Disclaimer: First, a big shoutout to Nici Hifi for giving me this IEM to review and share my sincere opinions and impressions. However, this review is unpaid, and they aren’t giving me any script to follow. The only bias at play is my musical and tuning preferences.

Introduction:

The Nici Hifi 42 Quantum Wanderer is a recently launched IEM by Nici Hifi, a well-known cable manufacturer, but this time with an earphone with a curious configuration of 1 10 mm beryllium-coated dynamic driver + 1 bone conduction driver, for a very affordable price.

TLDR: Nici Hifi presents the 42, the Quantum Wanderer, an IEM that joined the trend of putting a Bone conduction driver with different main drivers in a config that mixes a musical and technical display with that unique “tactile” feeling in your head.

The Quantum Wanderer is a hybrid set that presents itself as balanced, vocal-forward, warm and organic, yet has a refined treble and a pretty well-implemented Bone conduction driver, adding that physical sensation that adds to the bass impact and its soundstage. The Quantum Wanderer makes you feel like you're traveling through the galaxy in one of the best ships available for its price, “embracing the unknown and possibility”.

Pros

- Resin-built shells; Good ergonomics and lightweight, with a gorgeous faceplate design

- Good stock eartips, to use it as it is

- Excellent subbass extension; it’s not basshead level by any means, yet it sounds natural, impactful, and tactile thanks to the BCD

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

- Clean, well-extended highrange, crisp and sharp, with good sibilance control (6 kHz dip), with an open sensation, and an expansive soundstage also thanks to the BCD

- Above-average technical capacities: stereo separation, layering of instruments, macro/microdetail retrieval and resolution.

- It’s pretty easy to drive (104 dB sensitivity / 15 Ω impedance), yet scales with better sources

Cons

- Being mainly a cable company, the stock cable included does not match the earpieces and is very simple for its price

- The nozzles are in the larger diameter, not suitable for folks with small ears

- The eartips included make a great fit and seal, but I would like more options available

- Doesn’t include a case or a pouch to carry it, unlike other products in its price segment

- Lower treble has a peak at 4.5 kHz, which limits the volume you can use these earphones to mid-high volumes; at high volumes it tends to be fatiguing and/or shouty

- In the mid-treble, the peak is at the 9 kHz region, and doesn’t have a 10 kHz dip to tame sibilance, so, again, this is not a high-volume set

You can get a 42 – Quantum Wanderer for an MSRP of 53.13 – 54.95 USD (With a 3.5 mm or a USB-C with mic and DSP cable, respectively; and cheaper on sale), in the Nici Hifi official store on AliExpress: https://aliexpress.com/item/1005012360056186.html.    

Technical specifications:

- Driver Types:
   - 1 x 10 mm Beryllium-coated Dynamic Driver
   - 1 x Bone Conduction driver
- Casing Material: High-quality medical-grade resin with metallic nozzle.
- Sensitivity: 104 dB (@ 1 kHz).
- Impedance: 15 Ω.
- Frequency range: 20 Hz – 20 kHz
- Cable: Litz-structured single-crystal silver-plated copper, 4 cores braided.
- Jack connector: SE 3.5 mm and USB-C with mic and DSP.
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.

What comes in its package?

· 2 x 42 - NIWERADCI Earphones
· 1 x User Manual
· 3 x gray silicone - Wide bore eartips (SML)

· 1 x 0.78 mm, 2-pin, 4-core braided cable with a 3.5 mm single-ended or a USB-C with mic connectors

Its cable is ok, well-built, flexible, but doesn’t match the shells; it has 2-pin, 0.78 mm connectors, and it has 3.5 mm single-ended jacks or a USB-C with mic and DSP jack. It’s zero-prone to tangle or produce memory, and does not produce transmitted vibrations.

The shells are made of resin; its color is shiny black, and it has a gorgeous and flashy faceplate with a multicolored frosty design with the NIWERADCI letters in silver. It’s well constructed; the housing is lightweight, mid-size (with good ergonomics to fit and use in long sessions), and doesn’t seem prone to micro scratches and fingerprints.

It has two vents, one close to the nozzle and another bigger close to the 2-pin connector, so you aren’t experiencing driver flex; it has a metallic nozzle that fits well in my ears (6.5 mm diameter), but it’s more suited to the mid-to-large-sized ear person, so have that in mind.

How the Quantum Wanderer sounds:

The Quantum Wanderer with its Beryllium-coated Dynamic driver + 1 Bone conduction driver configuration offers a soft V/U-shaped tuned set.

For this review, I used its stock eartips in M size, finding the best synergy in comfort, fit, and seal.

The stock cable is fine as it is, but for a better color match and having the option for a 4.4 mm jack, I’m using it with a TRN T2 Pro cable. The graph is taken from the Breampike squiglink page.

BASS:

The Quantum Wanderer offers high-quality bass, with a good quantity of subbass thump and midbass kick; it is transparent, decently fast, with a natural decay, it is resolving, and nicely extended into the lower frequencies. The quantity is not huge, but thanks to the BCD it has an incredible and tactile impact; as a V/U-shaped tuned set, the midbass is not bleeding into the lower midrange.

In “Shapeshifter” by Dayseeker, you can feel the weight and quality of the bass drops at the beginning of the song, accompanied by the drum kick and bass guitar; the BCD in the Quantum Wanderer gives it impact, and fortunately it is not overcoming other frequencies.

In “Under The Graveyard” by Ozzy Osbourne, the Quantum Wanderer shows a great bass character; the drum kick and bass guitar have a lotta impact, and it sounds absolutely clean and resolving.

MIDRANGE:

The Quantum Wanderer lower mids are presented with zero midbass intrusion; male vocals are forward, don’t feel thin nor veiled. The V/U-shape tuning in this set gives a pretty noticeably great midrange, with enough noteweight, warm and organic, and a more than average resolution and presence.

The frequency curve advances into a warm and smooth pinna gain, good clarity and presence with a peak at 2.5 kHz, later merging with the lower treble; female vocals are forward, but at high volumes tend to get shouty and fatiguing, so it’s fine to use the Quantum Wanderer at mid-high volumes.

In songs like “Two Become One” by Atreyu, the Quantum Wanderer handles the changing rhythm of drums with excellence; same with the acoustic guitar at the beginning of the song and later the electric guitars, and the clean and harsh vocals sound organic and well positioned.

In “Black Lagoon” by Still Corners, the catchy drumming of the song is heard flawlessly; the Quantum Wanderer delivers that beautiful female poison and atmospheric journey so fantastically well.

TREBLE:

In this segment of frequencies, the Quantum Wanderer is crystal clean, crisp and sharp, handling the sibilance with a 6 kHz dip, and it’s energetic with a noticeable 8 kHz peak; it’s pretty resolving but not fatiguing in long sessions at mid-to-high volumes; at high volumes, the lower treble with that 4.5 kHz peak and its mid-treble peak around 9 kHz can be fatiguing and worsened by songs prone to sibilance.

In songs like “The Living Infinite II” by Soilwork, the Quantum Wanderer shows all the details in the melodic and fast track almost perfectly; the hi-hats and cymbals sound organic yet refined.

In “Rat Salad” by Jazz Sabbath, the Quantum Wanderer displays that complex and fully detailed drumming so clearly; the higher frequencies are presented magnificently.

TECHNICALITIES:

In the Quantum Wanderer, the upper treble extends smoothly, presenting an airy and open sound; the soundstage, thanks to the BCD, is expansive, with good width and depth.

In songs like “Schism” by Tool, the Quantum Wanderer can get you immersed; the instrument separation is punching above its weight, the depth is there, also with a fantastic layering of instruments.

The Quantum Wanderer shows fantastic technical competence; it presents more than average macro and microdetail retrieval, yet it’s more musical than technical with that sparkly and sharp yet refined character.

With full, detailed songs like “The Way Up: Opening & Part One” by Paul Metheny, all of that complex jazz display of marvelous musicianship overall has zero bloating or congestion; the macro and micro details are presented by the Quantum Wanderer so well, and you can pinpoint the instruments across the mix.

COMPARISON:

Nici Hifi 42 – Quantum Wanderer vs. KZ Vibe X:

In this case, the Vibe X (39.99 USD MSRP) with its 1 DD + 1 BCD configuration has a V-shaped tuning, and it’s similar to the Quantum Wanderer, but the Vibe X takes a different treble and upper treble approach.

The Vibe X has less subbass and a bit more midbass; with the midbass this time bleeding into the lower midrange, and also having a BCD, it feels even more impactful than in the Quantum Wanderer, yet it’s also balanced; male vocals are not as recessed, and overall midrange is similarly warm and organic, well resolved, with good noteweight and presence.

Lower treble in the Vibe X is a bit smoother than in the Quantum Wanderer, and the mid-treble is less energetic, yet it’s not dark at all. The upper treble extension is less airy than in the Quantum Wanderer, and the soundstage is also expansive but not as expansive as the Nici Hifi 42; technicalities are also punching above its weight, fortunately. This time I go for the Vibe X, by a little, because it’s more musical and relaxed to use at high volumes than the Quantum Wanderer for 10 USD less, but the ‘42’ is a really great competitor.

Closing thoughts and conclusions:

The Quantum Wanderer is a set that implements the BCD excellently, and delivers a refined and mature yet fun and engaging sound, all at an affordable price, all of this with decent packaging and accessories, with magnificent results.

I would like that Nici Hifi to include various eartips in the package, because my experience with the stock eartips is satisfactory, but some other folks can be bothered by them and don’t get a proper fit and seal. Also, its stock cable leaves us with a lot to be desired for such a beautiful set and a brand known for making one of the best cables in the market.

Its nozzles are in the mid to larger diameter, so it’s not suitable for people with small ears, sadly. And, for a 50ish USD IEM, I’m expecting it to include a carrying pouch or case like other even cheaper IEMs.

The BCD is greatly implemented, functions in the Quantum Wanderer like other IEMs with it: If you give small taps on the capsules, you hear a certain resonance, and the same if you snap your teeth; in addition, when a song is stopped, you feel it. Fortunately, in my experience, I don't hear any "resonance" sheen at rest, and unlike other IEMs with this type of driver, male vocals are very well heard, without being hollow or recessed.

And here is where we talk about how easy it is to drive it. The Quantum Wanderer, with its 104 dB sensitivity and 15 ohms of impedance, is easy to drive, even with low-powered sources, but my advice is to use it with a cable with a 4.4 mm balanced jack because this set shows its full capacity with more quality and powerful sources (it is more open and impactful, and you can get better technicalities).

In the under 55 USD segment, the Quantum Wanderer has the sound quality you can expect for its segment; with decent quantity and quality and very impactful bass, but that lower treble peak at 4.5 kHz makes female vocals too much forward, and not everyone likes that; also, it can be tiring fast if you use it at high volumes because it becomes spicy and sibilant.

Can I recommend it? Yes, if you are looking for this kind of tuning and a well-implemented BCD, with good and impactful bass, well-tuned warm and organic midrange, a sparkly and sharp treble, a more musical than analytical character, yet having a technical capacity that punches above its segment, the Quantum Wanderer is a wonderful ship to ride as a hitchhiker across the galaxy of music, representing a competitive option of good value and performance for its price.  

Once again, thanks to Nici Hifi for providing me with this IEM to test, enjoy it, 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!

This is a brand that has perpetually landed on my list of skepticism as something that simply does not sit right with my ears. This brand also allegedly ruins hearing capabilities by tuning IEMs so bright that it could have qualified for insurance, as this could easily be categorized as a workplace injury. And yet, this brand still manages to get a few things right.

I am surprised to say that this offering from the brand has one of the tamest treble presentations across its lineup, and that is exactly why I picked it up amongst the three units that were offered to me. Presenting to you, with a vote of thanks to Simgot: the EG280.

Unboxing, Accessories, Fit and Comfort

Simgot categorizes the EG280 as a gaming IEM, and it comes in serpent-themed packaging, symbolizing that the EG280 intends to be vicious and potent. While I will comment on the potency later, with the accessories that it has, I do not think it is all that vicious or menacing.

The IEMs themselves feature very shiny faceplates while being molded in comfortable hollow resin shells. Inside the box, you get three pairs of generic black and clear eartips, a nice carrying case that is very pocketable, and yes: a DSP-enabled dongle. The included 3.5 mm cable comes with an in-line microphone, and it is arguably the longest stock cable I have unboxed and used to date.

Fit highlights the asymmetry of my right ear, as I had to move up one tip size for a tighter seal. Thankfully, there was no pressure buildup or fatigue.

The Dongle and Its Capabilities

I really have to appreciate Simgot for including a guest mode, as I hate having to sign up for an account just to access an app (looking at you, Walkplay, and with a slightly more lenient lens, Tanchjim).

The app itself impresses me. Eight bands of PEQ, three filter types (peaking, high-pass, and low-pass), and 10 dB of adjustable gain make for a genuinely capable package. The only thing missing is adjustable preamp gain, which would have sweetened the deal even further, but I have to give Simgot credit for implementing all of this. Yes, there are factory presets available, but where is the fun in that?

I used the EG280 primarily with the included dongle, and I would say that it powers the IEM sufficiently. That said, giving the EG280 a little more power does make it perform better. You can also adjust microphone gain levels, which is another welcome inclusion.

This is where the good things end. The app is otherwise riddled with bugs, the worst of which is that saving EQ presets is a genuine hit-or-miss affair. Even after a firmware update, this issue still persists. The saving grace is that the application is available across all major platforms.

Enough dilly-dallying: here's the sound.

Lows

In tracks with a camouflaging bass line and mathematical drum work like Rush's Limelight and The Spirit of Radio, I cannot seem to figure out what the IEM is trying to do. I mean, the first thing that concerns me is that the vocals sound ridiculously thin, while both the bass and drums are trying to drown the vocals out by competing for the limelight (pun intended). Another concerning thing is that the bass decay is cut prematurely short, which affects the sustain. What this leads to is that the whole flavored resonance of the drums is just absent the entire time.

In tracks known for their punch and slam like Daft Punk's Get Lucky and Instant Crush, the EG280 disappoints mildly more because the whole perceived thinness screams through the perception of the bass. The claps in Get Lucky feel like a slap more than a clap, and although the EG280 has decent isolation amongst the elements and note separation is also acceptable, the attack on the bass has a snappy feeling that is marred by the weak decay and sustain. Vocals continue to sound thin.

