Pros:

* Fast planar bass transients with a clean slam
* Excellent treble details without sibilance
* Generous accessory package including 8 ear tip pairs
* Beautiful Sunshine Gold shells

Cons:

* Vocals can sound lean and dry.
* Chin slider on the cable slips.
* May not fit well for users with shorter ears.

The legendary Hidizs MP145 has received an upgrade with the new MP145 Pro. Priced at $169, this planar magnetic IEM aims to bring a more refined tuning to the table.

Disclaimer: A huge thanks to SushiiFi and Hidizs for providing this unit for review. All thoughts and opinions are entirely my own.

Video Review:​

https://www.youtube.com/watch?v=pS7__zYqaw0

Unboxing, Design, and Fit​

The unboxing experience is generous, coming in a large box packed with accessories. You get eight different pairs of ear tips labeled for vocal, bass, balanced, and a special "anemone" style. It also includes a spacious, blue faux leather carrying case.

I received the "Sunshine Gold" edition, which is incredibly shiny and pretty to look at. The shells are similar to the original MP145 but refined to be a little bit thinner. It uses tuning nozzles (rose gold, silver, and red) to let you tweak the sound. The included white braided cable has good heft and features a modular plug to switch between 3.5mm and 4.4mm connections, though the chin slider tends to slide down on its own.

Fit wise, these are tall rather than chunky. For my medium to large ears, they are very comfortable and snug, especially when paired with the anemone ear tips that provide a great seal. However, if you have shorter ears, the top of the shell might start to hurt after a while.

Sound Impressions​

The MP145 Pro feels like a refined version of the original.

• Bass: The bass has a very nice ring to it. Because it is a planar driver, the transients are fast and the bass slam is incredibly clean. It provides a good sub bass thump, though it leans slightly on the softer side.
• Mids: The mids are shifted slightly towards the bass, giving them a bit of warmth. The vocal details and nuances are picked up exceptionally well. However, the vocals consistently feel a little bit lean and dry.
• Treble: The treble detail retrieval is fantastic. It delivers a lot of high end details cleanly without ever crossing into sibilance. High hats and snares sound natural rather than sharp.

Song Impressions​

https://music.apple.com/in/album/mask-off/1253125650?i=1253125872

"Mask Off" by Future:

This rap track is a great test for bass rhythms, hi-hats, and snares. The MP145 Pro handles it exceptionally well, delivering a very nice sub bass rumble and a clean, satisfying bass slam. The hi-hats and snares are clear, and the overall instrument layering and stereo separation (left and right) are fantastic. However, the vocals do come across as noticeably dry and lean, lacking a bit of lush body despite being very clear. (Note: Switching the paired S9 Pro Plus Martha DAC to the blue filter successfully added that much needed vocal body and lushness to this track!)

https://music.apple.com/in/album/me-voy-enamorando-feat-farruko-remix/1443212179?i=1443212193

"Me Voy Enamorando" by Chino & Nacho ft. Farruko:

This reggaeton track highlighted the incredible detail retrieval of the MP145 Pro. I was actually able to hear instrument nuances that I haven't heard before in this song. The bass rhythm provides a good thump and rumble, though the slam is slightly on the softer side. The high ends, including the snares and hi-hats, sound natural and clean without being sharp, though they do lean a bit thin. Once again, the vocal nuances are picked up perfectly, but the voices remain a little bit dry.

Conclusion:​

As a complete package, the Hidizs MP145 Pro is a very beautiful, capable planar IEM with excellent detail retrieval and fast transients. I give it a 3.5 out of 5 simply because the vocal presentation is a bit too dry and lean for my personal taste, as I prefer more lush warmth in my music. However, if you value clean planar technicalities and adjustable tuning, it is objectively a great set.

The NM25 Ossuary Silver Edition sounds identical to the NM25, but features a silver faceplate.

It’s priced around $300, about $100 more than the standard NM25 ($200).

It appears to be a limited edition release with restricted quantities.

Hello Community!

It is a great pleasure to share my experiences with the Simgot ET142, a special set of monitors and one of the brand’s flagships. I have spent days with it, enjoyed others, and picked them up again to finally bring you an analysis as accurate as possible, avoiding leaving anything in the inkwell.

Price: 230€-250$

Link

Pros:
-Technical capabilities above average.
-The sound separation is a delight.
-Very notable treble extension.
-Great level of macro and micro details.
-Airy sound presentation.
-Sense of speed and precision.

Cons:
-It can be excessively revealing.
-With some nozzles fatigue may appear.
-The planar timbre is very noticeable with some nozzles.

Accessories:

-Two shells.
-Three sets of ear tips.
-Four pairs of tuning nozzles.
-Sixteen pairs of O-rings for the nozzles.
-Two pairs of foam filters for the nozzles.
-Cable with 0.78mm termination and modular 3.5mm/4.4mm connection.
-Carrying and storage case.
-User manual.

 Comfort, design and construction:

The shape of the shell fits quite naturally in my ear, and although they are not the lightest IEMs, the weight is well distributed. I was able to use them during long sessions without them becoming uncomfortable, something I value quite a lot.

With the stock ear tips, I feel that I have many options to find the perfect fit. They come with three different sets and that allows me to play both with comfort and with the type of sound.

At the design and aesthetic level, they seem very striking to me. They have that polished mirror-like metallic finish that looks quite premium, although yes, fingerprints show easily. Even so, in hand and worn they convey a feeling of a well-cared and high-end product.

In terms of materials and build quality, I notice them very solid. They give that sense of durability by being made of CNC metal, as if they were going to withstand the passage of time well. They do not feel fragile at any point and the body sealing is well finished.
I also like the cable quite a lot. It is thick but flexible, does not tangle easily and feels of good quality.

In general, my feeling is that the whole set is very well thought out and built, with an approach clearly pointing towards higher ranges.

Technical aspects:

-1PLN+1PZT configuration.
-Impedance of 14 ohms.
-118 dB.
-Declared response 8hz-40khz.

Nozzles:

ET142 offers a set of interchangeable nozzles, each with a well distinguishable and differentiating tuning. The blue nozzle will be the reference for comparisons.

Blue (long): the bass is not the protagonist for its rumble, but it is agile, firm and dry, giving way to a very clean, spacious midrange with outstanding note weight. The treble is detailed, sparkling and open. Without internal foam filter.

Yellow (long): somewhat warmer in the midrange but the upper part gains brightness and information. The bass gains a bit of weight. The stage feels somewhat more compressed but the sound positioning is absolutely outstanding. Without internal foam filter.

Black (short): seeks balance and focuses on smoothing the higher frequencies. The mids step forward showing a frontal presentation of voices and instruments and regarding the low frequencies, they are controlled at all times, without overflow or excessive prominence. It carries an internal foam filter.

Red (short): bass and sub-bass gain a lot of prominence, but with a somewhat slow decay that may seem not clean. The mids maintain a soft and pleasant texture, with enough presence and separation although they are slightly invaded by the lower frequencies. The upper range is trimmed and far from any sibilant brightness, reducing in a certain way the captured detail.

Configuration for tests:

-Warm/neutral source.
-Gain set to medium.
-Stock cable 4.4mm.
-Blue nozzle + stock ear tips with orange core for music.
-Red nozzle + stock ear tips with orange core for single player videogames.
-Yellow nozzle + Tri Clarion ear tips for multiplayer videogames.

Sound signature

Starting with the lowest frequencies, here I clearly notice that the bass does not want to be the protagonist. It is that typical planar magnetic bass, fast, clean and with a short decay that makes everything sound very orderly. The sub-bass is there, it does not disappear, it is heard with a natural wrap that can shake your head although it is more a presence than an overwhelming experience. It appears when the track asks for it and leaves without a trace. The mid-bass has punch but is dry, more focused on marking rhythm than giving body.

There is no big hit nor that physical sensation of warmth. Here everything is focused on control. In complex tracks I enjoyed it a lot because it never invades the mids, it never gets dirty. I can follow the bass without effort and with emotion. It is a bass that I respect and savor to exhaustion. If I look for precision, it is perfect, but if I look for extreme fun or warmth, it falls a bit short. Even so, the cleanliness and separation are top and very much in line with what is expected from a well implemented planar

Speaking of the midrange, ET142 begins to show its grace. The mids feel very open, quite airy and with good overall clarity. They move completely away from the density given by a warm sound signature, rather they approach and achieve a slightly bright neutrality. Guitars have that crunchy touch, details come out easily. It is not a thick midrange, it may even lack emotion although it is gratifyingly technical. What I do like is that it does not sound forced: fluidity is its hallmark, everything has its well delimited space, I separate instruments effortlessly, with a highly organic dynamism. Despite this, sometimes, and depending on recordings, I feel that there is a slight distance. That helps it not to fatigue, but also makes it lose some intimacy. It is not a romantic midrange, but it is extremely clean and functional.

