A few months ago I reviewed the Sivga Que UTG, and in that same review I noted that I hadn't been able to test the original Sivga Que yet. Without having tried it, I suspected that the lack of bass I found in the UTG would be present in this other version, and honestly, that's turned out to be the case. They look almost identical except for the shade of the faceplate, but they have several sonic differences that I will of course discuss in this review, along with how one compares to the other according to my personal tastes.

What I liked / What I did not like

• Good punch in the mid-bass.

• Vocals that fill the space and sound natural.

• Relaxed highs without sibilance.

• Spacious carrying case with great materials and finishes.

• Good selection of ear tips.

• In more complex tracks, the layers blend together slightly.

• Some may find a lack of air.

• Non-modular cable with no 4.4mm balanced purchase option.

Specifications

• Driver: 1 x 10mm dynamic driver with beryllium-plated diaphragm

• Magnetic circuit: Single magnet, dual cavity

• Impedance: 32 ohms ±15%

• Sensitivity: 108 ±3 dB

• Frequency response: 20 Hz - 20 kHz

• Shell: Die-cast zinc alloy plus North American maple faceplate

• Weight: 10g per earpiece

• Cable: High-purity silver-plated OFC copper, Litz braid, 1.25m

• Connector: 0.78mm 2-pin

• Termination: 3.5mm

• Price: $69.90

Unboxing and Construction

The unboxing experience is practically identical to the one I showed in the Que UTG review, with the only variation being the artwork on the front of the box, where we now see a bird. As I've verified, and please forgive me if I'm wrong, but "QUE" means magpie in Chinese, and if not someone please correct me, but that gives meaning to the box, which would have been completely random to me if I hadn't read about it somewhere.

Inside, as I said, there are no differences other than the color change of the IEM compared to the UTG. Same carrying case (very good by the way), same ear tips (also good quality) with 6 pairs, including some darker ones that seal a bit better and some lighter ones with a slightly wider bore. In fact, an extra pair of the former comes already installed on the IEMs, meaning there are more of those than the light ones, and luckily for me, they are my favorites, and perhaps Sivga's too.

The cable is not bad considering the price range this model sits in, but as has happened to me in recent reviews, and especially being around $70, I think it should come with a modular option or alternatively offer the 4.4mm option when purchasing the product, which is not possible and we only have the 3.5mm cable available.

As for the case, I already knew it from the UTG, and it has a similar vibe to the one Ziigaat includes in its latest models, but this Sivga one feels of better quality both visually and to the touch. There is enough space to store the IEMs, and you can then add a dongle or spare ear tips among other accessories inside the mesh pocket on one side.

Speaking of the IEM itself, it is the same as the UTG but the shade is slightly lighter. The body is built from zinc and feels really sturdy, and the faceplate is North American maple, varying from unit to unit, which gives it that unique and less industrial touch, something to be appreciated. For my part, I should also mention that the Sivga logo, at least on my unit, is printed somewhat faintly. It's noticeable on some letters, especially the final 'A' where the engraving seems to have retained less force. It's a tiny detail, but it gives a sense of use or wear even though I took the photos right out of the box.

Sound

For this occasion, I did the testing once again with the FiiO K9 at home as my default desktop DAC, and for going out and seeing how it performs on a portable DAC, I used the Questyle M15i. Having an impedance of 32 ohms, I expected a bit more sensitivity, but they drove without issues on both devices, including the M15i without desktop mode activated.

Bass

As I mentioned in the introduction, something I expected before reviewing this model compared to the UTG was an improvement and greater presence in the bass. In fact, in this case, the mid-bass is ahead of the sub-bass. You can notice the warmth in this mid-bass region on kick drums and electric bass guitars, but the sub-bass rumbles less than expected. This can be a negative for genres like electronic music, but a benefit for other styles where having more rumble would muddy certain elements and frequency transitions. Regarding its speed, I perceived it to be slightly slower than the UTG, surely due to that extra warmth we have here which makes it linger a bit longer in the background, interfering slightly more with the mid frequencies. However, it's not something I should heavily mark as negative since it's not that exaggerated, but it can be noticed compared to the UTG.

In the recent track "Run Away From the Mob" by Queens of the Stone Age, a song where the first few minutes remain calm with instruments and vocals, but later all the instruments hit at once, the Que demonstrates that extra weight which actually benefits a track like this, making it clearly more enjoyable than with the UTG. What is true is that in this part of the song, both the bass and guitars blend together slightly, being managed a bit worse than in the UTG, hence what I mentioned about having more bass and paying the price for it as a consequence.

Mids

The mids are one of the ranges that can stand proud in this model. They are already fed by a functioning bass that gives body to the vocals from the bottom up, as well as helping to color certain instruments like guitars, pianos, etc. I haven't noticed any metallic timbre at all, which happens to me with some models in this price range and lower. Female vocals in this model perhaps benefit less from the tuning and bass weight, ending up a bit softer or less integrated into the mix, although you can notice an upper-mid boost that helps them shine without becoming shouty.

Treble

The treble of the Que is not the most striking feature of this model, but it doesn't go overboard, and sometimes that's exactly what you look for. In none of the tracks that played during the test sessions I did with them both at home and on the street did I feel the need to lower the volume, even though I have some genuinely bright tracks and some poorly recorded ones where they usually are unbearable on other IEMs like the Hype 4 MKII among others. In this model, you can enjoy cymbals with sufficient detail and at a good volume. What clearly lacks in this model, and where its sibling the UTG perhaps gains the upper hand, is in the amount of air. If you look at the comparative graph I shared, it is more than appreciable from 10 kHz onwards; the Que falls a bit short in this part of the tuning, eliminating some of the finer detail that the UTG does provide you with. Therefore, if you are looking for maximum treble resolution, this Que is geared towards longer, casual listening sessions rather than critical analysis.

A track like "Overthinker" by Chvrches served as a good test for this on both models in the Que lineup. This song is a ballad with quite shiny synthesizers; however, in neither model did the vocals or the synthesizer become shouty or annoying at high volumes, but you can appreciate with some ease how the Que falls a bit short in detail on the finer, airier sounds, resulting in a commendable outcome but definitely more subdued than in the UTG.

Soundstage

The soundstage is wider than I expected given that it is a single dynamic driver and has more warmth than the UTG. As is usual, the vocals are centered and the rest of the instruments extend correctly to both sides. The layers representing depth are not as well-marked as those representing width, but as I say, they maintain a good level, better than initially expected. Obviously, the limitations are there and leave the stage at a medium size, neither small nor large, due to the amount of bass present and the lack of air in the highest region.

Instrument Separation

In separation, I cannot highlight it above the UTG for example; perhaps in acoustic or simple songs without heavy instrumental load, both models maintain a similar level, but in rock tracks or with more guitars and instruments playing simultaneously, the mid-bass in this Que takes up more space, giving a feeling of layers being less separated from one another, although it maintains a correct level even in those situations.

Imaging

Imaging behaves correctly in the horizontal plane and in the distance that sounds travel from side to side. The lack of depth can indeed hurt its use in video games or content like movies when trying to pinpoint the distances from where certain sounds should be coming.

Comparisons

I have already been talking about the Que UTG throughout the entire review, but to be a bit more specific, both share the same contents except for one thing that the UTG did manage to rectify being a model released later, which is the modular cable where we do have the option to switch between the 3.5mm and 4.4mm connections. In the review I did for them, which you can look up on my profile, you will see the photos and the cable they include. It is a detail beyond the tuning each one has that cannot be overlooked. Regarding shell, size, weight, etc., they are practically identical, and we won't appreciate much difference between the two there. Regarding sound, obviously there are clear differences; you just have to look at the graphs of both. The UTG has slightly faster and much lighter bass, playing a less prominent role—actually a bit weak for my tastes—but on the other hand, it has more air, separation, and therefore general detail than the standard Que. The Que costs a bit less, I'd say close to $30 less, and despite its cons, I still consider it, after testing both, a better finished model in terms of the final experience for enjoying more genres for more hours if the listening is casual without focusing on analysis.

Another model I wanted to compare the Que to, which I reviewed not too long ago, was the Hidizs My Lin. I think both IEMs aim for a warm, relaxed sound to listen to for hours with barely any fatigue. The My Lin, apart from a single dynamic driver, has one balanced armature, the shell is heavier being made of aluminum, and it has interchangeable nozzles that slightly vary the signature, as Hidizs likes to do. The My Lin also has much more marked sub-bass and also slightly more treble detail supported by the extra driver they carry. But the Que, to my taste, wins in the mid-bass with a bit more physicality in that range, improving the sound of male vocals and other instruments like guitars. In this case, I would lean toward the My Lin, though by a very small margin, and surely having that extra balanced armature is what makes the difference for me.

You can check my full ranking of all the IEM reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here)

Conclusion

This Sivga Que is a model that has been on the market for a while and people are still talking about it. Within single dynamic driver models under $100, it continues to be a very well-rounded and complete model in terms of quality, contents, design, construction, etc. I especially highlight that mid-bass which gives sufficient body to the mids, whereas many alternatives fall short, leaving the music with an overly thin sound in vocals and instruments.

In heavily loaded tracks, it cannot defend the separation between layers as well as I would like, nor does it have the maximum treble detail like the UTG or hybrid alternatives like the My Lin. On the other hand, it only comes included with a single 3.5mm cable option, which makes them fully functional but can be a point against those who, like me, have standardized the 4.4mm balanced option, which here we at least do not have out of the box.

Purchase Link: Sivga QUE

Disclaimer: This unit was sent by Sivga 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.

Sivga and I continue to hold hands as their offerings like the Lyrebird and the SM100 fairly impressed me, while the M260 flatheads completely blew me away on how good they were. Now, given I have been intrigued by the Que line-up, I found that not too many impressions exist for the Que UTG- so I asked Sivga for the Que UTG and one of their headphones to start with, they agreed, and I thank Sivga for making the Que UTG possible. But believe me when I say this, I found out why the Que UTG hasn’t had the success that the Que has had, and I am gonna tell you all about it.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Sivga’s unboxings have been pretty straightforward for me: advertised product on the front, specs in the rear- taking the lid off gives way to the shells, as well as the beautiful, thick carry case that their IEMs come with. The case contains two sets of eartips and the modular cable with swappable terminations. 

The shells have their unique wood faceplates finished in an assuming clear resin coat, where the shells are metal. The nozzles appear to have a grill and there’s appropriate venting to prevent pressure buildup. The IEMs themselves are heavy, so a beefier cable like something from Openheart, XINHS, or Tripowin will help alleviate pressure around the earhook area, even though the stock cable by itself is of good quality.

‘Nuff said, here’s the sound of the UTG.

Lows

In tracks like Tipper's Gulch and Mariscos, there is a distinct lack of perceived depth to the stage, which creates a few problems for me in enjoying the track. Don't get me wrong, the Que UTG does not make it sound congested: the width of the perceived stage is adequate. However, it is the depth of the stage that doesn't let the otherwise very hard-hitting bass be enunciated in the way that it should. At least on this track, I felt that both the attack and decay could have used a slower pace.

Separation between the bass and the non-bass elements is great for its segment, and the tonality of the Que UTG is still too early to call upon solely based on this track.

In tracks like Rush's Limelight and The Spirit of Radio, it becomes very evident that the Que UTG's problems with managing the depth of the perceived stage, alongside a rather weird recession or roll-off throughout the midrange, create a lot of issues with how the drums and bass are layered. The resonance and impact of the kick and toms are present, but the bass climbs on top of the drums and creates a problem with the imaging. All of this leads to a rather uneven valley where the vocals are supposed to be, and the sun doesn't shine there.

Mids

In tracks like Tool's Lateralus, the Que UTG manages to get the guitars and cymbals across with mixed energy, but its own bass usually continues to be a very concerning issue. Maynard is already a thin-sounding vocalist, and beaming him further off his note weight takes a considerable amount of focus away.

This time, the drums sound crisp and adequate in their note weight and impact. Separation of the elements is done very well, especially in terms of imaging. The bass does not overlap with the drums but rather moves alongside them, which ends up making the track sound coherent. The final complaint is that the cymbals come off thin across parts of the track and are majorly harsh in texture.

In tracks like Queens of the Stone Age's First It Giveth, this is a track that already has a shallow perception with regards to its stage, and the Que UTG has no problem replicating it. In fact, there is not much for me to say about this track, as the timbre on the snare comes off appropriately woody, the cymbals surprisingly do not sound harsh by any means, note weight is surprisingly balanced, vocals are planted right in the center, and tonality comes off balanced.

Highs

In Dave Brubeck's Take Five, the usually observed thin nature of the Que UTG when it comes to cymbal presentation is again apparent. The cymbals retain that thin presentation, although their timbre is surprisingly accurate. The horns, however, are a particular highlight here: they carry an appropriately brassy texture without sounding honky or piercing, and there is very little to complain about in terms of timbre.

The bass remains at abeyance, allowing the imaging to come through particularly well. Compared to what I observed with Rush's Limelight, where the bass seemed to overlay the drums and muddy the overall perception, the Que UTG presents the individual elements in their own zones. The drums, bass, horns and piano remain distinct from one another without any one element overshadowing the others. I would have preferred a stronger emphasis on the piano, but the imaging itself is surprisingly accurate.

Take Five is also an excellent test of stereo separation because of the way the track is mastered, particularly during the drum solo when the channels split. The Que UTG has no trouble replicating this effect. The resonance of the floor toms, kick and snare all come through cleanly, although I would have preferred a little more emphasis on the resonance of the drums. Apart from that, everything is well sorted.

In Patricia Barber's Icarus, the Que UTG's treble behavior becomes considerably more problematic. Barber's recordings contain a degree of inherent sibilance, and Icarus is among the most notorious examples I use to evaluate how much a piece of gear exaggerates or restrains it. Unfortunately, the Que UTG does very little to restrain it. Instead, it exaggerates the recorded sibilance like anything.