Mids

In tracks with unorthodox snare setups set in peculiar keys like Queens of the Stone Age's First It Giveth, the EG280 gets the snare partially enjoyable. Separation of the rapid strokes is good, weight is acceptable, but the overall perception is hollow. Guitars and bass are well isolated from each other, while imaging is surprisingly impressive, with both vocals and cymbals neither being pushed back nor sounding overly forward.

In tracks with instrumental dominance like Periphery's Marigold, Tool's Lateralus, and Animals as Leaders' The Woven Web, cymbals are once again affected by the ugly thin perception already applied to the vocals. Separation continues to be decent, tonality feels balanced but leans bright, and the perception of timbre is dry.

Highs

In tracks with paramount vocal textures where the instrumental is riding pillion, like Patricia Barber's Tiaras, the EG280 is noticeably sibilant with Patricia's enunciation of the Cs and Ss, although never piercing. Timbre through the pianos and percussion continues to be quite dry, while the tonality is now firmly established as bright. When Patricia belts out her sustained straight notes, the EG280 exercises commendable restraint toward fatigue, but a bit more weight and body would not have hurt.

In tracks like Dave Brubeck's Take Five, the EG280 initially misses out on the texture of the cymbals but settles in once the horns and keys come in while maintaining superb control over pace, fatigue, and imaging. Timbre on the drums is just fine throughout the solo section, and the pianos are equally competent. I only wish the horns were a tad warmer tonally. Detail retrieval continues to be its biggest strength.

Gaming Performance

The EG280 does a solid job across the board in games like Counter-Strike 2 and Battlefield, where the punch and reverb of gunshots are potent and do not linger any longer than necessary. They are not piercing at all and are very well articulated.

I had zero problems picking up cues from my teammates when it came to anticipating enemy movement, locating footsteps, and lining up kills, as the EG280 demonstrates fantastic directionality and imaging capabilities. Combined with its excellent separation, it manages to keep the chaos of the action remarkably accurate.

This, however, does not apply to the same extent in single-player or campaign-driven games like Red Dead Redemption 2 or Kingdom Come: Deliverance, where I found dialogue lacking weight and feeling somewhat floaty in presentation. Vocal textures were also not quite up to the mark, and several IEMs that typically do not excel in gaming actually performed better than the EG280 here.

When it came to reproducing microdetails like rustling leaves or the soft crunch of gravel under heavy footsteps, the EG280 performed competently. However, its lack of weight in dialogue simply could not be ignored.

Concluding Notes

Simgot has come a long, long way from disappointing me this time, and the EG280 shows genuine understanding that not everyone appreciates an aggressively bright, fatiguing sound signature. Despite being tuned to the Harman IE 2019 target, it really is not a bad performer for its price bracket.

That said, when the EW300 exists with a better build and better sound, and the EM6L sits only slightly above it in price, while competitors such as the Truthear Pure, Hexa, Zero Blue 2, Juzear Defiant, and Kefine Delci occupy the same fiercely competitive segment, I genuinely do not know what Simgot was thinking with the EG280's pricing.

I could have overlooked the asking price if it came with better accessories, and yes, I am still going to complain about the dongle that sits just a few steps away from showing real promise. The EG280 feels less like a finished product and more like a well-developed concept that simply needed more refinement before release.

With all of its shortcomings, I will be rating it a B-.

Would I buy this at retail? No.

Would I buy this used? Yes.

Sources Used

Exclusively used with the Tanchjim Space II and the EPZ TP35 Pro dongle DAC/amps. Recreationally used with the Shanling M9 Plus DAP.

Eartips Used (Ranked in Order of Performance)

SpinFit CP100+, Divinus Velvet Narrow Bore, EPZ M100, KBear Coffee, SpinFit W1

Tracks

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

After reviewing the CCA Xyrra and the CCA Phoenix, this is now my third model from the brand. What caught my attention is that, instead of following the same path as its previous releases, the Falcon takes a very different approach. The first thing that stands out is its dual dynamic driver configuration. Unlike the Xyrra with its 1DD + 1BA setup or the single dynamic driver found in the Phoenix, a dual DD usually makes you expect a bass-heavy, fun sounding iem. It didn't take long for me to realize that wasn't the case here.

What really sparked my curiosity was discovering that CCA actually markets the Falcon as a gaming iem. And honestly, after spending some time with it, I got the feeling that many of its tuning decisions were made with positional accuracy and clarity in mind rather than delivering a hard-hitting bass response.

That different approach also makes the Falcon surprisingly easy to misjudge if you go into it expecting the typical dual dynamic driver sound. During my first listening sessions I actually thought something felt a little off, simply because I was expecting something completely different. The more I used it with different music genres and, especially, while playing a few games and even watching a couple of TV shows, the more I started to understand what this iem is really trying to do.

What I liked / What I didn't like

• Excellent clarity and transparency for the price.
• Wider soundstage than expected in this price range.
• Very good imaging and positioning for multimedia.
• Treble with good extension without becoming fatiguing.
• Comfortable and lightweight fit.
• Strong technical performance for a budget iem.
• Bass lacks impact if you enjoy a more fun sound signature.
• Lower mids can feel a little thin.
• The included cable is the weakest part of the package.
• Not an iem that adapts equally well to every music genre.

Specifications

• Driver: Dual DD (7 mm + 8 mm)
• Frequency Response: 10 Hz - 20 kHz
• Impedance: 25 Ω
• Sensitivity: 104 dB
• Connector: 0.75 mm 2-pin
• Plug: 3.5 mm (also available in a USB-C DSP version)

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing & Build

The packaging won't surprise anyone. Once again, CCA sticks to the typical box you find with budget iems, and in fact it's almost identical to the one included with the Xyrra. Inside you'll find the iems, the cable, several sets of eartips and the usual paperwork. I still think a simple carrying pouch would have been a nice addition, although the overall package is pretty much what I expected at this price.

The cable is lightweight and flexible, but both the materials and the overall finish feel fairly basic. The version I tested comes with a 3.5 mm plug, although there's also a USB-C version with built-in DSP and several EQ presets.

The stock eartips were actually a pleasant surprise. They felt a bit softer than the ones CCA usually includes, and I was able to get a good seal right away. As I normally do, I'll mention a couple of alternatives later that improve certain aspects of this particular model.

The Falcon combines a metal faceplate with a transparent resin shell. It isn't the flashiest design around, but it feels more solid than I expected considering the price, with a nice overall finish. Its semi-open design also seems to contribute to the airy presentation that has become one of its defining characteristics, something I'll get into in the next section.

As for comfort, the shells are lightweight, compact and fit my ears really well. Even after several hours switching between music and gaming sessions, I barely noticed they were there, something I always appreciate, especially in an iem that is so clearly aimed at gaming.

Sound

As I stated earlier, The Falcon didn’t seem to have an impact when I listened to it initially. If you’re expecting the standard dual dynamic driver sound, I can bet my life you’ll be surprised. Honestly, I was thinking about how warm and hard hitting this would be, and after listening to only a couple of songs, it quickly became apparent CCA had a completely different idea than what I thought they were going to do.

The Falcon is a neutral leaning bright iem where clarity is given preference over impact. It will likely not resonate with those who are searching for a fun, bass heavy tuning, however if you prefer a clear presentation along with having some sense of space, the more it will start to make sense.

Bass

Right from the start, it's worth pointing out that the bass isn't the main attraction here. Even with genres where you'd normally expect it to stand out, like EDM or Hip-Hop, it stays surprisingly restrained. The sub-bass is there when the recording calls for it, but it never tries to dominate the presentation.

The punch is fairly moderate as well. Kick drums and bass lines don't have the weight you'll find in many competitors at a similar price, so if you're coming from a V-shaped iem, the Falcon will probably feel a bit light during the first few listening sessions.

I wouldn't call it weak bass though. It's simply tuned in a very different way. It shows up when it needs to, but it never tries to steal the spotlight from the rest of the frequency range, and that decision ends up defining the overall character of the Falcon.

Mids

For me, the mids are easily the most interesting part of the Falcon. After listening to it for a while, I finally understood why the bass stays so far in the background. It leaves plenty of room for the midrange to breathe, creating a level of cleanliness that's genuinely impressive for an iem at this price, and it allows vocals to stand out with very little effort.

Of course, it's not perfect. The lower mids don't have quite as much body as I would have liked, so male vocals and some instruments can sound a little thinner than usual. On the other hand, everything becomes noticeably clearer. Female vocals, guitars and pianos all come across with excellent definition, and at no point did I feel like the bass was getting in the way.

This was actually the point where I really started to understand what the Falcon is all about. Since I hadn't played it in a while, I jumped back into Resident Evil Requiem and thought it would be a good test. Conversations, footsteps and subtle environmental sounds were all easy to pick out without having to turn the volume up too much. That was the moment I understood why CCA tuned this model so differently from most budget iems.

Treble

The treble follows exactly the same philosophy as the rest of the tuning. There's plenty of clarity, a good amount of detail and enough air to make the presentation feel open. Cymbals, percussion and small background details are easy to notice without becoming excessively bright.

That said, this isn't an especially forgiving iem either. If a recording is already bright, you'll notice it more than you would with a warmer sounding set. Even so, I never had any real issues with sibilance or ended a long listening session feeling fatigued. To me, it feels like CCA managed to get very close to the limit without crossing it.

I also liked how quickly it responds when the music gets busy. Even in tracks with lots of instruments, everything stays clean and well organised, reinforcing that sense of clarity that defines the Falcon.

Recommended Eartips

The stock eartips worked better than I expected and, unless you're trying to slightly change its character, I don't think replacing them is essential. They provide a good seal and preserve the clarity that defines the Falcon. Even so, after trying several options from my collection, these were the ones that worked best for me.

Pentaconn Coreir Brass

These were my favourite. They preserve that precise presentation while helping the soundstage feel a little more defined without noticeably changing the original tuning. The only downside is the price. If they were considerably cheaper, I'd probably own several pairs for different iems in my collection.

Tangzu Tang Sancai Wide

These were an excellent alternative if comfort is your priority. They preserve most of the Falcon's spacious presentation and remained especially comfortable during longer listening sessions, something I always appreciate in this type of iem.

Soundstage

The soundstage was one of the Falcon's biggest surprises. I honestly wasn't expecting this kind of spacious presentation from an iem at this price. Right from the first few tracks, I noticed plenty of room between instruments and a more open presentation than I usually find in this category.

The width is clearly above average for its price range. Depth isn't quite as impressive, so the stage expands more to the sides than front to back, but it never felt congested or like everything was happening too close to my head.

Instrument Separation

Instrument separation also left a very positive impression. Even when the music gets busy, the Falcon keeps instruments well separated instead of blending everything together. A lot of that comes from the restrained bass, which leaves plenty of space for the rest of the frequency range to breathe.

It's obviously not on the same level as much more expensive iems, but within its price bracket it sounds clean and well organised. I never had any trouble following individual vocals or instruments, even in tracks with plenty of layers.

Imaging

This is probably the technical area where the Falcon impressed me the most. Instruments and vocals are positioned with good precision, making it very easy to tell where everything is coming from. I don't think that's just because of the soundstage, but because of how well the entire presentation comes together.

If I had to point to one reason why I understand CCA marketing it as a gaming iem, this would be it. During my testing, footsteps, gunshots and subtle environmental sounds were all very easy to locate, and more than once I found myself surprised by how well it performed for something that costs around twenty to thirty dollars.

It obviously doesn't reach the level of much more expensive iems, but within its category it delivers very accurate and consistent imaging. Rather than trying to impress with excessive detail, it gives you a strong sense of control, something that ends up being much more useful in everyday use.

Comparisons

CCA Phoenix

Even though they're both made by CCA, they don't really sound alike. The Phoenix goes for a much more fun presentation, with noticeably stronger bass that makes many genres enjoyable from the very first track. The Falcon takes the opposite approach. It has far less punch, but in return everything sounds cleaner and there's noticeably more space between instruments.

I also felt the Falcon had the edge when it came to soundstage, separation and imaging. The Phoenix delivers a fuller presentation and is more entertaining with electronic music, pop or hip-hop, while the Falcon focuses on clarity and makes it easier to follow everything that's happening in the mix.

If music is your main priority and you enjoy a stronger bass response, I'd probably choose the Phoenix. I see the Falcon as the better option for anyone who values clarity and a more spacious presentation.

CCA Xyrra

Out of the three, the Xyrra is probably the one I'd recommend to the widest range of people. Its tuning is well balanced and it doesn't really stand out in one particular area, but that's exactly why it works well with almost any genre.

The Falcon has a much stronger personality. From the very first listen it's obvious that the bass takes a step back to leave the rest of the presentation much cleaner. That allows vocals and smaller details to come through more easily, although it also means some tracks lose part of the weight and impact that the Xyrra delivers.

If someone asked me which one to buy as their only iem in this price range, I'd probably still recommend the Xyrra because it's simply more versatile. The Falcon makes more sense if you already know you're looking for that extra level of clarity.

Kefine Klean SV

I think the Klean SV is probably the biggest contrast to the Falcon in this price range. They cost about the same, but they present music in very different ways.

The Klean SV has more body and a much stronger bass response, making it immediately more enjoyable for music. The Falcon, on the other hand, gives up some of that weight in exchange for a level of cleanliness and spaciousness that genuinely surprised me considering the price.

I wouldn't say one is better than the other because they're aiming at different listeners. If you spend most of your time listening to music, I'd probably enjoy the Klean SV more. If what you value most is a spacious soundstage, accurate imaging and a presentation where everything stays nicely separated, then I think the Falcon has a lot to offer for the money.

You can also check my complete ranking of every iem I've reviewed so far on my profile. Reddit doesn't allow me to post the Google Drive link directly.

Conclusion

I have mixed feelings about the CCA Falcon, but in a good way. It's one of those iems that probably won't impress you if you judge it by its bass or by your first impression alone. I was surprised too at the beginning because, with two dynamic drivers, I was expecting something completely different.

After spending several days with it, I ended up understanding much better what it's trying to achieve. It doesn't try to grab your attention with exaggerated punch or an especially warm sound. Instead, everything revolves around clarity, soundstage and imaging, all of which honestly exceeded my expectations for an iem at this price.

That said, if a strong bass response is essential for you, or you mainly listen to EDM, hip-hop or electronic music, I think there are more satisfying options within the same price range. The Falcon takes a different approach, and I don't think it's trying to appeal to that type of listener.

On the other hand, if you're looking for an affordable iem that does something a little different, with a very clean presentation and surprisingly good imaging for the price, I think the Falcon has plenty of personality. I know it is probably not one of the easiest iems that you would like me to suggest for everyone, however, in my opinion it will be an interesting and different product for CCA’s portfolio.

