy bass
* Fantastic stock cable with no memory issues
* Semi-open design offers a wider-than-average soundstage
* Interchangeable tuning nozzles

Cons: 

* Only includes a 3.5mm cable
* Layering can get muddled on complex tracks
* Gold nozzles can cause sibilance

If you are familiar with the Fosi Audio brand, you know they make fantastic, value-for-money DACs and Amps, like the ZH3. Now, they are taking their very first step into the IEM market with the Fosi IM4. Priced at $100 for the standard 3.5mm starter version, let's see how this debut holds up.

Disclaimer​

A huge thanks to the team at Fosi Audio for graciously providing this unit for review. As always, all thoughts and opinions are entirely my own.

Design and Build​

The unboxing experience is quite nice, featuring a spacious blue carry case, three sets of ear tips (balanced, bass, and deep bass), and two sets of tuning nozzles.

I received the "Black Obsidian" version, which features a premium metal shell that is cool to the touch. It sports a classic orange Fosi accent over a vented opening, which acts as a semi-open-back solution. Fit and comfort are absolutely top-tier; I was able to wear these for long hours during travel and work calls with zero fatigue or pressure points.

The included cable is wonderful as it behaves perfectly with no memory or kinks, and features a functional chin slider. However, it only terminates in a 3.5mm plug out of the box. If you want a 4.4mm balanced cable, you have to pay extra for an accessory package, which is a bit of a bummer considering the $100 price bracket where competitors often include modular cables.

Sound Impressions​

The Fosi IM4 delivers a very typical, organic V-shaped tuning.

• Bass: The low end is punchy, and the sub-bass rumble is prominent and highly enjoyable.
• Mids: The midrange is colored towards the warm side. There is a bit of bass bleed into the lower mids, but it adds a pleasant thickness rather than muddying the waters too drastically.
• Treble & Tuning Nozzles: The stock Black nozzle provides a smooth, fatigue-free treble that I heavily preferred. If you want to spice things up, swapping to the Gold nozzle pushes the treble much higher, pulling out more micro-details but bordering on sibilance.
• Technicalities: Thanks to the vented shells, the soundstage is wider than average, though I wouldn't call it a true, massive open-back experience. Layering is mostly good but can get slightly muddled on highly congested tracks.

Song Impressions​

"Next to Me" by Axel Johansson (feat. Tina Stachowiak): The iM4 renders the bass lines of this track brilliantly with great thump and rumble. Using the black nozzles, the vocals maintain good clarity, though they are slightly softened. The high-frequency instruments are present but never get shouty.

"Nice To Meet Ya" by Niall Horan: This is an excellent test for layering. The bass rumble is incredibly thick, and the background bass guitar is picked up perfectly which is an absolute chef's kiss. Niall's vocals sit cleanly forward in the mix. However, when all the instruments come together in the chorus, the layering gets slightly stressed, though it manages to hold its form.

Conclusion:​

The Fosi iM4 is an amazing package and a stellar first IEM from the brand. I give it a 4.5 out of 5, deducting half a point strictly because it forces you to pay extra for a 4.4mm balanced cable in a market where $100 often buys you a modular setup. Otherwise, the exceptional comfort, great build quality, and thumping V-shaped sound make it a highly enjoyable daily driver.

Who Will Buy This?

• Users who love a warm, organic, V-shaped sound with punchy bass.
• Listeners who value extreme physical comfort and premium metal shells for long listening sessions.
• Detail-heads who enjoy tweaking their sound using the included treble-enhancing gold nozzles.

Who Won't Buy This?

• Analytical listeners looking for a perfectly neutral, uncolored midrange.
• Buyers who absolutely require a 4.4mm or modular cable included in the base price.
• Those who primarily listen to highly complex, congested orchestral tracks where surgical layering is required.

Hi everyone, I’m back with a brief review of the Kiwi Ears Cadenza IEM. I received this IEM from Nicole, who kindly provided it for review purposes. Thanks to Nicole, and Kiwi Ears Team.

Here are my subjective impressions as an audio enthusiast. To summarize, here are the pros and cons:

(+)

• U-shaped sound tuning with vocals leaning slightly towards a lush and musical direction that good for long listening sessions.
• Quite an ergonomic, small and fairly lightweight design.
• Fairly good imaging.

