u/HiFijuegos

¡Hello Community!

Today I’m telling you about what my listening sessions with Punch Audio Martilo have been like, a set capable of moving a large amount of air for a thundering experience that will delight bass lovers.

Price: 289€-335$

Pros:

-Thundering experience, great power, texture and depth in the sub-bass.
-It is not a set that muddies the midrange, it sounds relatively clean.
-The highs have good extension.
-Acceptable amount of detail despite being a basshead set.
-Dynamic and fun presentation.
-The transients are smooth and coherent.

Cons:

-In chaotic mixes it can lose some clarity.
-The upper frequency range is not very airy.

Accessories:

-Two shells.
-One set of silicone eartips in SML sizes.
-One set of foam eartips in SML sizes.
-Modular cable with 0.78mm connection and 3.5mm/4.4mm terminations.
-Replacement filters for the nozzles.
-Storage and transport case.

Comfort, design and construction:

The faceplate goes for a very distinctive aesthetic, with a combination of dark and reddish tones that give it an aggressive appearance which I personally think fits the name of the product very well and, above all, its character. It is not a set that seeks to go unnoticed and I understand that it may appeal more or less depending on each person’s tastes, but I have to admit that the final result seems quite successful to me.

As for the construction, I think Punch Audio has done a good job. The shells are made of resin and have a uniform finish, without burrs, imperfections or joints that particularly draw attention. To the touch they convey a fairly good sense of solidity and, although we are not dealing with a metal body, at no point did I have the feeling that I was looking at a fragile or poorly made product.

As for ergonomics, here I have to make a small warning. These are large monitors and those with small ears should take this into account. In my case, I had no major problems achieving a stable fit, although I wouldn’t say that these are IEMs that completely disappear inside the ear. Their presence can be felt and it may be necessary to slightly search for the correct position so that the points of contact are properly distributed.

Once I found the appropriate eartip size, the fit seemed firm and secure to me. During my prolonged listening sessions I did not experience pain or particularly annoying pressure points, although I would not place them among the most comfortable monitors I have tried. The included eartips do their job correctly, providing a good seal from the first moment, although I consider it worthwhile to experiment with other options until finding the one that best adapts to our ear canal.

The cable seems like another one of the strong points to me. It is thick and robust, conveying a fairly good sense of quality to the touch. It is not the lightest cable I have used and it can feel somewhat bulky for those who prefer thin cables for situations involving more movement, but in my experience I had no major problems with tangles or pulls.

Technical aspects:

-2DD+2BA+1PM configuration.
-9 ohms impedance.
-100 dB sensitivity.
-Stated response 10hz-22khz.

Test configuration:

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

Sound signature:

To focus this analysis of the Martilo on the prominence and dominance of its bass region, I think, would be to oversimplify the set’s proposal, although I have more than enough desire to praise this characteristic.

Its soul is quite simple to interpret: to offer a clearly warm and V-shaped response, where the lower region takes on enormous prominence, but while trying to preserve enough cleanliness, resolution and organization so that the set does not end up becoming a simple bass-producing machine.

Starting with the lower region, the sub-bass has simply spectacular extension. Its depth is easily palpable and appears with an authority that we rarely find in this segment. There is a very evident sensation of physical pressure, especially with electronic music, hip-hop or any recording where the lowest frequencies have enough prominence.

As a curious fact and something I did not expect, the sub-bass does not end up becoming a completely uncontrolled mass. I always perceived a fairly convincing sense of cleanliness and the notes maintain good definition. These monitors achieve precisely what I consider the most difficult thing with this type of tuning: offering an amount of bass that could seem excessive on paper without immediately giving us the feeling that everything else has been buried underneath it.

The mid-bass performs spectacularly under my criteria, although here we find an even more evident impact. The impact is forceful, physical and with a fairly convincing texture. The kick drum has an extraordinary presence with a body that can be especially addictive in certain genres. I do not consider it a dry or particularly fast bass, but neither do I find such a prolonged decay that it generates a constant sensation of slowness and poor transparency.

And this is where one of the main virtues of this Punch Audio model lies. The tuning does not try to hide the amount of bass; on the contrary, it turns it into the main argument, but it maintains enough control for the response to preserve a certain structure. It is a warm, large and enveloping bass, with a clearly superior physicality to what is usual, but one that does not need to completely sacrifice definition to achieve it.

Even so, I do not think it would be fair to present this behavior as perfect. In particularly dense recordings or those with a large accumulation of instruments in the lower region, the Martilo can convey a certain sense of congestion.

The transition into the midrange is carried out in a fairly progressive manner. The bleed coming from the bass exists, but it is sufficiently controlled so that the tonality does not end up becoming ridiculously muddy. The instruments show generous note weight and a certain warmth that fits perfectly with the overall philosophy of the set.

This is not a monitor that intends to offer particularly transparent or prominent mids. The instrumentation appears slightly behind the lower region and this makes the Martilo have a clearly more fun than analytical presentation. However, we also do not find any worrying loss of information. The resolution is sufficient to easily follow the different instrumental lines and the timbre maintains fairly convincing naturalness.

Male vocals enjoy considerable body. The combination between the mid-bass and the note weight generates a fairly full presentation, with good articulation and a sensation of physical presence that especially benefits deeper voices. They are not the protagonists of the scene, but neither are they completely buried behind the bass.

Female vocals, on the other hand, receive somewhat more clarity and openness. They retain good articulation and appear with enough presence so that the tonality does not end up becoming excessively dark. Even so, those looking for an especially vocal-focused IEM will probably find more appropriate options. The Martilo does not want to place vocals in the foreground; it wants them to form part of a large, energetic and enveloping presentation.