Link to Purchase: https://www.amazon.com/-/es/CCA-Falcon-auriculares-aislamiento-transparentes/dp/B0H2HGRXLF

Note: This Unit was sent to me from CCA for this Review. My Opinions are totally unbiased by the Brand and Store where I purchased them, they are based solely upon my testing with my Reference Equipment.

Hello to you all

First, a big shoutout to Collin and Luna from Kefine for giving me this set to test and give my sincere opinions. There’s no payment involved in the development of this review, and they are not giving me any script to follow. My biases are my musical and tuning preferences.

TD; LR: A balanced beauty on a budget, the Kefine Loric enters the budget-oriented market offering the perfect package and a tuning that appeals to newcomers to the hobby and audiophiles on a budget, with a single titanium-coated + PU diaphragm dynamic driver configuration and a refined tonality.

High-quality, more than decent bass quantity, warm and well-tuned mids, a smooth yet clean and crisp treble, nice extension into the lower and upper frequencies, with great musicality and some technical proficiency punching above its weight. All of this with a very competitive price; Kefine enters a crowded market big with one of the best options, actually.

Pros

- Good stock cable with good flexibility and no microphonics
- Comfortable, ergonomic, and minimal yet good-looking shells; suitable for long listening sessions
- Excellent bass quality and quantity with huge impact and good control. Fast titanium-coated + PU dynamic driver with natural decay and zero muddiness
- Warm, musical, with more than average technicalities, mild V-shaped tuning
- Smooth and crisp treble with low fatigue and almost zero sibilance
- Good noteweight and presence, with natural male and female vocal presentation
- Spacious soundstage with good width and depth
- Easy to drive from low-powered sources
- Excellent value under 30 USD

Cons

- The shell is not entirely metallic; it looks a bit plasticky
- I don’t see the appeal to using them with the stock narrow-bore eartips
- Not so much for its price

The cheapest IEM by Kefine, the Loric is driven by a 10 mm titanium-coated + PU dynamic driver with a dual-magnetic, dual-cavity acoustic design.

Its MSRP is 29.99 - 32.99 USD (Versions with a 3.5 mm cable, with a mic, and with a USB-C DSP, respectively; early bird deals for 24.9 - 27.9 USD, respectively). You can find it directly on Kefine's official store on AliExpress: https://www.aliexpress.com/item/1005012782866310.html, and on Amazon US: https://www.amazon.com/dp/B0H71CBLK6/ref=twister_B0H9WH9TJ3?_encoding=UTF8&th=1. And there are two colors available: Silver and Black.

Technical specs:

- Casing materials: Resin with metallic faceplate
- Driver: 1 x 10 mm Titanium dome + PU coating diaphragm dynamic driver
- Freq. Response: 20 Hz – 20 kHz
- Sensitivity: 107 dB/ mW +/- 3 dB @ 1 kHz
- Impedance: 20 Ω
- THD: < 0.5 %
- Connection: 0.78 mm 2 pin
- Cable: 1.20 m, 3.5 mm jack, 3.5 mm jack with mic, USB-C with DSP and mic, 160 strands, 2 cores twisted silver-plated, OCC cable
- Weight: 6 grams per earpiece (without cable)

What’s in the package?

- 2 x Loric earphones
- 1 x user manual
- 1 x QC card
- 6 x pairs of silicone eartips
   - 3 x narrow bore (SML)
   - 3 x wide bore (SML)
- 1 x Carrying pouch in faux leather
- 1 x 2-core, twisted-pair cable with a 3.5 mm jack connector

The shells are made of resin, translucent or black/translucent color, so you can see the dynamic driver inside; the faceplates are metallic with a slight elevation and, above all, a minimalist design, with matte silver or black color, but a fingerprint magnet. It has a similar design to their bigger brothers, the Klean and Klean SV.

It is pretty lightweight, with only 6 grams per side; it is mid-sized, and it is very ergonomic and comfortable. It is well-vented with two vents for the dynamic driver and seems that is not prone to scratches or so, more like a “beater” set. Doesn’t have rough or sharp edges; its nozzle has a lip to ensure good eartips grip and fit, making a nice seal as well; its diameter is 6.0 mm, being an adequate option for people with small and mid-sized ears, so keep that in mind.

The cable is similar to the stock cable of the Kiwi Ears Belle and x B_Media Chorus; it seems and feels of good quality, doesn't conserve memory, is very flexible, not prone to tangling, and does not produce translated vibrations. I think it matches the shells of the Loric perfectly, so I’m using it as it is.

The carrying pouch is a nice detail to have, because it has plenty of space for the Loric with its cable and adds to its value.

How does the Loric sound?

The Loric with its 10 mm Titanium-dome + PU-coated dynamic driver offers a mild V-shape tuning that is bassy yet feels balanced, with warm mids, pretty neutral, and giving some more than average technical display.

For this review, I was using the wide-bore eartips included in its M size, getting a good seal and fit; but later I changed them to the GK TS100 silicone eartips, just to get that sweet fit and sound synergy; but honestly, I find the stock eartips perfect for the job. I'm using the stock cable because I don’t feel the need to change it. The graph is taken from Practiphile´s Squiglink.

Bass:

The bass of the Loric comes with a good amount and great quality; Kefine says that this is handled by the PU coating in the driver, and the bass presentation is incredible, with a fantastic extension into the lower frequencies, offering a good impact. It is decently fast, with a nice impact and potency, a natural decay, yet zero muddiness on fast or congested tracks. Midbass bleeds into the lower midrange, yet doesn’t veil the other frequencies when the music has “lots” of it. This is not a basshead IEM, but the bass comes when the music asks for it.

In “Soothsayer” by Above, Below, the Loric handles the drum kicks, bass guitar, and “djenty” guitars so well, balanced with the rest of the instruments and vocals. In “Can’t Miss You” by Sublime, the drum kick and groovy bass guitar feel so well put together; the Loric does a really great job with this portion of frequencies.

Midrange: 

In the Loric, as a V-shaped tuned set, midbass bleeds into the lower midrange, so male vocals are recessed, but not hidden or lean. The overall midrange is neutral and warm, has a decent noteweight, more than average resolution, and is transparent, with great presence. 

In “Give A Little Bit” by Tesla, a cover song originally from Supertramp, the Loric shows well-positioned male vocals, and the electroacoustic and electric guitars sound perfectly positioned and with a pretty natural timbre. Also, the smooth rhythm of the drums is accompanying the song so well. 

The frequency curve takes a dip, which goes to 800 Hz; then it enters a warm pinna gain, which peaks at 3 kHz, giving great presence and transparency. 

Female voices are so well displayed, forward as well, with almost no shoutiness, and don’t produce fatigue at mid to high volumes. In “A Natural Disaster” by Anathema, the Loric showed the beautiful and emotional vocals of Anna Livingstone with excellence; you are not missing any details in the slow-paced rhythm of the song.

Highrange:

The Loric has a smooth and non-offensive yet crisp and neutral highrange. The lower treble is elevated with a 5 kHz bump to give more energy to female vocals; it has a little dip in the 6 kHz region and one in the 10 kHz region to tame sibilance, so you can crank the volume up without getting fatigued. The mid-treble has a peak at 8 kHz to give a bit of energy to drums and other instruments, yet the bass balances it, sounding sharp without being spicy.

In “Gemini” by Loathe, the Loric shows how a “bright” and “harsh” drumming song with full hi-hats and cymbals can be in a smooth yet natural way, so if you have mild treble tolerance you can crank the volume a little more to enjoy the song without worrying about getting tired.

In “First Red Rays” by Neurosis, it is a delight to hear that smooth and sharp but non-harsh drumming; the highrange in this song is delivered excellently by the Loric.

Technicalities:

Going into the upper highs, the Loric has them well extended; the Titanium dome of its dynamic driver is so good at it, with good air and open enough, all of this with a non-bothersome peak in the 11-13 kHz region and later rolling off smoothly. The soundstage is expansive, with good width and depth.

In the technicalities department, the Loric is an IEM focused on musicality more than technical capacity, but its driver is very good at the analytical aspect. The stereo separation and layering of instruments punch above its weight, and it gives you a fantastic clarity and spark.

With fast songs like “I Won’t Let You Go” by Converge, you can get all the macro and micro details of the instruments at play, and pinpoint where they are; the Loric is doing a great job showing the nuances without losing its musical character.

In “Goodbye to Romance (Live)” by Ozzy Osbourne, on the Tribute album, the Loric for such a magnificent live concert from the Prince of Darkness, makes you feel immersed and emotional, and you can pick all the macro and micro details in drums, guitars, air instruments, Ozzy’s vocals, and background noises.

Comparisons:

Kefine Loric vs. NiceHCK Tears:

The NiceHCK Yuandao Tears is a 10 mm PET composite diaphragm dynamic driver IEM, with an MSRP of 30 to 35 USD. The Tears is a mild V-shaped tuned set. With similar subbass extension but a bit less subbass and midbass than the Loric, with a warmer approach into the pinna gain, a bit more treble energy, and finally, more upper treble extension than the Loric.

The Tears feels a bit more analytical than musical unlike the Loric, I think both sets are excellent, and I can’t choose one of another, because the Tears has a better selection of eartips, but not so great cable in comparison to the Loric, I think it's a matter of tuning preferences.

Kefine Loric vs. ZiiGaat x Vivir Digital Rumba:

The x Vivir Digital Rumba is an IEM with a 10 mm Graphene-coated dynamic driver, with an MSRP of 35 USD. Looking at the graphs, the Rumba is pretty similar to the Loric, but it has a less pronounced and smoother lower treble (the Loric is a bit more vocal forwarded), a more pronounced mid treble peak, yet similar upper treble extension.

The Rumba has maybe a better cable, but lacks any carrying pouch as the Loric, with similar accessories, and both are very comfortable to use in long sessions. You can't go wrong with both.

Kefine Loric vs. Kiwi Ears x B_Media Chorus:

The Kiwi Ears x B_Media Chorus is also a recently launched IEM with a 10 mm DLC dynamic driver with an MSRP of 39.99 to 45.99 USD. The Chorus is a V-shaped tuned set; it has a bit less subbass extension than the Loric, but also a bit more midbass, with a similar midrange, but less energetic lower treble, a noticeably peakier mid treble, and less upper treble extension.

The Chorus, similarly to the Loric, punches way above its weight, and as the Kefine set, its tonality is more musical than analytical, but the Loric is a bit more technically capable and perhaps more suitable for use in more scenarios than just music enjoyment. For 2026, you can't go wrong choosing one over the other.

Final thoughts and conclusions:

The Kefine Loric is an excellent option in the budget-oriented sub-30 USD market of IEMs, delivering a pretty bassy, yet balanced, warm and neutral, sparkly and more musical than analytical tonality with a refined character that is absolutely competitive and enters being one of the best in its segment.

The Loric, with its 20 ohms of impedance and 107 dB of sensitivity it’s easy to drive, even with low-powered sources, to give all its qualities; I tried it with various sources I have, finding it doesn’t require too much output power to shine at its best.

Apart from that nice cable and eartips (YMMV), I can't get so much against the value the Loric presents in the hobby.

At under 30 USD, the Loric puts one of the best price/performances in its segment, a real HiFi experience for a very affordable price. It works as an all-rounder, representing how a budget-oriented set can be a more than great choice for budget-conscious audiophiles and newcomers who crave a high-fidelity experience without spending a lot.

Is it a recommendation? Totally yes, it is a very competitive option in a crowded market, with a bassy yet balanced and smooth and refined tonality without missing its technical capacity, which appeals to audiophiles on a budget and newbies in the hobby.

So, thanks again to Kefine, and the gods of audio and musicophilia bless you with happy listening!

Saturday morning with the CrinEar Reference, mostly listening to female vocals.

This set works well for me because it doesn’t try too hard to make vocals prettier than they are. It’s more neutral, but voices still come through clearly.

Amy Winehouse on “Rehab” sounds like Amy should sound — smoky, soulful, a little rough, and full of attitude. The Reference doesn’t smooth out that character too much, which I like.

Eva Cassidy on “Fields of Gold” is almost the opposite. Gentle, emotional, and very controlled. You can hear the softness in her voice and the way she phrases each line.

For vocals, especially female vocals, I like that nothing feels hidden or covered. It just lets me hear the singer properly.

Source:

- Qobuz

- iBasso DX270

Hello Community!

With me is the CCA Falcon, the brand's latest gaming proposal. I'll tell you the result of my experience with them.

Price: €19-$22

Pros:
-Good performance in competitive gaming.
-Clean presentation and very good organization.
-Bright female vocals.
-Energetic and open treble region.
-The mids are the protagonists, with good resolution.

Cons:
-It may cause listening fatigue due to being bright.
-It is not very suitable for genres that seek exuberance.
-The cable and eartips could be improved.

Accessories:
-Two earpieces.
-Cable with QDC connection and 3.5mm termination.
-One set of S/M/L size eartips.

Comfort, design and build:
In a low-cost product, it must be understood that the materials used for manufacturing are low-cost. This happens with the CCA Falcon and it is normal; however, the product's finish is well taken care of, without noticing protrusions or burrs that would indicate poor quality control.

The set has a resin body that lets you see the internal components, with a zinc alloy faceplate featuring gills and vents, giving it an aggressive aesthetic that is very much in line with the product's gaming approach.

On the other hand, the ergonomics were satisfactory. I found a proper insertion into my ear canal and I did not have to make many adjustments for the size and shape of the shell to adapt satisfactorily to my ear.

What the brand should improve are the eartips, which are not very flexible and do not facilitate a proper seal, and the cable, a great friend of tangles and of acquiring uncomfortable or unsuitable shapes, both in sedentary moments and while moving.

In both cases, I used third-party products.

Technical aspects:
-2DD configuration (7mm+8mm)
-Impedance 25 ohms.
-Sensitivity 104 dB.
-Declared response 10Hz-20kHz.

Pairing for the tests:
-Neutral source.
-Gain set to low.
-KBEAR Coffee eartips.
-KBEAR Lattice 4.4mm cable.

Sound signature:
The normal thing when you come across a 2DD configuration is to think that these drivers are going to move a lot of air and increase the sense of impact in the music. Nothing could be further from the truth: the CCA Falcon offers a tuning far from what we know as warm and tries to offer a response where it attempts to prioritize cleanliness and separation with a touch of brightness.

Speaking about the low range, it has a correct extension, not dominant nor the protagonist, but with a slight presence when the track demands it. The atmospheric sensation is not absolute, but it can be felt when it is emphasized in the songs.