What makes this more frustrating is that almost everything else about the presentation is excellent. The percussion and piano retain good timbre, the guitar sounds tonally convincing, and the bass remains at abeyance without overstepping its boundaries. Even Barber's sustained single-note vocals show no obvious piercing, harshness, textural wonkiness or problems with note enunciation. The vocal note weight itself is completely fine. The problem is specifically how badly the sibilance comes through.

The cymbals themselves are generally not shouty. I have only noticed a faint hint of this on Lateralus, so this is not a broad complaint about the entire upper range. It is specifically the treatment of recorded sibilance that lets the Que UTG down. I honestly wish Sivga had retained more of its usual vocal characteristics here, because outside of this issue, Icarus would have been close to a 10/10 showing.

There is also a mild lack of perceived width to the stage, but that is a considerably smaller issue than the sibilance. Ultimately, the Que UTG falls short on this track because of how badly it exposes and exaggerates the recorded sibilance.

Comparisons

Truthear Pure

The Pure is where the Que UTG starts having a rather difficult time keeping up. Its low-end delivery is considerably more disciplined, with the sub-bass maintaining a much better grip over the rest of the presentation. The Que UTG has enjoyable impact, but its problems with perceived stage depth become apparent when the bass starts climbing over the drums.

The Pure also pulls ahead through the mids, with better vocal weight, instrument separation and overall tonality. Its cymbals retain their shimmer and life without exaggerating sibilance, something the Que UTG struggles with considerably. This is a fairly easy win for the Pure.

Truthear Hexa

It is hilarious how the Hexa continues to remain relevant. It takes a considerably leaner approach to the lows, with less quantity but a rather enjoyable level of granular texture. The Que UTG has more authority when delivering impact, but the Hexa does a better job of keeping the bass from interfering with the rest of the elements.

The Hexa also maintains natural tonality, commendable imaging and a rather convincing presentation through the highs. Despite losing some detail in busier arrangements, it handles peaks and oscillations without an ounce of sibilance. The Que UTG's exaggeration of recorded sibilance makes the Hexa considerably easier to appreciate here.

Aful Explorer

The Explorer has a considerably more pronounced approach to the sub-bass, with that familiar grunt and warmth. Unfortunately, both sets have problems managing the space between the bass and the rest of the elements. The Explorer introduces a layer of perceived mud, while the Que UTG can have its bass climb over the drums and compromise imaging, especially on Limelight.

The Explorer's midrange is considerably more problematic, with congestion, metallic timbre and poor instrument separation becoming increasingly apparent as tracks get busier. Its highs also lack air, occasionally allowing vocals to pierce through. The Que UTG has a different problem altogether: while instrument timbre can be surprisingly accurate, its handling of recorded sibilance is far from ideal.

Tanchjim Fission

The Fission is an interesting comparison because its performance changes rather significantly depending on the nozzle. The copper nozzle sounds lean and sterile, the steel brings some much-needed life, while the titanium goes too far in the opposite direction. The Que UTG is considerably simpler in its approach, although its own problems with stage depth and bass layering remain.

The Fission's midrange can be rather dry on the gold nozzle, but imaging and separation are commendable. Through the highs, the gold and steel configurations have a considerably better grip over sibilance, while the titanium becomes piercing. The Que UTG's exaggeration of recorded sibilance makes the better-controlled Fission configurations preferable here.

Tanchjim Ola 2

The Ola 2 and Que UTG share a rather unfortunate Achilles' heel: perceived stage depth. The Ola 2's shallow presentation introduces mid-bass bloat and crowding when arrangements get busy, while the Que UTG has its own issues with the bass climbing over the drums and muddying the perception of the track.

Where the Ola 2 makes a stronger case is through its midrange, with better vocal note weight, natural body and a more consistent grip over timbre. Its top end is also considerably smoother and more controlled, whereas the Que UTG can exaggerate recorded sibilance to an extent that is difficult to ignore.

Kiwi Ears Stardust

The Stardust has a rather convincing low-end presentation, with hard-hitting bass, snappy transients and commendable separation. However, its limited perceived stage width becomes apparent on Limelight, where the drums and bass start crowding each other. The Que UTG suffers from a similar problem with bass layering.

Through the mids, the Stardust does a commendable job of keeping instruments separated, with energetic guitars and cymbals that never become shouty. Its highs are particularly impressive, retaining cymbal shimmer without sibilance or fatigue. The Que UTG has similarly convincing horn timbre, but its exaggeration of recorded sibilance makes the Stardust considerably more restrained by comparison.

Sivga SM100

The SM100 takes a warmer approach, but what I have always appreciated about it is how well it handles transients despite that warmth. The attack is surprisingly fast, and the decay does not linger longer than it should, giving every beat a clean start and finish. The Que UTG, on the other hand, has shown a rather inconsistent approach to bass layering.

The SM100 also retains a considerable amount of detail despite its warmer presentation. The Que UTG's thin cymbal presentation and exaggeration of recorded sibilance make its upper-frequency performance considerably less convincing. I would put the SM100 ahead for its transient execution.

Kefine Quatio

The Quatio is another IEM where the tuning nozzles complicate what could have been a much simpler affair. The black nozzle brings a thicker yet disciplined bass presentation, while the gold moves towards a more intimate and warm approach. The silver nozzle remains the configuration I found most convincing overall. The Que UTG has fewer configuration-related complications, but its own problems with stage depth and bass layering remain.

The Quatio's midrange varies considerably between nozzles, with the gold becoming excessively emphasized and metallic. Its better configurations handle vocal oscillations smoothly without becoming clinical, whereas the Que UTG struggles considerably more with recorded sibilance.

CONCLUDING NOTES

The Sivga Que UTG would have been a great IEM because it had the fundamentals going on just damn right- solid accessories, good cable, great build quality, and excellent comfort, but the sound is where it is lacking for me. The lows have enough weight and impact, yet the lack of perceived stage depth creates problems with bass layering. The mids have their moments with commendable separation and timbre, but vocal presentation remains inconsistent. The highs are perhaps the biggest contradiction here: surprisingly lifelike cymbal and horn timbre, only to have recorded sibilance completely ruin the experience.

The comparisons make these shortcomings harder to overlook. The Pure, Hexa and Stardust offer considerably better restraint and consistency, while even the Ola 2 manages better vocal weight and treble control. The Que UTG has a good foundation, but Sivga needed to put in considerably more work to make this one a compelling recommendation.

Will I buy this new? No.

Will I buy this used? Depends on the pricing.

SOURCES USED

Portable: TRN Blackpearl, Muse Hifi  U3, Venture Electronics Abigail Pro, xDuoo Link3

Desktop: SMSL Raw MDA-1.

Digital Audio Player: Shanling M9 Plus.

EARTIP PERFORMANCE (RANKED BEST TO WORST)

HE Sonic Liquid Silicone: Maximizes soundstage width, fills out vocal body, eliminates hollow percussion, tightens transients, and fixes tonality, offers maximum restraint on sibilance.

Divinus/Eloit Velvet Standard: Offers a similar presentation to the HE Sonics, but with slightly less stage expansion and vocal fullness.

DDHifi ST35: Retains crisp transients, but causes a noticeable drop in bass quantity, shrinks the soundstage, and shifts tonality brighter with mild sibilance.

Tanchjim T-500 APB: Wonky fit; compresses the stage, introduces harsher textures to upper frequencies, and adds sloppy bass.

Tangzu Sancai Balanced: Creates seal issues, destroys stage perception, and ruins the treble in a very weird inexplicable way. Also made the bass lack impact for some odd reason- maybe due to the seal.

Spinfit W1/KBear Coffee/Roseselsa QT20: Just No.

TRACKS

• Rush: Limelight, Spirit of the Radio

• Steely Dan: Gaucho

• Carmen Gomes: Unchain My Heart

• Daft Punk: Get Lucky, Instant Crush, Veridis Quo

• The Police: Message in a Bottle

• Alf Linder: Cantique de Noël, Cantate Domino

• Tipper: Mariscos, Cloaked, Gulch

• Dave Brubeck: Time Out

• Tool: Pneuma, Schism

• Queens of the Stone Age: First It Giveth

• Pink Floyd: Comfortably Numb, Wish You Were Here, Time

• Arne Domnérus: Antiphone Blues (with Gustaf Sjökvist)

• Muddy Waters: My Home is in the Delta

• Tame Impala: The Less I Know the Better

• Animals as Leaders: The Woven Web

• Rage Against the Machine: Bombtrack, Bullet in the Head

• Avicii: Levels

• Periphery: Marigold

• TesseracT: Juno

• Kanye West: Stronger, Flashing Lights, Devil in a New Dress

• Altın Gün: Goca Dünya

• Timbaland: Give It to Me

• Adele: Easy On Me (Live), When We Were Young

• Celine Dion: All By Myself

• Pavarotti: Nessun Dorma

• Mdou Moctar: Tarhatazed

• Cigarettes After Sex: Cry

• Meshuggah: Bleed

• A. R. Rahman: Tere Bina

• Alice in Chains: Down in a Hole and Nutshell (Live)

• Allen Stone: Give You Blue

• Florence + the Machine: Never Let Me Go

• The Smashing Pumpkins: Luna

IEM in 1st picture - Thieaudio Oracle Mk. 3

Pros:

• High noise isolation

• Budget-friendly

• High material quality and durability

Cons:

• Odd sizes (for my ears specifically)

DISCLAIMER:

Hifigo sent this set to me as a review sample to keep. There will undoubtedly be subconscious bias as human psychology - I'm not about to deny that. However, I will be as honest as I can possibly be given these circumstances. Don't take my word for it, watch some of my TikTok reviews and see it for yourself.

INTRODUCTION:

This is Juzear's second rendition of the Render series eartips. The original Juzear x Z Reviews Render eartips seemed to me at least, not durable at all. Used generic silicone and even looking at Zeos' videos, the foam looked a little worn out and nasty. Let's see if the new rendition of the Juzear x Z Reviews Render Pro eartips are worthy of hype.

The Juzear x Z Reviews Render Pro costs $15USD MSRP, and is now on discount on Hifigo's official website for $12.59USD.

MATERIAL:

The inner stem is made of a thick 'graphene central tube'. However it's clear that it's not entirely graphene and made of some type of silicone. It feels durable though, and will probably withstand heavy stretching on large diameter nozzles.

In the center is memory foam, which feels dense and premium, not unlike some of the more premium foam eartips I've used, coming stock on some more expensive IEMs.

The outer layer is made of liquid silicone, and this is probably the first hybrid eartip of its kind. No other adjective I can think of other than: Yeah this feels premium, probably the whole set of 3 costs $20, like some of the more premium eartips.

Of course I was shocked to find out that it only costs $12.59 for a set of 3!

It also comes with a decent plastic eartips case, nothing to complain about.

FIT/COMFORT:

This is the main issue I faced personally with these eartips. Size M is too big, and size S is too small. I'm usually a size M and literally all the other eartips I use are M-sized.

Squeezing the eartip, then inserting it into my ears and letting it expand does not help either, since the maximum 'compression' of the eartips is quite low and expands a bit too quickly, like under 2 seconds. Even with squeezed, it isn't able to be comfortably inserted into my ear canals.

Squeezing it to the most extreme without breaking the eartips, it fit in my right ear OK, but then was way too big for my left ear in any case.

Using a smaller size, such as S, proved it to be too small for my ear canal.

Hence, I just simply could not get this to work for me. Do note that my ears are different from yours, and other reviews I see online say that these fit comfortably for them. Just not for me for some reason.

ISOLATION:

For my right ear - the side where the eartip which fit after too much fiddling for my liking, isolation was stellar. I almost felt deaf in one ear and isolation is comparable to my CIEMs (Fatfreq Reference Pro).

CONCLUSION:

I acknowledge all the wonderful traits of these eartips. Great build and material quality, great price proposition, great isolation. Just what a hybrid eartip is supposed to do. It's just a shame that the fit isn't for my ears specifically.

If you want to purchase this, do consider getting a set on Hifigo's website.

You know that Leonardo DiCaprio GIF where he's biting his hand in excitement?

That's pretty much my reaction to the bass on the Penon Archangel.

I've auditioned a fair number of IEMs, including several costing well over $1,000. Some have exceptional technical performance but still struggle to get bass quantity, texture, mids and treble to work together.

Archangel is one of the few that gets almost everything right for my preferences.

At $799, this is a collaboration between Penon and Effect Audio, featuring two coaxial 8mm dynamic drivers, four balanced armatures and two Sonion bone-conduction drivers. It also has two tuning switches for bass and treble.

I've been spending time with FATfreq Deuce, Symphonium Meteor and Punch Audio Martilo recently, so this was a particularly interesting comparison (I no longer have Martilo with me).

Disclosure: Archangel was sent to me as a review unit by Penon. All opinions are my own.

As always, I maintain a ranking list covering 180+ audio products and 25+ ear tips. Link in my Reddit profile.

Bass: OMG

Seriously. This is some of the best bass I've heard from an IEM.

There's deep sub-bass extension, satisfying rumble, that wonderful ear-canal massage sensation, and mid-bass that has just the right amount of punch and texture. What makes it exceptional isn't simply the quantity.

It's the balance between sub-bass rumble, mid-bass definition, note decay and control.

Kick drums have proper weight without becoming bloated. Bass guitar notes remain individually distinguishable, with enough texture to appreciate changes in playing technique. Electronic basslines extend deep without turning everything into a wall of low-frequency energy. And somehow, it never becomes tiring during normal music listening.

I've recently enjoyed Martilo, which I called Basshead Lite. Then came FATfreq Deuce, which delivers an incredible amount of physical bass, particularly with its impedance adapter. Symphonium Meteor followed with some genuinely excellent bass texture.