Now in the high range, and this is where this blue nozzle makes sense. The treble has air, a lot of extension and that point of brightness that makes everything sound bigger. It is not as aggressive as the yellow, but it is not soft either; future buyers are warned. It is in that middle point where there is sparkle without becoming unbearable. Cymbals have good definition, fine details shine easily and there is quite a sense of space. The PZT driver is very noticeable here, especially in that spicy touch that gives texture to the treble. What I do notice is that, if I raise the volume a lot, it starts to be too expressive. It is not the most relaxed IEM in the world, sometimes it behaves like a knife, it wants you to pay attention. I like it because it maintains detail without becoming excessive, and that makes it more usable day to day.

In vocals, it seems quite balanced to me. Deep male voices sound somewhat light, they lack a bit of body. Normal male voices are well positioned, clear, without exaggerations. And female voices have good presence, with that air that makes them stand out, but without becoming too aggressive. In general, I would say that the voices here are more clean than emotional.

In imaging I notice that it is one of its strong points. I can place sounds quite precisely, even in lateral planes and towards the back. It is not ultra surgical, but it is very competent and fun for games or complex tracks.

The soundstage feels quite open, especially in width. Not so much in height, but I do have that sensation of air around. It is not gigantic, but it is above average in its range.

In layering it performs very well, although it is not its star point. The layers are separated, with a well measured scale. Everything is perceived clearly, but more horizontally than in depth.

And in detail retrieval… here it really shines. The detail is there, easy to perceive, without having to force listening in a more technical approach.

Single player videogames:

Always looking for the most cinematic experience possible, tested in narrative and intensive action titles. Check my blog to see the specific games and the conditions of audio analysis in videogames.

With the Simgot ET142 and red washer nozzle, in single player videogames everything feels more cinematic and less surgical, as if the game were designed for you to enjoy it instead of analyzing it.

In action passages, the first thing that catches my attention is the weight that hits and explosions have. The bass here is not the fastest nor the driest, but it is rounder and with much more body, which makes each impact have a kind of natural reverb that fills the scene. It is not that hyper controlled bass of technical profile, here everything sounds bigger than it is, more dramatic, more forceful. In intense combats it is appreciated because the action feels more physical, although in extreme chaos I lose a bit of definition among so many effects. Even so, I prefer that more enjoyable approach than analytical in this type of games.

The dialogue scenes follow that same line: warm, soft and quite natural voices. They are not exaggeratedly forward nor have that bright edge that can tire. They are easy to follow, although in moments with a lot of action behind they can lose a bit of sharpness. But in general, everything feels more relaxed and less aggressive.

Regarding immersion, is where this tuning shines the most. Environmental sounds have more atmosphere than technical precision: wind, distant footsteps, echoes, machinery in the background… everything forms a continuous background that puts you inside the game world without you analyzing every detail. It is that type of sound that gently draws you in and simply lets you play.

The stage feels relatively wide horizontally, with decent depth that helps separate near from far, although it does not become especially holographic or open. It is more enveloping than expansive. For this type of videogames it is more than enough.

Speaking of the separation of sound elements, it performs well but is not very remarkable. In simple scenes everything is clear, but when it fills with effects, the sounds tend to come together a bit, without becoming confusing, without losing resolution, but the loss of transparency is somewhat evident compared to other nozzles.

Sibilance is quite well controlled, even in intense moments, effects or raised voices. There are no annoying peaks or exaggerated harshness, everything remains smooth. Perfect for long hours of gaming.

And positioning is correct and intuitive. You can locate enemies and directions without problem, but it is not millimetric precision. It is more a clearly enjoyment-oriented approach.

Multiplayer shooter videogames:

Always looking for the most analytical experience of the scenario possible, tested in competitive shooter titles. Check my blog to see the specific shooter games and the conditions of audio analysis in videogames.

With the Simgot ET142 with yellow nozzle, in competitive multiplayer the audio feels more immediate, brighter and with a quite aggressive reading of the sound. It is a tuning that prioritizes that you notice everything very quickly, although this is not always the most optimal.

In Counter Strike 2, the performance is quite solid in terms of reaction. Footsteps are projected with great clarity due to the push in high frequencies, which helps to detect directions effortlessly. Lateral positioning is very reliable and the timing of movements is perceived as accurate. The problem appears when the round becomes very intense, which can make the scene lose some air, becoming more compressed than ideal. It is not confusing, but less surgical than more neutral options.

In Apex Legends, this nozzle option shows its most chaotic side. The verticality of the game and the number of abilities make the scene feel sharper in your ears. I can follow important sounds well, but the coherence of the environment is not always firm. There is good detection of events, although everything tends to be more piled up when the fight gets complicated. It works better for aggressive play than for calmly reading information.

In Call of Duty Warzone, the performance is useful but demanding. Footsteps stand out very well, even in noisy environments, which helps to react quickly. However, the problem is that the game itself is already very saturated sonically, and with this tuning everything becomes even brighter and more loaded. The separation holds up quite well, but not always with total cleanliness when there are explosions, vehicles and gunfire simultaneously.

In Battlefield 6, the yellow feels more spectacular than precise. The battlefield sounds big and energetic, but the organization of layers is not its strong point here. I distinguish key situations, yes, but the scene loses some hierarchy: everything sounds quite present at the same level. It is immersive, but less tactical.

Overall, this nozzle in competitive is fast, striking and reactive, but sacrifices some order and stability when the environment becomes too dense or chaotic.

Final conclusion and personal evaluations:

The ET142 is one of those IEMs that do not stay still in a single personality, but rather seem to enjoy changing masks depending on what you ask of them. And that is precisely what makes them so entertaining and tempting: it is not a passive listening, it is almost as if you and the earphone were playing to see which version of the sound fits best at each moment.

In its blue version, the sound feels like a large, well-lit room, where everything is placed with elegant logic. There is air, there is order, and above all there is a feeling of nothing is left over here. It is a presentation that does not push emotions into your face, but invites you to observe calmly, like someone looking at a stage from the perfect distance. Everything is there, clean, defined, but without rush or dramatics.

When the yellow version comes in, the atmosphere changes as if someone had raised the temperature of the room a bit. Everything becomes more immediate, more lively, more direct. It is as if the sound takes a step towards you with a certain mischief, saying “look at this too”. Details shine much more, things happen closer, and there is a sense of urgency that hooks quite a lot in games or intense moments. That said, so much closeness sometimes makes the space lose some oxygen.

The black variant is the sensible friend of the group. It does not raise its voice, it does not seek protagonism, but it is the one that best knows how to keep the conversation in order. Here everything flows naturally, without roughness or excess. It is the mode that accompanies you for hours without you noticing, like background music that you suddenly discover you have been enjoying more than you thought. It is comfortable, stable, and quite smart when it comes to not bothering.

And the red version is the most playful of all, but also the most relaxed. It is like putting on sunglasses indoors: everything softens, becomes more rounded, closer to touch than to analysis. Here the experience is pure sensory comfort, perfect to disconnect or to get lost in games where the important thing is not to dissect every sound, but to let yourself be carried away by the atmosphere or the emotion of the forcefulness of its bass. That said, so much softness also makes some things pass more lightly.

Overall, the ET142 is less an IEM with a single signature and more a small portable laboratory of sensations. Its great asset lies in that almost mischievous versatility, in how it can go from being an elegant observer to a more impulsive companion without changing body, only attitude. That adaptability makes it very fun, almost addictive to adjust.

Its greatest virtues appear in the general cleanliness and in that ease with which everything separates and is understood, even when the scene becomes complicated. But if what you are looking for is a sound with a fixed personality, very emotional or deeply romantic without touching anything, you are not going to find that here. This is not the type of IEM that takes you by the hand; it is rather the one that lets you choose how you want it to speak to you today.

Ultimately, it is designed for someone curious, one of those who enjoy changing the listening mode almost like changing lenses on a camera. For the listener who wants a single immovable identity it may feel somewhat elusive, but for those who enjoy exploring nuances, it is a fairly serious toy disguised as fun.

ET142 is a specimen of multiple personality.

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 Simgot. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when preparing this analysis.

Despite this, my priority is to be as impartial as possible within the subjectivity involved in analyzing an audio product. My opinion 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 wireless LDAC 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.
-Apple Music.
-Local FLAC and MP3 files.

Hello,

I am not really a veteran when it comes to IEMs, but pretty experienced with getting good sound out of speakers. I decided to finally get some IEMs because the marketing for the "new meta" promised kind of what I like in my speakersetups and if they would deliver on that I could listen to music on a similar level of quality when I am not at home or late at night when I wouldn't wanna bother my neighbours.

What I mean regarding my preference in speakersound is "kinda neutral sound, but not lifeless and analytical like studio monitors. Bass is impactful enough to trigger emotional responses but is still well controlled, mids feel clear and present but natural in timbre, treble gives as much details as possible but without any artificial sparkle". So I ended up with the Daybreak as a baseline.

I was pretty impressed with stock-tuning already. Precision is pretty obviously higher compared to what speakers can physically deliver outside of nearfield monitor setups, because there is no room influence.