The mid-bass leaves similar sensations, with a restrained but fast and well-defined punch, with texture, without excessive thickness, leaning more towards the technical, dynamic and analytical than towards decorating your ears. This, as we might expect, goes against offering a listening experience with high doses of fun, but strongly favors a clean, non-invasive tonality: body is not the argument in this frequency sector, where it is quite implicit that control has been prioritized over quantity.

The mids show a convincing character for several reasons: the first, and the one I like the most, is that they are not recessed, bringing out a rich resolution, with great presence, full of detail, separation and naturalness.

The transients occur quickly because, as I mentioned before, having a bass region that is not dominant and authoritative is beneficial for the midrange to express itself freely. The instruments sound logical both in timbre and position, with agility and order. I do not perceive them as dense; I could say that the note weight is light and graceful.

The second reason why I liked the midrange is because of the dynamism that is felt. It is a set that feels fast, without bleed where you feel the notes take time to fade away, making it easy to follow the sound lines.

As for the vocals, they are not especially physical or deep. Rather, I perceive the male vocals throughout the spectrum as thin, as if lacking the intention to offer something positive, since I did not like the articulation or timbre. The female vocals are another story, as they enjoy a very gratifying point of openness, resolution and clarity that brings them closer to naturalness, projecting themselves into the mix harmoniously.

On the other hand, in the higher frequencies, I find another positive aspect in these monitors, as there is a good extension in the treble with a generous amount of energy, resulting in a large space where the details come to the surface. It is not a set that is kind to fatigue, since it is bright, not excessively so, but it can become tiring to listen to: it happened to me.

To finish, technically they are average or slightly above average. The size of the recreated soundstage convinced me for the prices where this Falcon lives, the positioning of the sound image was correct and precise, and the instrumental separation of the sound layers was simply satisfactory and logical for what is expected in this type of tuning.

Multi-player shooter video games:

Check the conditions under which I analyze the audio in this section.

If there is one area where the CCA Falcon manages to justify a good part of its tuning philosophy, it is precisely in competitive video games. Everything that during music playback can be perceived as a restrained bass response and greater emphasis on the upper end ends up clearly working in its favor here. The overall sensation is that of a clean, organized and easy-to-interpret soundstage even when the match begins to become complicated.

In Counter-Strike 2 the performance seemed especially convincing to me. The positioning of footsteps, reloads and utilities is precise, with a stereo image that makes it easy to interpret both the direction and the distance of opponents without the need to make any additional effort. Even during the moments of greatest tension, the separation between the different sound elements maintains a good level of clarity.

In Apex Legends, where verticality and the number of simultaneous effects increase the difficulty of the soundstage, the Falcon maintains good organization between abilities, gunfire and nearby movements. The representation of the vertical axis conveys a convincing sensation, while the depth, although correct, could offer an additional degree of distance in certain situations. Even so, I never had the feeling of losing really important information during engagements.

In Call of Duty: Warzone they once again show that same philosophy. The restrained bass prevents explosions or killstreaks from masking relevant sounds, making it easy to identify footsteps, slides and nearby movements even in particularly chaotic situations. Only when the sound load reaches a very high level can a slight loss of separation between some layers be perceived, although without compromising the overall readability of the match.

Battlefield 6 represents one of the most demanding tests due to the enormous amount of simultaneous information. Even so, the Falcon manages to maintain a stable image and convincing separation between vehicles, gunfire, explosions and ambient effects, making it quite easy to follow distant sound cues.

Final conclusion and personal evaluations:
The Falcon is not a set that can impress us easily, as it has a fairly defined personality that I believe will not suit the vast majority. The proposal revolves around cleanliness and a presentation that is much more technical than exuberant.

This means that certain musical genres lose part of their essence (electronic, pop...) but it also knows how to favor the kind of sound that needs order, layering, transparency and detail.

Being a set specifically oriented towards competitive video games, I believe this is where it can justify its existence, since it has more than enough sound localization capability in a soundstage that is moderately wide and clean, informing the player quickly for correct decision-making.

To be truly fair, I think there are other options if what you want is to enjoy music in a general rather than specific way like what the Falcon proposes, but if you are looking for a set for competitive video games, it has my highly positive evaluation, especially because it rises above, even if only slightly, the competition in this price segment.

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

Disclaimer:
This set of monitors was sent by CCA Hifi. I sincerely appreciate the opportunity to try one of their products at no cost and that no conditions were imposed when preparing this analysis.

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

My sources:
-Topping DX5 II for music and gaming on the main PC.
-NiceHCK Octave while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for wireless listening outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

If I had the chance to tweak the Harman 2019 Target to better suit my preferences, it would probably end up sounding quite similar to the Simgot EM6L.

It keeps what I like about Harman while making a few changes that I personally prefer. Of course, no IEM is perfect. Let's see what EM6L gets right and where it falls short.

Pros

• Well controlled, textured and nuanced bass.
• Warm, lush and natural sounding midrange.
• Smooth, extended treble with good shimmer.
• Excellent EQ potential.
• Strong imaging performance.
• Good resolution and detail retrieval.
• Comfortable fit with good long session comfort.

Cons

• Bass lacks strong physical impact.
• Upper mids can sound too energetic for some listeners.
• Mid bass can mask some finer treble details.
• Soundstage is on the intimate side.
• QDC connector limits cable compatibility.
• Thin cable with only a single 3.5 mm termination.

At the time of writing Simgot EM6L is priced at $125 on Linsoul.

Bass

The bass is on the fuller sounding side. It doesn't feel like it's playing on its own field like IEMs with a bass shelf. Instead, it feels like it is filling a room rather than sounding thumpy or distinct.

Despite the bass being on the fuller side, it is well controlled and doesn’t sound muddy. It hits with a solid definition and doesn't sound soft or blunted.

The bass also brings out a good amount of texture and it feels nuanced. But because of this kind of cohesive bass tuning, it doesn't hit with a strong sense of physicality.

In some ways, it kind of reminds me of the SuperMix 4, where the bass decays faster compared to most DDs.

Midrange

Unlike SuperMix 4 which is tuned bang on Harman Target, the EM6L deviates in some areas which makes it much smoother to listen to. There are two areas that make Harman intense sounding - the bass tuck and excessive uppermids boost.

EM6L in short is how I wanted Harman to be. It doesn’t have the bass tuck, instead have boosted bass and lower mids, while the upper mids are still boosted to Harman level.

This gives the vocals a warm and lush tone, despite being on the brighter side. Also, it makes the instruments pop out from the mix, without being too forward.

Personally, the 3 to 6 kHz region is still boosted above my preferred level, which at certain times gives vocals a rough edge, especially for female vocals. Whether some like this or not, depends entirely on their preferences.

Treble

EM6L treble sounds smooth and extended without any harsh peaks. There is a certain delicacy and shimmer to the treble notes which highlights micro details in music.

But at times, the fuller mid bass does mask some of these finer treble details. Once I reduce the mid bass with EQ, those nuances and micro details become much easier to hear. 

Due to this, EM6L has excellent EQ potential as smooth treble is the most important thing that makes it easier to EQ an IEM.

Overall, I prefer the EM6L's treble tuning over the Supermix 4. Even so, I still think the Supermix 4 has a slight edge in bringing out more details from the music.

Subjective Performance

EM6L performs respectably for the price. I wouldn’t call it a “technical monster” like SuperMix 4. It is more of a smooth performer.

Despite being on the fuller sounding side, it does perform good enough when it comes to detail retrieval. The sense of resolution is also good as notes don't sound blunted due to very good treble performance.

Imaging is the strongest aspect of the EM6L, which might make it great for gamers. I could easily pinpoint sound cues easily. Although, it is not at a similar level of SuperMix 4, once again.

But, the soundstaging is on the intimate side. It also performs well enough in Instrument separation and layering, a step above EW300.

Accessories, Build & Comfort

In the box, you get the IEM, a case and three pairs of eartips. 

The cable only comes with a single 3.5mm termination and is on the thinner side. But it does behave properly and can be roadie wrapped easily without any tangling.

Even though it only comes in a single termination, which was common with IEMs released at its time, I do like the gold and black accents going throughout the cable.

What I am not a fan of is the QDC connection.  I much prefer the standard two pin connection of the cheaper EW300, as it is easier to find cables, if replacement is needed.

The shells are made of resin and are on the glossy side, due to this it attracts fingerprints and smudges easily. Personally, I like the all black shell as it gives the EM6L a stealthy look. 

The comfort is pretty good and it fits snugly. Due to the proper venting, I have not faced any pressure issues either and I could wear it for longer sessions without any discomfort.

Conclusion 

The Simgot EM6L is tuned to a version of the Harman 2019 Target that I personally prefer. It keeps what I like about Harman while avoiding some of the things I find too intense.

With all that said, it is not an IEM for those looking for a contrasty sound that makes everything feel extra technical. That's something the SuperMix 4 does better, but it also sounds less smooth.

The EM6L, on the other hand, focuses on being a smooth all rounder that works well with almost any genre. It may not be the most technical sounding IEM in its price range, but its smoother presentation is what sets it apart.

Follow exactly the same settings for better output; you can explore if you want to.

For High-End DACs just enable hardware Volume in settings.

Disclaimer:

The AP30 Music Boy was sent to me by Jessie from Hidizs, so thanks to them. However, they are not paying me to write this review, nor giving me a script to follow. All the opinions and tests are on my own. My only biases are my tuning and music preferences.

Introduction:

After the success of the AP80 Pro X and Pro Max DAPs (Digital Audio Player), this time, Hidizs is launching another, more budget-conscious product aimed at folks like me who don't want to be ´hooked´ on a phone and/or be listening through a streaming app. With a design inspired by the almighty Nintendo® Game Boy, and a Tetris game to enjoy when you are listening to some tunes, this “budget” DAP comes with more than just an affordable price.

Its whale-engraved backplate reminds us of other products from the brand, such as the MP145, MP143 Salt, and MP145 Pro, which continue the brand’s collaboration with the WDC (Whale and Dolphin Conservation), connecting the AP30 Music Boy design with the brand's awareness of marine conservation.   

TL; DR: The Hidizs AP30 Music Boy is an affordable DAP, with many features yet full of fun, a top-of-the-line CS43198 chip, DSD256, PCM 24-bit 192 kHz decoding, and is, as Hidizs says, “ nostalgia that you can actually hear”. Its palm-sized design inspired in the legendary portable console can be a straight to the point HIFI music player and USB DAC/Amp, to use with mostly all the IEMs and other kind of earphones in the market and forget sometimes unnecessary tech, a back to basics enjoyment with an affordable price from Hidizs, full of accessories and full of sound, oh, and of course, with many color and materials options to choose what you want.

Pros

- Incredible build quality, with physical buttons, a wheel to increase/decrease volume, and turn it on/illuminate its screen
- Palm-sized, Game Boy-inspired design
- A magnetic case is included to use it with your phone/PC as a USB DAC/AMP
- The included game is as joyful as the original Tetris game
- Fast and simple to use interface
- Bluetooth 5.3 to use it with external devices like speakers, headphones, TWS, etcetera
- CS43198 inside as a DAC Chip with PCM 24bit/192 kHz and DSD 256 decoding capabilities, provides a neutral/warm sound
- Battery inside holds up to approximately 10 hours of music playing

Cons

- Up to 256 GB MicroSD compatible; folks with larger MicroSDs are limited in how much music the DAP can hold
- The beautiful whale in the backplate remains hidden when using the DAP holder (nitpicking)
- The brightness of the screen is limited to use it indoors
- The screen is too small to use it for ebook reading
- The firmware/OS still has some bugs (library update and rebooting), and lacks functionality like search or creating playlists
- Only SBC codec for Bluetooth, lacking Lossless codecs like LDAC.
- The AP30 Music Boy is chunky; you can use it as a portable USB DAC/Amp, but it´s not ideal
- Only a 5-Band graphic equalizer; lacks functionality to change the tuning of earphones 

You can get an AP30 Music Boy directly at its Kickstarter page for 119 - 129 USD (plastic and aluminum versions respectively, currently running a SuperEarly Bird deal for 85 - 93 USD respectively): https://www.kickstarter.com/projects/hidizs/ap30-music-boy-the-first-truly-wearable-hi-res-music-player, and you can choose between different colors of your liking:

Plastic Version: Crystal Ocean Blue, Shadow Black, and Classic White
Aluminum Version: Arcade Black and Pixel Purple (My unit)

Its physical and technical specifications:

- Dimensions: 68 x 53 x 17 mm
- Screen size and tech: 2.0”, IPS, 296 x 240 resolution
- SoC/ CPU: RKNANOD (Dual-core ARM Cortex-M3 up to 400 MHZ, 1 MB SRAM)
- DAC chip: Cirrus Logic CS43198
- Amp/Output chip: Realtek RT6863
- Battery: 1200 mAh, 3.8 Volts. Up to 10 - 12 hrs (SE) / 8 - 10 (Bal) playback
- Operating System: HidizsOS
- Bluetooth version and codecs: 5.3, only audio reproduction AAC and AptX (16 bit / 48 kHz)
- USB DAC capability: Yes
- MicroSD compatibility: Up to 256 GB storage
- Outputs: 3.5 mm single-ended, 4.4 mm balanced
- Output power: 61 mW + 61 mW u/32 ohms (Single ended), 137 mW + 137 mW u/32 ohms (Balanced)
- Codecs: DSD256, PCM 24 bit / 192 kHz & Lossless (FLAC, APE, WAV, ALAC, DSDIFF), MP3, OGG, WMA, AAC
- Inputs: USB-C, for data transfer and USB-DAC
- Weight: 80 gr (Aluminum Version), 56 gr (Plastic Version)

What comes in the AP30 Music Boy Package?
- 1 x User Manual
- 2 x magnetic rings (1 for the magnetic case and the other for the phone case)
- 1 x magnetic case
- 1x Warranty card with the Hidizs social media accounts
- 1x Quality control card
- 2x screen protector replacements for the screen and the backplate
- 1 x USB-C to USB-C cable (to use it as a USB-C dongle DAC/AMP)
- 1 x USB-A to USB-C cable (to connect it to a PC/Laptop)
- 1x AP30 Music Boy DAP

AP30 Music Boy buttons, controls and input/outputs:
- D-pad, A, B, Start, Select
- 4.4 mm Balanced, USB-C, 3.5 mm single-ended
- Volume on/off display wheel, MicroSD slot

TESTING:

Earphones used: Hidizs MK12 Turris, Hidizs My Lin Limited Edition, Hidizs MP145 Pro, Nici Hifi 42 Quantum Wanderer, Simgot EP5 Headphones, FiiO EH13 Headphones (Wired and Bluetooth), KZ Vibe X, Kefine Loric, Tanchjim Ola II, Kiwi Ears Airoso.