As for the highest frequencies, we probably find the area that most clearly reveals the philosophy of this set. Extension is correct and there is enough information to avoid a completely dull sensation, but the energy is quite restrained. The Martilo does not produce a sensation of artificial sparkle to increase the perception of detail and this has a very positive consequence: listening remains very comfortable even after several hours.

This decision also has its negative side. Lovers of more incisive tunings will probably miss some more air and presence in the upper region. Micro-information does not appear as easily as it does in other sets more oriented toward analysis and certain small details can remain slightly behind the main instrumentation.

Detail retrieval is therefore quite good considering the philosophy of the tuning. We are not dealing with a monitor that dissects every recording nor with a tool especially suited to discovering all the small details of a mix. However, the information appears in a sufficiently natural way and the overall cleanliness allows us to enjoy complex recordings without having to constantly make an analytical effort.

The overall dynamics also left me with good impressions. The transients retain enough speed so that the set does not end up sounding excessively heavy and the notes disappear with reasonable agility. This is especially important considering the amount of energy present in the lower region, because a slower response would have turned the Martilo into a much more difficult monitor to enjoy with certain genres.

Separation is another aspect that I find particularly interesting. Considering that we are dealing with a clearly basshead set, I expected a greater loss of organization, but the Martilo manages to maintain a fairly logical structure between the different sound planes. The different instrumental lines can be followed with ease and the stereo image maintains convincing precision.

The soundstage conveys fairly generous width. I would not say that it is an artificially huge stage, but there is a sensation of width and depth that complements the physical presentation of the bass very well. The result is a fairly enveloping stage, where certain elements can appear clearly differentiated in front of and behind the central position.

When the mix becomes especially complex, however, this is where some of its limitations appear. The Martilo can maintain a good level of organization in most situations, but recordings with an extreme amount of sound layers end up showing that we are not dealing with a monitor designed exclusively for technical dissection. Some elements lose a little of their separation and the stage can feel somewhat more compressed.

Single-player video games:

See how I analyze audio in this field

If during the music analysis I already commented that reducing the Martilo solely to its enormous amount of bass would be to oversimplify its proposal, in single-player video games this characteristic becomes precisely its greatest strength. The response of these monitors manages to build a large, physical and tremendously spectacular presentation, making action scenes take on a dimension that few sets manage to convey so easily.

In moments of greatest intensity, where explosions, collapses, gunshots or other large effects occupy the scene, the Martilo feels completely in its element. The extension of the sub-bass is simply spectacular and provides a sensation of depth and physical pressure that makes every explosion have a truly convincing impact. The mid-bass completes this experience with a forceful punch, making hits and impacts acquire extraordinary body. The Martilo makes you feel all of this really strongly.

Dialogues also receive a fairly convincing presentation. Male voices enjoy considerable body, while female voices provide somewhat more clarity and openness. They are not particularly prominent within the scene, but at no point did I have difficulty following conversations or understanding the narrative even when the action increased considerably in intensity.

Where I consider the Martilo to stand out once again is in environmental recreation. The scene conveys fairly generous width and the separation allows details such as wind, echoes, water or the movement of vegetation to be appreciated. The enormous sense of scale provided by the bass also works in its favor, making certain environments convey a truly convincing sense of space.

Technically, it continues to leave good impressions. The stereo image is precise and positioning makes it easy to interpret the surrounding space correctly. The separation between effects, music and dialogue maintains a satisfactory level even when many sound layers come together.

Multiplayer shooter video games:

See how I analyze audio in video games

If there is a scenario where the Punch Audio Martilo shows a different side from the one offered in music and single-player video games, it is precisely in competitive titles. Its enormous presence in the lower region, which previously was so spectacular, does not play as clearly in its favor here. We are not dealing with a bad IEM for competing in this type of game, but neither do I consider its tuning to be the most appropriate when we need to extract every last detail from the soundscape.

In Counter-Strike 2, footsteps, reloads and utilities appear correctly defined and the stereo image makes it fairly easy to interpret the direction of opponents. The problem appears when the bass becomes prominent, as it can take some attention away from certain secondary sounds. Distance is also fairly convincing, although other more balanced and brighter sets make it somewhat easier to read distant sounds.

In Apex Legends, where verticality and the enormous amount of simultaneous effects considerably complicate interpretation, the Martilo maintains fairly good organization. Abilities, gunshots and movements remain sufficiently separated during a good part of the match, although the amount of energy in the lower end can make the moments of greatest load somewhat more difficult to interpret. It does not become a serious problem, but it does require somewhat more attention.

In Call of Duty: Warzone it once again shows a fairly similar situation. Explosions, killstreaks and gunshots acquire considerable spectacularity thanks to that very physical bass, but precisely that energy can end up competing with footsteps, reloads or nearby movements. Fortunately, the good control prevents everything from turning into a completely muddy mass and the important information remains accessible.

Finally, Battlefield 6 is probably where its limitations become most apparent. The enormous amount of vehicles, explosions, gunshots and destruction puts the Martilo’s separation capabilities to the test and, although it manages to maintain a fairly reasonable order, I would not say that it is a competitive prodigy. The image remains precise and the positioning sufficiently convincing, but other IEMs with a response that is less loaded in the bass make this type of soundscape easier to read.

Final conclusion and personal evaluations:

Having reached this point, I think the Punch Audio Martilo is a monitor that is difficult to judge solely from a technical perspective. Its proposal is tremendously clear and without a split personality: to offer a warm, huge and physical response, where the bass takes on extraordinary prominence, but without completely giving up cleanliness, separation and resolution. And I consider that it achieves this with considerable competence.