However compared to what I am used to with my speakers it lacks just a little bit of "noteweight" or impact to get me really emotionally involved. I am talking about kickdrums that feel too thin like paper etc. Not that much power for genre like metal. Also some higher sounds just explode with energy and can hurt a little especially when listening at a higher volume. That is especially apparent with electronic snares, claps, clicks, splashy cymbals and screamed vocals. Maybe that is the mPTs going overboard or I am just sensitive in that area idk, because on the fr-graph it doesn't even look too bad. Or maybe it's the big energyzone between 13 and 17 kHz adding up and emphasizing these sounds.

So I spent some weeks finding the areas that need to be pushed or tamed just a little to get what I want. After that I started to create a new balance around that soundsignature with some further finetuning. I gotta say the result is really impressive to me. Not only did the EQ fix the small criticisms I had with the soundsignature, it even makes the sound feel sort of more threedimensional and the timbre more natural to me, as if it were truly speakers in a room, but without losing the extra precision that IEMs are naturally capable of.

So I wanted to share my EQ for all the people here that might have similar preferences in sound:

https://graph.hangout.audio/iem/5128/?share=IEF\_Preference\_2025\_(B%2526K\_5128)\_Target,Daybreak&P=0&selphone=CrinEar\_Daybreak\_(Shortwide\_tips)\_S1&T1=PK&F1=20&Q1=1&G1=2.4&T2=PK&F2=120&Q2=1.8&G2=1.2&T3=PK&F3=330&Q3=2&G3=-0.7&T4=PK&F4=1400&Q4=1&G4=-0.4&T5=PK&F5=3200&Q5=2&G5=-0.49&T6=PK&F6=5200&Q6=2&G6=-1.3&T7=PK&F7=7000&Q7=1.25&G7=1.81&T8=PK&F8=10500&Q8=2&G8=-0.5&T9=PK&F9=0&Q9=0&G9=0&T10=PK&F10=0&Q10=0&G10=0

And just a small sidenote because that can impact the trebleresponse: I use AZLA Xelastec II eartips, because I have dry skin in my ears and they garantee a good seal.

Hope somebody here will enjoy it :)

ISN Audio EST80 An Electrifying Experience

Another week another review. This time around we have Penon umbrella brand ISN Audio. Product name is EST80. I really like EST treble.  Specially Penon Voltage (which is part of my top 5 set) showed me how a good tuned EST can create amazing treble. So, I am always on hunt for EST sets. When I came to know ISN Audio has two sets EST80 and EBC80. I had set my eyes on them. AudioGeek India was conducting tour of ISN Audio EST80. Without any delay I applied for tour. Rest is history and we have this review now.

First of all, mighty thanks to AudioGeek India and ISN Audio without their help this review wouldn’t have been possible.

My biases in tone / timbre are DD > Hybrid > Planar.

For my music choices please check music genre section.

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

Pros:

Bass both Sub bass and mid bass

Mids 

Treble smooth & well extended without being harsh

Sound stage 

Build Quality

Cons:

Treble for some it may sound bit dark

Sound stage could have been bit larger

Build Quality:

Please note that I received only case + Cable + IEMS and # types of ear tips in package and not the retail package. So, my impressions are based on that.

Shells are made up of resin here. They have resin filled wooden faceplates which look awesome. Nozzles are long. They have lips to hold ear tips in place. Nozzles are part of the shell made up of resin. There are no mesh filters on nozzles. Shape of the shell is semi- custom.

Paired cable is premium it is four core cable. Jack termination, cable separator, chin synch and two pin connectors are made up of metals. They have decals on them and their color matches the color of cable. Nice attention to detail.

There are 3 types of ear tips included all come with all three sizes. Included case is of leather (probably protein leather) It has pockets for IEM shells. It can easily accommodate IEM + Cable. It is hard case and can withstand day to day wear and tear.

Overall Build Quality 5/5

Comfort:

Shells are huge no doubt about it. So, people with small ears please demo before purchase. For my elephant ears it fits perfectly. Affords me nice passive isolation. On weight side they are light weight being resin. No pressure or pain was felt while using for extended period. Nozzles being long provide deep fit. Lips on the nozzles prevent ear tip slip offs and afford good grip to them.

Cable is thick and inspire confidence. It is supple and can be roadie wrapped easily. No microphonics observed in cable. Included ear tips are soft and provide good seal.

Overall comfort 5/5

Configuration:

2 EST + 4BA + 2 DD tribid.  2 sonion EST, 2 sonion BA, 2 Knowles BA and 2 8mm liquid silicone DD’s. Impedance is 14 Ohms. Sensitivity is 110 dB. Frequency response is 5Hz-40 KHz

 Ear Tips:

Silicone ear tips with yellow core were used for this review.

Sources:

I have used various sources with this set. Best pairing was achieved with neutral sources.  Source scaling L&P W2 ultra > Dethonray Clarinet > Cayin Ru7 > Cayin Ru6 > Fiio M21> Tempotec V3 blaze > Onix Xi Alpha. 

General Sound Impressions:

Bass/Lows:

Sub bass is rumbly. It rumbles for eternity and is head shaking level, one that you can feel in the ears and head. Mid bass thumps, slaps it has authoritative slam. you can feel it physically. The classic push felt by pressure of mid bass. Bass here has enough speed to deliver great physical effect yet not to smear mids. It is fast enough and well nuanced and textured. You can make or difference between instruments. Be it drums, kick drums, percussive instruments. In kill jill song the bass drops feel so satisfying. Once you hear it you will definitely understand. Male vocals sound great.

Overall Bass/Lows 5/5

Mids:

Vocals are great period. They are well balanced with respect to Bass and Treble. Male vocals sound great and get help from bass. They have note weight and sound authentic. They are well nuanced; you can pick up the singer’s specific tonal character. Be it throaty, chesty it does justice to all. You can pick up voice modulations clearly.

Female vocals are good, they sound amazing. They don’t get intense. You get the female poison without the sting. Here also you can spot the tonal character and voice modulation. If you like intense female vocals then you would be disappointed. This set is meant to enjoy female vocals without their bite.

Most instruments reside in mids. They sound great. Brass instruments, wood instruments, snare drums, cello, violins, piccolo, guitars sound amazing here. There is no smearing or congestion. Clarity is great.

Overall Mids 5/5  

Treble:

Treble is detailed yet doesn’t get harsh or bright. It is enough to produce all details. All macro and micro are well reproduced. It feels smooth and well tuned. No oddities or peaks in the treble. no undue emphasis on any element is there. Yet it is one of the detailed set I have heard in the recent times. It is close to bright yet not bright. Yet people sensitive to treble may feel it is bright. Treble tuning here is just perfect for me. Again your mileage may vary.

Soundstage is vast. It feels wide and tall. It creates big stage for all instruments to coexist in the mix. No smearing or congestion was felt. Stage is holographic. You feel like seating in grand theatre and all the music is playing all around you. I feel like this sets comes very close to open back headphones in terms of openness. I know nothing can come closer to open back headphones but if you want that feeling in IEMs this IEM can deliver it.

Instruments in treble region such as violins, piccolos, cymbals and hi hats sound authentic and don’t have metallic timbre. Their timbre feels natural.

I like to add that at first listen it felt bit dark to me but on subsequent listen this feeling went away. Yet I am sure some will feel like treble tuning is dark. As we each have our own preferences this is bound to happen.

Overall Treble 5/5 

Song Impressions:

To corelate to my findings in the sound impressions I have used following songs and my impressions of them

Caravan by Jahn Wasson

This is one of my favorite jazz songs. As with all jazz songs in that period drums and trumpets are main protagonist here. Drums sound heavenly here. You cab make out the exact drum type and can feel the stick hitting skin of drum and the physical effect created by it. Textured bass period. Trumpets shine here without getting harsh. Trumpets sound like you are there in person and artist is playing right in front of you.  Cymbals sound natural, no metallic timbre. Strings sound excellent. The physical sensation of strings being plucked is captured excellently. 

Entire mix here sounds heavenly.  In last section the crescendo hits divinely. Overall excellent reproduction.

Ego death by Polyphia 

My resolution check or driver speed check song. Well, the EST90 passes it with flying colors. Bass beats in the starting hit like truck and are amazing. Cymbals sound natural. Guitars which are the main USP of this song are divine here. Both bass guitars and electric guitars just sound awesome. You can feel the strings being plucked and physical reverberations generated by it. Digital synthesizer sounds great. It is not getting lost in the mix. Bass is not bleeding in to any other frequencies. No smearing or congestion. This song can get harsh easily if the set is not tuned well. But it is not the case here. It was greats session my arms were air drumming and my feet wee stomping. Overall great reproduction.

Enjoy Enjaami by Dhee & Arivu, Santhosh Narayanan

This is amazing song that has all. Great bass, good vocals both male and female. A high tempo mix where the beats follow very quickly. Nowhere it felt the driver was keeping up. No smearing or congestion. All instruments had enough space on the stage. Bass beats had lot of oomph. They were rumbly, thumpy, slapping left right center.

There are three singers. They have distinct characteristics to their vocals; all are captured faithfully here. Female vocals don’t get intense. male vocals are authentic. Piano, keyboard notes have note weight and sound great. Overall great reproduction.