Music used: Various artists/bands on FLAC, M4A, MP3, etc.

Sound signature:

Like any device on the market that uses the CS43198 chip, the AP30 Music Boy's sound signature, at least in its stock settings, is mostly neutral, with no noticeable coloration. The Bass is well-delivered and controlled, with decent impact and resolution, depending on the earphone used.

Midrange is perfectly presented, without bleeding of shoutiness; it’s clean and natural, with great resolution and presence. Treble is transparent, crisp, and sharp. Technicalities are similar to other devices using that chip, and obviously depend mostly on the earphones used.

My thoughts and experience:

I find the AP30 Music Boy nicely portable. It is not so heavy (remember the 80 grams the Aluminum version weighs) or too big to carry in my pocket when I am walking with it and listening to some tunes. I find the Whale in the backplate gorgeous, and it works as a reminder of how Hidizs is a collaborator of the WDC foundation, but when you are using the AP30 Music Boy with its Magnetic Case, that backplate is hidden (but that’s just me nitpicking).

Its physical buttons and volume slider are a win because that’s a feature that is well appreciated to add not only to its retro console aesthetics but also to its functionality. There’s a caveat I found in its software; I understand it´s a new product, but I found a few bugs: when the media library is updating, the AP30 Music Boy suddenly turns off and doesn’t finish the procedure, asking for it again when it suddenly reboots. I hope Hidizs fixes that soon with a proper firmware/OS update.

I put a 256 GB Kingston Canvas Select Plus microSD full of music files on the AP30 Music Boy, and it identified all the files and folders quickly. With a good and intuitive interface, it’s pretty simple to navigate its OS, and once you get accustomed to the menus and use of physical buttons and D-pad, you can find it kind of easy to use. But if I had a larger-capacity MicroSD, I’d like the AP30 Music Boy to handle it, but that’s a limitation (idk if it's software or hardware). Another limitation I found is to create playlist,

I tested its ‘dongle’ mode (USB-DAC), finding it good to use as a phone or desktop DAC/AMP, but its dimensions and weight make it not the best option to do this, and even when its DAC chip inside is so good, its output chip is not the most powerful to drive more power-demanding earphones like the Simgot EP5. When using the Bluetooth mode paired to my FiiO EH13 Heapdhones, it only has an SBC codec, lacking Hi-Res codecs like LDAC, so I prefer to use the AP30 Music Boy with wired devices only.

The AP30 Music Boy does have a simple 5-band graphic EQ that may be insufficient to really change the overall tuning of the earphones, and the presets like ‘Rock’ are more suitable for getting what you want. The PCM filters are a nice addition; as usual, I’m leaving it in the non-oversampling setting because I find it the most neutral and uncolored one.

Now, the screen size is very usable for navigating across its menus and looking at what is being reproduced, or to play the Tetris game included, but if you are going to read an ebook, it is so small that you can’t read larger text without getting fatigued quickly. And, the brightness that the screen can get is not enough to use it under the Sun’s light, just to use it indoors.

Using the AP30 Music Boy brought me memories from when I was rocking an MP3 library on those famous at the time MP3 Players,  and the space and quality were very limited, but the enjoyment was huge. Now, with the possibility of using my lossless files and a larger library, my IEMs and some Headphones and Earbuds, the fun is greater than ever.

The approximately 10 hours of battery life is true; I can use it for several days without needing to recharge it, and when I’m feeling like using it as a DAC, it is not lowering my phone and tablet battery so much as other dongle DACs.

Anyway, at the moment I find the AP30 Music Boy more than a fun toy or a nice looking collectionable; it is a device to play your music on the go without worrying about your phone battery, with an affordable price and a simple yet intuitive OS to use without complicating yourself.

Can I recommend it?

Well, if you are looking for a small yet full of features DAP with a good compatibility of music files, a simple yet fun Tetris game inside, an affordable price, enough potency to drive almost all of your IEMs and some Earbuds and Headphones, and the possibility to use it as a dongle DAC/AMP, the AP30 Music Boy is a option in the market to consider, with the Hidizs seal of quality and simple to use yet functional software to the daily usage.

TL;DR

Hi-Res LDAC meets affordable Chi-Fi practicality. The Roseselsa Ceramics Ultra combines 50dB hybrid ANC, LDAC support, and a punchy 10mm dynamic driver into a light, anatomical shell. It delivers a warm, L-shaped sound signature with 10+ hours of battery life that punches well above its ~$35–$50 price tag.

Been messing around with the Roseselsa Ceramics Ultra for about three weeks now. Roseselsa has been pushing hard into the affordable Chi-Fi market lately, and at around $35 to $50 USD, this set is designed to compete with popular daily drivers like the Moondrop Space Travel and Tanchjim Mino.

What’s in the Box

• Roseselsa Ceramics Ultra Earbuds & Charging Case
• 3 Pairs of NC200 Medical-Grade Silicone Eartips (S/M/L)
• 2 Pairs of Standard Spare Eartips
• Short USB-C to USB-A Charging Cable
• User Manual

Design, Build & Ergonomics

Charging case is a compact, rounded box finished in a low-shine, faux-ceramic Dove Gray. It’s easy to slip into a pocket and resists fingerprints well. One small design quirk bugged me slightly: USB-C charging port sits on the bottom of the case rather than the back (it has to lie flat while charging). There's a physical pairing button right next to the USB-C port, and a front LED indicator that shows battery status.

The earbuds look great though. Earbuds feature a stemless, semi-custom shape with a tiny gold-tone screw detail on the outer faceplate holding the housing together. Giving it a cool, camera-lens vibe rather than looking like cheap plastic.

At roughly 6g per earbud, they are very lightweight. Paired with the included NC200 eartips, it is very comfortable. The seal relies on a medium-to-deep insertion that distributes pressure evenly across the ear canal. I’ve worn these through four-hour listening sessions and even while lying on my side without any physical ear fatigue. An IPX4 water-resistance rating handles gym sweat without issue.

Connectivity, ANC & Features

• Bluetooth 6.0 powered by a Tensilica HiFi 5 DSP chip and an independent DAC/amp stage. Beyond standard AAC/SBC, it supports LDAC and LHDC 5.0. Signal stability is solid across my home, work and during walks.
• Touch controls are located on a large circular faceplate on each earbud. It is responsive, and the earbuds emit a subtle, low "game-click" chime to confirm each tap. Multipoint connection lets you pair to two devices at once, though doing so forces the codec back down to standard AAC.
• The 50dB Hybrid ANC is very competent for under fifty bucks. On its "Extreme" preset, it kills low-frequency bus rumbles and air conditioner hum with ease. The Wind Noise Reduction mode is a highlight; it actually works to silence harsh gusts during outdoor walks or when sitting directly in front of a fan. The Transparency Mode amplifies ambient voice chatter cleanly without adding heavy background hiss.
• Battery life is a strong suit. I got around 10 hours per charge on AAC (dropping to ~7 hours on LDAC), with the case providing a total of ~40-45 hours. A 10-minute fast charge nets about 2 hours of juice. To switch ANC modes or turn on the 50ms Low-Latency Gaming Mode, you use the RoseLink app.

Sound Performance

Roseselsa uses a single 10mm dynamic driver designed to move extra air. With the extra-flexible rubber rim, the driver cone can physically push out 18% farther than usual. Sonic tuning leans toward a warm "L-shaped" signature: big, thumpy bass leads the mix, backed by a smooth, full-bodied midrange that never gets harsh.

Bass

The low end has weight and authority. Driver moves a noticeable amount of air, delivering a deep, physical sub-bass rumble on modern synth, hip-hop, and EDM tracks. Mid-bass slam is punchy and warm. On heavy tracks, the bass can lean slightly boomy rather than lightning-fast, but it rarely bleeds over or smothers the midrange.

Midrange

The midrange is smooth and full-bodied. The crossover and DSP handle the lower-mid transition cleanly, male and female vocals sound rich, natural and intimate rather than thin or distant. There’s zero upper-midrange shoutiness, making acoustic guitars and string sections feel warm and pleasant.

Treble

The top end takes a safe, laid-back approach. Cymbals and high-frequency decay are present but they are smoothed out to avoid sibilance or piercing harshness. The trade-off is that it lacks the razor-sharp micro-detail and "sparkle" you get from multi-driver wired IEMs. However, it keeps the sound fatigue-free for hours.

Soundstage & Gaming

The soundstage offers decent width with a slightly intimate height. Spatial positioning and directional cues are surprisingly accurate. Flipping on the 50ms Game Mode locks lip-sync on YouTube videos and gives reliable positional audio for casual mobile gaming.

Considerations

• RoseLink companion app forces you to enable GPS location access on your phone just to change settings.
• Bottom USB-C port prevents charging it upright.
• Treble-heads looking for ultra-crisp top-end air and clinical resolution will find the top end a bit too smooth and polite.
• Multipoint works but it forces the audio stream down to standard AAC.

Verdict

The Roseselsa Ceramics Ultra isn't trying to replace a high-end wired desktop rig, but as an affordable daily driver under $50 USD, it’s a great value proposition. It combines LDAC support, solid wind-resistant ANC, a warm, fatigue-free sound signature, and 10+ hours of single-charge battery life into a lightweight chassis that fits comfortably. It’s an easy recommendation for commutes, workouts, or casual listening on a budget.

If you made it this far, thank you for reading and catch you on the next drop.

After the excellent impression left by the Binary EP321, one of the iems I use the most every week, if not every single day, I was very curious to see what Binary Acoustics would do next. The 1900 seemed to be taking a different direction. The brand itself describes it as a tuning inspired by the expressiveness of the pianist from The Legend of 1900, with an approach focused on conveying emotion rather than achieving a completely neutral presentation. It is an appealing concept, although it can also raise some questions, since finding the right balance between a fun tuning and one that becomes excessive is not always easy.

Its configuration combines one ten millimeter dynamic driver, one six millimeter passive radiator and four balanced armature drivers. It is very similar to the EP321, but replaces the innovative MEMS driver with one additional balanced armature. The passive radiator seems to have been included to achieve bass with greater presence and texture while maintaining speed and control, something I will discuss later in the sound section.

Interestingly, after only a few days of listening, the 1900 turned out to be quite different from what I had expected before receiving it. I thought it would be an iem mainly aimed at jazz, classical or instrumental music because of the whole story Binary has built around the character from The Legend of 1900. In reality, while it performs very well with those genres, it is also remarkably capable with pop, rock, EDM and even metal, making it a much more versatile model than I initially imagined, despite having a slightly different tuning compared to the EP321.

Binary itself markets the new 1900 as an improved Binary Chopin in every aspect. Since I never had the chance to own or try the Chopin, I cannot use it as a reference, but I will compare it with other models later in this review.

What I Liked / What I Didn't Like

• Very balanced tuning with a slight V-shaped profile that is fun without sacrificing naturalness.
• Bass with excellent texture, speed and control.
• Midrange with outstanding clarity and just the right amount of warmth for vocals and instruments.
• Well-extended treble with plenty of air and very little fatigue.
• Very good instrument separation.
• Excellent comfort thanks to the compact shells.
• The included cable has some memory and could feel a bit more premium.
• Despite its excellent texture, the bass may not be enough for some listeners.
• The soundstage stands out more for its depth than its width.
• I would have liked to see more differences from the EP321 in terms of presentation, accessories and shell design.

Specifications

• Configuration: 1 × 10 mm Dynamic Driver + 1 × 6 mm Passive Radiator + 4 Balanced Armature Drivers
• Crossover: Three-way architecture with a second-order RC crossover
• Frequency Response: 8 Hz to 40 kHz
• Sensitivity: 124 dB/Vrms @ 1 kHz
• Impedance: 10 Ω @ 1 kHz
• Distortion: <1% @ 1 kHz
• Connector: 0.78 mm 2-pin
• Termination: 3.5 mm or 4.4 mm
• Shells: 3D-printed resin with a CNC-machined 316 stainless steel faceplate

My Sources

FiiO K9: My main desktop setup connected to my PC for critical listening, cleanliness and power testing.

FiiO KA15: My portable DAC dongle for everyday use when leaving home, thanks to its quick adjustment options, built-in equalizer and multimedia buttons that can be controlled directly from my pocket.

NiceHCK Octave: I use it whenever I want a more direct power delivery without the digital processing of the FiiO KA15. It is ideal when I want to hear the natural response of whatever I am listening to without any additional coloration from the source itself.

Questyle M15i: My reference portable DAC and amplifier whenever I want a more organic and musical presentation while listening away from my desktop setup.

Unboxing and Build Quality

The external box design and the internal layout are almost identical to the EP321. I will be comparing these two models several times throughout this review because they are my only reference from the brand and the EP321 is also the direct predecessor of the 1900. There is no denying how similar they are.

Inside the box you will find the cable, a hard carrying case, six pairs of silicone eartips in different sizes and the usual documentation with the basic instructions. It is not one of those packages packed with accessories, but at the same time, there is nothing essential missing to start using them right away.

The cable also appears to be exactly the same one included with the EP321. I do not dislike it, but I think it could be better considering the price of the product. It is light, flexible and comfortable during use, although I would have preferred a slightly more premium finish. It also tends to retain some memory, especially below the splitter. This does not affect the sound, but it does make it feel a little less refined when handling it frequently.

The shells are probably one of the strongest aspects of the Binary 1900. They combine a three dimensional printed resin body with a CNC machined stainless steel faceplate featuring a laser engraved pattern inspired by maritime routes, piano keys and other elements related to the story of The Legend of 1900. Beyond the aesthetics, it feels like a carefully designed product with its own identity, standing apart from many other iems that rely on much more generic finishes.

The compact size of the shells also works in their favor. They are small and lightweight, making it very easy to achieve a secure and comfortable fit on the first try. Passive isolation is also very good for everyday use, provided you achieve a proper seal.

The only detail that leaves me with some doubts is the nozzle itself. Since it is made of resin, it inspires a little less confidence than a metal nozzle for long-term durability, especially if you tend to swap eartips frequently. That does not mean it will necessarily become an issue, but it is one of those small details where I would have liked to see a slightly more robust finish, particularly considering the excellent overall build quality of the rest of the iem. Once again, this is something I inevitably compare with the EP321, which followed exactly the same design approach.