What has surprised me the most is precisely its ability to control such a quantity of energy. The sub-bass is spectacular and the mid-bass provides a forceful and addictive punch, but I rarely had the sensation of being faced with a completely uncontrolled set. There is some congestion when the mix becomes especially dense, and the mids and highs do not seek prominence, but they form part of a coherent and tremendously enjoyable presentation.

It is a monitor that manages to convey scale, body and physicality with extraordinary ease, while its wide stage and good separation provide enough organization so that all that energy does not end up becoming tiring.

Ultimately, the Martilo seems to me to be a very particular proposal and, above all, a very fun one, and although its limitations appear when we seek maximum transparency or dissection, I consider that its ability to offer such an impact without completely losing control is, under my criteria, its greatest virtue.

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 Linsoul. I sincerely appreciate the opportunity to test one of their products at no cost and that no condition was imposed when preparing this analysis.

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

My sources:

-Topping DX5 II for music and video games 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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

¡Hello Community!

Today I’m telling you about what my listening sessions with Punch Audio Martilo have been like, a set capable of moving a large amount of air for a thundering experience that will delight bass lovers.

Price: 289€-335$

Pros:

-Thundering experience, great power, texture and depth in the sub-bass.
-It is not a set that muddies the midrange, it sounds relatively clean.
-The highs have good extension.
-Acceptable amount of detail despite being a basshead set.
-Dynamic and fun presentation.
-The transients are smooth and coherent.

Cons:

-In chaotic mixes it can lose some clarity.
-The upper frequency range is not very airy.

Accessories:

-Two shells.
-One set of silicone eartips in SML sizes.
-One set of foam eartips in SML sizes.
-Modular cable with 0.78mm connection and 3.5mm/4.4mm terminations.
-Replacement filters for the nozzles.
-Storage and transport case.

Comfort, design and construction:

The faceplate goes for a very distinctive aesthetic, with a combination of dark and reddish tones that give it an aggressive appearance which I personally think fits the name of the product very well and, above all, its character. It is not a set that seeks to go unnoticed and I understand that it may appeal more or less depending on each person’s tastes, but I have to admit that the final result seems quite successful to me.

As for the construction, I think Punch Audio has done a good job. The shells are made of resin and have a uniform finish, without burrs, imperfections or joints that particularly draw attention. To the touch they convey a fairly good sense of solidity and, although we are not dealing with a metal body, at no point did I have the feeling that I was looking at a fragile or poorly made product.

As for ergonomics, here I have to make a small warning. These are large monitors and those with small ears should take this into account. In my case, I had no major problems achieving a stable fit, although I wouldn’t say that these are IEMs that completely disappear inside the ear. Their presence can be felt and it may be necessary to slightly search for the correct position so that the points of contact are properly distributed.

Once I found the appropriate eartip size, the fit seemed firm and secure to me. During my prolonged listening sessions I did not experience pain or particularly annoying pressure points, although I would not place them among the most comfortable monitors I have tried. The included eartips do their job correctly, providing a good seal from the first moment, although I consider it worthwhile to experiment with other options until finding the one that best adapts to our ear canal.

The cable seems like another one of the strong points to me. It is thick and robust, conveying a fairly good sense of quality to the touch. It is not the lightest cable I have used and it can feel somewhat bulky for those who prefer thin cables for situations involving more movement, but in my experience I had no major problems with tangles or pulls.

Technical aspects:

-2DD+2BA+1PM configuration.
-9 ohms impedance.
-100 dB sensitivity.
-Stated response 10hz-22khz.

Test configuration:

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

Sound signature:

To focus this analysis of the Martilo on the prominence and dominance of its bass region, I think, would be to oversimplify the set’s proposal, although I have more than enough desire to praise this characteristic.

Its soul is quite simple to interpret: to offer a clearly warm and V-shaped response, where the lower region takes on enormous prominence, but while trying to preserve enough cleanliness, resolution and organization so that the set does not end up becoming a simple bass-producing machine.

Starting with the lower region, the sub-bass has simply spectacular extension. Its depth is easily palpable and appears with an authority that we rarely find in this segment. There is a very evident sensation of physical pressure, especially with electronic music, hip-hop or any recording where the lowest frequencies have enough prominence.

As a curious fact and something I did not expect, the sub-bass does not end up becoming a completely uncontrolled mass. I always perceived a fairly convincing sense of cleanliness and the notes maintain good definition. These monitors achieve precisely what I consider the most difficult thing with this type of tuning: offering an amount of bass that could seem excessive on paper without immediately giving us the feeling that everything else has been buried underneath it.

The mid-bass performs spectacularly under my criteria, although here we find an even more evident impact. The impact is forceful, physical and with a fairly convincing texture. The kick drum has an extraordinary presence with a body that can be especially addictive in certain genres. I do not consider it a dry or particularly fast bass, but neither do I find such a prolonged decay that it generates a constant sensation of slowness and poor transparency.

And this is where one of the main virtues of this Punch Audio model lies. The tuning does not try to hide the amount of bass; on the contrary, it turns it into the main argument, but it maintains enough control for the response to preserve a certain structure. It is a warm, large and enveloping bass, with a clearly superior physicality to what is usual, but one that does not need to completely sacrifice definition to achieve it.

Even so, I do not think it would be fair to present this behavior as perfect. In particularly dense recordings or those with a large accumulation of instruments in the lower region, the Martilo can convey a certain sense of congestion.

The transition into the midrange is carried out in a fairly progressive manner. The bleed coming from the bass exists, but it is sufficiently controlled so that the tonality does not end up becoming ridiculously muddy. The instruments show generous note weight and a certain warmth that fits perfectly with the overall philosophy of the set.