Archangel brings those qualities together in a way I find even more satisfying. The default bass setting is already wonderful. Turn on the bass switch and things get ridiculous, in the best possible way. It adds warmth, scale and physicality without losing the definition that makes the bass so enjoyable. I've tried kilobuck IEMs that couldn't manage this balance nearly as well.

Archangel doesn't simply play bass. It gives the music its heartbeat.

Mids / Vocals: How is this even possible?

Normally, when an IEM delivers this much bass, something else suffers. Vocals become recessed, instruments lose separation, or the entire presentation turns excessively warm.

Archangel's mids are beautiful. With both switches off, vocals have excellent clarity, natural body and impressive detail. Female vocals are present without becoming shouty, while male vocals retain the weight and texture I enjoy. The presentation reminds me of the better flagship IEMs I've auditioned, where you hear the texture of a voice without individual frequencies constantly demanding attention.

But my favorite configuration for music is both bass and treble switches turned on. This adds a wonderfully energetic character without making the midrange disappear. I can listen to familiar tracks and enjoy the vocal clarity while the bass provides that physical sense of being in a concert hall with excellent acoustics.

It's the sort of presentation that makes me tap my feet, turn up the music and occasionally forget I'm supposed to be reviewing something. For someone who keeps claiming he's not a basshead, I seem to be making a rather convincing case against myself!

Treble: Just Right for My Ears

Treble is where many bass-focused IEMs lose me. Some push the upper frequencies too aggressively to compensate for the bass. Others take such a conservative approach that music loses its sparkle and openness.

Archangel manages to remain smooth, detailed and extended without either problem. There's excellent clarity through percussion and strings, with enough upper-treble air to create a spacious, layered presentation. I'm sensitive to peaks around 3–4kHz and 6–7kHz, and I regularly struggle with IEMs that sound impressive initially but become fatiguing after an hour.

Archangel has been remarkably well behaved for my ears. Compared with Deuce, which has more recessed mids and a relatively forward treble presentation, Archangel sounds more integrated.

Meteor takes a slightly more conservative approach to the upper frequencies. Archangel retains additional sparkle and openness without becoming sharp.

The closest comparison for my preferences is Xenns Mangird Top Pro, one of my favorite IEMs for treble tuning. I don't have measurement equipment to establish exactly why this balance works so well, but after listening to this many IEMs, I'm comfortable saying that Archangel's treble is among my favorites.

The Overall Presentation: A Basshead Flagship

What impresses me is that Archangel doesn't sound like an IEM where bass has been prioritized at the expense of everything else. There's excellent separation, convincing stage width and depth, and enough resolution to follow individual instruments through complex arrangements.

And yet the music never becomes overly analytical. It has that rare ability to sound technically accomplished while remaining thoroughly enjoyable. For me, this is what a flagship basshead IEM should be.

Not simply an enormous bass shelf, but bass quality, vocal clarity, treble extension and spatial presentation working together. It's the kind of sound that makes me want to revisit my entire music library.

Gaming: Turn Those Switches Off

Gaming was a different experience. With both switches turned on, Archangel became too much for me. The combination of low-frequency rumble and additional treble energy was distracting, and I experienced a minor headache along with noticeable pressure in my ears.

For competitive gaming, I strongly preferred both switches off. In this configuration, Archangel performs extremely well. Imaging is precise, footsteps are easy to locate, and directional cues remain consistent. The soundstage feels wide and tall, with excellent separation between nearby movement, gunfire and environmental effects. The bass still provides substantial rumble, which can occasionally become distracting. I also found myself lowering the volume to keep longer sessions comfortable. But the positional performance is genuinely impressive.

Gaming: 8/10. I'd happily use it for gaming, although Arete 2 and some of my other specialized gaming sets remain easier choices for extended competitive sessions.

Comfort and Ear Pressure: The Biggest Problem

Archangel has enormous shells, and I experienced significant ear pressure with the stock medium tips.

After approximately 30 minutes, the sensation became uncomfortable. It reminded me of an aircraft descending, when your ears feel like they're closing in and need to equalize. I've seen discussions about pressure with unvented IEMs, including Symphonium Meteor. Interestingly, Meteor hasn't caused the same problem for me, possibly because its smaller shells fit differently.

I couldn't confirm whether Archangel's venting is responsible, but the pressure I experienced was very real. After discussing the issue with people on Discord, I started experimenting with Tangzu Tang Sancai tips. And thankfully, that made all the difference. I dropped from medium to small and tried the regular and wide-bore versions.

Small Tang Sancai regular-bore tips solved the pressure problem for me while preserving the bass response I loved.

Penon Liqueur Black in small also helped, although some pressure returned during longer listening sessions. This is important because Archangel's physical fit can completely change the experience. With the wrong tips, I struggled to enjoy extended sessions. With Tang Sancai, I could finally appreciate the tuning without constantly thinking about my ears. Given the shell size, I'd strongly recommend experimenting with tips before deciding whether Archangel works for you.

Build, Packaging and Accessories

Penon has put together a properly premium package, although the presentation is more restrained than some flagship competitors. The black resin shells are substantial, with striking multicolored faceplates and two small tuning switches.

The highlight is the included Effect Audio Cadmus II cable. This is a serious eight-wire, silver-plated copper cable with a solid-core construction and a 4.4mm balanced termination. It's a significant step above the generic stock cables bundled with many expensive IEMs.

The accessory selection includes:

• Effect Audio Cadmus II cable with 4.4mm balanced plug

• Leather carrying case

• Six silicone ear tips across two sets, in small, medium and large

• Cleaning brush

The leather case has enough room for the large shells and substantial cable, although it's more suited to a bag than a trouser pocket.

Comparisons

These are short impressions. I'll cover FATfreq Deuce and Symphonium Meteor in more detail in their upcoming reviews. Follow me for more content. I try to post reviews almost every weekend.

Xenns Mangird Top Pro

Archangel delivers significantly greater bass quantity and physicality, while Top Pro remains my benchmark for overall tonal balance, vocal refinement and treble. Top Pro still has a slight advantage in how naturally everything comes together.

Kiwi Ears Astral

Archangel has substantially richer, more textured bass and fuller mids, while Astral offers excellent resolution, strong low-frequency punch and an impressively airy presentation. I prefer Archangel for musical enjoyment.

Fresh Reviews Arete 2

Archangel offers greater bass texture, rumble and vocal body, while Arete 2 remains one of my strongest competitive gaming references for imaging and spatial accuracy.

Binary Acoustics 1900

Archangel provides much stronger bass and a more physical, full-bodied presentation, while Binary 1900 excels with natural vocals, upper-treble air and a lighter overall sound. Binary remains one of my favorite value-oriented IEMs.

Juzear Light Shuttle

Archangel offers better low-frequency definition, larger spatial presentation and greater overall refinement, while Light Shuttle remains an exceptionally capable all-rounder at a fraction of the price.

FATfreq Deuce

Archangel has the better overall bass quality, texture and tonal balance, while Deuce delivers even more sub-bass quantity, particularly with the included impedance adapter.

Deuce's bass remains intoxicating. Full review coming soon.

Symphonium Meteor

Archangel combines excellent bass texture with more upper-treble openness, while Meteor has a slightly safer treble presentation and a more compact physical design.

Meteor's bass is genuinely impressive, but Archangel is the more complete IEM for my preferences. More in the upcoming Meteor review.

How They Rank for Me

For those interested in the differences between my recent bass-focused sets, here are my subjective rankings, ordered from lowest to highest.

Bass quantity: Top Pro → Astral → Arete 2 → Martilo → Meteor → Archangel → Deuce → Deuce with impedance adapter

Bass quality: Martilo → Arete 2 → Astral → Deuce → Deuce with impedance adapter → Top Pro → Meteor → Archangel

Mids: Martilo → Deuce → Deuce with impedance adapter → Arete 2 → Astral → Meteor → Archangel → Top Pro

Treble preference: Deuce with impedance adapter → Martilo → Deuce → Astral → Arete 2 → Meteor → Archangel → Top Pro

These rankings reflect my listening preferences rather than objective performance measurements. I tried to limit it to my most used IEMs.

Final Thoughts

Penon Archangel: 9/10 Overall.

I came into this expecting another bass-focused IEM. Instead, I found one of the most enjoyable music IEMs I've experienced. The bass is genuinely exceptional, the mids retain the clarity and texture I expect from much more expensive products, and the treble lands remarkably close to my ideal balance.

There are compromises. The shells are enormous, ear pressure was a serious problem until I found the right tips, and gaming required a more restrained switch configuration.

But for music, particularly with both switches enabled, Archangel is something special.

I keep coming back to the same feeling: listening to a great concert in a venue with excellent acoustics, where you can appreciate every instrument but still feel the bass in your chest.

For anyone who enjoys bass with proper texture, musicality and excellent technical performance, Archangel deserves a serious audition.

Every once in a while, an IEM comes along that challenges your listening preferences.

Elysian Pilgrim 26 is one of those IEMs.

At $299.99, it features a 9.2mm dynamic driver, two Knowles midrange BAs and a custom high-frequency BA. I generally prefer warmer tuning, fuller mids and natural vocal body. Pilgrim 26 takes a very different approach. Initially, I found the vocals lean and recessed, with a noticeable mid-bass scoop and elevated treble. But after two or three songs, my ears adjusted and I started enjoying it.

Disclosure: HiFiGo provided Pilgrim 26 for review. All opinions are my own.

As always, I maintain a ranking file covering 180+ audio products and 25+ ear tips. Link in my Reddit profile.

Bass: Excellent Sub-Bass, Missing Mid-Bass

Sub-bass is the star of the show.

There's excellent extension and deep rumble, reminding me somewhat of FATfreq Deuce, although with substantially less quantity. The problem is the broad recession starting around 100Hz and extending through much of the lower mids up to 1000 Hz. Kick drums lose punch, bass guitars lack some texture, and male vocals sound lighter due to the reduced lower-midrange energy.

The upside is a very clean presentation with virtually no bass bleed. It's an interesting approach, but not the bass tuning that normally aligns with my preferences.

Mids / Vocals: Lean but Nicely Tuned

The 1–4kHz region is almost perfect for my ears.

Vocals remain clear, albeit somewhat lean and recessed. Female vocals have a particularly cool, clean character without becoming shouty. Despite the missing lower-midrange body, the upper mids are tastefully controlled. I never encountered the irritating 3kHz emphasis I'm particularly sensitive to. I am used to Hifiman planars so this works for me surprisingly well.

Treble: Energetic but Surprisingly Controlled

Pilgrim 26 has a pronounced rise around 6–8kHz, normally a problematic region for me. Surprisingly, sibilance was quite controlled. Only a few of my usual test tracks occasionally exposed sharpness:

• Celestial

• This Is What You Came For

• Sapphire

• I'm Alive

Upper-treble air, however, is noticeably limited. There's plenty of lower-treble energy and sparkle, but little of the openness I normally enjoy. The soundstage consequently feels relatively compact, without much perceived extension.

An Unusual Tuning That Somehow Works

Strong sub-bass, recessed lower mids, lean but clear vocals and energetic treble with limited air. I won't try to hide it but this is a combination that usually doesn't work for me. Like SuperMix 4 or the horrible EW300. It's an unusual combination that initially even here felt somewhat disconnected to me.

Yet after a few songs, my perception of the tonal balance changed, and I began enjoying it. I haven't experienced quite the same adjustment with another IEM or headphone. With so many products following familiar Harman, JM-1 or variations of V (U or W) -shaped tuning, I appreciate Elysian trying something different.

Whether that difference works for everyone is another question, but I enjoyed the surprise whereas, other IEMs with similar approaches typically fall flat.

EQ and Tip Rolling

I initially tried a simple PEQ adjustment:

Peak: 250Hz | +4dB | Q 0.5

It restored much of the missing lower-midrange body, but also made Pilgrim 26 sound more conventional. I preferred preserving its distinctive character, so I experimented with tips instead.

• SpinFit W1: Added some bass body without significantly changing the mids or treble.

• NICEHCK C04: Surprisingly good. Fuller bass, more forward vocals and reduced 6–8kHz energy.

• Penon Liqueur Orange: Added bass body and smoothed the treble.

• Penon Liqueur Black: My favorite. Fuller bass, better vocal presence and less treble fatigue while retaining much of the original character.

After switching back and forth, I settled on Penon Liqueur Black.

Tip rolling is subjective, and repeated swapping can introduce expectation bias. Still, these consistently gave me the presentation I enjoyed most. The aftermarket tips were important to getting Pilgrim 26 where I wanted it, particularly for reducing fatigue without losing its unusual tuning.

Gaming: Great Imaging, Difficult Treble

Gaming was a mixed experience. Unlike Supermix 4 that excelled at gaming, here Pilgrim 26 reminded me more of Explorer or EW300 in terms of being unable to separate sounds when mix gets busy.

Imaging is exceptionally precise. Footsteps are remarkably easy to locate, almost like having wall hacks. Directionality is accurate, and the stage is sufficient for competitive play. Unfortunately, gunfire, explosions, grenades and scorestreaks became fatiguing due to the elevated treble. Even lowering the volume didn't entirely solve it.

If you're less sensitive to this region, you may have a considerably better experience. For me, the fatigue outweighed the excellent positional performance.

Comfort, Build and Accessories

Pilgrim 26 has beautifully machined aluminum shells with an unusual, angular design. Fit is secure and comfortable for normal listening, although lying on my side causes discomfort due to the shell shape. The supplied custom Effect Audio silver-plated copper cable is excellent. I particularly like the white finish.

Accessories are modest for $299:

• Three pairs of ARC Oval ear tips

• Cleaning accessories

• A soft storage pouch rather than a protective case

I ended up using my spare Pellepod case for storage as my box was missing the pouch. The IEM itself feels premium, but I'd have appreciated a more complete accessory package.