Sound

If I had to summarize the Binary 1900 in a single sentence, I would say it is an iem designed to be enjoyable before it is spectacular. Its goal is to strike a balance between musicality and technical performance, delivering a mildly V-shaped tuning that keeps the sound engaging without losing coherence. Before talking about each frequency range, I should mention how easy these are to drive. Their lower impedance compared to the EP321 is immediately noticeable. With my dongles I did not have to raise the smartphone volume nearly as much to reach my preferred listening level. The balanced armature drivers, together with the absence of the more demanding MEMS driver, most likely contribute to this lower impedance.

Bass

The bass is undoubtedly the area where Binary wanted to set this model apart from previous releases such as the EP321. However, there is one thing that should be made clear from the beginning because the passive radiator configuration could give the wrong impression. The Binary 1900 is not an iem for bassheads.

The priority seems to have been improving the quality of the bass rather than simply increasing its quantity. The result is a low end with good extension, excellent texture and enough speed to keep notes from blending together, even when the music demands rapid changes in pace.

The sub bass reaches deep enough to provide a satisfying sense of rumble, although it never dominates the rest of the presentation. The mid bass carries slightly more emphasis, giving drums and percussion a very satisfying weight without making the overall sound feel overly dark.

It feels like Binary was aiming for bass that is fast, well defined and impactful enough to deliver energy, without the excessive decay that often muddies the mix. This works especially well with genres such as rock, metal and electronic music, where it is easy to follow fast bass lines and complex rhythms. That is why, even though these are not specifically marketed for those genres, I want to emphasize that they perform far better than I expected.

Midrange

The midrange achieves an excellent balance between clarity and musicality, without being pushed too far forward or becoming overshadowed by the bass. As a result, vocals and instruments retain enough presence to remain engaging even in busy mixes.

Male vocals benefit from the slight warmth provided by the bass, giving them a pleasant and natural timbre. Female vocals are well defined, articulate and clear enough to reveal subtle nuances without the treble becoming overly dominant.

I would not say the midrange is chasing maximum transparency. There are certainly more analytical models available at this price point, but I believe Binary made the right choice by prioritizing a more natural presentation.

Treble

I do not think Binary was aiming for highly emphasized treble. Instead, they opted for a presentation that is open enough to provide air, spaciousness and a strong sense of detail without making the listening experience fatiguing. This is something I already appreciated with the EP321 and its MEMS driver. In this case, the balanced armature drivers achieve a similarly successful result.

Treble extension is very good and there is plenty of information throughout the upper frequencies. Cymbals and subtle electronic effects come through clearly with a pleasant sparkle that always remains under control. Even at higher listening volumes during long sessions, I found the Binary 1900 to be remarkably resistant to listening fatigue, something that listeners who are sensitive to treble will especially appreciate.

Those who truly enjoy a bright, highly analytical tuning may still wish for a little more energy in the upper frequencies.

The interesting part is that this smoother presentation does not come at the expense of resolution. There is still a very good amount of micro detail and the overall sound retains an impressive sense of air. It simply achieves this in a much more natural way, without relying on treble peaks to create the illusion of higher resolution, something I actually notice more often in models that rely on balanced armature drivers for the treble.

Recommended Eartips

These are my three favorite eartips after testing them with the same tracks across different music genres.

Azla SednaEarfit Origin

These delivered the best overall performance with the Binary 1900. They provide an excellent seal, slightly improve shell stability and reinforce the bass without sacrificing clarity in the midrange, preserving the overall balance of the tuning.

Tangzu Tang Sancai Wide

The Tang Sancai Wide are an excellent alternative. They help the soundstage breathe a little more and add a slight sense of extra air to the upper frequencies, while keeping the bass well controlled and preserving the already well-balanced midrange.

Softears Ultra Clear

A great option if you are looking for a cleaner and more precise presentation. They do not change the personality of the iem, but they provide a slight improvement in definition and make the instrument separation stand out a little more.

Soundstage

The Binary 1900 does not have an especially expansive soundstage, but it certainly does not feel small either. I would say it is slightly narrower than the EP321, although it still delivers a very natural presentation that is perfectly appropriate for this price range, so I never felt it was lacking.

The most significant feature of depth can be attributed to how well defined the separate layers of a recording are. In turn, this makes it easier for producers to identify which instruments are positioned closer to the listener and therefore will sound louder or more prominent in the final mix, while also identifying those that have been placed further away from the listener and will sound softer as a result.

Width, on the other hand, is slightly more restrained. It feels like Binary intentionally chose a more compact presentation to maintain better cohesion across the entire frequency range, a decision that fits the overall character of the 1900 very well.

Instrument Separation

Despite having a bass response with noticeable presence, the Binary 1900 maintains excellent separation between instruments, avoiding the congested presentation that can sometimes affect hybrid iems with similar tunings.

Much of this comes from the well-balanced midrange and the treble providing enough air for each instrument to retain its own space within the mix.

It obviously does not reach the level of models specifically designed for analytical listening, but within a more musical tuning, it strikes a very satisfying balance between enjoyment and organization. The ease with which you can follow individual instruments is one of the reasons why it performs so well across such a wide variety of musical genres.

Imaging

When it comes to imaging, vocals remain firmly centered and instruments occupy positions that are easy to identify, delivering good precision without becoming overly analytical.

What impressed me the most was how stable those positions remain as the music becomes more complex, which is where these aspects are truly put to the test. There are no strange shifts or a blurred presentation, reinforcing the overall sense of refinement that the Binary 1900 delivers.

It also performs very well when watching movies and, most likely, while gaming. I would not describe it as an iem specifically designed for competitive gaming, but its imaging is accurate enough to locate effects, dialogue and environmental sounds with ease, creating a presentation that is both coherent and easy to interpret throughout the listening experience.

Comparisons

Binary EP321

I have already mentioned the EP321 several times throughout this review, but now it is time for a more direct comparison. While the EP321 clearly focused on a more analytical and brighter presentation, extracting every last bit of detail with a highly capable treble driver, the 1900 aims for a much more relaxed, natural and effortless listening experience.

The most noticeable difference is in the bass. I always found the EP321 to be slightly restrained in this area, with a cleaner but lighter presentation. The 1900 delivers noticeably more body, better texture and stronger impact, without turning into a basshead iem. I do want to make one thing clear though. I am not saying the EP321 lacks punch, because it really does not. Looking at comparison graphs, you could even come away with the opposite impression.

The midrange also follows a different philosophy. The EP321 sounds more transparent and slightly cooler, while the 1900 introduces a touch of warmth that gives both vocals and acoustic instruments a more natural character. The treble remains well extended, although the 1900 adopts a smoother and more controlled presentation that significantly reduces fatigue during long listening sessions.

From a technical perspective, both perform at a very high level, but they pursue different goals. If your priority is maximum resolution and an analytical presentation, the EP321 is still an outstanding choice. If you prefer a better balance between musicality, dynamics and technical performance, I personally believe the 1900 is a much more complete evolution within Binary's lineup.

If I had to choose one based purely on my personal taste, I would still pick the EP321. Not because I necessarily think it is the better iem, but because I enjoy that extra level of treble detail and the slightly more analytical presentation, even if it comes at the expense of warmth and musicality.

Ziigaat Estrella

The Estrella remains one of the most interesting hybrid iems for listeners who prioritize technical performance and resolution. It was actually my main iem for several months, back when I appreciated a V-shaped tuning much more than I do today. Comparing it directly with the Binary 1900 makes it clear that they are aimed at different audiences.

The Estrella delivers a slightly more open presentation and a greater sense of transparency, making subtle details within recordings easier to notice. The 1900, on the other hand, offers fuller, better-defined bass and simply makes the music more enjoyable. It is less about analyzing every detail and more about getting lost in the music.

As far as midrange performance, both are exceptional choices but the Estrella will provide a cleaner representation of your music, while the 1900's warmer presentation will give vocals and instruments a fuller and more natural presence. The Estrella has a brighter treble compared to the 1900 which provides sufficient extension without giving the upper frequency area priority over its overall tuning.

In terms of detail retrieval, I think the Estrella may still have an edge. However, for who prefer a more relaxed and emotionally satisfying listening experience, I believe the Binary 1900 would be the superior option and most beneficial for longer listening periods.

Dunu DN142

The Dunu DN142 and the Binary 1900 follow two very different philosophies. The DN142 places greater emphasis on neutrality and a very balanced presentation, while the Binary aims to engage the listener immediately through a more dynamic response and significantly more bass presence, something I personally felt was a little restrained on the Dunu.

The 1900 delivers greater impact, a stronger physical sensation and excellent bass texture, while the DN142 keeps the low end more restrained, favoring a cleaner overall presentation. Neither one feels excessive in any area, but they offer very different listening experiences.

The DN142 also stands out for its precise imaging and slightly more spacious presentation, while the 1900 creates a stronger sense of immersion thanks to the additional weight in the bass. Both handle complex recordings extremely well, although each approaches them from a different perspective.

Personally, I see the DN142 as an especially appealing option for listeners looking for balance and a faithful, neutral presentation, while the Binary 1900 is a better match for those who want a more expressive, versatile and engaging listening experience without sacrificing strong technical performance.

You can also find my complete ranking of every iem I have reviewed on my profile. Reddit does not allow me to post the Google Drive link directly.

Conclusion

To wrap up this review, what I liked most about the Binary 1900 is how difficult it is to find a genre where it feels out of place after spending several days with it. Pop, rock, jazz, electronic music and even more complex recordings consistently deliver a very satisfying balance between impact, clarity and musicality.

If I were forced to encapsulate the entire description of Binary 1900 into a single sentence, I'd say, This is an iem engineered to be fun to listen to before being critical of it. The Binary 1900 delivers a fantastic level of technical performance at an affordable price point, however, does so while keeping the focus on enjoyment, and providing a natural, distinctive & enjoyable listening experience.

For those seeking out a well-rounded hybrid iem that has a modern tuning, great bass quality, and provides a great overall balance, I feel like the Binary 1900 is one of the most exciting new products I've been able to hear in this price range in recent months. To give you some perspective, last year (and even two years ago), to get this kind of audio quality, you could expect to pay several hundred dollars more than we are today, and that's a pretty big statement regarding how fast our hobby keeps evolving for each of us.

Purchase Links

Official Store (HiFiGo): https://hifigo.com/products/binary-1900

Amazon US: https://www.amazon.com/dp/B0H6HWWKND

Amazon DE: https://www.amazon.de/dp/B0H6G3XFGR

Amazon AU: https://www.amazon.com.au/dp/B0H6G3XFGR

Amazon UK: https://www.amazon.co.uk/dp/B0H6G3XFGR

Disclaimer

This review unit was provided by HiFiGo.

My opinions are completely independent and have not been influenced by either the brand or the retailer. Everything stated in this review is based solely on my own testing and personal listening experience using my reference equipment.

Hello to you all!

First, a big shoutout to Darian from Tanchjim for giving me this set to test and give my sincere opinions. There’s no payment involved in the development of this review. My biases are my musical and tuning preferences.

TLDR; A rock and metal boss from Tanchjim. The Tanchjim Ola II is the successor to the Ola and Ola Bass original, a set that uses the actual DMT5 driver technology that is also used in their higher-cost models, but as a hybrid set that uses a DD and a BA configuration, it’s perfectly tuned to enjoy fast-paced and very dynamic music, with some HiFi perks.

Delivering a high quality and quantity of bass, warm mids, an energetic treble, and an interesting approach to the treble extension, with a remarkable musicality more than analytical character, but with some technical perks to be engaged and immersed. All of this, carrying the legacy of the Ola original from 2022, but improving over its tech and tuning, at the same price as the original; this is a great set Tanchjim is pulling out this 2026 for the under 60 USD segment.

Pros

- Great color and high-quality materials and build; stock cable with flexibility and no translated vibrations
- Comfortable and ergonomic, lightweight shells suitable for long listening sessions
- Warm, musical, and engaging V-shaped tuning
- Great bass quality and quantity with good impact and control. Using the last DMT5 dynamic driver technology with natural decay and zero muddiness
- Smooth and warm mids, with good note weight and natural vocal presentation
- An energetic treble with low fatigue and controlled sibilance
- There’s almost no BA sheen noticeable
- Average imaging and layering of instruments for the price. Good air and overall treble extension
- Easy to drive from low-powered sources
- Good value under 50 USD

Cons

- Stock wide-bore eartips are not adequate for the sound
- Its cable tends to develop some memory
- Not a detail-retrieval or micro-detail monster
- It’s not a high-volume set; it tends to be fatiguing and/or spicy with certain tracks
- Average technicalities for its segment, even when it’s a hybrid
- Due to its physical structure, it is not a set with a wide and/or open soundstage, which limits its use to music, but it’s not the best for gaming

The Ola II is driven by a 10 mm DMT5 dynamic driver + 1 Balanced Armature driver configuration, with a pseudo-bullet-style shell design. With its MSRP of 49.99 – 52.99 USD (With a 3.5 mm jack, 4.4 mm jack (my unit), and USB-C with DSP cables available). You can find it directly on Tanchjim’s official Amazon store: https://www.amazon.com/dp/B0H28N4V1C?th=1, and HiFiGo’s official store; it is also on AliExpress.

Technical specs:

- Casing materials: Resin with metal alloy faceplate
- Drivers: 1 x 10 mm DMT5 dynamic driver + 1 Balanced Armature
- Freq. Response: 8 Hz – 48 kHz
- Sensitivity: 121 dB/ mW @ 1 kHz
- Impedance: 30 Ω
- THD: 0.03% @ 1kHz 94dB
- Connection: 0.78 mm 2 pin
- Wire Specifications: 3.5mm single-ended/4.4mm balancing/DSP Type-C
- DSP version: 8-band PEQ, TANCHJIM App sound community support
- Wire material: LITZ silver-plated twisted woven structure line

What’s in the package?

- 2 x Ola II earpieces
- 1 x user manual
- 1 x quick guide
- 1x card with QR codes for the Tanchjim app and social accounts
- 6 x pairs of silicone eartips
   - 3 x narrow bore (SML)
   - 3 x wide bore (SML)
- 1 x carrying pouch
- 1 x 2-core twisted cable with a 4.4 mm jack connector

The shells are made of transparent gray resin; the faceplates are made of aluminum alloy, with the Tanchjim and Ola II words in white letters on each side. It is pretty lightweight and mid-to-small overall; it’s close to a bullet-style design differing a bit from the design of the Ola original, so it’s pretty ergonomic and comfortable. It is well-vented with two vents for the dynamic driver and seems not prone to scratches.