This is not a monitor that intends to offer particularly transparent or prominent mids. The instrumentation appears slightly behind the lower region and this makes the Martilo have a clearly more fun than analytical presentation. However, we also do not find any worrying loss of information. The resolution is sufficient to easily follow the different instrumental lines and the timbre maintains fairly convincing naturalness.

Male vocals enjoy considerable body. The combination between the mid-bass and the note weight generates a fairly full presentation, with good articulation and a sensation of physical presence that especially benefits deeper voices. They are not the protagonists of the scene, but neither are they completely buried behind the bass.

Female vocals, on the other hand, receive somewhat more clarity and openness. They retain good articulation and appear with enough presence so that the tonality does not end up becoming excessively dark. Even so, those looking for an especially vocal-focused IEM will probably find more appropriate options. The Martilo does not want to place vocals in the foreground; it wants them to form part of a large, energetic and enveloping presentation.

As for the highest frequencies, we probably find the area that most clearly reveals the philosophy of this set. Extension is correct and there is enough information to avoid a completely dull sensation, but the energy is quite restrained. The Martilo does not produce a sensation of artificial sparkle to increase the perception of detail and this has a very positive consequence: listening remains very comfortable even after several hours.

This decision also has its negative side. Lovers of more incisive tunings will probably miss some more air and presence in the upper region. Micro-information does not appear as easily as it does in other sets more oriented toward analysis and certain small details can remain slightly behind the main instrumentation.

Detail retrieval is therefore quite good considering the philosophy of the tuning. We are not dealing with a monitor that dissects every recording nor with a tool especially suited to discovering all the small details of a mix. However, the information appears in a sufficiently natural way and the overall cleanliness allows us to enjoy complex recordings without having to constantly make an analytical effort.

The overall dynamics also left me with good impressions. The transients retain enough speed so that the set does not end up sounding excessively heavy and the notes disappear with reasonable agility. This is especially important considering the amount of energy present in the lower region, because a slower response would have turned the Martilo into a much more difficult monitor to enjoy with certain genres.

Separation is another aspect that I find particularly interesting. Considering that we are dealing with a clearly basshead set, I expected a greater loss of organization, but the Martilo manages to maintain a fairly logical structure between the different sound planes. The different instrumental lines can be followed with ease and the stereo image maintains convincing precision.

The soundstage conveys fairly generous width. I would not say that it is an artificially huge stage, but there is a sensation of width and depth that complements the physical presentation of the bass very well. The result is a fairly enveloping stage, where certain elements can appear clearly differentiated in front of and behind the central position.

When the mix becomes especially complex, however, this is where some of its limitations appear. The Martilo can maintain a good level of organization in most situations, but recordings with an extreme amount of sound layers end up showing that we are not dealing with a monitor designed exclusively for technical dissection. Some elements lose a little of their separation and the stage can feel somewhat more compressed.

Single-player video games:

See how I analyze audio in this field

If during the music analysis I already commented that reducing the Martilo solely to its enormous amount of bass would be to oversimplify its proposal, in single-player video games this characteristic becomes precisely its greatest strength. The response of these monitors manages to build a large, physical and tremendously spectacular presentation, making action scenes take on a dimension that few sets manage to convey so easily.

In moments of greatest intensity, where explosions, collapses, gunshots or other large effects occupy the scene, the Martilo feels completely in its element. The extension of the sub-bass is simply spectacular and provides a sensation of depth and physical pressure that makes every explosion have a truly convincing impact. The mid-bass completes this experience with a forceful punch, making hits and impacts acquire extraordinary body. The Martilo makes you feel all of this really strongly.

Dialogues also receive a fairly convincing presentation. Male voices enjoy considerable body, while female voices provide somewhat more clarity and openness. They are not particularly prominent within the scene, but at no point did I have difficulty following conversations or understanding the narrative even when the action increased considerably in intensity.

Where I consider the Martilo to stand out once again is in environmental recreation. The scene conveys fairly generous width and the separation allows details such as wind, echoes, water or the movement of vegetation to be appreciated. The enormous sense of scale provided by the bass also works in its favor, making certain environments convey a truly convincing sense of space.

Technically, it continues to leave good impressions. The stereo image is precise and positioning makes it easy to interpret the surrounding space correctly. The separation between effects, music and dialogue maintains a satisfactory level even when many sound layers come together.

Multiplayer shooter video games:

See how I analyze audio in video games

If there is a scenario where the Punch Audio Martilo shows a different side from the one offered in music and single-player video games, it is precisely in competitive titles. Its enormous presence in the lower region, which previously was so spectacular, does not play as clearly in its favor here. We are not dealing with a bad IEM for competing in this type of game, but neither do I consider its tuning to be the most appropriate when we need to extract every last detail from the soundscape.

In Counter-Strike 2, footsteps, reloads and utilities appear correctly defined and the stereo image makes it fairly easy to interpret the direction of opponents. The problem appears when the bass becomes prominent, as it can take some attention away from certain secondary sounds. Distance is also fairly convincing, although other more balanced and brighter sets make it somewhat easier to read distant sounds.

In Apex Legends, where verticality and the enormous amount of simultaneous effects considerably complicate interpretation, the Martilo maintains fairly good organization. Abilities, gunshots and movements remain sufficiently separated during a good part of the match, although the amount of energy in the lower end can make the moments of greatest load somewhat more difficult to interpret. It does not become a serious problem, but it does require somewhat more attention.

In Call of Duty: Warzone it once again shows a fairly similar situation. Explosions, killstreaks and gunshots acquire considerable spectacularity thanks to that very physical bass, but precisely that energy can end up competing with footsteps, reloads or nearby movements. Fortunately, the good control prevents everything from turning into a completely muddy mass and the important information remains accessible.