(-)

• Not for those of you who like bright IEMs.
• A rather intimate soundstage with strictly average imaging.
• The Cadenza II provides upgrades in almost every aspect, except for the bass quantity.

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 Kiwi Ears Cadenza. The Cadenza is an older IEM release that has been on the market since the end of 2022. It seems that stocks are currently running low because it has been replaced by the Cadenza II, which has a more balanced sound and better technicalities. Not to mention, prior to that, there was also the Pula Unicrom, which costs almost twice as much but has a very similar tonality. Here are the specifications and accessories you will get:

• Driver: 10mm Beryllium diaphragm driver
• Plug Type: 3.5mm jack
• Connector: 0.78mm 2-pin
• Sensitivity/Impedance: 110dB@1kHz / 32 Ω
• Frequency Range: 20Hz-20kHz

The included accessories are as follows:

• 1 x Pair of Kiwi Ears Cadenza Earphones
• 1 x Detachable 0.78mm 2-pin 3.5mm Cable
• 3 sets of eartips in 3 sizes
• 1 x Instruction Manual

Unboxing + Build Quality

For an IEM released in late 2022, I think the accessories provided by Kiwi Ears are quite appropriate for the asking price. We are given a variety of eartips, though unfortunately, their nozzle sizes are quite similar; I feel the only things differentiating them are their elasticity and color. Moving on to the shell, the Cadenza is sold in four distinct color options: red, blue, green, and purple. I personally got the purple one, which comes with a fairly pliable and thin but quite sturdy cable terminating in a 3.5mm L-shaped jack. The IEM shell itself is made of resin, has a fairly small footprint, and is quite comfortable to wear for long listening sessions.

Here are my sound impressions. I perceive the sound signature as U-shaped. For this review, I used the stock red eartips in the largest size, which appear to be made of a hybrid material where the nozzle part is quite stiff while the flange is quite soft. For my source, I used the Topping DX5 II streaming Tidal via the single-ended output at a volume of 40/100 on low gain.

Bass

The bass quantity on the Cadenza is, in my opinion, more than enough, though its level is not quite basshead territory. The rumble and slam feel pretty good, but the definition and texture are admittedly just average, performing in line with its price point. The sub-bass feels adequately deep with a good rumble. The mid-bass feels punchy with sufficient impact. Its transient response is considered fairly fast, but it's certainly not a highly agile bass, especially considering its price is only around 35 bucks.

Midrange

Vocal presentation is quite clear for the price, especially female vocals, which sound more intimate and emotionally engaging. Male vocals and the lower midrange feel lush and take a slight step back. Instrument dynamics lean towards relaxed; however, the upper midrange still carries enough energy without coming off as shouty or nasal. It’s just that when fed with fast-paced and complex tracks, the vocals start to feel slightly muddy.

Treble

The typical treble presentation on the Cadenza can be described as smooth and safe. If you are a treblehead like me, you will likely find it lacking in sparkle and airiness; cymbal strikes feel less detailed and unnatural. However, this lack of air doesn't necessarily make the overall treble sound dark; it still feels reasonably crisp. It's just that bringing out its treble potential requires a slightly higher volume level than my usual as a low-volume listener.

Technicalities

The soundstage still feels quite intimate with imaging that is just okay. Instrument separation and resolution are also just average. It still struggles a bit when handling fast and complex music genres like hard rock and metal. As for the timbre, it is very organic with a musical touch for its class. Overall, I feel the Kiwi Ears Cadenza is tuned not to rely on technicalities, but rather on its musicality, allowing it to be enjoyed for extended listening sessions.

Conclusion

So, is the Kiwi Ears Cadenza still worth owning? I think in 2026, with the arrival of the Cadenza II which boasts a more balanced tuning, tighter bass, and clearer vocals without the slight muddiness of the original Cadenza, it seems very easy to leave the old Cadenza behind. If you are a user of the original Cadenza, please audition the Cadenza II yourself and feel the difference, which I think is quite noticeable. I will try to review the Cadenza II tomorrow. That's all, fellas. Thank you for reading. Cheers.

Want to check the current price or know more? you can find Kiwi Ears Cadenza at the links below(unaffiliated links)

Linsoul

Kiwi Ears Official Website

Amazon

Aliexpress

Pros: 

• Beautiful metal shells with a premium, jewelry-like stone finish.
• Incredibly comfortable fit with excellent isolation when using the included liquid silicone gel tips.
• Guttural, enveloping sub-bass rumble that bass heads will absolutely love.
• Fantastic micro-details and clear vocals without any harshness or sibilance.
• Excellent instrument layering and a surprisingly wide soundstage.
• Very easy to drive straight from a regular laptop or phone.