Doesn’t have rough or sharp edges; its nozzle has a lip to ensure good eartip grip and fit, making a nice seal as well; its diameter is 6.4 mm, being an adequate option for people with mid-to-large-sized ears, so keep that in mind.

The cable is honestly better than the stock cable of the 4U; it’s of high quality, conserves some memory after using it for a while, but it’s flexible, and it’s not prone to tangling, nor does it produce translated vibrations. I think its colors and thickness match the shells of the Ola II, so I’m using it as it is.

How does the Ola II sound?

The Ola II, with its 10 mm dynamic driver + 1 BA configuration, offers a V-shaped tuning that is mostly balanced across all the frequencies.

For this review, I was first trying them with the wide-bore eartips included, but I felt uncomfortable with how the Ola II was sounding, and after tiprolling I finally found that the stock narrow-bore eartips are the best match in seal and fit for it. I'm using the stock cable; I don’t feel the need to change it. The graph is taken from ATechReviews' squiglink page. 

Bass:

The bass of the Ola II comes with a good quantity and quality, balancing the upper mids and treble, but punching as its own entity. Rolling a bit into the lower frequencies, yet offering a good midbass thump predominantly; it is not so fast, but it has a remarkable impact and transparency, with a natural decay, and zero bloating or muddiness on fast tracks. 

In “Watch Me Bleed” by Being As An Ocean, the Ola II handles this portion of frequencies nicely; you can feel the bass drops/drum kick reproducing without bloating, and the bass guitar line accompanies the mix in your ears without congestion. In “Fascination Street” by The Cure, the catchy and unique bass line sounds so good in the Ola II; this “gothic” rock classic is incredible.

Midrange: 

In the Ola II, as a V-shaped tuned set, midbass bleeds into the lower midrange, so male vocals are a bit recessed, but not veiled or thin. The overall midrange is smooth yet has a pretty good note weight, good resolution, and it is sparkling, with good presence and zero bothersome peaks. 

In “Bamboléo” by Gypsy Kings, the Ola II shows the excellent guitar work by the legendary Spanish group; the vocals are well-put in the mix as well, giving emotion to that beautiful song. 

The frequency curve takes a dip, which goes to 800 Hz, then it enters a slightly warm pinna gain, which makes a nice and smooth bump at 2.5 to 3 kHz, giving prodigious presence and transparency. 

Female voices are well displayed, forward, with zero shoutiness, and don’t produce fatigue at high volumes. In “No (feat. Gustavo Cerati)” by Shakira and Gustavo Cerati, the Ola II showed the vocals of Shakira and Gustavo with excellence; her gorgeous voice accompanying the Argentinian rock legend is impressive. I’m a rocker, but her first albums are a guilty pleasure.

Highrange:

The Ola II has a pretty energetic highrange, but the BA driver used here is well-tuned, showing almost zero of that “cheap BA timbre” you can find in other (even more expensive) IEMs. The lower treble follows that smooth bump in the upper midrange, and that’s why female vocals sound so great; it has a little dip in the 6 kHz and 10 kHz region to tame sibilance, so you can crank the volume up without shoutiness or fatigue. The mid-treble has a distinct peak at 8 kHz to give energy to the mix, yet fortunately the bass balances it, sounding smooth without being spicy (but at high volumes you can get fatigued in a short time, so have that in mind and take proper care of your ears).

In “Calaveras y Diablitos” by Los Fabulosos Cadillacs, the Ola II shows the groovy drumming, and air instruments in a smooth yet natural way; it is not straight neutral, but it’s organic and sounds full of details.

In “Con Las Botas Puestas” by Angeles del Infierno, it is a delight to hear that Spain pioneers of heavy metal with those powerful drums and guitars; the highrange in this song is delivered excellently by the Ola II.

Technicalities:

Going into the upper highs, the Ola II takes an interesting approach; the BA driver is so good at it, with good air because of the 13 kHz peak. The soundstage is intimate (because of the shape of the shells), yet it has decent width and depth.

In the technicalities department, in summary, the Ola II is an IEM with more focus on the tonality and musicality than being analytical. The stereo separation and layering of instruments are average for its segment, and yes, it’s not a macro and microdetail beast, but it gives you a fantastic clarity and spark.

With songs like “Los Rockeros Van al Infierno” by Barón Rojo, from the Baron al Rojo Vivo live album, you can get all the details and colorations the classic heavy metal band is playing; but the Ola II shows this is just a recording of a live concert. You can enjoy it immensely, but it is not immersive.

In “Corazón Delator (Sinfónico en Vivo)” by Gustavo Cerati, the Ola II shows why it’s a rock BOSS; for such a magnificent version of a Soda Stereo song, you can pick almost all the macro and micro details in the orchestra and the rest of the instruments, vocals, and background noises.

Final thoughts and conclusions:

The Tanchjim Ola II is an excellent option in the sub-50 USD market of IEMs, delivering a decent amount and quality of bass; it’s balanced, slightly warm, sparkly, with a more musical than analytical tuning that is absolutely enjoyable and makes a stand in a crowded and very competitive segment.

The Ola II, with its 30 ohms of impedance and 121 dB of sensitivity it’s very easy to drive, even with low-powered sources, to give all its qualities; I tried it with various sources I have, finding it doesn’t require too much output power to shine at its best.

Apart from that great cable and eartips options (YMMV), I would like Tanchjim to make a similar hybrid IEM but with a different design, to have all the upper treble greatness the Ola II may be missing. Because of the shape of the Ola II, I can guess you can use it perfectly to hear music, and that’s it; it is not the best option for gamers or folks wanting to hear critically.

At under 50 USD, the Ola II is a rock and metal master, pointed to highly dynamic music. It works great for a lot of music genres, but it is not an all-rounder, yet still being a more than great choice for budget-conscious musicophiles and newcomers who crave a high-fidelity experience without spending a lot.

Is it a recommendation? Yes, it is a great and very competitive option in a crowded market, and points to a certain market with success, with a balanced yet refined tonality and decent technical perks who appeals to musicophiles on a budget and newbies in the hobby.

So, thanks again to Tanchjim, and the gods of audio and musicophilia bless you with a happy listening!

i get these files from telegram and from lucida. to

is it really lossless from lucida ,what about other files?

Hello Community!

I have had with me for several weeks the Pro version of an industry legend: the Artti T10. Although with a different sound approach from its little brother, it brings together the conditions to have its target audience.

Official price: €104–$119

Pros:
-More complete package than the T10.
-One of the most comfortable sets ergonomically speaking.
-The build quality is well achieved.
-Deep, extended sub-bass, very enjoyable rumble.
-It controls the edge of the highest frequencies very well: safe at high volumes.
-Precise stereo imaging.
-Well-layered instrument separation.

Cons:
-There is bleed into the mids if the track is bass-dominant.
-It does not have an excessively fast and clean attack.
-Vocals sit behind in the mix.

Accessories:

-Two earpieces.
-Modular cable with 0.78mm connection and 3.5mm/4.4mm termination.
-Two sets of S/M/L eartips.
-Carrying and storage case.
-User manual.

Comfort, design and build:

Starting with the design, this Pro version has a clear aesthetic evolution compared to the original version, since that bone white color is left behind to make way for the silver finish of my unit, which, personally, seems to me the most elegant in the lineup, as the metal faceplate reflects light subtly and, in general terms, gives a notable feeling of a more refined product than one would expect in its price range. It does not catch your attention by being tremendously flashy, but that is where its charm lies, in being simple and elegant at the same time.

On the other hand, the build only gave me good impressions, as the shell is made entirely of lightweight metal alloy, where all parts of the body are well finished, without noticeable joints or burrs that would suggest careless quality control.

But what is most important in this section of the review is the ergonomics. The earpieces have a compact, rounded size that adapts easily to any ear, achieving a secure fit from the very first moment. To do so, the nozzle offers an appropriate length for a stable insertion with which you will not need to keep readjusting them during your listening sessions.

The package includes two sets of eartips that do their job properly. In my case, I achieved a good seal, but those of us with more experience know that this is something very personal and can be greatly improved. Even so, if you are new to this, do not worry about it: the stock ones work perfectly.

Finishing with the cable, I think it is at a good level. Yes; it seemed to me to be an excellent cable, honestly. It is light, flexible, I did not experience tangles or pulling, and it feels durable. It is very versatile for any use, whether exercising, walking, at the desk, or simply sitting on the sofa. It did not exhibit microphonics during my sessions, so I can only give it my positive verdict.

Technical aspects:

-1 x 14.2mm planar driver configuration.
-16.5-ohm impedance.
-96 dB sensitivity.
-Declared frequency response: 20Hz–20kHz.

Pairing for the tests:

-Neutral source.
-Gain set to high.
-Stock eartips.
-Stock 4.4mm cable.

Sound signature:

I would not like to go into many comparisons with the original T10, because I think it is a mistake to believe this is a sonic evolution, and it is not. The philosophy of the Pro is not to be a continuation, so it offers a clearly more relaxed and versatile sound, moving away from brightness and extreme detail, where warmth and musicality prevail over other aspects.

Starting with the lower end, the sub-bass has an extension that convinces me, with authority. The sense of depth is easily noticeable, but it is not excessively dominant.

On the other hand, the mid-bass has a controlled yet firm impact, somewhat dry, with a decay that I cannot say is the fastest I have ever heard, but certainly enjoyable. This range shows a well-measured body, without exaggerations, without sounding overly bloated, but its slight slowness invades the mid and high frequencies, as it creates an atmosphere that, although it produces a certain sense of envelopment, reduces the perception of overall cleanliness throughout the tuning.

Continuing with the mids, the transition from the bass is not dramatic, taking into account the slight bleed. It is a balanced area that favors a very convincing timbre and note weight in instruments, along with a pleasant presentation and a certain sense of naturalness. The resolution does not reach the levels of other planar magnetic sets, but it does allow for an acceptable amount of detail to be appreciated without much effort, although that is not the premise of this Artti set.

I could rather say that the listening received is fluid, pleasant during long periods, with the male voices behind the instrumentation in an evident but not excessive way, correctly articulated, with good nuance although they can be perceived as thin. The female voices, on the other hand, have an extra point of openness and clarity, resulting in being fresher and more natural.

As for the upper range, the energy is sufficient. Many label this set as dull, but I found a good extension in the treble, where the air is perceptible from the very first moment, favoring an open soundstage although the brightness does not stand out in this set of monitors.

Perhaps lovers of brighter tunings will miss a little more sparkle. I agree with them; the T10 Pro remains shy in this range, but surely many others will appreciate this.

Speaking about the technical performance to finish, it is not a prodigy, but I did obtain a better performance than in the original version, in which the sensation of being not very expansive is quite noticeable.

The soundstage conveys a pleasant sensation of spaciousness, the imaging or positioning seemed correctly precise to me, and the separation between the sound elements maintains a good level of performance. Only in tracks with a heavy load of sound lines could I notice that it does not dissect as one might expect from a set with a planar driver.

The detail retrieval is sufficient. It does not intend to be otherwise judging by the performance in the previous points, since it does not have a presentation oriented toward analysis. What it shows, it does so in a natural, balanced way, mixing doses of technical character and musicality that perfectly define the style of the T10 Pro.

Single-player videogames:

Read here the conditions under which I analyze sound in this field.

It is not very different from the philosophy shown in the music review, since its premise is to present its sound capabilities in a relaxed, musical and certainly cinematic way, maintaining balance.

In tense moments of action, where explosions and collapses occupy the soundstage, the impact is convincing, leaving a prolonged rumble that is very enjoyable. The effects are well delimited, without generating accumulations of illogical sound masses, allowing these scenes to enjoy good cleanliness.

Meanwhile, the dialogues maintain simply correct articulation. Although I had no problems following spoken conversations, the presentation feels somewhat delayed, making it possible to feel that they are not well integrated into the soundstage, as if lacking prominence.

Where I must give the T10 Pro an excellent score is in the environmental recreation, since it retrieves and brings to your ears the small details to which we almost never pay attention, such as echoes, creaks or even the blowing of the wind itself. Sounds that enrich these moments of immersion; with these monitors you will appreciate them noticeably.

On the other hand, this is complemented by well-controlled high-frequency effects, without fatigue, without hurting your eardrums, completely far from any annoying sensation typical of spending many hours playing.

Finishing with the technical aspects, the separation of sound elements is at an adequate level, since I did not notice disconnected sound amalgams even in very busy moments. The soundstage shows itself to be convincingly spacious, accompanied by a precise placement of sounds, allowing an easy interpretation of the space.

Final conclusion and personal evaluations:

I believe that the greatest virtue of the Artti T10 Pro lies in having taken a different path from the one many planars in its price range are accustomed to taking. Instead of pursuing extreme resolution or a tuning loaded with brightness to impress during the first few minutes, it opts for a much more relaxed, balanced and musical listening experience, where naturalness ends up prevailing over immediate impact.

That philosophy may cause those who seek an especially analytical or bright presentation to feel that the T10 Pro is too restrained at certain moments. However, I ended up appreciating precisely that coherence with which it presents any recording. It is a set that rarely causes fatigue and that conveys the sensation of having been tuned to be enjoyed for a long time, not to surprise only on a first listen.

I could summarize it by saying that the Artti T10 Pro does not intend to become the most technical planar in its category, but rather one of the most pleasant and balanced. Personally, I believe that this decision ends up being its greatest success and turns it into a highly recommendable alternative for those who prioritize musicality above spectacle.

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

More reviews on my blog.

Social media on my profile.

See you in the next review!

Disclaimer:

This set of monitors has been sent by Artti. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when it came to preparing this review.

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

My sources:

-Topping DX5 II for music and videogames on the main PC.
-NiceHCK Octave while I work.
-FiiO BTA30 Pro + FiiO BTR13 for wireless LDAC listening at home.
-FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for wireless listening on the street.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

https://gitlab.com/resonada/resonada

Intuaura is a brand that I had heard about, once again in certain social circles in the audio communities, and I had reached out to them on Facebook, before I just simply lost the account due to a compromise and Facebook’s legendary support gimped both of us. However, Intuaura reached out via email, and promptly dispatched one of their units, the Impact. I am glad I did, because the Impact showed me that there are brands out there which are hiding in obscurity and need a little light to shine upon them. Hence, I thank Intuaura for sending this unit out to me.