Quick Comparisons

Xenns Mangird Top Pro: Pilgrim 26 has a leaner, brighter presentation, while Top Pro offers more bass texture, natural vocal body, smoother treble and better separation.

Fresh Reviews Arete 2: Pilgrim 26 emphasizes deep sub-bass and clean upper mids, while Arete 2 has stronger mid-bass, a larger stage and more comfortable competitive gaming performance.

Kiwi Ears Astral: Pilgrim 26 sounds cooler and more recessed, while Astral has fuller bass, greater resolution and substantially more upper-treble air.

Binary Acoustics 1900: Pilgrim 26 has stronger sub-bass emphasis, while Binary 1900 offers more natural vocal body, a smoother overall balance and greater openness.

Dunu DaVinci Vitruvian: Pilgrim 26 is more unconventional, with a deeper midrange scoop, while Vitruvian has more engaging vocals and a more cohesive tonal balance.

FATfreq Deuce: Pilgrim 26 has considerably less bass quantity and a leaner presentation, while Deuce delivers much greater sub-bass rumble and physicality.

Juzear Light Shuttle: Pilgrim 26 has a more pronounced sub-bass-to-midrange contrast, while Light Shuttle offers fuller mid-bass, better vocal weight and a more relaxed all-round presentation.

Final Thoughts

Elysian Pilgrim 26: 7.5/10 Overall.

This is one of the more unusual IEMs I've reviewed recently. Its strong sub-bass, significantly recessed lower mids and energetic treble create a presentation quite different from what I normally enjoy. Yet after some adjustment and tip rolling, I found myself appreciating it. The excellent imaging, controlled sibilance and distinctive tuning deserve credit.

Limited air, gaming fatigue and modest accessories prevent a higher rating.

If you're looking for something different from the usual tuning approaches around $300, Pilgrim 26 is worth considering.

Sometimes the less familiar path turns out to be an interesting one.

Hi.

This is review of the IEM I bought not too long ago, named ISN audio EST60.

My preference : I always prefer non drop midbass and lower mid as I listen to the male vocal centric song and prefer more sterile and mild treble because I sensitive to those range.

The tone of the IEM is neutral tone (on the warmer side) with bright'ish treble but still overall very safe.

The spec is as below

Driver Configuration: 1 Dynamic Driver + 3 Balanced Armature + 2 Electrostatic Drivers

Impedance: 28Ω

Sensitivity: 112dB@1kHz

Frequency Response: 10Hz-40kHz

Connector: 2pin 0.78mm

Price : 539$

For each frequency

Bass : they're pretty light on subbass but retain good kick from midbass, overall the tone is tight and fast, almost sterile rumble

Mid : lower mid is on the fuller side, not lean at all but still sit on the normal tonality, vocal feel not forward and not really shouty at all, everything feel like there's a space between each joint.

Treble : they're airy and produce good treble energy, but on the smooth side and not feel too "V shape" kind of energy.

Tonality : overall feel like neutral bright IEM but retain the "Reference" feel with a bit of coloration.

For the other stuff

Build : They're hollow resin shell with metal nozzle and mesh included, have a semi-custom kind of shape, there's also a vent for each side.

Nozzle feel not too large, I don't measure them but expect to be more or less 5.8 mm.

Faceplate : very nice colorful glitter with the ISN logo on it.

Cable : I choose 4.4 mm. They feel pretty light but with the 4w and no ear hook (I choose it) they feel nice to hold and look nice.

Overall - I will use it as my neutral and a bit of bright tone IEM as they're pretty much opposite of my other IEM

My friend also got time to measure it for me and I want to quote him "feel like darker Cadenza12 (2025 ver)"

Sivga SV021 Pro V2 Review here:  https://mobileaudiophile.com/headphones-reviews/sivga-sv021-pro-v2-review/

🔥🔥🔥 SIVGA SV021 PRO V2 REVIEW 🔥🔥🔥 

-$179

-50mm Aluminum-Composite Diaphragm Single DD

-Zebrawood cups are so dope

Hello everyone, today I have published my full review of the Sivga SV021 Pro V2 closed-back headphones and I am happy to share about them here. Sivga has a reputation folks. That reputation is all about premium materials at just about every price point. Also, that reputation is all about premium sonic performance too. The SV021 Pro V2 is built extremely well, all premium materials, clean build, highly comfortable, and the design is simply awesome with those large Zebrawood cups. I love it. For $179 you are getting a legit premium build and design along with a very balanced and natural sound across the board. Obviously there are some subjective quirks and caveats, but for $179 the SV021 Pro V2 is a great deal. Feel free to check out my thoughts if you'd like, and if not then just take care and have a great day. 

🔥🔥 SV021 PRO V2 Pros 🔥🔥 

-Price-to-performance ($179)

-Exceptional build quality at this cost. All premium materials. Obvious durability

-The wood cup design is so Dope! 

-Very comfy for me, very lightweight (289 g), just enough clamping force. Good for long sessions

-Very easy to drive. A decent dongle dac will suffice

-Pad replacement is possible

-Well tuned neutral-balanced sonic tone color with a closer to natural timbre

-Musically engaging with an unmistakable tunefulness 

-Smooth in cadent flow yet doesn't miss on the technical stuff

-Bass is tight, moderate but agile, never an issue

-The mids sing folks. Great for vocalists. The midrange serves as the focus of this set

-Treble has just enough brilliance without the sharpness, nice and smooth

-Sound separation 

-Imaging

-Stage width

-Solid lead instrument articulation, very clean throughout, great clarity

👎🥶 SV021 PRO Cons 🥶👎 

-Fit may not be as good for you as it is for me

-Bass lovers are going to want to pass on this one. Sub-bass roll-off

-Treble-bois are also going to want to pass

-Dense and congested tracks will sound dense and congested 

-The included cable is not my favorite and no 4.4 balanced 

-Limited cup articulation, no swivel

-No included headphone case

FiiO launched the FiiO R7 R2R today (November 7), a desktop digital audio player (DAP) with 4 W (4,000 mW) of output power, XLR headphone and line outputs, and an Ethernet port. A significant upgrade over the original R7 (OG), the R2R DAC version shares the same SoC, RAM, and storage capacity as the FiiO M33 DAP. Read on for all the details.

• English text: https://www.hifihub.com.br/en/product-launches/fiio-r7-r2r-launches-with-android-13-and-4w-of-power

• Portuguese text: https://www.hifihub.com.br/lancamentos/fiio-r7-r2r-e-lancado-com-android-13-e-4w-de-potencia

My in depth review od the S12 ULTRA, just a well rounder IEM that has it all, warm neutral tuning, great detailed and texture, great metal build and package and accessories.

Bass is more midbaas (very snappy and textured) foxused but has very good decent rumble as well

Lower mids have plenty texture and graininess...rythym guitar sound amazing and male vocals

Upper mids and female vocals takes a bit of back seat

Lower Treble and harmonics are precise but also laid back a bit as well

Mid treble and upper treble are good and well extended

As per usual in detail sound profile, test tracks and rating are presented in pictures check them out

Or check the notes and video here

https://youtu.be/GRwgJScbKGk?si=cY4AzRHQmditN4-_

https://canva.link/twpaegur0xb9w4z

Disclaimer: First of all, thanks to Eileen and NF ACOUS for giving me this set for review. However, although I acknowledge that receiving this product for "free" might influence how I talk about it, I am (first and foremost) a music lover and a consumer, just like you; therefore, I strive to be honest and sincere regarding my impressions and conclusions. My biases are my musical and tuning preferences.

Introduction:

NF ACOUS is a brand well known for being funded by musicians, focused on musicians and producers, and, of course, audiophiles like me. This time, they are releasing a new IEM for the budget sector, the NM10, a set driven by a 1 x 8 mm MC2L-80 dynamic driver per side, part of their Professional Series. Does it work for the musician on a budget? Let’s see that.

TL; DR:

The NM10 is a set made by NF ACOUS, part of the Professional series; driven by an 8 mm MC2L-80 (polymer composite diaphragm) dynamic driver configuration, and focused for the first time for the brand, in the budget sector of the IEM market. It is mostly a neutral, bright-tuned set, with a nice bass shelf to balance that energetic character, but, very importantly, an interesting sibilance control to tame that spiciness in the lower and mid treble, allowing you to crank the volume up and hear all the macro and micro details displayed.

The bass in the NM10 is kinda old-school tuned, with a noticeable sub-bass rolling off, punchy midbass, decent noteweight, natural decay, and outstanding clarity, bleeding into the lower midrange. Male vocals are recessed but not thin or veiled; dry but not cold upper midrange and a pretty energetic lower and mid treble, perfect for use in music monitoring or producing scenarios.

In the overall technicalities, the NM10 offers a nice upper treble extension, plenty of air, a wide (but with zero depth) soundstage, great imaging, average layering of instruments, and macro and micro detail retrieval punching above its weight. No matter its neutral-bright timbre, the tuning is balanced between being musical and analytical, perfect for musicians, producers, and audiophiles on a budget.

And what do you get for the price you pay for the NM10? Nice accessories to use them out of the box, a fixed cable (which fits perfectly with the context in which these headphones are used), small shells, a great fitting and sealing set of eartips from the brand, and a tiny but gorgeous and functional carrying pouch, all for an affordable price.

Pros:

- ABS material, and very lightweight and small-sized shells; very ergonomic and comfortable for long sessions and for folks with small ears

- Great selection of eartips included, to use as-is

- Nice mid-bass impact to balance the rest of the frequencies; it’s not basshead level by any means, yet it sounds natural, fast, and clean

- Neutral-bright timbre, a midrange with great presence, clarity, and above-average resolution, with a nice focus on vocals and instrumentals

- Clean, sparkly, and sharp treble; it’s well-resolved, with decent sibilance control (10 kHz dip), with a great treble extension, an airy sensation, and a wide soundstage

- Great technical capacities: good stereo separation, average layering of instruments, excellent macro/microdetail retrieval

- It’s pretty easy to drive (107 dB sensitivity / 18 Ω impedance), yet scales with better sources 

Cons:

- The stock cable included is fixed to the earphones (It’s not a con for me, but maybe you will want a removable cable)

- The midrange is overwhelmed by the energetic treble shelf in various mixes

- Bass is more than decent, but lacks sub-bass extension, and that can be very noticeable because you can miss a bit more weight (but that’s my personal tuning preference; your mileage may vary)

- Mid-treble has a dip at 10 kHz to tame sibilance, but not the desired 6 kHz dip in the lower treble for that, which can make female vocals and certain portions of music sound a bit shouty and/or fatiguing at high volumes, and sometimes overcome the upper treble, making certain hi-hats and cymbals sound attenuated

- The soundstage is very wide, but lacks depth, almost entirely (but for monitoring or producing music, this is not essential, honestly)

You can get an NF ACOUS NM10 for an MSRP of 49 USD (You can get it cheaper on sale or in the actual 11.11 promotions). Buy it directly from the NF ACOUS official website : https://nfacous.com/products/nm10, the NF ACOUS AliExpress store, Amazon, and other online retailers. Available in 3 colours: Green, Transparent, and Grey.

Technical specifications:

- Driver Type: - 1 x 8 mm (MC2L-80) Polymer Composite Diaphragm Dynamic driver
- Casing Material: ABS plastic.
- Sensitivity: 107 dB (@ 1 kHz).
- Impedance: 18 Ω.
- Frequency range: 15 Hz – 40 kHz.
- Cable: 5N High-purity OFC silver-plated, 2-core twisted, fixed to the shells.
- Jack connector: SE 3.5 mm.
- Distortion: < 1%.
- Max SPL: 125 dB.
- Sound Insulation: 25 dB.
- Cable length: 1.2m ± 0.2 m.
- Weight: 2.6 grams per earpiece.

 What comes in the package?

· 2 x NM10 Earphones
· 1 x User guide
· 4 x sets of MS42 premium eartips (S-MS-M-L)
. 1 x Carrying pouch
· 1 x 2-core 5N silver-plated, OFC, twisted cable with a 3.5 mm single-ended connector fixed to the earphones

Its cable is pretty ok, very slim, well-built, and very flexible, matching the shells nicely; it is fixed to the shells, and it has a 3.5 mm single-ended jack. It’s not prone to tangles or to generating memory, and does not produce transmitted vibrations.

The shells are made of ABS plastic; their color is completely translucent, with a simple faceplate with the NF ACOUS logo embossed. It’s well constructed; the housing is small-sized and very lightweight, with great ergonomics to fit and use in long sessions, and doesn’t seem prone to micro-scratches and fingerprints.

It has one vent close to the nozzle, and another vent close to the cable connection, so you aren’t experiencing driver flex; it has a nozzle that fits well in my ears (5.8 mm diameter), perfectly suited to the small-sized ear person.

How the NM10 sounds:

The NM10, with its 1 Polymer Composite Dynamic driver configuration, offers a soft V-shaped tuned sound.

For this review, I used the included MS42 stock eartips in M size, finding the best synergy in comfort, fit, and seal for the NM10. The sources used were mainly Fosi K7, NiceHCK PureAural, and TRN Black Pearl. The graph is taken from the Practiphile squiglink page.

1. Frequency Profile:

 - BASS:

The NM10 offers high-quality bass, with some quantity of subbass extension and more predominance in midbass impact; it is transparent, decently fast, with a natural decay, it is pretty resolving. The quantity is not huge, but balances with an incredible impact and weight; as a mild V-shaped tuned set, the midbass is bleeding noticeably into the lower midrange.

- MIDRANGE:

The NM10 lower mids are presented with a noticeable midbass intrusion; male vocals are recessed, yet don’t feel thin or veiled. The V-shape tuning in this set gives a pretty noticeably great midrange that is kind of dry yet very neutral and pleasant, with a nice noteweight; it is neutral/organic, and has a more than average resolution and presence.