Cons: 

• The decorative stones on the faceplate are delicate and prone to falling off.
• The stock cable holds memory, flares out awkwardly, and features a useless chin slider that slips down.
• The bass slam and thump are a bit on the softer side.
• The midrange is quite colored and not the absolute cleanest.

Today, we are taking a look at a rather interesting set, the SoundRhyme SR10. Priced at $499 over on the Penon website, this one is positioned in a highly competitive bracket. Let's dive in and see what it brings to the table.

Disclaimer: 

This unit was graciously provided to me by the Audio Geek Group and SoundRhyme. As always, all thoughts and opinions are entirely my own with zero biases.

Video Review:

https://youtu.be/Ol6VeBGKw-o

Design and Build

The SR10 features a beautiful blue metallic shell that feels premium and cold to the touch. It is adorned with a stunning stone finish that gives it a jewelry-like aesthetic. However, there is a catch: the stones tend to drop or fall off with use, so you will need to handle the earpieces with extra care. 

The included carry case is a nice blue faux leather with velvet padding and a removable separator. Oddly, there is a glaring typo on the lid, reading "Souud Rhyme" instead of "Sound Rhyme".

As for the cable, it is a modular braided cable with 3.5mm and 4.4mm terminations. Honestly, the cable is not the best as it holds a lot of memory, flares out uncomfortably around the ear, and the chin slider simply slides down on its own without holding its place.

Fit-wise, the SR10 is incredibly comfortable. It ships with "liquid silicone gel tips" which run very large (I highly recommend sizing down), but they provide an absolutely amazing, super isolated seal once you find the right fit.

Gear Used for Review

Given its 18 ohms impedance and 115 dB sensitivity, the SR10 is remarkably easy to drive. I strictly used the 3.5mm termination for my testing because it reaches perfect volume and quality levels straight out of a regular laptop.​

DAC/Dongle: Gustard H16/X16 stack, Muse M5 Ultra

Device: iBasso DX320 or with my MacBook Pro

Music: Apple Music lossless

Sound Impressions

The SR10 is a heavily bass-oriented IEM that somehow manages to deliver top-tier micro-details without compromise.

• Bass: The sub-bass rumble is guttural and absolutely amazing. While the actual bass slam or thump is on the softer, more mellow side, the enveloping nature of the low-end is highly addictive.
• Mids: The midrange is definitely colored and perhaps not the absolute cleanest, but it remains very capable.
• Treble: Despite the heavy bass, the top-end details and nuances are fantastic. The treble is highly detailed without being peaky, shouty, or sibilant, making it great for long listening sessions.
• Technicalities: Layering and separation are superb, preventing the sound from becoming muddled even on busy tracks. The soundstage is wider than usual, and the left-to-right imaging is highly accurate.

Song Impressions

https://music.apple.com/in/album/no-crime-feat-jess-ball/1498799743?i=1498799744

• "No Crime (feat. Jess Ball)" by Asketa & Natan Chaim: The DJ glitch synths and guttural bass line are perfectly enveloping on the SR10. The vocals remain clean and slightly forward, cutting right through the heavy sub-bass, while the hi-hats and snares are crisp. The wide staging and layering really shine here.

https://music.apple.com/in/album/no-one-feat-b-i/1465212910?i=1465212911

• "No One (feat. B.I)" by Lee Hi: The bass guitar is picked up flawlessly with great rumble. Both the female vocals and male rap sections are crystal clear and never drowned out by the low-end. The clarity of the background instruments, especially the trumpets, adds an entirely new level of nuance to the track.

Conclusion

The SoundRhyme SR10 earns a solid 4 / 5 rating from me as a complete package. The missing star is entirely due to the physical nitpicks: the typo on the carry case, the problematic cable, and the delicate faceplate stones falling off. If we are talking purely about the sound signature, it is an incredible, near 5/5 experience. If you want massive bass paired with excellent, non-fatiguing micro-details, the SR10 is an outstanding choice.

 

 

The Van Gogh is like a small but much bigger work of art than it looks, managing to surprise me again among hundreds of IEMs. From the moment you start listening to it, it's as if it paints the sound with sterile texture, movement, and emotion. Imagine that each color has a different sound. Each color reaches you with a different sound frequency. But the color of that deep and textured sub bass is much better than I expected.