Nothing else matters by Metallica

I am Metallica fan and this set just elevated my mood while listening to their songs. So mandatory inclusion of their song is must. Drums sound authoritative here. It slaps and thumps. You can feel the impact of the drums. Cymbals sound natural. Strings (guitars) sound amazing. Their string plucks feel physical. Guitars of all type sound emotive. Bass guitars sound authentic without being over bearing.  Piano notes have note weight. Drums and guitars combo just becomes intoxicating.

Vocals belted out by lead singer take it to next level. Its tonal character is maintained. Vocals sound natural. They are intimate enough to evoke emotions. It was emotional affair for me while listening to EST80. It made my favorite song even better. I was struggling to stop. I must have heard the song on loop for minimum ten times. Overall excellent reproduction. 

Final Conclusion:

I have listened to quite few sets in the same ball park figure. I can straight forwardly tell you that this one just feels like perfect match for my personal preferences.  So, this is definitely a buy from my side. If your preferences match to my then this is also a perfect match for you. If you are treble head then this is not for you. For bass heads this is amazing. I find to be balanced set so if you like balanced set then this is for you.

It may seem like I am in love with this set and I will not deny that. I really like it. Now what are the cons or downside of this set? Well, l the bass could be too much for some people who hate copious amount of bass. Vocal lovers may also find the vocal reproduction not intimate enough especially female vocals.

I was thoroughly moved by this set. It was really hard for me to part with it. I have shilled it to heavens and am truly sorry for it. But biases are biases. So please take my review with grain of salt and read other reviews to arrive at clear and complete picture. I hope this helps.

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

ISN Audio EST80 An Electrifying Experience 

Overall Rating 5/5

iBasso DX180 + Nunchalu + Monarch MKIV = Bliss

Hercules Audio is a brand that was established by people who had worked on the King Arthur project of Effect Audio which was met with a lot of criticism as the fruit of the initiative wasn’t sweet but the team didn’t stop- joined hands together, and laid themselves out in 2023 as a new entity, and they took the columns of Head-fi and Canjam by storm, with two offerings in completely different price brackets; the Noah and Moses. The Moses is an IEM that easily skirts into kilobuck territory, while the Noah happens to be their most affordable offering.

Hercules Audio hasn’t supplied me this unit nor have I been compensated by any means for this review. This is a personally owned unit of one of my three main donors, and I thank him for giving me this unit to base my impressions on. I don’t have the retail packaging nor the accessories, but only the IEM and its cable, called the Noah’s Ark which is very punny of them.

Comfort on the Noah has been top notch for me as the shells look only deceptively heavy- and there was zero pressure buildup despite its 1DD + 3BA configuration, as the vents were fairly big and neatly integrated into the shells. The only con of the Noah is its pentaconn connectors as it severely limits cable options, but the Noah’s Ark is an excellent cable in terms of feel, and not once did I feel any pressure buildup around the area where the earhooks go.

Now time to opine on how it sounds.

Lows

The Hercules Audio Noah carries healthy dollops of the lower frequencies within itself, and I will be drawing a lot of parallels with two of my favourite IEMs of similar tunings, the Softears Volume S and the Xenns Mangird Top Pro. The Noah feels very similar to both of these IEMs, yet maintains clear differences in execution where it begins to separate itself in meaningful ways.

In tracks like Get Lucky and Instant Crush by Daft Punk, the Noah, even when compared to the Volume S, does not hesitate in delivering the heavy yet nimble rumble that the bass lines demand on both of these tracks. Unlike the Top Pro, whose decay stays longer than it should, the Noah takes the Volume S route by keeping the attack at the same pace and level as its decay, where the notes from the bass swoop in and roll out without wasting energy or quantity. The Noah keeps the notes spaced out evenly, never muddying up even for a quick minute, and keeps the rumble distinct from the punch. That sense of discipline gives the bass a confidence that feels deliberate rather than accidental.

In tracks like Limelight by Rush, the Noah does one thing better than the Volume S here, pacing the detail needed to enjoy elements that rumble. This track starts off with a roll, and the Noah introduces a touch more detail through that section which the Volume S does not fully capture. As the track progresses, the Noah gradually widens the small gap in separation that the Volume S carries, and in doing so places quiet pressure on the Top Pro to justify its standing. The bass line in this track runs parallel with the toms and kick drums with the Noah as its vessel, exposing minor limitations in the Top Pro, even if the overall difference remains controlled rather than dramatic.

Mids

The Noah now starts getting even better, and it has most of the fundamentals working in its favour. Even when compared against the Volume S, the Noah holds its ground with assurance and steadily makes its case without forcing the issue.

In tracks like Marigold by Periphery and the 2019 Bloodstock Live Festival version of Juno by Tesseract, both the Noah and Volume S show a strong capacity for retrieving detail. These tracks carry a lot of ghost notes throughout, and both IEMs render them at clearly audible levels. However, I would have appreciated the Noah allowing them to stand out slightly more, as its control over timbre and tonality remains the more noticeable strength, especially through the snare rolls and guitars. The Noah edges mildly ahead of the Volume S by avoiding excessive warmth while still maintaining body and realism, and it does so in a manner that feels composed rather than showy.

In tracks like Schism by Tool and First It Giveth by Queens of the Stone Age, the Noah demonstrates reliable imaging that begins to assert itself more clearly as the tracks grow busier. Despite the density in both tracks, it keeps each element positioned correctly and maintains composure throughout demanding passages. Instrument separation remains clear, once again moving ahead of the Volume S, particularly in First It Giveth, where the Noah keeps pace with the bass notes and drums on a beat-by-beat basis. The Volume S shows minor hesitation here, while the Top Pro, despite its energy, feels slightly less precise than expected in comparison.

Highs

The Noah, through the higher frequencies, does something that both the Softears Volume S and the Top Pro struggle with to varying degrees, delivering brightness without tipping into fatigue. That balance becomes more noticeable the longer the listening session continues.

In tracks like Stateside featuring Zara Larsson by PinkPantheress, the Noah handles the vivid synth work cleanly while keeping both vocals from sounding strained, thin, or piercing. The Volume S can come across as mildly fatiguing over time, while the Top Pro carries enough intensity in the 6k to 8k region to become tiring during longer sessions. The Noah maintains brightness while staying composed, and that restraint allows the energy in the track to remain enjoyable rather than exhausting.

In tracks like Total Eclipse of the Heart by Bonnie Tyler and I’ll Always Love You by Whitney Houston, the Noah manages sustained vocal peaks without losing tonal balance. It handles the raspiness in Bonnie’s voice with control and keeps the relationship between vocals and instrumentals stable throughout the climaxes. The piano in Total Eclipse of the Heart carries convincing timbre and tonality, sounding natural and grounded rather than overly polished.

In tracks like Alright by Kendrick Lamar, the Noah does not introduce sibilance through the cymbals, similar to the Volume S, and this makes the Top Pro appear comparatively sharper in presentation. Background hums remain easy to locate, and the coherence between the horns, cymbals, and bass stays intact. The Top Pro leans slightly toward punch, the Volume S leaves a lighter impression, while the Noah settles into a balanced middle ground and holds it with confidence.

Concluding Notes

The Hercules Audio Noah presents itself as a composed and carefully judged performer. It does not attempt to dominate through spectacle, nor does it rely on exaggerated character to stand out. Instead, it focuses on delivering a balanced and predictable listening experience, one that remains consistent across genres and listening sessions. That consistency becomes its defining strength.

For some time, the Softears Volume S has served as a dependable reference point for listeners who value balance and musicality. The Noah follows a similar philosophy, but with firmer control in areas where separation and pacing matter. It does not replace the Volume S outright, but it closes gaps that once felt comfortable, and in doing so, it strengthens the case for disciplined tuning over excess.

The Xenns Mangird Top Pro, however, finds itself in a more difficult position. Its strengths remain visible, but they are no longer enough to justify its standing once direct comparisons begin. The moment the Noah enters the equation, the Top Pro starts to look less like a premium step forward and more like a miscalculation in value. The performance gap is not theoretical, and the price difference becomes harder to defend with each listening session.

What ultimately defines the Noah is not just balance, but efficiency. It delivers performance where it matters, avoids unnecessary excess, and maintains composure without demanding a premium for it. In practical terms, it resets expectations within this segment.

The Volume S remains a trusted benchmark. The Top Pro now feels overpriced and outclassed.

The Noah steps in as the more sensible and better-judged choice. And for that, it earns my rightful grade of S.

Purchase link (GBP 315 for the top spec): https://eliseaudio.com/products/hercules-audio-noah (Again, disclaimer- I am neither affiliated with Hercules Audio, nor Elise Audio. This was merely a fun writing exercise for me)

Will I buy this at retail? Absolutely.
Will I buy this used? Blind Buy.

Sources used: SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus DAP, FiiO KA17 and Venture Electronics Abigail Pro dongle DAC amps.