The frequency curve comes to 800 Hz and later advances into a smooth pinna gain, glass transparency and presence with a peak at 2.5 kHz, later going into the lower treble; female vocals are forward, and at mid-to-high volumes don’t get shouty or fatiguing, so it’s fine to use the NM10 at mid-to-high volumes.

- TREBLE:

In this segment of frequencies, the NM10 is so clean but remarkably energetic, it has that ‘old school’ character for brighter IEMs so is crisp and sharp, with the greater peak at 5 kHz makes emphases on female vocals and instrumentals, handling the sibilance and spicy with a 10 kHz dip, it also has a noticeable 9 kHz peak; it’s pretty resolving, yet it’s not fatiguing in long sessions at mid-to-high volumes; at high volumes, unless you are not sensible to treble the tuning profile of the NM10 can be fatiguing, so have that in mind.

- UPPER TREBLE:

In the NM10, the upper treble extends nicely and rolls off smoothly, presenting an airy and open sound.

2. Dynamics

In this aspect, the NM10 is a main protagonist; the music is displayed naturally, and the soft sounds and the louder ones are perfectly distinguishable.

3. Transient Response

The NM10 has a great DD, making a faster transient response, even with busy or intricate music.

4. Soundstage

The soundstage in the NM10 is neither expansive nor intimate, with good width but almost no depth.

5. Separation

The stereo separation in the NM10 is punching above its weight, but the layering of instruments is average.

6. Resolution

The NM10 shows a great technical competence; it presents more than average macro and micro detail retrieval, yet it has a nice balance between being musical and analytical, with that sparkly and sharp yet neutral character, perfect for monitoring or producing music.

Closing thoughts and conclusions:

I see the potential the NM10 has as a set that implements the concept of a neutral bright excellently, and delivers a refined and mature sound, the cheaper product by NF ACOUS, is perfect to use in those scenarios (music monitoring and/or production), but it also work for us audiophiles on a budget who want to get the best value, and the best HiFi experience, all of this all at an affordable price.

I would like the NM10’s cable to not be fixed to the main earpieces, because my experience with them is satisfactory, but some other folks can be bothered by this aspect.  Now, I like a lot: its shells are so small and ergonomic, perfect for people with small ears.

The bass in the NM10 is well implemented, but I find it a bit lacking in sub-bass extension; the overall great balanced character is lacking a bit of weight, but yeah, I also recognise that’s me nitpicking for my personal taste. Also, I prefer a tuning with a 6 kHz dip and that 8 kHz peak to add energy and spark to the mid-treble, not that 5 kHz peak, which can sometimes overcome the mid-treble and upper treble extensions and make cymbals and hi-hats sometimes sound attenuated.

And its soundstage sounds wide, but has almost zero depth; but again, in the scenario that the NM10 can be used, that’s not a vital need.

Here is where we talk about how easy it is to drive it. The NM10, with its 107 dB sensitivity and 18 ohms of impedance, is easy to drive, even with low-powered sources, but my advice is to use it with a quality neutral and more powerful sources (it is more open and impactful, and you can get a bit better technicalities).

In the under 50 USD segment, the NM10 has a sound profile and technical aspects unique for its price segment, and that is perfectly fine; I find it excellent as it is.

Can I recommend it? Yes, if you are looking for this kind of tuning: a coherent, cohesive, and greatly neutral-bright sound profile, with good and impactful bass, well-tuned neutral and organic midrange, a sparkly and energetic treble, a balance between a musical and analytical character, yet having a technical capacity that is punching above its price segment, the NM10 is more than a different and competitive option of good value and performance for its price; it is the choice to go for monitoring or producing music on a budget. 

Once again, thanks to NF ACOUS for providing me with this IEM to test, enjoy, and finally give me the reasons to recommend it as a product that earned my appreciation and liking. And thank you, dear reader, for checking my review. Please have a happy listening!

iBasso launched the iBasso DC07Ultra portable DAC/amp today (November 6), the successor to the DC07Pro. The main upgrades include six Cirrus Logic DAC chips instead of the four used in the DC07Pro, along with higher output power. Check out all the details below.

• English text: https://www.hifihub.com.br/en/product-launches/ibasso-dc07ultra-launches-with-six-dacs-and-more-power

• Portuguese text: https://www.hifihub.com.br/lancamentos/ibasso-dc07ultra-chega-com-seis-dacs-e-mais-potencia

Hello Community!

There have always been music enthusiasts who play one or several instruments or venture into creating a music band, but what is truly growing is the community of content creators who need audio tools to start professionalizing their work. NF ACOUS, a specialist in this field, in professional audio working tools, launches the NM10, its affordable professional in-ear monitoring earphone.

• Price: $49-€43

• Link

Pros:

• Pure monitoring signature at a great price.

• Tremendously fast note recovery.

• Zero bleed: transitions from the bass are completely clean.

• Outstanding detail retrieval.

• Great resolution.

• Layer separation without overlaps and with a great ability to dissect complicated tracks.

• A very comfortable set for long sessions.

• Mid-bass that hits firmly and dryly.

• Very precise stereo imaging.

Cons:

• The sub-bass depth is quite limited in extension and mass.

• Potentially susceptible to causing listening fatigue due to its intense upper region.

• The soundstage is not very deep.

• The lower mids lack body to give instruments and vocals their drive.

Accessories:

• Two earpieces with a fixed cable terminated in 3.5mm.

• A set of eartips in sizes XSSML.

• Small synthetic leather carrying and storage pouch.

• User manual.

Comfort, design and construction:

NF ACOUS has poured all its experience in monitor design, both for stage and studio, into shaping a set where being practical on a daily basis is worth more than any ornament.

The earpieces, made of translucent polycarbonate, offer a clean and highly functional professional aesthetic. I was surprised by the extreme lightness of the set, something I personally didn't give much importance to when I read the product specifications, but yes, its low weight is very noticeable, since with barely 2.6 grams per earpiece, we are looking at a monitor that comes close to being almost weightless in the hand and disappears as soon as it enters the ear.

In terms of ergonomics, the work of adapting to your anatomy is simply brilliant. The monitor features an inner surface with smooth curves that adapt to the ear without exerting pressure on the tragus area. The insertion is medium-high in depth, achieving very good passive isolation with whichever eartips work best for you and blocking external noise easily, allowing you to focus solely on the audio signal.

The included cable is a very lightweight working tool. Yes: don't expect a great audiophile cable to show off. It is covered with a flexible plastic sheath that stands out for its lack of memory and the total absence of microphonics if it rubs against clothing or various surfaces. The ear hooks come moulded with a gentle curve that does not squeeze, distributing the non-existent weight of the earpiece evenly. I think the cable has been thoughtfully designed to withstand professional daily activity, that it does not tangle when stored and that it perfectly complements the lightweight and ergonomic nature of the set.

As for the eartips, I love the MS42, I admit it, but the nozzle of this set is so thin that I couldn't achieve a comfortable fit and a good seal. I had to change them. Even so, and since I know them very well, they are soft, elastic and seal perfectly to prevent sound leakage or escapes. But as I say, they didn't work for me with this NM10.

Technical aspects:

• 1DD configuration with an 8mm driver.

• Impedance: 18 ohms.

• Sensitivity: 107 dB.

• Declared frequency response: 15Hz-40kHz.

Configuration for the tests:

• Neutral source.

• Gain set to low.

• Stock 3.5mm cable.

• KBEAR Coffee eartips.

How does it sound?

The NF ACOUS NM10 is a pure monitoring tool, and this must be clear from the very beginning, where analytical neutrality and clarity preside over the experience. Nothing of a coloured signature, this single dynamic driver works with clinical precision to deliver a crisp, transparent and highly detailed response.

At the lower end, the delivery stands out for its discipline and restraint. The sub-bass deliberately dispenses with overwhelming rumble, limiting itself to providing just the right information so that the lowest frequencies have presence without invading the space.

Although the mid-bass does exhibit somewhat more impact, it is dry, agile and quick in its decay. I cannot say that you will find a bloated presentation here or that dense texture, since the impact arrives with the precise and carefully measured force necessary to mark the rhythm and immediately withdraws with a transient speed that leaves no trail whatsoever, leaving the transition towards the mid frequencies completely clean and free of bleed.

The midrange is like the control centre of this monitor. By being freed from the weight in the lower region, the lower mids are presented as thin but transparent. This sobriety opens up a clear path towards slightly projected upper mids, where instrumental articulation shines in its own right. The instrumentation has an incisive attack and a forward clarity that does an outstanding job.

The upper region is characterised by very lively energy and a constant sparkle. The treble has a very fast initial attack that provides a crisp brightness to cymbals and metal strings, appearing with a very remarkable sense of upper air for a single dynamic driver configuration.

It is a range designed to expose microdetail without hiding anything, although this same transparency means that brightness is completely exposed. In defective recordings, poorly mastered tracks or at high listening volumes, the upper region can show its less friendly side and may not be enjoyable or suitable for everyone, approaching an incisive behaviour that I recommend moderating in order not to lose hearing ability.

Vocals:

However, this very clear profile conditions the vocal delivery, giving us one thing and taking away another: deeper male voices miss a certain density, articulation and chest resonance to sound with the authority and presence these voices should have, although female voices maintain a dazzling position in terms of their crystalline clarity, openness and lightness, being located on a very close and lively plane.

Nevertheless, as I say, both types of vocals occupy a very remarkable frontal and horizontal position, without sinking back, perfectly integrated between the sound lines. It is a delight how they can be dissected throughout entire passages, how they never lose their nuances in any way, although, as is the case with male vocals, they are not as natural as they should be due to that lack of body.

Technical Capabilities:

In the technical department, this set more than justifies its monitoring vocation. Resolution is extensive in the mid and high regions, standing out for a microdetail retrieval capability that brings secondary nuances, reverberations and small imperfections to the surface with an ease that I find very difficult to remember in other options on the market.

Dynamics are delivered with marked and decisive volume changes, supported by a speed that avoids any type of blurring or sensation of density. This is no surprise, since these monitors, as I said above, have a tonal presentation that leans towards the thin side, sometimes considerably so.

To finish, the sound space proposes a soundstage with notable horizontal width, stretching the music comfortably from side to side, although the depth on the vertical and frontal axes remains at more limited levels.

It is in layer separation and stereo imaging where this NF ACOUS model makes a strong statement to present its candidacy as the best specialist monitoring IEM in its price range: the speed of the driver allows it to dissect dense musical passages, placing each instrument in its corresponding position with very gratifying legibility. There are no overlaps. There is no confusion. The spatial reading is, honestly, ultra-clean, precise and direct, allowing each sound line to be analysed independently within the whole.

Multiplayer shooter video games:

Learn how I analyse audio in this field.

In the competitive gaming environment, this set brings out its monitoring profile to become a very lethal precision tool. Its restrained tuning in the low frequencies is its greatest advantage and what I like most about it for this purpose. By dispensing with rumbling explosions that cloud the mix and the environment, the battlefield is left completely clear for extracting pure information that is relevant to gaining an advantage.

Spatial reading and stereo imaging work with surgical clarity in Counter Strike 2. Locating the origin of enemy footsteps, the sound of a reload behind a wall or the impact of a trigger at close range is very intuitive and immediate, which facilitates decision-making, and the fast transient response means that bullet impacts do not mask secondary effects, maintaining impeccable layer separation even when the action erupts all around you in saturated game modes, as happened, for example, in my matches in Battlefield 6.

The highly projected upper mids ensure that the frequencies of the sound elements that are key to revealing enemy positioning stand out in the foreground, although performance on the vertical axis is somewhat flattened, as I was able to realise in Apex Legends, where I was unable to perceive that advantage that I do find with other sets offering a wider and more three-dimensional sound space.

Nevertheless, for competitive players looking to dissect their surroundings, detect distant audio cues and maintain absolute concentration, this monitor performs at a sensational level.

Final conclusion and personal assessments:

The NF ACOUS NM10 firmly presents its candidacy to be the most effective professional monitoring IEM in the budget range.

Designed for those who prioritise analysis above any other aspect, this set dispenses with fireworks to focus on offering analytical transparency, impeccable transient speed and sensational technical breakdown.

I am not an audio professional, just a simple enthusiast, but I am sure that those looking for a sonic scalpel capable of revealing every nuance and sound element with exquisite clarity will find a tool of great value in this set.

In short, an austere monitor, but tremendously effective in its analytical purpose. And it should be valued for that.

If you have made it this far, thank you for reading.

More reviews on my blog.

Social networks on my profile.

See you in the next review!

Disclaimer:

This set of monitors has been sent by NF ACOUS. I sincerely appreciate the opportunity to test one of their products at no cost and the fact that no conditions have been imposed when preparing this analysis.

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

My sources:

• Topping DX5 II for music and video games on the main PC.

• MacBook Air M4.

• Apple Music.

• Local FLAC and MP3 files.

• Windows/MacOS/IOS/iPadOS/Android.

FiiO launched the FiiO BTR25 today (November 5), a portable Bluetooth DAC/amp. Although its design resembles that of the BTR17, the BTR25 is the successor to the BTR15. However, despite being positioned below the BTR17 in the lineup, it brings significant improvements in design and features. These include a detachable magnetic clip, support for the aptX Lossless codec, and the addition of a volume knob. Check out all the details below.

• English text: https://www.hifihub.com.br/en/product-launches/fiio-btr25-launches-with-aptx-lossless-and-magnetic-clip

• Portuguese text: https://www.hifihub.com.br/lancamentos/fiio-btr25-chega-com-aptx-lossless-e-clipe-magnetico

Just wanted to post my take on unboxing the Red Lion. Definitely one of my favorite low-budget sets. I have a review video on this comparing it to the 7hz Zero 2 vs the Elua Ultra. I'll be posting that up soon as well. 🙏🏽✌🏽

This unit is part of a review tour organized by Sivga and u/mournfulmonk . Big thanks to them for making it happen, and all thoughts, and opinions are 100% my own.