(First of all, I want to state that I acquired the Van Gogh IEM through my own means. It was not sponsored by any company.)

You can read the rest of the in-depth review here >>

Overall Sound Signature

The Van Gogh is a very interesting IEM. Its sound character is built on distinct contrast and clear expression. The bass is deep, textured, and physical. Just right for me.

The mid frequencies are layered, organic, and emotionally impressive. The dual Sonion BA drivers do a great job on vocals.

The treble is airy, extended, but controlled with the Knowles BA.

I perceive the soundstage as immersive, dimensional, and surprisingly wide for its size. It varies depending on the source, but with my Sony ZX507 reference source, it's quite impressive.

The real magic begins in the low frequencies. It fills the stage and begins to make an impact.

The 8mm dynamic driver, powered by a dual magnetic circuit, delivers an almost tactile bass feel. The sub bass stretches very comfortably, creating a deep foundation, but what really stands out is the texture. It’s quite enjoyable to feel. You don’t just hear the bass notes. You feel their shape, their movement, their damping.

The mid bass carries weight but avoids bloat. It’s controlled, slightly rounded, and very natural. There’s a richness here that gives instruments a real presence without crushing the rest of the spectrum.

The mid frequencies are beautifully layered. The Sonion E Series balanced armatures provide a smooth and clear presentation. Vocals feel slightly forward, but not aggressively. There’s a sense of space around them, allowing them to breathe. I found it quite successful.

The highs, processed by the Knowles RAD series driver, add energy and air. They stretch well without becoming sharp. There’s enough sparkle to bring out the details, but avoids the artificial brilliance that many hybrids fall into.

The soundstage is one of the most surprising aspects. The headphones feel bigger than their physical size suggests. The breadth is impressive, but more importantly, the depth and layering create a three dimensional experience. For me, this isn't just a technical adjustment. It's the expressive power of emotional art transformed into sound.

Noble Audio Van Gogh Official Link

(Ear Tips Used : Spinfit W-1 L) >> Spinfit W1 official Link

Pros: 

Exceptionally deep and textured bass performance
Organic and layered mid frequencies with strong vocal presence
Smooth yet extended highs with good control
Wider soundstage than expected from its compact size
Perfect fit for a hybrid configuration
Scales very well with higher quality sources
Comfortable and ergonomic design with strong isolation
Visually unique handcrafted design

Cons: 

Not a neutral or reference setting
Mid frequencies may feel slightly warm depending on the sources
Treble sounds may be disturbing to sensitive listeners, especially with ESS sources. 
Requires proper source pairing to reach its full potential

-

You can read the rest of the in-depth review here >>

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All Photographed taken by me (ADR) from Instagram: u/electroaudioworld

Used photo Gear : Sony A7 III + Sigma 24–70mm F/2.8 DG DN II Art Lens

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Getting my hands on this IEM was quite an adventure. That's why it holds a very special place for me. My first order was stolen. And then, because it was out of stock, I had to order a second time. Let's see if it's worth the wait. I've used many technically well tuned IEMs before, with powerful bass, technical mid frequencies, and extended treble.

The Martilo is one of the rare IEMs that seems designed with bass priority from start to finish. First of all, its design impressed me a lot. Although it looks a bit large, it sits very comfortably in the ear and is very lightweight, making it comfortable to use during long listening sessions. Its configuration is dual 8mm dynamic drivers dedicated to bass, dual Knowles RDE balanced armatures for mid frequencies, and a custom micro planar driver handling the treble. Wow. On paper, it seems like a solid recipe for the chaos I was expecting. In practice, it's surprisingly controlled, but still feels like an earthquake.

But let's clarify something from the start. Okay, maybe it's not the one with the most bass. After all, the joy of listening to technically high quality music is that everything has certain limits, and that's always what I want. Martilo has built its reputation primarily on bass performance, but the treble is particularly well tuned to achieve a truly V shaped sound character, even if the mids are slightly recessed. And after spending a few weeks with it, I understand why better now. It's not just a matter of quantity. It's about how the quantity of sound we hear is presented.

Martilo's Sound Signature

Before moving on to source pairings, I want to describe Martilo's core identity.

The bass is particularly dominant depending on the source selection, but it never drowns out the music.