Eartips used (ranked in order of performance): JVC Spiral Dots, Divinus Velvet Narrow Bore, Final E, Spinfit CP100+, Dunu Candy, Tangzu Sancai Balanced

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

i was looking for bleesing 3 but in my country they cost 50% more of the total price, so i was wondering if i can buy it from an agent and safe some money, does anyone here has any experience or recommendation for this?

Have you ever noticed that the JM-1 curve with Harman 2018 filters is so similar to the Soundguys curve? Okay, I imagine the principle behind the sound they're aiming for is more or less the same. Still, the process seems to have had some differences, but the result was quite similar.

​

I’ve tried one of those common cleaners for a bit, but the results feel kinda inconsistent. Sometimes it seems fine, other times I’m not sure it’s really doing much.

Wondering what people here trust for this. Do you stick with simple methods or go for something more advanced? Just trying to figure out what’s actually worth using.

I have tried NiceHCK cables and I have tried IEMs, but it is only now that I am testing one of their pocket DACs. To my surprise, they have launched a product that performs remarkably well and can easily compete with others in a similar price bracket, including those that are currently part of my personal gear. 

When I picked up the Octave I immediately noticed how heavy duty and strong the metal used for the body appeared to be. The metal is solid aluminum with glass panels. The weight of the Octave was approximately 25 grams. I believed this to mean you would never even know the Octave was in your pocket. At the same time, the Octave's construction also told me that there was quality engineering involved in building the device.

What I like / What I don't like

• The sound is dead clear and colorless, this gives you pure music without adding any additional colors or tones to your sound.
• This has a large amount of "punch" at 550 mW, and will handle both small IEM's to full size, power hungry headphones without breaking a sweat.
• The 100 step volume controller is very nice for me personally.
• That metal body does a killer job with heat, staying remarkably cool even after you have been using it for hours.
• The silver plated copper cable they included is actually great quality and feels way more premium than the usual stuff.
• Since there is no screen, you are essentially flying blind with your settings unless you open the app.
• It is a thirsty device that will definitely put a dent in your phone battery, especially on high gain.
• Updating the firmware is a bit of a pain since you need a PC or the app, but you have to hunt down the file yourself.

Specifications

The Octave features the ES9039Q2M chip, which is one of the latest ESS Sabre models for portable devices, backed by a dual amplification system that guarantees stable power. It has two connections, a standard 3.5 mm output delivering 150 mW and a 4.4 mm balanced output that goes up to 550 mW, a figure that puts it head to head with compact desktop devices. It supports high resolution formats like PCM 768 kHz and DSD256. While it does not decode DSD512, in my specific case, using Apple Music which plays in lossless ALAC format, this does not negatively affect me at all. It is also worth noting that the 3.5 mm input supports headphones with microphones and controls for calls and multimedia.

Sound

I have tested the Octave mainly with the NiceHCK Rockies. But first, I want to address something that always sparks controversy. I know many of you have given me a hard time in previous reviews when I analyze how an earphone performs depending on the source. There is a group that argues these devices only amplify volume, convert the signal from digital to analog and that they all sound the same. I still maintain that a FiiO KA15 does not sound the same as a Questyle M15i and period. This is my review and I am going to highlight how the sound changes, because to my ears, the DAC is the heart that gives the music its final character. Here is a breakdown by frequency of the changes compared to my other dongles:

Bass

The Octave behaves in a flat and fast manner. It does not bloat the bass or make it rumble excessively. What you notice is a dry punch with plenty of authority that stops exactly on time. It has total control over the earphone. If your headphones have a bass that is a bit slow or muddy, this device will whip them into shape and clean them up. It is ideal for correcting earphones that are too bottom heavy, which often blurs the rest of the music, leaving room for everything else to be heard with total clarity.

Mids

The entire midrange is very detailed and enjoys a lot of clarity. Vocals sound very open and crisp, sitting right in the foreground. It does not add artificial warmth that makes the sound feel heavy, instead, it bets on transparency. It is an analytical profile that greatly benefits earphones that sound a bit dull or distant, giving them that missing clarity so that everything is heard with much more detail and presence.

Highs

The high notes have incredible extension and a very realistic shimmer, with no background electrical noise. However, be careful. If your earphones are already piercing or annoying in the highs, the Octave will not hide anything, it will give it to you straight. It is the perfect companion to add life and air to those earphones that feel dark or as if they have a veil muffling their definition. This is not always an improvement since I gained that extra sense of air with the Rockies but testing the Hype 4 MKII for a while made the highs sting more than on my FiiO KA15, where they were already quite sharp.

Soundstage and Instrument Separation

The sense of space is excellent. The Octave widens the soundstage and places each element in its spot against a backdrop of absolute silence. There is no feeling of the sound being cluttered or smashed together. Even in songs with many instruments playing at once, you can follow the rhythm of a single one effortlessly. It is a very orderly and realistic sound where everything has its defined place. It is true, to be a bit more critical although this is not always a bad thing, 

I sometimes noticed a slight lack of cohesion between sounds by keeping such a clear separation unlike the Questyle M15i. In certain tracks I know by heart, the vocals and instruments felt slightly detached from each other, making the experience a bit strange although not unpleasant.

The NiceHCK App

The official NiceHCK app is a necessary tool for configuring the device given the lack of a screen. It is a clean app, without unnecessary bloat, but it must be said that it is not particularly beginner friendly. It requires a bit of a learning curve since, for instance, to adjust the 8 band parametric EQ you have to manually toggle the Q switch for the configuration window to appear. It would be better if it appeared directly under the EQ itself.

This applies to the 5 available digital filters as well. These filters are listed within a drop-down list and although the application has this listing, it provides no information about which filter will do what or how the chosen filter affects the tone of your music, therefore you will need to try out each filter in order to determine which one you prefer or if you already have an idea of which digital filter to look for. In my experience Fast-PC was the most pleasing sounding of the five options. It is a functional app that does its job as long as you know what you are touching, though I hope future updates make it a bit more intuitive for everyone.

Regarding the firmware, the mobile app lets you update it but it won't download the latest version for you, which is how it should work and I honestly think it wouldn't cost them anything to program, instead you have to hunt for it yourself on the NiceHCK website and then move the file to your phone's internal memory to load it into the app, this feels way too archaic for the times we live in. 

Octave vs KA15 vs M15i

FiiO KA15 This is the easiest of the three to recommend for pure convenience. It has a very useful LCD screen for changing basic settings and intuitive controls. Its sound is more fun, dynamic and punchy. It is great if you want a retro design and a sound that always works well. Its EQ is very powerful, but keep in mind that detailed adjustments and creating custom profiles must be done through their web interface, although you can select them from the device later. It is a well rounded user experience if you like tinkering with options.

Questyle M15i This is a completely different philosophy. Forget about buttons, screens or apps because it has none. Its sound is very smooth, natural and elegant. It does not push details aggressively, instead, it shows them with great delicacy and amazing realism. It is the ideal device for enjoying music in a relaxed way and offers a more organic experience that stays away from the digital coldness of other models. It is a plug and play experience that lets the music flow without thinking of anything else, although it is also the bulkiest of the three if pocket space is a concern.

NiceHCK Octave The protagonist of this review is for those seeking raw power and absolute transparency. Its sound is the cleanest of the three and masks nothing. Its big advantage is also the excellent heat management due to its build materials. If you are willing to take the time to get familiar with the app that comes with this product, there are many features that allow you to tailor the sound output to fit your individual preferences by making adjustments to specific frequency levels. The real issue will be do you like using an application versus a screen to adjust your various settings?

Conclusion

The NiceHCK Octave is a device that for around 89 $ gives you premium build quality and more than enough power to handle anything you plug into it. I currently have a difficult decision. In all of my review work, I typically drive the KA15 and the M15i. However, since the Octave came on so strong, I don't know which one will be left out of my daily driving routine. Adding my desktop FiiO K9 to the mix, I really have to evaluate which two dongles stay with me. It makes me hesitate between the convenience of a screen and the absolute clarity of this metal block.

Which two devices would you keep out of these 3?

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

Official Purchase Links:

• NiceHCK
• Amazon

I hope the pictures do these justice, they are built incredibly well and fit like a glove. What's more surprising is that they sound...nice. I don't want to spoil too much about these, but safe to say that they are really, really good. Nice overall balanced tuning that is enjoyable for long sessions. I've been going through a constant rotation of Harman tuned IEMs lately, so testing these have been a real treat and a break from the lack of midbass!

Overall, they remind me of the Orchestra Lite, from the shell quality to the more relaxed tuning, KBear have absolutely hit the nail on the head with this one. And at a price of around $100 on Aliexpress... anyways, feel free to ask any questions.

In other news, I've been busy updating my slew of measurements to a more consistent and standardized process. I'm also setting up a website so I can publish my data and pictures in high quality, with articles and blog posts in the future, so stay tuned!

I don’t have a lot to talk about for an introduction, except that one of my very good friends loaned me this set for a review, and I am grieving that I will have to send it back to him again. I was taken aback with how good the Sony MDR-MV1 sounds, and how well it balances comfort with sound.