Finally, Battlefield 6 is probably where its limitations become most apparent. The enormous amount of vehicles, explosions, gunshots and destruction puts the Martilo’s separation capabilities to the test and, although it manages to maintain a fairly reasonable order, I would not say that it is a competitive prodigy. The image remains precise and the positioning sufficiently convincing, but other IEMs with a response that is less loaded in the bass make this type of soundscape easier to read.

Final conclusion and personal evaluations:

Having reached this point, I think the Punch Audio Martilo is a monitor that is difficult to judge solely from a technical perspective. Its proposal is tremendously clear and without a split personality: to offer a warm, huge and physical response, where the bass takes on extraordinary prominence, but without completely giving up cleanliness, separation and resolution. And I consider that it achieves this with considerable competence.

What has surprised me the most is precisely its ability to control such a quantity of energy. The sub-bass is spectacular and the mid-bass provides a forceful and addictive punch, but I rarely had the sensation of being faced with a completely uncontrolled set. There is some congestion when the mix becomes especially dense, and the mids and highs do not seek prominence, but they form part of a coherent and tremendously enjoyable presentation.

It is a monitor that manages to convey scale, body and physicality with extraordinary ease, while its wide stage and good separation provide enough organization so that all that energy does not end up becoming tiring.

Ultimately, the Martilo seems to me to be a very particular proposal and, above all, a very fun one, and although its limitations appear when we seek maximum transparency or dissection, I consider that its ability to offer such an impact without completely losing control is, under my criteria, its greatest virtue.

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 Linsoul. I sincerely appreciate the opportunity to test one of their products at no cost and that no condition was imposed when preparing this analysis.

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

My sources:

-Topping DX5 II for music and video games 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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

¡Hello Community!

Today I’m telling you about what my listening sessions with Punch Audio Martilo have been like, a set capable of moving a large amount of air for a thundering experience that will delight bass lovers.

Price: 289€-335$

Pros:

-Thundering experience, great power, texture and depth in the sub-bass.
-It is not a set that muddies the midrange, it sounds relatively clean.
-The highs have good extension.
-Acceptable amount of detail despite being a basshead set.
-Dynamic and fun presentation.
-The transients are smooth and coherent.

Cons:

-In chaotic mixes it can lose some clarity.
-The upper frequency range is not very airy.

Accessories:

-Two shells.
-One set of silicone eartips in SML sizes.
-One set of foam eartips in SML sizes.
-Modular cable with 0.78mm connection and 3.5mm/4.4mm terminations.
-Replacement filters for the nozzles.
-Storage and transport case.

Comfort, design and construction:

The faceplate goes for a very distinctive aesthetic, with a combination of dark and reddish tones that give it an aggressive appearance which I personally think fits the name of the product very well and, above all, its character. It is not a set that seeks to go unnoticed and I understand that it may appeal more or less depending on each person’s tastes, but I have to admit that the final result seems quite successful to me.

As for the construction, I think Punch Audio has done a good job. The shells are made of resin and have a uniform finish, without burrs, imperfections or joints that particularly draw attention. To the touch they convey a fairly good sense of solidity and, although we are not dealing with a metal body, at no point did I have the feeling that I was looking at a fragile or poorly made product.

As for ergonomics, here I have to make a small warning. These are large monitors and those with small ears should take this into account. In my case, I had no major problems achieving a stable fit, although I wouldn’t say that these are IEMs that completely disappear inside the ear. Their presence can be felt and it may be necessary to slightly search for the correct position so that the points of contact are properly distributed.

Once I found the appropriate eartip size, the fit seemed firm and secure to me. During my prolonged listening sessions I did not experience pain or particularly annoying pressure points, although I would not place them among the most comfortable monitors I have tried. The included eartips do their job correctly, providing a good seal from the first moment, although I consider it worthwhile to experiment with other options until finding the one that best adapts to our ear canal.

The cable seems like another one of the strong points to me. It is thick and robust, conveying a fairly good sense of quality to the touch. It is not the lightest cable I have used and it can feel somewhat bulky for those who prefer thin cables for situations involving more movement, but in my experience I had no major problems with tangles or pulls.

Technical aspects:

-2DD+2BA+1PM configuration.
-9 ohms impedance.
-100 dB sensitivity.
-Stated response 10hz-22khz.

Test configuration:

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

Sound signature:

To focus this analysis of the Martilo on the prominence and dominance of its bass region, I think, would be to oversimplify the set’s proposal, although I have more than enough desire to praise this characteristic.

Its soul is quite simple to interpret: to offer a clearly warm and V-shaped response, where the lower region takes on enormous prominence, but while trying to preserve enough cleanliness, resolution and organization so that the set does not end up becoming a simple bass-producing machine.

Starting with the lower region, the sub-bass has simply spectacular extension. Its depth is easily palpable and appears with an authority that we rarely find in this segment. There is a very evident sensation of physical pressure, especially with electronic music, hip-hop or any recording where the lowest frequencies have enough prominence.

As a curious fact and something I did not expect, the sub-bass does not end up becoming a completely uncontrolled mass. I always perceived a fairly convincing sense of cleanliness and the notes maintain good definition. These monitors achieve precisely what I consider the most difficult thing with this type of tuning: offering an amount of bass that could seem excessive on paper without immediately giving us the feeling that everything else has been buried underneath it.

The mid-bass performs spectacularly under my criteria, although here we find an even more evident impact. The impact is forceful, physical and with a fairly convincing texture. The kick drum has an extraordinary presence with a body that can be especially addictive in certain genres. I do not consider it a dry or particularly fast bass, but neither do I find such a prolonged decay that it generates a constant sensation of slowness and poor transparency.