The mid frequencies are slightly recessed but not lost; they're quite sweet.

The treble is energetic but controlled. The kind that fuels the fun.

The soundstage is wide and impressively layered for its class.

The bass deserves a description on its own.

The dual 8mm dynamic drivers setup creates a physical impact that's hard to ignore. The sub bass reaches deep and powerfully, but what really stands out is its texture. There's a sense of layering within the bass itself. I can clearly distinguish the sub bass noise from the mid bass hit.

The mid bass has weight, impact, and a slightly rounded damping that gives it a natural feel instead of a dry and analytical one. That's why it catches my attention; it doesn't just hit hard, it hits right.

Linsoul Audio - Martilo Purchasing Link

Pros: 

Powerful bass performance, strong depth and texture
Very impressive and immersive sound signature
Good fit for complex hybrid configurations
Scales clearly with higher quality sources
Strong soundstage depth and layering
Trebles have good energy without being overly harsh
Cross genre versatility when paired correctly

Cons: 

Mid frequencies lag slightly behind compared to neutral tuned IEMs
Definitely not ideal for listeners seeking a balanced or reference tuning
Treble finesse lags slightly behind high end competitors
Requires careful source pairing to reach its full potential

You can read the rest of the in-depth review here >>  https://www.head-fi.org/showcase/punch-audio-martilo.28228/reviews#review-42587

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All Photographed taken by me (ADR) from Instagram: u/electroaudioworld

Used photo Gear : Sony A7 III + Sigma 24–70mm F/2.8 DG DN II Art Lens

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2 BA = 2 Tunings - Ooopus Op x 22 Review 

Youtube Review: https://youtu.be/S_Njmz2pegc?si=OnU5cUfxn6XaFGDf

Price: $39

Disclaimer: I bought these iem and will be sharing my own honest thoughts. I was very curious that this was called the “Mini Hexa” with a bass boost tuning knob. 

Specs:

Driver Configuration: 1x10 mm DD, 1x8 mm DD, 2 BA
Cable: 3.5mm  QDC
Frequency Response: 20Hz-40kHz 
Impedance: 22Ω 
Sensitivity: 124dB

Unboxing Experience - 

Packaging & Accessories 

 Decent but nothing outstanding for the price. There are 2 types of eartips, one is a typical rubber eartips and the other is a stickier silicone type of eartips. The cable is a qdc connector which for the price is quite unacceptable but it works fine. 

Build quality - The shell is made of a polycarbonate plastic, so it’s very lightweight, but feels sturdier compared to resin shell iems. 

Design-wise, it has a clean matte black finish look with a very unique mech design that looks futuristic or like gamer peripherals

but The highlight here is the tuning knob on the faceplate. where the open dot is for the neutral tuning while the solid orange dot means it's on bass boost mode. 
It has a locking mechanism feel when switching modes, so you won’t accidentally change it and it’s smooth enough that you can actually adjust it while wearing the IEMs.

And unlike most tuning switches, this one actually makes a noticeable difference.

Comfort - Comfort is honestly one of its strong points.

Because it’s very light, it fits nicely in the ear which works great for long listening sessions.

However, the shell is slightly large since it has 4 drivers, so if you have smaller ears, this might not give a comfortable fit.

 

Sound - 

Bass - Starting with the bass this is easily the highlight.

In normal mode, the bass is more controlled, slightly above neutral, with good extension and a clean presentation.

for the bass mode, and you get a significant boost—around 5 to 7 dB—which makes it much more punchy, heavier, and more fun. () but for me it lacks that rumble of a subwoofer despite that huge increase in the subbass

It adds a lot of impact for genres like EDM, hip-hop, and pop, but it can slightly bleed into the mids depending on the track.

Midrange/Vocals -  The midrange is warm and natural.

Male vocals sound full and rich, while female vocals are smooth and non-fatiguing.

It’s not the most forward or energetic midrange, it leans more towards a relaxed presentation but it sounds cohesive and musical overall.

In bass mode, the mids can get slightly thicker or warmer in the low end, but still very listenable.

When using the neutral mode, the upper midrange is very interesting where it has 2 sides of the coin here. The 3-4khz is something that deviates from the neutral tuning which gives forwardness that gives instruments like hi-hats and cymbals sound crisp and gives a better sense of width but this also means that it also highlights sibilance, where I used this to monitor my voice and hearing that it was sibilant which i tried to fix with eq, not knowing that it sounds normal with my phone speakers or other iems like the truthear reds for example. 