Comfort has been one of the best I have found for myself in terms of headphones. The MV1 came to me with stock earpads which felt semi broken in, and there were still no complaints. I was on the second level in terms of extensions, and even with earrings and glasses on, clamp force was next to nothing in terms of pain or discomfort. I easily had the MV1 for hours over my ears without feeling the need to take it off. That kind of comfort makes long listening sessions feel less like endurance runs and more like relaxed cruising.

Anyway, let’s move towards the sound.

Lows

The Sony MV1 launches off the line with torque that feels unexpected for an open back. Not reckless torque. Controlled torque. The kind that pins you into the seat without spinning the tires. Many open backs deliver warmth. Few deliver traction. The MV1 finds grip early and holds it.

In tracks like Limelight by Rush, the MV1 drives the bass line with authority and composure. Notes engage cleanly and disengage just as decisively. There is no wobble in the decay and nothing feels muddy or lost in the mix. Kick drums land with conviction because the driver keeps everything steady under pressure. The result is impact that feels confident rather than exaggerated, like a well-tuned engine delivering power exactly when you ask for it. Toms carry a dense, satisfying grunt while still sounding well defined.

In tracks like Get Lucky and Instant Crush by Daft Punk, I noticed the MV1 showing its first limitation. Space becomes slightly restricted when the arrangement gets busy, especially in Instant Crush, where the bass line and drum work feel like they could use a bit more room to breathe. Once the stanzas hit and the bass gains more power, that limitation fades and the rumble comes through beautifully. The presentation regains its footing and moves forward with confidence. This is less of a problem in Get Lucky, where separation improves and stays consistent. Even better, when Pharrell’s vocals step in, they feel lush and present, and despite the drum work leaning toward boominess, there is next to no bleed.

This is a low end tuned for movement. It has weight, confidence, and enough discipline to stay in control when the road gets busy.

Mids

The midrange is where the MV1 shows its composure. It does not try to impress with sharpness. It focuses on balance, and that choice shapes how the entire presentation comes together.

In tracks like Juno by Tesseract, Marigold by Periphery, and First It Giveth by Queens of the Stone Age, the MV1 cuts through busy passages with ease while keeping its footing. Tonality remains strong throughout, though it can lean slightly warm in moments. Timbre stays natural, and instruments carry enough body to feel believable. Instrument separation could have been better, as cymbals occasionally feel a touch less precise than they should, but the presentation never loses stability. Imaging sits in a comfortable middle ground, neither overly tight nor overly loose, and that balance keeps the sound predictable even when the music pushes harder.

In tracks like Marigold by Periphery, one of the MV1’s more enjoyable traits becomes clear. The ghost notes in the drums come through distinctly enough that they no longer feel like background details. They feel intentional, like subtle throttle inputs shaping the rhythm rather than dominating it.

In tracks like Message in a Bottle by The Police, the MV1 maintains timbre down to a fault. Stewart Copeland’s drum work is instantly recognizable through the crispness of the toms and snares. Vocals are handled with ease. Sting’s voice carries a lively, nimble character while still sounding full and grounded.

This midrange does not chase attention. It keeps the system balanced and lets the music flow naturally.

Highs

The treble is where the MV1 occasionally runs into trouble. Not constantly, but enough to be noticed. When recordings push energy into the upper registers, the headphone responds strongly, and sometimes that response becomes a bit too aggressive.

In tracks like All By Myself by Celine Dion, this behavior becomes clear. When the song reaches its climax, the upper notes come through with a sharpness that can feel uncomfortable. Everything else in the track remains beautiful, but those peak moments stand out in a way that disrupts the listening experience. The MV1 does not lose control. It simply pushes harder than it should in that region, like brakes beginning to fade after repeated hard stops.

In tracks like Adele’s 2021 NRJ Awards live version of Easy On Me, the result is very different. Her vibratos are handled smoothly, the piano sounds natural, and the bass remains steady. Nothing feels forced, and the presentation stays composed from start to finish.

In tracks like Stateside by PinkPantheress featuring Zara Larsson, the MV1 settles back into form. The track contains plenty of bright synth elements that could easily turn harsh, yet the headphone keeps everything balanced. The lows remain punchy, the synths feel lively, and the vocals carry enough weight to stay engaging. There is no noticeable sibilance.

What this shows is simple. The MV1 does not hide the energy in a recording. If the track runs hot, the headphone will follow.

Concluding Notes

The Sony MV1 feels less like a showpiece and more like a dependable machine. It is built for long listening sessions, steady performance, and everyday reliability. That philosophy comes through clearly in how it sounds. And in my book is a headphone that deserves more attention, and worth adding into a competent roster, like, I would happily add this headphone to my personal collection and actually get this over the HD650/6xx, and is a stronger recommendation from my end over the Audio Tecnica ATH-r70x or the r70xa, due to having deeper, better structured earpads and being so light to run.

Its greatest strength is composure. The low end delivers weight without losing control. The midrange maintains structure and balance. Together, the presentation feels trustworthy across different genres and listening conditions. I can settle in for long sessions without worrying about fatigue, because the system stays stable mile after mile.

Its weakness lies in how the MV1 handles strong treble energy. When recordings push hard in that region, the MV1 does not soften the edges. It delivers exactly what is there. That honesty can be rewarding with well-balanced music and demanding with more aggressive recordings.

This is not a headphone that tries to impress with theatrics. It focuses on doing the job well, session after session.

And in that role, the Sony MV1 earns its keep, and gets an A from my end.

Will I buy this at retail? Absolutely.
Will I buy this used? Blind Buy.

Sources used: SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus DAP, FiiO KA17 and Venture Electronics Abigail Pro dongle DAC amps.

Tracks:

• Rush: Limelight, Spirit of the Radio
• The Police: Message In A Bottle
• Tool: Pneuma
• 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

I have been using Snowsky Melody for a few months now. During this time, I have used Melody with different IEMs and some headphones while also trying out its parametric EQ and software features.

This review focuses not only on the sound, but also on how it performs in real world use over a longer period. Long story short, Snowsky Melody is not a perfect DAC dongle. It has its own positives and negatives.

Let’s start with my favourite part, the negatives:

FiiO Control (Android & Windows)

“Melody has one of the best software implementations of any DAC dongle, when it works as intended.”

Yes, when it works. It’s easier to explain by splitting this into good and bad.

The Good

• Excellent parametric EQ interface on the web app.
• The EQ forum is functional and EQ profiles can be easily shared using codes.
• Three slots are available on the DAC to store custom PEQs.
• Covers all the basic features: channel balance, volume steps, amplifier modes, LED indicator on/off, etc.

The Bad

• Both the Android and web apps are buggy. Sometimes it randomly resets the dongle, wiping all saved EQ presets and other settings.
• The parametric EQ interface on the Android app lacks polish and it severely affects the usability. When adjusting values, the keyboard covers the input area, which is quite annoying. For example, if you want to enter +1.2 dB, you might accidentally enter +12 dB because you can’t see what you’re typing and that can literally blast your ears.
• The web app sometimes fails to save EQs to the EQ forum. I once spent an hour entering all my EQs and the web app showed all my profiles were uploaded in the forum. But when I tried to access them on my phone later, they weren’t uploaded.
• There are 10 total EQ slots in the dongle, but only 3 support parametric EQ. The remaining 7 are fixed preset EQs like Jazz and Pop, which aren’t very useful.

As you can see, the bad side is longer than the good. But most of these issues feel software related and could be fixed with updates. If that happens, this could easily become the default budget dongle recommendation.

Unlike many other dongles, Melody covers all the basics in terms of software and even includes several useful features. The only problem is that these features need to work seamlessly all the time.

Despite everything, FiiO is still adding new features like AutoEQ to the FiiO Control, which is great to see. I just hope they iron out these issues in future updates.

Build and Design

Melody features a solid metal body with a wooden layer around it. The matte gold metal part complements well with the grainy wooden finish, giving it a smooth and pleasing look.

Despite the build, Melody is surprisingly lightweight. This makes it easier to use without needing a holster. As the cable is stiff enough to prevent the dongle from dangling while using the phone. The cable is braided and matches the overall aesthetics of the dongle as well.

To be honest, I have only seen Melody naked for a few minutes, as I ended up putting the leather case on it. Once you put it on, it’s quite hard to remove without feeling like you might tear it apart, it’s that tight!

I actually prefer using Melody with the leather case, as the case itself is of high quality and makes it look and feel more premium in hand. However, the case makes it harder to press the volume buttons, as it makes the buttons less clicky. I don’t really use volume buttons on a dongle anyway, so it is not a deal breaker for me.

Without the case, the buttons are quite clicky and tactile, maybe not the most premium feeling ones out there, but still decent. There is an LED indicator between volume buttons, which thankfully can be disabled in the app.

One thing I always check with DAC dongles is how satisfying it feels to insert and pull out the 3.5mm and 4.4mm plugs. Unfortunately, Melody is one of the worst in this regard, as the internals of the jack are made of cheap feeling plastic, giving a cheap and unsatisfying experience, whenever you pull out and insert in.