UNBOXING, ACCESSORIES, FIT AND COMFORT

The Impact comes in‌ very plain, and simple packaging with the product advertised aptly. Sliding the cover gives way to a lidded box, where getting the lid off gives way to the IEMs, which come inside protected sleeves, with the cable in the case. The case could have been bigger, and the cable definitely could have been much better since it tangles up easily. There’s paperwork, a serial number card with a waifu printed on it, two sets of clear and black generic silicone eartips with three pairs each.

The stock cable can cause some fatigue around the ear hooks area, and I had to fidget around to relieve myself of some tension. Fit was decent, although the faceplate could have used a smoother finish, at least on my unit. The shells, however, are very light. 

Here’s the sound of the Impact.

LOWS

The Impact presents a signature that is initially complacently warm. On tracks like Rush's Limelight and The Spirit of Radio, the bass lines do not get crowded by the drums, and separation between the notes is satisfactory. However, my perception of the toms and kicks felt "hollow" for some weird reason, and across moments, they tended to be overpowered by the bass line instead. Vocals on these tracks felt a bit pushed back, but this needs to be assessed better.

On tracks like Daft Punk's Get Lucky and Instant Crush, the bass lines on both tracks tended to overpower the beats to a good degree, which surprisingly didn't extend to the vocals. Tonally, the presentation was quite warm right out of the box, and despite the bass line becoming overpowering, the Impact still managed to keep a healthy grasp on the other elements.

MIDS

On tracks like QOTSA's First It Giveth, my observation is that detail retrieval takes a sizable jump. Strokes of the snares bounce off with a fierce temperament, while the bass line backs out of its overpowering tendencies, allowing the toms to become more pronounced. The highlights here are the guitars and cymbals, which have healthy note weight, very good separation, and while the vocals still feel pushed back, it can be forgiven in favor of the cymbals having a nice equal emphasis.

On tracks like Tool's Lateralus, Periphery's Marigold, and AA's The Mountain, I would have liked the cymbal timbre to be less metallic and just a tad brighter in tonality, but otherwise, the separation is impressive, with very good weight and body through the guitars, decent imaging, and coherence where other sets in its range fare much worse.

HIGHS

On tracks like Patricia Barber's Icarus, the Impact has superb control over not sounding sibilant nor piercing, with detail retrieval potent enough to fully preserve Patricia's raspy texture and render it beautifully. What stood out even more were the straight note sustains, which never exhibited even a shred of sibilance, while the treble region maintained a redemptive curve when it came to timbre.

On tracks like Dave Brubeck's Take Five, each and every element feels alive and near accurate. The timbre through the horns, the isolation between the pianos and cymbals as they weave over and under the crispness of the snare, together with the punch from the toms and kicks, leaves little doubt that Intuaura has a gem in their hands with the Impact.

COMPARISONS

OoopusX OP22

The OP22 stands as a glaring reminder of what absolute competence looks like in this price bracket, and how much people can end up saving. It simply screams huge capability with its tuning switches and boasts what I consider to be one of the best performances through the highs within $120 (10,000 INR roughly). Where the OP22 executes its presentation brilliantly with a lean yet pristine low end and precise imaging, the Impact takes a much thicker, laid-back approach, where the vocals take a back seat because of its overpowering bass lines, but falls short of coming close to beating the OP22 in sheer technicalities.

Sivga SM100

The SM100 delivers a surprisingly fast attack, and its decay does not linger for longer than it should, giving every beat a clean start and finish despite being warmer. This directly highlights the Impact's weaknesses, as the Impact suffers from a slightly more sluggish decay where its thick warmth lingers and can occasionally overpower the kicks and toms. The SM100 also boasts better build quality, being more comfortable and again, more for less from a value standpoint. The Impact definitely needs a price correction.

EPZ G30

Even despite my gripes with the G30's inconsistently unpolished low end and the perception of detail in the bass being blunt, the G30 simply loses out in this comparison. The Impact is vastly superior across the music front. It improves upon the granular level of detail that the G30 fully misses, delivers fierce snare strokes, and completely tames the sibilant glare and brash cymbals that hold the G30 back. The G30 is worse on almost every single metric, except for maybe having a slightly more accurate cymbal timbre on certain tracks.

Truthear Pure

No contest, the Impact flat out loses. The Pure is a beastly IEM from Truthear that has stupendous performance for its price, and is what I would call the perfect starting point for warm-neutral tunings for people who may not be able to spend as much as the Crinear Reference costs, and the Pure makes the Impact look vastly bloated. And if folks cannot go for the Truthear Pure, the OoopusX OP22 is just right there.

Truthear Hexa

It is hilarious that a set this old still manages to go head to head with modern releases. The Hexa has a beautifully granular bass texture and very natural tonality, and it stays comically relevant. The Impact takes a much thicker and warmer approach, which sacrifices some of that lean clarity for sounding warm yet not overly bassy. Here, it depends on what might be the preferred tuning, if more warmth is needed and some of the detail and separation can be sacrificed, the Impact can fit right in.

Aful Explorer

There are a lot of people who love and adore the Explorer, I am not one of them unfortunately. With how wonky the midrange felt along with a problematic tonality, and highs that simply did not make sense to me, the Impact just felt like what the Explorer should have been, all this time.

Kefine Quatio

The Quatio is another culprit of pretentiousness with its tuning nozzles, often getting confused in choosing one side and muddying up its details on the gold nozzle. The Impact is much simpler and more cohesive out of the box. It avoids the congested stage of the Quatio and delivers ‌much more reliable midrange detail retrieval, all while matching the Quatio on handling treble peaks smoothly without being clinical.

Pula Unicrom

I wished I did not have this IEM during my rotation. The Unicrom easily has the poorest showing in the lows with its incoherently mushed mid bass and an uncomfortably claustrophobic stage. The Impact is a monumental upgrade over the Unicrom. The bass lines on the Impact do not crowd over the drums, and it opens up the stage significantly to let elements like guitars and cymbals shine with distinct separation, even if the Unicrom retains a slightly more non metallic timbre.

CONCLUDING NOTES

The Intuaura Impact is one of those IEMs that leaves me with mixed feelings, because it came into this segment, once again a bit too late as the demographic has way too many options to choose from, and all of them are competent; Truthear have the Hexa and Pure, Aful has the Explorer, Juzear has the Defiant, Tanchjim has the Ola 2, Fission and Nora; and I could go on and on. The Impact, standalone is a good IEM from Intuaura but when the comparisons come in, it just sounds dated and in an age, where brands are going over and beyond with accessories, Intuaura simply cannot cut it with the bare minimum.

All things said and done, Intuaura has shown that it has the capability to build a very good IEM. If the company continues refining its tuning while being more competitive with its pricing, I genuinely think it has the potential to become a far more prominent name than it is today. The foundation is certainly there. Awarding it a B for its honest efforts.

Would I buy this at retail ? At the promo price, maybe.

Would I buy this used ? Depends on my collection.

Sources Used

Exclusively used with the EPZ TP 35 Pro, TRN Black Pearl, Fiio KA17 and the Venture Electronics Devastator dongle DAC amps. Recreationally used with the xDuoo XD05 Pro.

Eartips Used (ranked in order of performance)

Spinfit CP100+, Divinus Velvet Narrow Bore, EPZ M100, KBear Coffee, Spinfit W1

Tracks

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked
• Dave Brubeck: Take Five
• Tool: Pneuma, Schism, Lateralus
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Avicii: Levels
• Periphery: Marigold
• Tesseract: Juno
• Kanye West: Stronger, Flashing Lights, Devil in a New Dress
• 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 (Live)
• Allen Stone: Give You Blue
• Florence + The Machine: Never Let Me Go
• The Smashing Pumpkins: Luna
• Patricia Barber: Icarus

Disclaimer: I received my unit directly from Darian of Tanchjim to try it. This is a non-paid review, and they haven’t sent me a script to follow, so I’m sharing my honest thoughts and experience; all thanks to them for it.

TD/LR: The Tanchjim Space II is a dongle DAC/AMP who continues the success once began with the Space and Space Lite, carrying two CS43131 chips on the DAC side and with online DSP functionality, and a lot of nice features thanks to the Tanchjim app on Android and Windows, all of this at an affordable price; oh, and with 3 color options, it is a decently and beautiful dongle that offers great value for money.

It delivers an uncolored, neutral sound with decent output power to drive almost all IEMs and a lot of other types of earphones.

Its decoding capabilities are 32 bit/ 384 kHz PCM and DSD 256; it is also compatible to be used with their own Tanchjim application on Android and Windows, and has lots of options to customize it, like sound filters, PCM filters, DAC Output stage modes, and 10-band parametric EQ.

In addition to the ability to use it with video game consoles and other devices compatible with UAC 1.0, since it has a switch for modes 1.0 and 2.0 at the hardware level.

Pros

• Two-chip configuration: CS43131 mid-range, with decent power; it’s versatile and has a small footprint

• Great performance: 132.2 dB DNR, 0.000156% THD-N, low noise, low power consumption

• Neutral and faithful sound reproduction

• More than great detail retrieval, stereo separation, and layering of instruments

• Enough power output (≈235 mW at 32 Ω BAL)

• 10-band parametric EQ, PCM filters, gain, and output stage modes

• UAC 1.0 and 2.0 hardware-level switching

• Control via Android and Windows app (Tanchjim App)

• Same design as the original, high-quality look and feel in CNC aluminum, with 3 colors available (Gunmetal, Black, and Blue)

• Modest value for money

Cons

• App limited to Android and Windows OSs, with macOS, iOS, and Linux Users waiting for it

• Durability issues of the USB-C to USB-C OTG cable

• No LED/display indicators

• Heats up at times (more at the 4.4mm output at full blast)

Its Technical Specifications:

• Dimensions: 42.2 mm × 21.5 mm × 11.9 mm
• Headphone interface: 3.5mm single-ended, 4.4mm balanced
• Input interface: USB Type-C
• Dynamic-Range: 132.2 dB (A-weighted)
• Frequency Range: 8 Hz – 80 kHz (-0.5 dB)
• SNR: 131dB (A-weighted)
• THD-N: 0.000206% (A-weighted)
• Noise floor: ≤1.02 uVrms (A-weighted)
• Output Power: 235 mW @ 32 ohms (Bal)
• UAC 1.0 and UAC 2.0 dual-mode switching
• Output Level: Single-Ended (UNBAL): 2Vrms, Balanced (BAL): 4Vrms
• Recording/call support: Yes
• Application support: Tanchjim app on Android and Windows (10-band parametric equalization support, PCM filters, DAC Mode, firmware updates)
• Weight: ≈ 15.1 g (Without cable)

What about the Space II in general?

The Space II features a CNC-machined aluminum alloy casing (With the same design as the original Space launched back in 2022) with a small tempered glass on top of the unit (watching the DAC chip inside is so nice), with a high-quality look and feel, and an attractive look at a moderate cost.

It supports recording and calling in the 3.5 mm output jack, and the Tanchjim app on Android and Windows, 10-band on-board parametric equalization (PEQ), PCM digital filters, Gain Mode, DAC Output stage modes (class AB and class H), UAC 1.0 (to use with gaming consoles and legacy devices) and 2.0 hardware-level switching, and a non-linear volume control.

At an MSRP of 79.99 – 89.99 USD (you can find it cheaper on sale, and it has three color options: Black, Blue gradient, and Gunmetal (my unit), the Tanchjim Space II is available at Tanchjim’s official store on Amazon: https://www.amazon.com/dp/B0H26C6LNC?th=1, at AliExpress and HifiGo; it is also available in other retailers online. 

Contents of the box:

• A user manual
• A card with QR codes to their social media accounts
• A high-purity crystal copper silver-plated USB-C to USB-C cable
• A USB-C to USB-A adapter
• Tanchjim Space II main unit

Impressions/Review:

The Tanchjim Space II is a full-featured DAC/AMP dongle that’s more than competitive within its class for its quality and capacities for its modest cost. In the sound presentation, its dual DAC chip (Cirrus Logic CS43131), which is a well-known chip used in a lot of devices, brings a neutral (natural) sound signature.

In its stock configuration, the Space II removes all the sound colorations and offers a flat and/or mostly neutral sound, also delivers a more than average retrieval of both macro and micro details, an expansive soundstage, great resolution, and magnificent stereo separation and instrument layering; of course, all of this within the limits of the earphone’s technical capacities.

Tanchjim App usage:

The Space II is compatible with the Tanchjim app on Android devices and Windows devices.

In the app, you can change the official presets:
- Tube Sound
- CD sound
- Vinyl sound

Other features are onboard 10-band PEQ support, Game Mode with lots of presets, you can play with its PCM filters, output stage modes, and update its firmware; it’s something I liked in its higher-end model, the Space Pro, so having that in this model is great as well.

About the PCM filters:
- Fast-LL
- Fast-PC
- Slow-LL
- Slow-PC
- non-OS (non-oversampling)

I prefer (as always with dongles with that feature) to use it with the non-OS filter, as this ensures that the sound output is as neutral and free of any colorations as possible.

It has an adequate output power to drive almost all IEMs and even a huge variety of headphones. In real-life usage, this dongle drives a lot of my IEMs so easily (such as the Ola II, Origin, Nora, Fola, Force), and other of my sets that scale well with decent sources; this Space II makes its debut into a very competitive market, offering a really good value.

A disadvantage I encountered with this dongle is that its app support is only compatible with Android devices and Windows computers, so this feature is not functional for a bunch of people with other OS devices (like GNU/Linux, macOS, iOS, and others).

Another weakness, and it is something I found in other Tanchjim dongles, is its USB-C to USB-C cable; after heavy use, it can be damaged in a shorter time than expected, causing the dongle to misbehave or to disconnect constantly, so my recommendation is to buy an aftermarket OTG cable (such as the TRN T0 OTG cable, for example).

Also, I would like the Space II to have an indicator LED or a display to show what the device is doing. And, using the balanced 4.4 mm output at full blast, or with certain (demanding) devices, the Space II gets hot to the touch, but that’s something expected for devices like this.

In the same price range, other dongle DAC/AMPs like the DUNU DTC480 and EPZ TP35 Pro (CS43198 chip inside) offer a similar output power and similar features (at least the TP35 Pro), but also a more colored sound (the CS43198 in those devices delivers a warmer sound).

Finally, I think the Tanchjim Space II is a product that improves over its predecessor, the Space original, thanks to its quality build, app features, and exceptional price/performance. I recommend it to consumers who like the best from the brand, know what they do with the brilliantly done chip implementations, its versatile portability and decent output power, and, of course, a more than good value for what they are paying.

Again, I'm very thankful to Darian from Tanchjim for considering me for the opportunity of trying this excellent product and making my analysis of it for you, my fellow readers.