The bass mode alleviates this a little bit because of the emphasis in the bass which reduces the perception in the upper midrange to presence region.

Overall the vocals lacks dynamic and fun which leans towards the inoffensive and relaxed tuning with a caveat in the upper end which can work with or against the song depending on how it was mixed. 

Treble - Treble is very interesting where there are The dual Balanced Armatures handle the higher frequencies giving it enough resolution and detail without sounding harsh in cymbals. This may come off as a neutral to dark-neutral since it lacks extension in the air region above 10k, where there is a continous roll off pass 4khz as the upper frequency goes higher. This is a safe tuning set that is good for those that are sensitive to treble since it comes of as smooth and round. 

Technicalities:

For technical performance, it’s solid for the price.

Soundstage is average not super wide, but it has decent width and depth.

Imaging is accurate for casual gaming and music listening.

Separation is good, though not class-leading, and detail retrieval leans more towards smoothness rather than sharp resolution. 

Overall, it’s more about musicality than technical performance. Micro details are prioritized over macro details 

Conclusion -   So overall, the OOOPUS X22 is a very interesting budget IEM.

It’s not perfect the accessories and build are pretty basic—but the sound quality and tuning versatility really make it stand out.

At this price, getting essentially two sound signatures in one is a big advantage.

If you’re just starting out or want a fun and flexible IEM, this is definitely worth checking out.

Thank you for reading my review!!! And hope that I helped you learn about this iem so that you could make an informative decision before buying it. And see you at the next review, CIAO!

This is my first time listening to this brand. I was particularly surprised by the colors, texture, material, and workmanship quality at first glance, as well as the box, cable, and the interesting camping pot and cutlery set included. (I bought it as a gift for my wife because she liked the color. But I was surprised when I realized how good the quality was.)

It's a somewhat romantic design approach, and while it might seem unnecessary to many listeners, I think it's a thoughtful touch. Why not? Why throw away the cardboard box? Even using the included aluminum food container, fork, and chopsticks as decoration is fun.

Anyway, let's get back to the main point. This IEM is a carefully designed, meticulously tuned product that lives up to its price.

- You can read the rest of the in-depth review here >>

Sound Signature :

Dios is tuned for balance, resolution, and long term listenability. It gave me a musical and smooth listening experience.

The bass isn't exaggerated, but it's precise and responsive. The titanium composite diaphragm and dual magnetic driver system provide good control. The sub bass stretches well compared to its class, but never becomes overwhelming. The mid bass is characterized by a tight, clean attack and quick recovery. There's neither excess nor slack.

The mid frequencies are where Dios is characteristic, in my opinion. Vocals are presented with clarity and natural intonation. There's no artificial warmth, but no dryness either. Instruments are well separated, yet feel harmonious. I think the triple chamber design plays a role here, creating space around each element.

The treble is refined. It stretches cleanly, offering detail and air, but without sharp edges. You can listen for hours without getting tired. This isn't a brilliant setup. It's a controlled and mature one. I liked it.

The soundstage isn't bad; for a single dynamic driver, the sense of spaciousness and layering is nice. It offers a clean and open space with believable positioning. Nothing is too much. Just right. Enough.

And all this comes from a compact, precisely crafted aluminum body that feels more like an orange industrial work of art than an audio device. I loved its colors and how eye catching it is.

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Pros: 

Quite good resolution for the price for a single dynamic driver
Balanced and natural sound adjustment (feels warm and musical)
Smooth and non tiring highs
Clean and controlled bass with strong texture
Good soundstage width and layering for its size
Consistency across the frequency range
Premium build and design with CNC machined aluminum body
Interchangeable 3.5mm and 4.4mm plug system provides flexibility
The cable is much higher quality than its competitors. The box contents are also richer.

Cons: 

Not suitable for bass lovers seeking heavy impact
Treble details are refined but not aggressively emphasized
Not for those seeking ultra analytical resolution and sound adjustment
The sound signature prioritizes balance rather than excitement

You can read the rest of the in-depth review here >>

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All Photographed taken by me (ADR) from Instagram: u/electroaudioworld

Used photo Gear : Sony A7 III + Sigma 24–70mm F/2.8 DG DN II Art Lens + Iphone 16e

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