And this is where one of the main virtues of this Punch Audio model lies. The tuning does not try to hide the amount of bass; on the contrary, it turns it into the main argument, but it maintains enough control for the response to preserve a certain structure. It is a warm, large and enveloping bass, with a clearly superior physicality to what is usual, but one that does not need to completely sacrifice definition to achieve it.

Even so, I do not think it would be fair to present this behavior as perfect. In particularly dense recordings or those with a large accumulation of instruments in the lower region, the Martilo can convey a certain sense of congestion.

The transition into the midrange is carried out in a fairly progressive manner. The bleed coming from the bass exists, but it is sufficiently controlled so that the tonality does not end up becoming ridiculously muddy. The instruments show generous note weight and a certain warmth that fits perfectly with the overall philosophy of the set.

This is not a monitor that intends to offer particularly transparent or prominent mids. The instrumentation appears slightly behind the lower region and this makes the Martilo have a clearly more fun than analytical presentation. However, we also do not find any worrying loss of information. The resolution is sufficient to easily follow the different instrumental lines and the timbre maintains fairly convincing naturalness.

Male vocals enjoy considerable body. The combination between the mid-bass and the note weight generates a fairly full presentation, with good articulation and a sensation of physical presence that especially benefits deeper voices. They are not the protagonists of the scene, but neither are they completely buried behind the bass.

Female vocals, on the other hand, receive somewhat more clarity and openness. They retain good articulation and appear with enough presence so that the tonality does not end up becoming excessively dark. Even so, those looking for an especially vocal-focused IEM will probably find more appropriate options. The Martilo does not want to place vocals in the foreground; it wants them to form part of a large, energetic and enveloping presentation.

As for the highest frequencies, we probably find the area that most clearly reveals the philosophy of this set. Extension is correct and there is enough information to avoid a completely dull sensation, but the energy is quite restrained. The Martilo does not produce a sensation of artificial sparkle to increase the perception of detail and this has a very positive consequence: listening remains very comfortable even after several hours.

This decision also has its negative side. Lovers of more incisive tunings will probably miss some more air and presence in the upper region. Micro-information does not appear as easily as it does in other sets more oriented toward analysis and certain small details can remain slightly behind the main instrumentation.

Detail retrieval is therefore quite good considering the philosophy of the tuning. We are not dealing with a monitor that dissects every recording nor with a tool especially suited to discovering all the small details of a mix. However, the information appears in a sufficiently natural way and the overall cleanliness allows us to enjoy complex recordings without having to constantly make an analytical effort.

The overall dynamics also left me with good impressions. The transients retain enough speed so that the set does not end up sounding excessively heavy and the notes disappear with reasonable agility. This is especially important considering the amount of energy present in the lower region, because a slower response would have turned the Martilo into a much more difficult monitor to enjoy with certain genres.

Separation is another aspect that I find particularly interesting. Considering that we are dealing with a clearly basshead set, I expected a greater loss of organization, but the Martilo manages to maintain a fairly logical structure between the different sound planes. The different instrumental lines can be followed with ease and the stereo image maintains convincing precision.

The soundstage conveys fairly generous width. I would not say that it is an artificially huge stage, but there is a sensation of width and depth that complements the physical presentation of the bass very well. The result is a fairly enveloping stage, where certain elements can appear clearly differentiated in front of and behind the central position.

When the mix becomes especially complex, however, this is where some of its limitations appear. The Martilo can maintain a good level of organization in most situations, but recordings with an extreme amount of sound layers end up showing that we are not dealing with a monitor designed exclusively for technical dissection. Some elements lose a little of their separation and the stage can feel somewhat more compressed.

Single-player video games:

See how I analyze audio in this field

If during the music analysis I already commented that reducing the Martilo solely to its enormous amount of bass would be to oversimplify its proposal, in single-player video games this characteristic becomes precisely its greatest strength. The response of these monitors manages to build a large, physical and tremendously spectacular presentation, making action scenes take on a dimension that few sets manage to convey so easily.

In moments of greatest intensity, where explosions, collapses, gunshots or other large effects occupy the scene, the Martilo feels completely in its element. The extension of the sub-bass is simply spectacular and provides a sensation of depth and physical pressure that makes every explosion have a truly convincing impact. The mid-bass completes this experience with a forceful punch, making hits and impacts acquire extraordinary body. The Martilo makes you feel all of this really strongly.

Dialogues also receive a fairly convincing presentation. Male voices enjoy considerable body, while female voices provide somewhat more clarity and openness. They are not particularly prominent within the scene, but at no point did I have difficulty following conversations or understanding the narrative even when the action increased considerably in intensity.

Where I consider the Martilo to stand out once again is in environmental recreation. The scene conveys fairly generous width and the separation allows details such as wind, echoes, water or the movement of vegetation to be appreciated. The enormous sense of scale provided by the bass also works in its favor, making certain environments convey a truly convincing sense of space.

Technically, it continues to leave good impressions. The stereo image is precise and positioning makes it easy to interpret the surrounding space correctly. The separation between effects, music and dialogue maintains a satisfactory level even when many sound layers come together.

Multiplayer shooter video games:

See how I analyze audio in video games

If there is a scenario where the Punch Audio Martilo shows a different side from the one offered in music and single-player video games, it is precisely in competitive titles. Its enormous presence in the lower region, which previously was so spectacular, does not play as clearly in its favor here. We are not dealing with a bad IEM for competing in this type of game, but neither do I consider its tuning to be the most appropriate when we need to extract every last detail from the soundscape.