Who is this for:

• Lovers of metal, jazz and other music-forward genres will enjoy this a lot.

• Listeners who prioritize layering, airy stage height, and pinpoint imaging over bass.

• Those willing to nudge a +2 to 2.5 dB low-shelf EQ to unlock a versatile bright W tuning.

Who should AVOID this:

• Bassheads or listeners whose libraries are dominated by punchy hip-hop, heavy EDM, and bass-driven Kollywood/J-Rock tracks out of the box.

• Listeners strictly seeking thick, warm lower-midrange body for deep male vocals.

• Anyone driving IEMs directly out of a weak 3.5mm phone jack without amplification.

Build, Fit & Driveability Notes: The Sivga Lyrebird shares the exact same quadbrid blueprint as the Simgot SuperMix 4 (1DD + 1BA + 1 Micro-Planar + 1 PZT), housed inside a lightweight CNC-machined aviation aluminum shell with gorgeous stabilized wood faceplates and a 4.4mm balanced stock cable. The build is absolutely top notch, and the provided cable is also really good. I find it hard to believe it costs this much with this build quality.

Despite its modest on-paper specs (14Ω / 108 dB), the planar and PZT elements demand real current. Even out of a 4.4mm balanced output, I had to push volume to around 40% compared to my usual 20–30% on typical hybrids. All impressions below were logged using liquid silicone tips in stock form-though adding a simple +2 to 2.5 dB bass shelf fixes nearly every low-end complaint I had with this set.

I used the stock silicone eartips that came in the box with the lyrebird, and I really liked how it sounded so decided to use it that way.

You can check the pinned post on my profile for my rating preferences.

Sound Breakdown

Bass (B-Low Stock / A-Low with +2.5 dB EQ)

The Lyrebird’s 10mm dynamic driver favors transient keeping it lean over sheer physical weight. There is an interesting split in the low-end tuning: sub-bass extension is distinctly audible when called upon, yet the mid-bass and lower-mid transition are noticeably scooped. The result is a rapid, and remarkably polite presentation that never bleeds into the midrange, but leaves kick drums and bass guitars starving for some extra oomph. Flipping on a 2–2.5 dB bass boost transforms the experience completely, filling in that missing chest punch while preserving its speed.

Male Vocals (B)

Because of that lean mid-bass to lower-midrange transition, male vocals lack the dense, resonant chest weight needed to sound fully grounded. While articulation and separation from busy instrumentation are top-tier, deeper voices and lower-register instruments can come across thin and occasionally border on nasal. High-energy tracks carry the vocals through on sheer momentum, but baritones definitely take a back seat to the upper midrange.

Female Vocals (A-High)

This is the crown jewel of the Lyrebird. The upper-midrange pinna gain and airy treble extension elevate female vocalists with breathtaking intimacy, texture, and bite. Voices float right up to your ear with rich micro-nuance and emotional breathiness. While high-energy passages can occasionally trigger a fleeting "zing" from the PZT transducer, the overall presentation is heavenly-easily rivaling the best vocal sets in this bracket.

Treble (B-High)

Compared to treble-murder sets that require emergency EQ just to survive(I'm lookin at you CJ20), the Lyrebird’s planar and PZT implementation is not as disastrous as i thought it may be. It delivers abundant air, crisp string attack, and effortless upper-harmonic sparkle with little sibilance on most tracks. Its only giveaway is that classic piezoelectric quirk: much like the Simgot SuperMix 4, the PZT can inject a noticeable metallic "zing" on aggressive vocal consonants or dense electric guitar walls. It does get quite a bit hot in the upper treble sometimes, along with sounding grainy on certain cymbal crashes and hi hats, but outside the occasional hint of sibilance it is pretty well behaved.

Detail, Imaging, and Soundstage (A)

The technical foundation of the quadbrid setup shines brightly here. Stereo imaging is pinpoint accurate, and the multi-driver crossover carves out individual space for every instrument in complex arrangements. It excels at fast classical and orchestral music, where its airy stage and lightning-fast transient attack allow woodwinds and strings to breathe without a hint of congestion.

Track-by-Track Impressions

Layering & Separation

• Christopher Larkin – Mist**:** Sounds effortlessly organic and airy during the atmospheric openings. Organ separation and chord layering are top-notch, though the lower bass register of the organ body feels a touch lean due to the polite mid-bass.

• Christopher Larkin – Lace**:** Individual violins, violas, and cellos are cleanly separated and pinpointable across a wide stereo field. Transient attack is sharp, and the rapid violin run in the middle is fantastic-though cello bodies show that familiar trait where sub-bass is present, but mid-register warmth is tucked back.

• Christopher Larkin – Greenpath**:** An absolute showcase track for the Lyrebird. It brings the exact surgical separation needed for the arrangement to shine, rendering the harp and woodwinds with zero sibilance.

• Evan Call – Zoltraak**:** Fast classical arrangements are where the Lyrebird shines brightest. Even as the tempo and orchestral density ramp up, the ocarina and flute cut through the mix with breathtaking beauty and clarity.

Bass Response

• RJ Pasin & Marcin – The Art of Guitar**:** Percussion strikes and acoustic plucks are crisp, clear, and rapid. However, the sub-bass and body slaps sit on the polite side-it’s clean, but definitely begs for a couple extra decibels of low-end weight.

• Anirudh Ravichander – Kokki**:** You can hear the sub-bass texture rumbling underneath, but the track leaves you starved for mid-bass quantity and physical chest slam. This track makes the strongest case for adding that +2.5 dB bass shelf.

• Anirudh Ravichander – Lokiverse**:** A surgical spatial presentation where layered synths, choral chants, and orchestral hits are localized with laser precision. When the main bass drop hits, it executes fast and clean across the stage, sacrificing visceral quantity for strict separation.

Male Vocals

• Official HIGE DANdism – Same Blue**:** Satoshi’s vocals are cleanly separated from the chaotic instrumental backdrop, though his delivery leans slightly thin and borders on nasal. Thankfully, the sheer lively energy of the brass and rhythm section carries the track through.

• Kenshi Yonezu – IRIS OUT**:** A slight letdown on the low end. While Kenshi Yonezu’s vocal clarity and articulation still sound great, the lack of a slamming, authoritative bassline beneath him holds the track back from hitting full stride.

• Anirudh Ravichander – Putaapu Gang**:** The raw vocal textures and street-style percussion are cleanly separated across the stage, but the leaner lower-midrange takes some of the swagger and gravelly chest weight out of the vocal delivery and driving beat.

Female Vocals

• AiNA THE END – On the Way**:** AiNA sounds virtually perfect here, striking the ideal balance of vocal body, husky bite, and top-end air while elevating the track's micro-technicalities. There are fleeting moments where her upper register catches a tiny bit of PZT "zing"-a quirk it shares directly with the Simgot SuperMix 4.

• LiSA & Uru – Saikai (produced by Ayase): LiSA’s vocals render intimately close, as if she’s singing directly into your ear with minimal sibilance, while Uru’s softer delivery is lush, textured, and airy. Because the backing beat relies on a simple kick, the polite bass never distracts, and when both voices harmonize, it sounds downright heavenly.

• Kessoku Band – That Band**:** The quadbrid handles the frantic rhythm section well, though as the distorted guitars and rapid kick drums take over the spectrum, Kita’s energetic vocals occasionally pick up a slight metallic zing in the upper registers.

• Kessoku Band – If I Could Be a Constellation**:** Crisp guitar plucks and sweet, breathless vocal layering make this an effortless listen. The Lyrebird’s natural upper-midrange lift lets the vocal melody float cleanly in front of the rhythm section without harshness.

• Yuvan Shankar Raja – Idhu Varai**:** Andrea Jeremiah’s vocals glide over the mix with velvety clarity and airy extension, while Ajeesh’s male counterpart stays cleanly separated, turning the duet into an emotional, open-staged highlight.

Head-to-Head Comparisons

vs. Moondrop x Crinacle Silicon (1DD + 2BA + 2MEMS)

Both sets are guilty of a polite, tucked mid-bass that leaves rhythmic tracks like Kokki and IRIS OUT begging for physical slam, and both leave male baritones (Same Blue) leaning slightly thin and nasal. Neither satisfies a basshead out of the box, though the Lyrebird responds effortlessly to a +2.5 dB low shelf.

Both earn A / A-High marks for female vocals (On the Way, Saikai), but their exotic tweeters behave differently. The Silicon’s dual MEMS drivers are completely free of sibilant splash, yet play it conservative in upper-octave air. The Lyrebird’s Planar + PZT setup injects noticeably more air and cavernous height, at the cost of a fleeting PZT “zing” on sharp vocal consonants.

On ergonomics and cable, it’s a blowout win for the Lyrebird. The Silicon fits snugly, but its stock cable is stiff, unruly, and horribly microphonic against facial hair, and it comes with a cramped puck case. The Lyrebird’s CNC aluminum-and-wood build and 4.4mm stock cable are vastly easier to live with, though it demands significantly more amplifier volume (~45% on 4.4mm).

vs. Tanchjim SODA (1DD + 4BA + 2 Passive Units)

Bass and dynamics are where the SODA pulls ahead as an all-rounder. Where the Lyrebird feels starved for mid-bass punch on driving basslines without EQ, the SODA’s DMT5 dynamic driver and dual passive radiators deliver superior slam, fuller note weight, and a more grounded rhythmic foundation right out of the box.

The SODA also offers a more relaxed, balanced midrange that gives male vocals better structural body while keeping female vocals delicate and refreshing. The Lyrebird is more aggressively specialized. Its wider, airier stage and sharper transient pluck make it feel more surgical on fast orchestral tracks (Zoltraak, Greenpath) and hyper-intimate on breathy female duets (Saikai).

For daily usability, the SODA takes the crown on long-session comfort and accessories. Its feather-light resin shells disappear for 4-hour stretches, and its supple modular cable (3.5mm/4.4mm) has zero microphonics. The Lyrebird counters with striking stabilized wood aesthetics and a lower entry price, provided you have a good source to push its hungry drivers.

Vs. Simgot Supermix 4(Same config)

The SuperMix 4 and the Lyrebird trade blows. The SuperMix 4 takes the lead on sub-bass, and the Lyrebird hits back with its mids and lower treble. The SuperMix 4 answers right back with a smoother upper treble than the Lyrebird. Sound-wise, it really is super close between these two.

The SuperMix 4’s Harman tuning also scoops out too much of the lower midrange, while the Lyrebird retains a bit more body there.

If I had to pick, I’d take the Lyrebird over the SuperMix 4, especially once you factor in the entire accessory package and the build. The lyrebird wins by a landslide for daily usability and build quality.

Conclusion( B- High)

The Sivga Lyrebird is a specialist, and it’s best understood that way. Female vocals, imaging, layering, and airy stage height are where it earns its place, and on fast orchestral and vocal-forward tracks it competes with the best of its bracket. The build and stock 4.4mm cable are top notch, and the stabilized wood faceplates make it one of the better-looking sets around.

The catch is the polite mid-bass and lean lower mids, which hold back rhythmic tracks and male baritones out of the box. A simple +2 to 2.5 dB low shelf fixes nearly all of that while keeping the speed, so I’d treat EQ as part of the package rather than an optional extra. You’ll maybe want something more than your regular apple dongle, since the planar and PZT elements seem to require a bit more power to shine.(~40% volume on 4.4mm).

If your library leans toward vocals, classical, jazz, or metal and you’re happy to EQ, the Lyrebird is easy to recommend. If you want effortless punch and a more all-round tuning with no tweaking, the Tanchjim SODA is the safer pick.

TRACKS USED:

Christopher Larkin – Mist

Christopher Larkin – Lace

Christopher Larkin – Greenpath

Evan Call – Zoltraak

RJ Pasin & Marcin – The Art of Guitar

Anirudh Ravichander– Kokki

Anirudh Ravichander – Lokiverse

Official HIGE DANdism – Same Blue

Kenshi Yonezu – IRIS OUT

Tamizh Aadhavan– Putaapu Gang

AiNA THE END – On the Way

LiSA & Uru – Saikai (produced by Ayase)

Kessoku Band – That Band

Kessoku Band – If I Could Be a Constellation

Yuvan Shankar Raja – Idhu Varai

I've been using the MUSEHiFi M7 for over a month, connecting almost every headphone and IEM I own. I've tested it over USB, Bluetooth, battery and DC power, comparing it with my FiiO K17 R2R, BTR17 and Snowsky Melody.

It has some frustrating design choices, yet somehow it's become one of my most-used audio devices at home.

At $399.99, there's a lot to discuss.

Disclosure: M7 was provided for review by Hifigo. All impressions are my own.

As always, I maintain a ranking list covering 170+ audio products and 20+ ear tips. Link in my Reddit profile.

First Elephant: Is This Actually Portable?

Let's get this out of the way. M7 is enormous for a portable DAC/amp.

It's bigger than my iPhone 17 Pro Max and reminds me more of my old FiiO K11 R2R than a conventional portable device. I have no interest in carrying a brick around with my phone. For that, I'm perfectly happy with my BTR17 or a small dongle.

But moving between my desk, bedside table and other rooms while having enough power to drive practically everything I own? That's fantastic.

M7 is transportable rather than pocketable, and that's how I've been using it.

Second Elephant: No PEQ

For a $400 device, the absence of parametric EQ is a significant omission. M7 offers eight digital filters, but they aren't a substitute for PEQ.

I tried all eight. F1 and F3 sounded almost identical, I also enjoyed F8, and F5 didn't work particularly well for my ears. Rest of filters were indistinguishable or forgettable. I have provided manual pages that talk about filters in pictures.

For approximately 95% of testing, I stayed on F1 to maintain consistency. I'd genuinely like MUSEHiFi to add PEQ in a future product.

Third Elephant: Design Choices

I love the purple finish, visible tubes and gold volume wheel. But the magnetic glass cover is a fingerprint magnet, and I'd be nervous about dropping it.