Overall, Melody is a well built dongle, the attention to detail FiiO has put into this budget DAC dongle is commendable.

Specs & Drivability

• DAC: Dual Cirrus Logic CS43131
• Power Output: 100 mW at 32 ohms (3.5mm) & 250 mW at 32 ohms (4.4mm)
• Supports PCM 32-Bit / 384kHz & Native DSD256
• Supports 10-band Parametric EQ

The CS43131 DAC chipset needs no introduction, as it has been a well known name in the dongle market for quite some time.

Melody delivers more than enough power to drive all the IEMs in my collection without any issues, both through the 3.5mm and 4.4mm outputs. It can also power my fairly easy to drive Sennheiser HD 560S, even with heavy EQ applied when connected to my phone.

However, when using EQ on a phone, it does struggle a bit with these headphones, which I’ll explain in more detail in the EQ section. I have never noticed it getting warm or hot during extended use, possibly because I am using it with the leather case on.

Parametric Equalizer

• No. of Bands = 10
• Filters Available = Peak, Low Shelf, High Shelf, Low Pass, High Pass, Band Pass & All Pass
• Q Range = 0.25 to 8
• Gain Range = -12 dB to +12 dB

Once again, Melody covers all the basics and even goes a step further when it comes to parametric EQ. It is pretty easy to create EQ presets within the limitations set by the dongle. I recommend using Hangout Squig Link to push EQs to the dongle rather than manually entering the values, it works without any issues.

There have been reports about the shelf filters being slightly inaccurate in their Q factor. Personally, I mostly use peak filters for my EQs and I haven’t faced any accuracy issues with them.

Another point to note is with how FiiO implemented the preamp. At 0 dB on the slider, the actual preamp is already at -12 dB. It seems this was done to reduce the risk of clipping. While this may not be a problem with most IEMs, it can become a deal breaker with headphones due to the significant drop in overall volume.

One thing I really like about FiiO’s EQ implementation is that you can hear changes in real time while adjusting filters. It’s smooth for the most part, but occasionally there’s a slight glitch sound when switching presets. Because of that, I recommend not playing music while changing EQ profiles.

In terms of usability, I strongly recommend using the FiiO Control web version over the mobile app, mainly due to the issues mentioned earlier. It is simply easier and cleaner to create or edit EQs there.

But only the mobile app has access to other settings of the dongle like volume steps, channel balance, amp modes etc, which the website doesn't have access to. I recommend using the mobile app mainly to switch between presets, adjust these settings or upload EQs to the cloud, as it seems more reliable than the PC version for those tasks.

The latest update to the app brought AutoEQ, which seems to include features similar to those found on the AutoEQ website. I appreciate FiiO for continuing to add new features through updates, even though I personally prefer using squig links or REW when creating my EQs.

Sound

I have to say that whatever I mention in this sound section is highly subjective and somewhat an “over-exaggerated” take, as the differences between DACs are quite minute at best.

With that said, I didn’t notice Snowsky Melody coloring the sound in any particular way. It sounds neutral, as it should and it can drive any IEM I have without issues.

However, when compared to Luna, I can hear a slight step down in subjective areas. Melody feels a bit more smoothed over and slightly less detailed, with notes sounding a little blunted in comparison. I know this is not a fair comparison, as Melody is going up against a much more expensive dongle.

Despite that, I don’t think this is a deal breaker. If I stop comparing and just listen to music normally, I don’t really miss the extra detail I get from Luna. Most DAC dongles sound very good these days, unless something is actually broken.

Conclusion

Despite all the nitpicks and complaints I mentioned above, Melody is still a strong contender in the $40 price bracket. Its software features (even with the current issues) is a clear differentiator in this segment and a good enough reason to pick it over the competitors.

Feature wise, it is already ahead of most dongles at this price. FiiO continues to add more features through updates, building on what was already a solid foundation. That said, I would still prefer they focus on refining the basics and fixing the issues mentioned earlier, because stability and proper execution of basic features matter more than simply adding new ones.

If FiiO can improve the stability of FiiO Control and fix the issues discussed earlier, Snowsky Melody could easily become the “default sub $50 DAC dongle.”

Hello Community!

Today I would like to introduce you to the new device from TRN: the portable DAC/Amp Wave, with Bluetooth and desktop functions.

Price: 59€-64$

Link

Technical aspects:

-Bluetooth 6.0 Qualcomm QCC3095 chip.

-DAC chip Cirrus Logic CS43198 x2.

-Amp chip ESS Sabre RT6863.

-Dual output 3.5/4.4mm (1.4/1.7 µVRMS)

-Declared power 205mW (32 ohms balanced)

-Sampling in desktop mode 24b@96khz.

-Supported codecs LDAC, APTX HD, APTX, AAC, SBC.

-Battery 600mAh.

-USB-C interface.

-Status LED.

-Microphone.

Package contents:

-DAC/Amp.

-USB-C to USB-A cable.

-Instruction manual.

Compatibility:

-PC Windows.

-Android.

-IOS, MacOS, iPadOS.

-No native APP.

-Not compatible with Walk Play.

Construction, design, battery and quality of life (QoL):

The device is of moderate dimensions (7.7cm x 3.5cm x 1.5cm) with a sober appearance with a touch of industrial aesthetics and made of plastic. For this type of devices a clip is highly recommended, something that Wave does not include.

The travel of the four function buttons is short, with a “clicky” feeling, occupying a very close and centered position on the side body of the device. It gives the impression of not being well fitted since they “rattle” if you shake the DAC/Amp.

On the other hand, they also do not favor your intuition when you want to do something with them, since there is no distance between them that is easy to interpret just by the touch of your fingers. A separation by groups would have been more favorable when using them and, the letters that represent these buttons, in low or medium light environments are practically illegible.

Wave has a status LED indicator: green to indicate that it is connected by BT or to PC/mobile, blue for microphone and red while it is charging. It would have been appreciated if other colors indicated the codec being used and the battery level.

Connected via BT to my FiiO BT11 transmitter, which is connected to my Iphone, the volume controls of the Wave do not match those of the phone, therefore, they are independent. It is advisable to adjust one device first and then correct with the other.

Another aspect that really annoyed me is that with the included USB-A cable you can only charge the device battery. If you want to use it in desktop mode, you will have to use another cable. A USB-C to USB-C worked for me.

Regarding battery life, it was pleasantly satisfying to verify how with low bitrate codecs (SBC/AAC) the duration was very close to that declared by TRN, reaching 13.5 hours of duration in two different tests. With the heaviest codec (LDAC) I was able to reach 8 hours and 50 minutes in a single test carried out.

I did not get the feeling that it overheated too much during my sessions, in fact, I have been using it for about 3 hours straight while writing this and doing other things and it still does not heat up.

Sound quality and power:

Personally I liked it a lot. It does what a DAC/Amp has to do: let the earphone express itself, without adding or subtracting, therefore, I can affirm that it is a neutral source, that is going to give you a clean sound, where instruments and voices shine if the recording or the genre allows it.

In desktop mode, the signal arrives with good cleanliness for a device of this price. I did not notice noticeable or annoying background noise with low quality signals and overly sensitive earphones.

Instrument separation is very competent, especially in the higher frequencies, which is the spectrum area where I have focused the most to draw this conclusion and where I usually find very disparate results. The detail shown was reasonably gratifying. However, it can be excessively bright due to the excellent neutral character of the Wave; a brightness in which I notice clarity but that may fatigue some.

On the other hand, referring to the lower frequencies of the spectrum, I can evidence a slight improvement if I compare it against its most direct rival (FiiO BTR13) in terms of cleanliness, resolution and more naturalness, without thickening.

And speaking of the main feature of the Wave, Bluetooth, the results obtained have been higher than expected.

Regardless of the improvements in version 6.0 of this wireless technology, I will always say that the codec matters more than this. For me, LDAC (990kbps) is still the king for everything in terms of quality and stability.

One curious thing that I did not find official information about, is that I can connect the Wave to my BT transmitters using different types of undeclared APTX codec.

Well, be that as it may, the transmission was stable, being able to move around the ground floor of my house (100m2) without losing signal with the SBC codec. With LDAC the distance was drastically reduced, but I was able to stay about 7m away in a straight line before the signal lost intensity.

The sound quality, obviously, is reduced if we use it wirelessly. It is the concession we must make. I was able to enjoy my music this way. At no time did I suffer disconnections or micro-cuts.

Regarding power to drive headphones, it is average. I have not had problems with any IEM of different sensitivities or impedances. Regarding over-ears, I do not have measurement equipment, I rely on my ears, with my BeyerDynamic DT770 Pro 80 ohms I think it marks the limit of how far this type of equipment can be driven efficiently.

My Audio-Technica m50x sounded with ease and dynamism while my FiiO FT3 350 ohms were unable to sound with adequate body and volume.

Gaming:

Nowadays, and with equipment dedicated to Bluetooth transmission and the appropriate codecs, it is more than feasible to be able to enjoy video games with this type of devices.