In Counter-Strike 2, footsteps, reloads and utilities appear correctly defined and the stereo image makes it fairly easy to interpret the direction of opponents. The problem appears when the bass becomes prominent, as it can take some attention away from certain secondary sounds. Distance is also fairly convincing, although other more balanced and brighter sets make it somewhat easier to read distant sounds.

In Apex Legends, where verticality and the enormous amount of simultaneous effects considerably complicate interpretation, the Martilo maintains fairly good organization. Abilities, gunshots and movements remain sufficiently separated during a good part of the match, although the amount of energy in the lower end can make the moments of greatest load somewhat more difficult to interpret. It does not become a serious problem, but it does require somewhat more attention.

In Call of Duty: Warzone it once again shows a fairly similar situation. Explosions, killstreaks and gunshots acquire considerable spectacularity thanks to that very physical bass, but precisely that energy can end up competing with footsteps, reloads or nearby movements. Fortunately, the good control prevents everything from turning into a completely muddy mass and the important information remains accessible.

Finally, Battlefield 6 is probably where its limitations become most apparent. The enormous amount of vehicles, explosions, gunshots and destruction puts the Martilo’s separation capabilities to the test and, although it manages to maintain a fairly reasonable order, I would not say that it is a competitive prodigy. The image remains precise and the positioning sufficiently convincing, but other IEMs with a response that is less loaded in the bass make this type of soundscape easier to read.

Final conclusion and personal evaluations:

Having reached this point, I think the Punch Audio Martilo is a monitor that is difficult to judge solely from a technical perspective. Its proposal is tremendously clear and without a split personality: to offer a warm, huge and physical response, where the bass takes on extraordinary prominence, but without completely giving up cleanliness, separation and resolution. And I consider that it achieves this with considerable competence.

What has surprised me the most is precisely its ability to control such a quantity of energy. The sub-bass is spectacular and the mid-bass provides a forceful and addictive punch, but I rarely had the sensation of being faced with a completely uncontrolled set. There is some congestion when the mix becomes especially dense, and the mids and highs do not seek prominence, but they form part of a coherent and tremendously enjoyable presentation.

It is a monitor that manages to convey scale, body and physicality with extraordinary ease, while its wide stage and good separation provide enough organization so that all that energy does not end up becoming tiring.

Ultimately, the Martilo seems to me to be a very particular proposal and, above all, a very fun one, and although its limitations appear when we seek maximum transparency or dissection, I consider that its ability to offer such an impact without completely losing control is, under my criteria, its greatest virtue.

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 Linsoul. I sincerely appreciate the opportunity to test one of their products at no cost and that no condition was imposed when preparing this analysis.

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

My sources:

-Topping DX5 II for music and video games 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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

Hello Community!

It's time to tell you about my recent experience with the ZiiGaat Odyssey 2, a hybrid set tuned in collaboration with Hangout Audio and completely different from the Odyssey OG. Read my review below.

Price: €219-$250

Pros:

- Excellent control, clarity, and texture in the bass range, which is deep and punchy.

- The mid and upper mids sound natural and front-facing.

- Satisfactory technical capabilities: the soundstage is wide, precise, and well-defined.

- It doesn't need sharp highs to deliver good detail.

- Zero listening fatigue.

- A great all-rounder IEM.

- High-quality accessories.

Cons:

- The spacing between chords in the high range is limited.

- More discerning listeners might want more sparkle in the treble: it's a bit too conservative.

Accessories:

-Two capsules.

-Two sets of silicone eartips, sizes S and M.

-One set of foam eartips.

-Modular cable with 0.78mm connector and 3.5mm/4.4mm connectors.

-Replacement filters for the nozzles.

-Carrying and storage case.

-User manual.

Comfort, design, and construction: 

First and foremost, I'm captivated by the design of most ZiiGaat products. The space theme excites me, and the Odyssey 2 continues in that vein, showcasing a combination of nebulae and stars reflected in the light on its resin faceplate, giving the whole thing a lustrous and brilliant touch.

The manufacturing, as is customary for the brand, reaches a very high level of quality, with no noticeable gaps at the joint between the two parts of the set, and the aluminum capsule feels very satisfying to the touch.

Regarding ergonomics, the most important aspect of this section, I must point out that the monitors are large but don't protrude too much from the perimeter of your head, as they've been designed to be more horizontal than vertical.

Adjusting them is easy thanks to their rounded shape, and I haven't noticed any uncomfortable pressure points during my long, continuous listening sessions. The whole thing isn't intrusive at all, neither on the ear nor in the ear canal; it knows exactly where to rest lightly to find a firm and effective fit.

One aspect that particularly impressed me was the sealing and isolation I achieved, giving me the pleasant feeling of being alone in a large room. I thought the cable was excellent. It's one of those medium-thickness cables that's easy to move and doesn't get in the way, making it suitable for any situation, from sports to desktop use. It's durable, feels reliable, and will surely have a long lifespan. Finally, the eartips, especially the black silicone ones, are fantastic, and since I tried them with the ZiiGaat Lush, they've become a staple on my desk and in my tests: they're elastic, soft, seal well, and keep the bass and mids in place, cleanly.

Technical specifications:

- 10mm driver + 3 BA (Knowles 2x 32873 and 1x 33518)

- 20 ohms impedance

- 105 dB sensitivity

- 20Hz-25kHz frequency response

Test setup:

- Neutral power supply

- Gain set to high

- Stock black silicone eartips

- Stock 4.4mm cable

Sound Signature: 

The Odyssey 2 truly embodies a simple yet easy-to-understand concept: a response free of harshness, where the bass and midrange take center stage in the tonality, always with clarity, balance, and naturalness rather than a constant pursuit of brightness or micro-detail. The main appeal of this system is its ability to handle any musical genre you throw at it with ease.