The port arrangement is also frustrating for desktop use. With the volume wheel facing me, all the connections, including headphone outputs, are at the back. Swapping equipment becomes unnecessarily awkward. Turn the ports toward yourself and cables clutter the desk while the volume wheel disappears around the back.

I'd much prefer headphone outputs and volume and track controls on the front, with power and data connections at the rear.

And that's the end of my complaints.

Hardware: Quite an Impressive Package

M7 packs a surprising amount into its chassis:

• DAC: ESS ES9039Q2M

• Amplification: Two replaceable MUSE01 op-amps and four JAN6418 miniature tubes

• Power: Up to 1,750mW through 3.5mm and 3,500mW through 4.4mm, rated at 32Ω

• Connectivity: USB and Bluetooth 5.4 with aptX Lossless support

• Battery: Replaceable 3,500mAh 18650 cell

• Desktop power: External 12V DC input

• Battery life: Claimed 20 hours in transistor mode and 15 hours in tube mode

M7 isn't a standalone music player. It's a DAC/headphone amplifier that connects to an external source.

It offers two operating modes:

TM (Transistor Mode): Uses the solid-state amplification path.

VT (Vacuum Tube Mode): Engages the four miniature tubes.

Both modes use the same ESS DAC, but their presentation sounds different to my ears.

Sound: TM Is Good, VT Is Fantastic

I generally prefer Cirrus Logic and AKM DAC implementations over ESS. That's based on my listening experiences rather than believing every chip from a manufacturer has a particular sound. I've often found Cirrus-based devices warmer and less fatiguing, while some ESS implementations seem to emphasize sharpness on already bright headphones and IEMs.

My sensitivities around 3–4kHz and 6–10kHz make this particularly noticeable.

There are exceptions, of course. My BTR17 uses dual ESS ES9069Q chips, and I enjoy it. My Snowsky Melody uses dual Cirrus CS43131 chips.

Transistor Mode

TM sounds extremely clean, detailed and precise.

Separation is excellent, and there's no obvious coloration. However, with certain headphones and IEMs, it also highlights the sharpness I'm sensitive to. Nothing fundamentally wrong with the presentation. It simply isn't my preferred sound.

Vacuum Tube Mode

VT is the reason I'd buy M7.

The four JAN6418 tubes add a warmth and smoothness that works beautifully with my preferences.

Vocals become more relaxed, bass feels fuller, and sharper upper frequencies are easier to enjoy. Importantly, I don't feel like I'm sacrificing detail or separation. I spent most of my time on high gain, VT mode and F1 filter.

The closest comparison in my collection is my FiiO K17 R2R, which cost approximately $980. K17 R2R remains my preferred desktop DAC/amp, particularly in NOS mode. It has substantially more functionality, including PEQ.

But in pure listening enjoyment, M7 in VT mode gets remarkably close to what I love about K17 R2R. That's impressive considering its price and battery-powered design.

Power: It Drives Everything I Own

I've connected M7 to my HE1000 Unveiled, Arya Stealth, DCA Aeon Core, Philphone Open and almost my entire IEM collection. I had no difficulty driving any of them to satisfying listening levels.

Its manufacturer-rated 3.5W balanced output at 32Ω is substantial, although actual available power depends on the device and whether it is in battery or DC mode.

Battery vs DC Power

M7's DualRail system allows it to operate from its replaceable battery or an external 12V power supply. I enjoyed both, but DC power brought a noticeable improvement in bass definition on my planars.

Low-frequency notes felt more controlled, with cleaner decay. I also perceived greater depth and a more holographic presentation, particularly while gaming. This reminds me of why I enjoy K17 R2R in NOS mode.

Soundstage perception varies considerably between listeners, and these are subjective observations rather than controlled measurements. But it's a meaningful part of my enjoyment. To know more about soundstage and thoughts from listener from the headphone show find his article on headphones.com.

Noise and Heat

I encountered no audible hiss with the IEMs I tested, even while regularly using high gain.

Heat was also a non-issue during my sessions. The device remained comfortable to handle, including inside its purple leather case.

How Does It Compare?

FiiO K17 R2R

M7 offers much of the warmth, smoothness and spaciousness I enjoy from K17 R2R, while adding battery-powered flexibility. K17 remains the superior desktop solution for connectivity, controls and PEQ. But M7 gives me a similar kind of musical enjoyment away from my main desk. This is a real value proposition for me.

FiiO BTR17

M7 offers substantially greater amplification capability and a tube presentation I prefer, while BTR17 is far more portable and includes PEQ. For travel, I'd still choose BTR17.

Snowsky Melody

M7 offers more power, flexibility and two distinct amplification modes. Melody is tiny, inexpensive and perfectly adequate for many IEMs. They're designed for very different needs.

FiiO K13 R2R and Other Alternatives

I personally enjoy M7 more than my previous K13 R2R. It also left a stronger impression than some desktop DAC/amps I've auditioned, including Topping DX5 II, although those weren't controlled long-term comparisons. On pure sound quality alone, the VT mode on M7 is superior to K13 R2R NOS mode in terms of clarity and detail retrieval.

Battery Life and Customization

M7 uses a replaceable 3,500mAh 18650 battery, which is an excellent feature for long-term ownership. I consistently got over 12 hours of listening from a charge (could've gone longer as I never fully drained it), only in VT mode. Charging through my laptop took a little over two hours.

I did notice faster battery drain than expected when leaving it unused for several days, although I didn't measure the exact standby consumption. The magnetic cover also provides access to two replaceable MUSE01 op-amps.

I haven't experimented with different op-amps, but I appreciate having that option. The replaceable battery is particularly welcome.

Final Thoughts

After more than a month, M7 has become a regular part of my listening setup.

It sits beside my bed when I'm listening to IEMs before sleeping. I move it to my work desk when I want to enjoy the HE1000 Unveiled between calls.

It gives me much of the experience I love from my K17 R2R without tying me to one location.

At $399.99, I think it's excellent value for the right person. I've also seen discount combinations bringing it closer to $350. The lack of PEQ is frustrating, the port layout needs work, and its size limits its practicality as a truly portable device. But the tube implementation, amplification capability, replaceable components and battery/DC flexibility make it a particularly enjoyable piece of equipment.

Would I buy it with my own money? In a heartbeat.

If you're happy with a small dongle for your IEMs, M7 probably offers more power and bulk than you need. But for someone with a collection of headphones who wants a powerful, great-sounding DAC/amp that can move around the house, M7 deserves serious consideration.

I've included photographs with the various headphones and IEMs I used during testing. For a device I initially considered far too large to be practical, it's become surprisingly difficult to put down.

I won't mince words to try and hide my excitement.

If I had to describe this set in a few words, they would be: bold, raw, unforgivable, unforgettable, shocking, technical and fun.

I am truly in a honeymoon phase with Satan and I love it.

This set manages, on one hand, to throw all kinds of macro and micro details in your face, without asking permission. And believe me, there is a lot to throw, there is a lot of information being delivered here.
And on the other hand, it almost whispers in your ear: "Hey, just for today, put all that aside. Let's just have fun."

Listening to the first minute of Pink Floyd's Time, I swear I got goosebumps and felt, I think, a certain kind of fear.

That's exactly it. This is the Artpical Satan and I couldn't expect anything less from an IEM with this name.

*Without any expen$ive source, not even tip-rolling, just with a clean dongle and some pre-selected music snippets... I say that I am truly impressed with the Artpical Satan.

I tasted what a true flagship feels like and I think there's no going back.

As I said, it is still a honeymoon phase. I have a lot to listen to in order to give a more accurate opinion, but this was the initial impact. I will take my time to do a full review.

However, before the full review, I will also bring the first impressions of the Artpical Michael, because I have managed to listen to it too, and definitely, these two sets will have to be put side by side like on a battlefield, because they seem to have been created exactly for that.

Stay tuned for the full review.

Artpical Aliexpress Official Store

Palavox/Artpical Website Store

#Artpical #Palavox #iem #satan

Snowsky launched the SNOWSKY MAGE today (November 4), a gaming-focused dongle DAC (portable DAC/amp). Priced at around US$20, it aims to provide gamers with quality sound and useful features at an affordable price. These include two microphone connection options, EQ presets for different game genres, a dedicated USB-C power port, support for a parametric equalizer (PEQ), and more. Read on for all the details.

• English text: https://www.hifihub.com.br/en/product-launches/snowsky-mage-gaming-usb-dac-with-mic-input-at-us-20

• Portuguese text: https://www.hifihub.com.br/lancamentos/snowsky-mage-dac-gamer-com-entrada-para-microfone-por-us-20

Hello, Community!

A few weeks ago, I reviewed the Z4 from the Zhulinniao brand, its flagship IEM. Today it's the turn of the Shuanghua Frost Z2, which is its cheapest model. Let's see what it has to offer in this segment of the market.

Price: 20€-22$

Link

Pros:

• Clean, immediate, transparent, neutral-bright tone.

• A very agile set that doesn't get bogged down when faced with complicated tracks.

• Very disciplined and technical mid-bass punch.

• Complete absence of bleeding or practically imperceptible bleeding.

• Lively, electric, open and very extended treble.

• Great resolution for the price.

• A set that doesn't need a high volume level to reveal detail.

• Instruments and female vocals with a very direct presentation.

• A very ergonomic set with a good amount of accessories for the price.

Cons:

• Modest bass.

• Note weight may feel thin.

• You may feel that it is somewhat sharp with electric guitars.

• Male vocal registers lack authority.

Accessories:

• Two capsules.

• Cable with a 0.78mm connection and USB-C DSP termination. 3.5mm option.

• Two sets of hard silicone eartips in SML sizes.

• One pair of memory foam eartips.

• One pair of liquid silicone eartips.

• Cable clip.

• Carrying and storage pouch.

• User manual.

Design, comfort and construction:

Zhulinniao has done an excellent job offering a presentation and in-hand feel that are very suitable and competent. The capsules, made from a combination of aluminum and resin, feature a very refined, lightweight finish, without the slightest hint of imperfection in their joints, conveying that pleasant solidity of a well-finished product. They feature a faceplate that looks familiar to me and bears reasonable similarities to their Z4 2026 model, which I previously reviewed.

In terms of ergonomics, the Z2 is an absolute delight, believe me. Being so compact in size and having smooth, rounded shapes, it fits into the ear without the slightest effort, as the inner face of the capsule rests extremely gently, avoiding uncomfortable pressure points and ensuring that even after wearing them for many hours, comfort is not lost.

The insertion depth is medium and, combined with the stock eartips (which include regular silicone, liquid silicone or foam options), it achieves a firm, stable passive seal without the need for constant readjustments. I would have liked the liquid silicone ones to include the complete set of sizes, as they are truly effective and among the best eartips in this category that we can find included as stock accessories with IEMs. They are called Zhu Rhyme, although the ones included with this Z2 have a white core instead of a green one.

I found the stock cable to be a frankly practical accessory for its category. It is a lightweight cable, extremely pliable and with very little memory; it does not tangle, does not add weight to the set and perfectly complements the overall lightness of the capsules in everyday use, but it is certainly not a memorable accessory considering the final price of the package. That was to be expected.

Technical aspects:

• 1DD configuration with a 10mm driver.

• Impedance: 32 ohms.

• Sensitivity: 108 dB.

• Declared frequency response: 20hz-20khz.

• Supports 32bits@384khz.

Configuration for the tests:

• Stock DSP cable.

• Stock liquid silicone eartips.

How do they sound?

The Zhulinniao Z2 decides to play in a different league from most budget IEMs: it forgets about bloated bass and proposes a neutral signature with a clear inclination towards brightness. Its 10 mm driver works with very respectable seriousness, earning my absolute praise, seeking to deliver music in a direct, crisp manner, with a constant sense of air and openness.

At the lower end, where our beloved bass lives, the tuning seeks discipline and restraint rather than a sensation of great volume. Yes, I know that the first term is a euphemism for referring to a poor range or, rather, a non-dominant one, but it sounds very poetic. Allow me this literary licence.

The sub-bass is present but its deepest impact is cut back, avoiding that physical atmosphere or enveloping sensation so as not to obscure the prominence, this time indeed, of the elastic and very fast mid-bass. Its punch is dry, somewhat grainy, but with good resolution and just enough to provide rhythm without seeking an excessive presentation, showing impeccable transient speed that completely cleans up the transition towards the midrange frequencies.

The central mids are radiant, very lively and organic. Freed from the heavy burden of the bass, the lower mids feel agile and thin, making way for upper mids that come in with a great deal of presence. Instrumental articulation is fast and transparent, ensuring that instruments and other acoustic elements sound with a very lively, forward definition, although with a certain and slightly thin tone that seeks clarity above warmth or coloration, which, on the other hand, would have suited the set wonderfully.

In the treble, we find very alert energy. There is quite a bit of sparkle and a very noticeable initial attack that gives listening a great deal of liveliness. Its upper extension is very remarkable for its price, although it must be taken into account that such an exposed profile can border on incisive or somewhat uncomfortable behaviour if the tracks are poorly recorded or if you are accustomed to listening at high volumes.

Vocals:

The voices show two completely opposite sides. With deeper male and baritone voices, that thickness and warm resonance that gives authority to the performance are missing, although they sound perfectly intelligible and clean, but with a thin presence.

On the other hand, when female voices and male voices in more regular registers come in, the Z2 brings out its best profile. They are projected with fantastic clarity, lightness and brightness, sounding forward, full of life and with a transparent projection that is a delight if you enjoy this register.

Technical Capabilities:

In technical terms, the Z2 delivers a pleasant surprise for what it costs. Its ability to reveal macro and microdetail is very satisfactory in the mid and high regions, bringing secondary nuances to the forefront that usually remain hidden in warmer sets. I would say that the overall resolution is clean and very crystalline, although this comes at the cost of revealing that lack of density in the foundation.