Well, for single player the experience was highly satisfactory with LDAC 660kbps. The synchronization worked in a way that did not hinder the experience, without evidencing considerable delay, in fact, practically imperceptible and totally viable for this game mode. However, having a neutral and almost analytical character this DAC/Amp, we lose intensity in action scenes, reducing overall spectacularity. I cannot recommend playing with SBC codec since the loss of quality is noticeable.

Regarding competitive, obviously it is not at all recommended if you are a player who seeks to reach very high positions in the ranking. However, if you are someone casual, you can try with LDAC 330kbps.

Even so, remember, always MUCH better with cable.

Brief comparison against FiiO BTR13:

-Price: Wave wins, cheaper (20$)

-Package: FiiO BTR13 wins.

-QoL: FiiO BTR13 wins by far (native app, updates, screen, buttons, build quality, clip…)

-LDAC battery life: Wave wins (vs. 6h BTR13)

-Desktop mode sampling: Wave wins (vs. 16b@96khz)

-Sound quality (subjective): Wave wins, cleaner, more audiophile.

-Sound fun (subjective): BTR13 wins, somewhat colored, more bass presence and more forward mids.

-Codecs: BTR13 wins (more variety of APTX and LHDC)

-Size: BTR13 wins (more portable)

-Single player gaming: BTR13 wins (more impressive sound)

-Competitive gaming: Wave wins (cleaner sound)

Final conclusion and personal ratings:

I am going to be honest: if I focus only on sound, I liked the cleanliness across the entire frequency spectrum, it is a device in which I have not been able to perceive any addition to the sound; what goes in, comes out the same. And I value that very positively.

But the TRN Wave lacks very important quality of life things. What is the use of the Wave without a clip and carrying it inside the pocket? For that, I use a conventional wired DAC/Amp attached to the back of the phone.

I do not ask for a screen or an app, but I ask for well-placed and intuitive buttons, a more complete status LED (I do not know when I will run out of battery or the codec I am using) or being able to use the included cable, and not having to look for another one, to use it in desktop mode.

These small things, which are not so small, are what should matter most to us since, if you are not entirely comfortable, you are not going to enjoy something.

Someone who does not value these things as I value them can overlook them, of course. If you focus only on the sound it offers, that the connectivity is stable and the battery will last longer than the competition, go ahead, you are going to like Wave.

If you made it this far, thanks for reading.

More reviews on my blog.

Social networks in my profile.

See you in the next review!

Disclaimer:

This equipment has been sent by TRN. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when preparing this analysis.

Despite this, my priority is to be as impartial as possible within the subjectivity that comes with 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 just as valid. Please feel free to share it.

Equipment used:

-PC Windows.

-MacBook Air M4.

-Iphone 16 PM.

-FiiO BT11.

-FiiO BTA30 Pro.

-NF Acous NM25.

-CCA CRA+.

-ZiiGaat Arete II.

-FiiO FT3.

-BeyerDynamic DT770 Pro 80 ohms.

-Audio-Tehcnica m50x.

I am not going to put up any fancy introduction here, except to let you know that I paid full retail price for this unit. I bought this primarily to harvest the eartips and to let the community know about my thoughts on the Tangzu Red Lion, and why I think the hype for this IEM ran a lot further than what it should have anyway. This review was primarily done for r/iemindia as it has been the most hyped set I have seen in a while.

Unboxing and Accessories

Tangzu does one thing phenomenally right, apart from delivering a very cultured waifu design on their packaging. It supplies you with good essentials, and the Red Lion doesn’t get skimped out. One gets the HE Sonic eartips, which are a first here, along with Sancai wide bores instead of the balanced or double flange. The regular Wan’er 2 and the Yu Xuanji get a full set of the balanced version. There’s also a nice magnetic rubber case instead of the floppy faux leather ones that its rivals come with, or a basic fabric pouch.

The IEMs themselves come in translucent shells, and thankfully they use a 0.78 mm 2-pin configuration. Unlike the non-desirable QDC 2-pin (0.78 mm) that the GK Kunten or the Wan’er SG came with, and not obnoxious like the long-style 2-pin that the Tanchjim Bunny and the One come with. Both Wan’er 2 and Red Lion are the normal ones of the lot, and one would think schooling both of them would be relatively easy.

Keep up with me, because the Red Lion is one rocky ride.

Cheap plastic, yes, but the faceplates themselves are beautiful. An Asian lion moulded rather neatly gives it a sophisticated look, something that a lot of IEMs in price segments above still fail to get right.

Enough strolling in the jungle, let’s get to the sound

Lows

The Tangzu Red Lion, right out of the gate and regardless of eartips, sounds obese, with a lot of fat hanging on to the sub-bass, and the occasional mid-bass rolls intruding into proper bloat territory. Even on something like the Sancai wide bores, the Red Lion keeps up with a prima facie groovy pace which soon traverses into being bloated.

In tracks like Instant Crush and Get Lucky by Daft Punk, the Red Lion conflates detail and precision with something unnecessary, and smudges over the entire whiteboard with a marker of bloat that just doesn’t sit right with me. Bass lines have horrendous rumble, drums have zero energy as the tracks progress, and the mid-bass punch keeps returning like an over-enthusiastic room service personnel knocking on the door long after you’ve put up the Do Not Disturb sign.

In tracks like Limelight by Rush, the Red Lion marginally improves with a semblance of detail and slightly better separation between drums and bass lines. The demarcation lines are still mostly smudged, but surprisingly it doesn’t affect the vocals while ruining everything else.

Mids

The Red Lion now does a circus flip and surprisingly impresses me here. While it is not a full redemption, it is indeed a promising start.

Through tracks like First It Giveth by Queens of the Stone Age, Message in a Bottle by The Police, and Pneuma by Tool, even if the perceived stage is narrow and claustrophobic, the Red Lion soldiers on with tonality that is not neutral or flat to say the least, and yet the timbre stays natural and planted. Zero wobble there. Vocal notes carry decent body and weight, and their positioning is neither too forward nor laid back.

This also brings me to imaging on this IEM, which is pretty good. Nothing commendable, but nothing to frown about either, and at least compared to the Wan’er 2, it is indeed a step-up.

What could have improved, however, was the way guitars and cymbals felt throughout the entirety of these tracks. Separation only has decency as an illusion, but it truly isn’t the brightest tool in the shed for that. In that regard, IEMs like the GK Kunten, or the Tanchjim Bunny DSP, do a significantly better job.

Especially with cymbals in busy tracks like Marigold by Periphery and The Woven Web by Animals as Leaders, the Red Lion loses grip and slips through the crevices of what should have otherwise been an easy job for an IEM of this signature, as the Tanchjim One does a better job here.

Highs

The Red Lion has a lackluster finish through the higher frequencies, where it should have come off skirting through smoothly, but instead comes off as sibilant.

In tracks like Stateside by PinkPantheress featuring Zara Larsson, the Red Lion manages to handle vocals well, but it’s all doom and gloom for anything else. Synths appear piercing and tinny, the mid-bass boom rears up again with its ugly head, and the rest of the elements collapse into a bloated, sibilant mush.

In tracks like Alright by Kendrick Lamar, the background hums are distinct and layered under the main vocals, demonstrating decent imaging. The horns and pianos maintain balanced timbre and don’t sound particularly wonky. But the cymbals have a very underwhelming sound. I chose this track because the production had the cymbals prematurely clipped, but on the Red Lion it gets worse, because they are simply sibilant to a fault.

Concluding Notes

The Tangzu Red Lion is not a bad IEM. It is an uneven one. It shows flashes of competence through the mids, but repeatedly trips over its own tuning decisions in the lows and highs. The mid-bass bloat and treble sibilance form a pincer movement that squeezes technical performance from both ends, leaving the mids to do damage control for the rest of the tuning.

There is a listenable core here. The timbre is respectable, vocals are handled with maturity, and imaging is competent enough to prevent the Red Lion from collapsing entirely. But the surrounding execution lacks discipline, and that lack of control becomes impossible to ignore over longer listening sessions.

What ultimately hurts the Red Lion most is not its flaws, but the expectations built around it. The hype positioned it as a category disruptor. In practice, it behaves like a mid-tier budget set with an identity crisis. Too warm to be technical, too sharp to be relaxed, and too inconsistent to be confidently recommended over its peers.

The Red Lion roars loudly, but runs out of breath sooner than it should. And for that unathletic performance, it gets a B-. My advice? Pay more attention to the Tanchjim One.

Sources used: Shanling M9 Plus in high gain and Tempotec V1 DAP, SMSL Raw MDA-1 in high gain, and FiiO KA17 and TRN BlackPearl in low gain, Snowsky Tiny

Eartips (based on order of performance): Final E, KBear Coffee, JVC Spiral Dots, Sancai Wide Bore, HE Sonic

Tracks

• Rush: Limelight, Spirit of the Radio
• The Police: Message In A Bottle
• Tool: Pneuma
• 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
• Bonnie Tyler: Total Eclipse of the Heart
• Whitney Houston: I'll Always Love You
• PinkPantheress ft. Zara Larsson: Stateside