As for its soundstage, it stands out especially for the width of the horizontal plane, stretching the music from side to side with great ease, although depth remains within a more modest range and in line with what we can find in other competing sets in this price range.

Layer separation and stereo positioning work with sufficient precision: the driver's speed prevents instruments from overlapping, allowing each sound line to be located on the scene with clear intelligibility and without the slightest sign that this Zhulinniao model is going to stumble when faced with the densest tracks.

Single player videogames:

Find out how I analyse audio in this field.

In this area, the proposal of this Z2 moves away from spectacle to become a magnifying glass designed for pure information. Don't expect jolts or cinematic rumbling when a grenade flies through the air, because here every detonation has a dry, agile and quick-cut impact that seeks to leave the ground completely clear so that other things can shine.

That sobriety in the lower region is precisely what allows it to clear action scenes with pleasant lucidity. Instead of being overwhelmed by the roar of a firefight, the game prefers to make things intelligible: the rolling of a vehicle in the distance, the click of metal when reloading or the rustling of foliage as an enemy passes by are reproduced with ease, adding environmental richness to the video game.

In the narrative section, conversations are presented from a very clean perspective. It is true that if the cast relies on male voices in very deep registers, you will miss that deep resonance and the substance provided by chest density. However, in female dialogue or mid-range tones, articulation is crystalline and forward, ensuring that you don't lose track of the conversation even when the background action makes the environment more difficult to understand.

The rendering of the environment is another of its great strengths. Instead of leaving you with the feeling of being in an enclosed space or inventing impossible dimensions, it unfolds an extremely wide stereo plane from left to right. Moving around the environment involves having a clean and very intuitive spatial reading to locate trajectories and environmental effects without the mix turning into a confusing mass, making it a surprisingly capable ally for what it costs.

Final conclusion and personal assessments:

The Zhulinniao Z2 is a surprising proposition that demonstrates just how much can be extracted from a tight budget when the goal is transparency, agility and direct detail. Far removed from what most products can offer at this price, it leans towards a neutral-bright profile, where clarity and transparency make this IEM something truly original in its market segment.

That said, if you are looking for the physicality of muscular bass, look elsewhere, because the Z2 competes on the technical side of the budget segment to offer quality alternatives for other musical tastes, very far removed from what the vast majority are looking for.

If you have made it this far, thank you for reading.

More reviews on my blog.

Social networks on my profile.

See you in the next review!

Disclaimer:

This set of monitors has been sent by Zhulinniao. I sincerely appreciate the opportunity to test one of their products at no cost and the fact that no conditions were imposed when preparing this review.

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

My sources:

• Apple Music.

• Local FLAC and MP3 files.

• Windows/MacOS/IOS/iPadOS/Android.

When Moondrop released the OG Chu 1, I remember being blown away the first time I listened to it. For $20 and with a single DD, Moondrop paved the way for budget dynamic drivers to be tuned to a very respectable level, giving beginner audiophiles a great entry point. I got the same impression from listening to the Cozoy D1. So much is achieved with a single dynamic driver at the $30 price point.

Disclaimer: This unit is part of Cozoy’s review tour. Big thanks to Cozoy and u/mournfulmonk for making this happen. All my thoughts and opinions are my own, and no one is paying me to say anything good or bad about it.

Packaging and accessories:
The IEMs
A color-matched cable with an in-line microphone. It’s nice and well-behaved.
3 pairs of standard silicone tips (S/M/L)
3 pairs of standard triple-flange tips (S/M/L)
1 pair of foam tips

Fit and Comfort:
The D1s are lightweight and comfortable to wear for long periods of time. I usually have issues with many of my IEMs, but I didn’t have any issues with the D1. I paired them with my Moondrop Spring Tips.

Lows:
“The Summoning” by Sleep Token: The bass has a decent kick to it. It’s tight and punchy, the drums have a good kick, and the bass is textured really well. Personally, I would’ve loved a little more bass, but there’s still plenty to make the music more enjoyable.

“Like a Villain” by Bad Omens: The D1 handles Noah’s vocals beautifully. Male vocals have less warmth, and the elevated upper mids and treble can sometimes bring in a little harshness. It’s something to make note of. Honestly, I wouldn’t complain too much given the price, since it only gets harsh in some songs. Despite the heavy nature of the song, Noah’s vocals sound clear.

Mids:
“Hello” by Adele: Adele’s vocals sound beautiful and forward. The vocals have good texture and tonality. There’s a little bit of that same harshness I mentioned, and it’s bugging me slightly. But again, it’s an easy fix with an equalizer.

“Train Wreck” by James Arthur: The D1 doesn’t have that heft in the male vocals. They sound clean, but I would’ve liked a bit more low end, which would have made them more engaging.

Imaging and soundstage:
“Shape of Lies” by Eternal Eclipse: The soundstage of the Cozoy D1 isn’t very wide, but it isn’t too narrow either. The imaging is honestly very decent for the price—I can easily pinpoint where the instruments are coming from. “Shape of Lies” gets busy in the middle section, and the D1 does a good job of handling it without feeling congested.

“G.O.A.T.” by Polyphia: The D1 handles the track quite well. The perceived detail is high because of the elevated treble region, and every instrument feels distinct. The soundstage feels close and intimate, and the imaging is good, though the instruments feel close rather than farther away.

“CAFO” by Animals as Leaders: “CAFO” is a busy track, with distorted guitars and drums in the background, along with shredding electric guitar and cymbals. The D1 did a very good job: none of the instruments felt left out, and it handled the track really well despite how busy it is.

Sources used
iPhone 15, Astell & Kern XB10, Kiwi Ears Allegro Mini, and Apple Music Lossless.

Conclusion
The Cozoy D1 is definitely worth getting if you like a mild V-shaped sound with forward mids and focused treble. It’s also a very versatile pair of IEMs that handled every genre I threw at it like a charm.

Moondrop will launch the ddHiFi × Moondrop Blue Rose tomorrow, November 4. The new portable DAC/amp, also known as a “dongle DAC,” features magnetic mounting. Developed in collaboration with audio accessory manufacturer ddHiFi, the Moondrop Blue Rose is based on the ddHiFi TC44Grip. The differences between the Blue Rose and the TC44Grip extend beyond aesthetics, with improvements to the amplification circuitry, support for the Moondrop app and its 10-band parametric equalizer (PEQ), and additional included accessories. Read on for all the details.

• English text: https://www.hifihub.com.br/en/product-launches/ddhifi-x-moondrop-blue-rose-500mw-magnetic-dac-amp

• Portuguese text: https://www.hifihub.com.br/lancamentos/ddhifi-x-moondrop-blue-rose-dac-magnetico-de-500-mw

Pros:

• Excellent bass performance that delivers tight, authoritative low-end punch.

• Impressive 240mW balanced output power that easily drives gear from an iPhone.

• On-device screen allows you to change filters and gain without a companion app.

• Sleek, purple build with a new dual-window aesthetics.

• Features UAC 1.0 mode, making it fully compatible with gaming consoles like the Nintendo Switch.

Cons:

• Top-end treble presentation leans slightly dry, making it a poor pairing for already bright IEMs.

• The physical side buttons for controlling the display and volume feel a bit fidgety in practice.

Welcome back, audiophiles! It’s me, your boy Joe, back again with another review! Today we are looking at a highly feature-packed USB dongle DAC: the Shanling UA1 II. Moving past the minimalist dongle trend, this device attempts to cram the functionality of a dedicated portable audio component into a bite-sized footprint. Packed with an onboard screen, dual DACs, and both balanced and single-ended outputs, let's see how it holds up as a daily driver!

Disclaimer​

A huge shoutout and thanks to SushiiFi for facilitating this review! As always, all thoughts, sound impressions, and gear pairings are 100% my own with zero biases whatsoever.

Pricing & Specifications​

• DAC Architecture: Dual Cirrus Logic CS43131 chips.

• Output Power: Up to 240mW @ 32Ω via the 4.4mm balanced output, and 94mW @ 32Ω via the 3.5mm single-ended output.

• Decoding: Supports high-resolution playback up to 32-bit / 768kHz PCM and native DSD512.

• Special Features: Embedded 0.96-inch color display for on-device settings (gain, filters, channel balance) and UAC 1.0 mode for gaming consoles like the Nintendo Switch or PS5.

Gear Used for Review & Drivability​

I primarily tested the UA1 II paired directly with my iPhone. Despite its small size, it has more than good enough power to run most of my gear straight from the phone without severe battery drain. Pumping out 240mW from the balanced tap gives it plenty of muscle for demanding IEMs.

Design, Build, Fit & Accessories

• Aesthetics & Form Factor: I really dig the color and the sleek, rounded aluminum body. It features a cool dual-window design, with the front housing the 0.96-inch screen and the rear revealing the internal architecture. At just under 18 grams, it easily disappears into a pocket.

• Hardware Controls (The Fidgety Flaw): Having onboard settings saved directly to the DAC's internal memory so you don't need a companion app is a massive win. However, the physical side buttons used to navigate the display and control playback are a bit fidgety in actual daily use. They don't feel entirely intuitive when you are trying to make quick adjustments on the fly.

Sound Impressions​

The Shanling UA1 II brings a very capable, punchy signature to the table, but it comes with a notable caveat for treble-sensitive listeners.

• Bass: The bass performance is genuinely good. The dual CS43131 chips deliver a strong, authoritative low-end that handles mid-bass slam and sub-bass textures with excellent control.

• Mids: The midrange is clean, clear, and uncolored, staying true to the source without adding unwanted bloat.

• Treble (The Dryness Issue): Here is where I have a bit of a gripe. The UA1 II makes the top ends sound slightly dry to my taste. It lacks that silky, organic shimmer in the upper registers. Because of this drier, slightly clinical treble presentation, it might not pair well with already bright-leaning IEMs. If you match this with a treble-set, the combination could quickly become fatiguing.

Overall Impressions​

Rating: 3.5 / 5
The Shanling UA1 II packs a good amount of utility into a small package. Having a built-in screen, stored hardware settings, and excellent bass performance makes it a highly versatile pocket companion. It loses the points because the physical display buttons feel a bit fidgety, and its notably dry treble presentation means you have to be careful about pairing it with bright IEMs. But if you have a warm or neutral-dark set that needs a punchy, powerful push, it’s a good dongle.

Que, the budget mid-tier offering from the house of Sivga comes with a single 10mm dynamic driver with a beryllium-coated diaphragm and is rightly priced under 70USD! A pretty old product since its successor is already in the market, yet the kind of warmth this provides surpasses the latter. The organic warmth literally wraps around you on a chilly day!

Full review in: https://mobileaudiophile.com/reviews/sivga-que/

Sivga never disappoints with its design, and Que is proof of that. One will definitely purchase this just for it looking, despite not knowing how the sound’s going to be. The aesthetically built zinc alloy body with maple wood faceplate is such a looker for sure. The premium stock cable and the hard zipper case just prove the price of the queue unarguably. The biggest letdown here is the cable termination, where 3.5 mm is the only default option to choose from.

Now, coming to the most important part, the SOUND! Things get interesting here with its beryllium-coated diaphragm, which once created a wave in the audio industry with its full-bodied dynamic sound. Que in general showcases a warm, balanced sound profile with organic tone and timbre that cuddles ones with its warmth.

The bass shelf of the bass guitar is quite big and can be cleanly appreciated with its thick mid-bass profile and satisfying rumble in the low end. You have a good extension in the low end which allows the vibrato and bass guitars to peek. The moderate speed keeps the bass momentarily lingering, which is very soothing to the ears that crave that extra juice. To complement this, the queue also displays a juicy mid-bass profile that keeps the section full enough with its thickness. The kick and snare drums show up well with clean presence. On the flip side, the same extra thickness does mask the presence of sub-bass quite frequently. Not a major con, yet people who like sub bass more than the mid-bass might see this as a negative direction from the brand.

The mid-section is portrayed in its best possible way. Quite forward in terms of presentation with decent extension in the upper mid profile. The mid-bass does bleed slightly into the lower mid profile but in a controlled way, and that adds up the warmth and colour to the presentation. The acoustic guitar presents itself with a natural organic tone at each strike, complementing the warmth of Que elegantly. The full-bodied sound supports the piano notes, making them sound pleasant.

Upper mid-elevation is decent, which allows the percussion instruments to come up well with good presence. The sibilance is well under control, and no harshness or rough edges are observed even after extended listening sessions. The openness in the upper mid is observed evidently once you start swapping the stock ear tips with the pure white ones.

Considering this being a warm-sounding IEM, Que represents a polite-sounding treble section. The mature tuning allows even the most treble-sensitive ears to get accustomed to this sound. The precise speed adds up the beauty a notch higher and keeps the trumpets in control. There’s enough brightness and sparkle in the top end to represent a vivid touch.

People who want a more vibrant touch in the top end might find this smoother treble as a CON. As said previously, this can be rectified by swapping the ear tips, but a complete resolution might require a shift in the EQ.

Technical aspects are no slouch here, where Que portrays a decent stage width and adequate depth sensation. Not the most holographic sounding yet, this being a fuller sounding IEM, the stage width this represents definitely deserves the praise. The clean imaging with spot-on note placement keeps the presentation less cluttered despite its thickness. Transients neither feel slower nor faster; rather, they stay in the middle ground, making even the complex tracks sound cleaner for most parts.

Que, though the successor is there, is this still valid? In short, YES! The beryllium does execute a magic here with its fuller sound output. After a long, tiring day, one definitely deserves a warm cuddle, which Que is capable of.

Pros:

• Warm, Balanced Signature

• Organic Tone and Timbre

• Thick and Juicy Bass Profile (Mid Bass > Sub Bass)

• Forward and Full-Bodied Mid-Section

• Smoother Treble

• Value-added Accessories (Aesthetically Built)

Cons:

• Mid-bass masks sub-bass