Starting with the low end, the sub-bass has a pronounced extension. The depth is easily palpable, and there's a sense of presence that allows the instruments to maintain a good physical dimension. It's not an overly dominant bass, as the volume is quite well-balanced, but it does offer that sense of presence that prevents the overall sound from becoming too thin.

The mid-bass maintains this same approach, although here I find one of the most interesting aspects of the Odyssey 2. The impact is fast, firm, and quite punchy, with a good level of texture and a sense of control that will delight fans of this range. I don't find it bloated, but rather clean and direct. The decay is fast enough that the notes don't accumulate, allowing the rest of the spectrum to develop quite freely. I personally think this is one of the great strengths of this ensemble: it manages to offer physicality and enjoyment without sacrificing the overall order of the tonality.

The midrange is presented very naturally. I didn't perceive any particularly significant bleeding from the lower register, which greatly benefits the instruments and allows for a clean presentation even when the bass takes center stage. The note weight is correctly balanced.

The tuning and timbre seem to me to be one of the Odyssey 2's strongest points. Ultimately, the idea behind the tuning of these monitors isn't to sound overly warm, but neither does it offer the excessively refined presentation found in other, more technically tuned sets.

Furthermore, the mid and upper mids are quite forward. Vocals and much of the instrumentation have a presence that I find very pleasing, without ever sounding excessively forward or aggressive. The articulation is good, the level of detail is sufficient, and above all, there's a sense of naturalness that greatly contributes to the set's ability to work well with different musical genres.

The overall dynamics also impressed me. Transients appear quickly enough, and notes fade out smoothly, allowing you to follow the different instrumental lines without too much effort. It's not a monitor that tries to dissect every recording like a surgical instrument, but it does maintain a quite satisfactory level of separation. When the mix increases in density and complexity to levels that could become chaotic, the various elements maintain a logical organization, resulting in a smooth and enjoyable listening experience.

The male vocals have a decent body, with convincing articulation and a natural timbre. I wouldn't say they're particularly deep or dense, but they do maintain enough presence to avoid being buried behind the instrumentation. The female vocals, on the other hand, strike me as especially pleasant thanks to the clarity and directness I mentioned earlier. They project easily and retain a good naturalness, without the monitors having to resort to an excessive amount of high-frequency energy to make them stand out.

As for the higher frequencies, we find probably the most conservative aspect of this mix. The extension is adequate, and there's enough information to prevent the presentation from sounding dull, but the amount of energy is clearly restrained. This isn't an IEM that tries to grab your attention with excessive sparkle or a burst of brilliance, and I think this has a very positive consequence: listening fatigue is practically nonexistent during my listening sessions.

This decision also has its downside. For more discerning ears or those who enjoy a particularly bright presentation, the Odyssey 2 might feel a bit too restrained. The spacing between certain chords and notes in the high end is narrow, and the sense of spaciousness doesn't reach the levels of other sets that utilize more energy in this range. I don't consider it a poorly resolved treble, but rather an area where ZiiGaat has prioritized control and comfort over creating a false sense of detail.

Precisely for this reason, I find it interesting that the Odyssey 2 manages to convey a good amount of information without resorting to sharp treble. The resolution doesn't depend solely on boosting this area of ​​the spectrum, but also relies on the clarity of the bass, the good separation of the mids, and the overall organization of the presentation. Even so, I think it's fair to say that the limited energy in the high range slightly affects the perception of micro-detail compared to brighter offerings.

The detail recovery is also impressive. There's enough information to enjoy the recordings without having to constantly analyze them, and I think that naturalness is one of its strengths. The presentation doesn't force you to pay attention to every little nuance; it simply lets it emerge when appropriate.

Speaking of the technical performance to conclude, I think we find a very satisfactory result here. The soundstage conveys a convincing sense of spaciousness and, more importantly, maintains a fairly precise organization. The instrument placement is logical, the imaging is quite accurate, and the separation between sound layers allows you to easily follow the different elements of the mix.

It's not a system that tries to create an artificially enormous soundstage, nor does it intend to. However, the combination of spaciousness, precision, and separation seems more than sufficient for the segment it occupies. Technically, it's not meant to be the main focus of Odyssey 2, but it complements a sound design that works exceptionally well as an all-around ensemble.

Single-player video games:

See how I analyze sound in this section.

During the most intense moments, where explosions, collapses, or large-scale effects dominate the scene, the sound is powerful and sufficiently deep.

to deliver large doses of sound action. There's no particularly prolonged rumble, as the excellent bass control allows each effect to fade quickly, avoiding unnecessary build-up and maintaining a clean presentation even when the scene becomes chaotic.

The dialogue is also presented quite well. The voices retain natural articulation and a sufficiently frontal position, blending easily with the music and effects. The male voices can sound a bit light in certain situations, but I never had any trouble following the conversations or understanding the narrative.

Where I think Odyssey 2 truly excels is in its ambient sound design. The good separation and recovery of information make it easy to appreciate small details like echoes, wind, the movement of vegetation, or creaks, elements that significantly enrich the sense of immersion.

Technically, it maintains a satisfactory level. The scene is expansive, the image is precise, and the positioning makes it easy to correctly interpret the space. Furthermore, the conservative treble works in its favor during long sessions, preventing any feeling of fatigue. Ultimately, it doesn't aim to impress solely through spectacle, but rather offers a clean, natural, and very comfortable cinematic experience without any sibilance in the sharpest and most metallic effects.

Multiplayer shooter video games: 

See how I analyze the sound in this section.

If there's one scenario where the Odyssey 2 shows a different side than in music, it's precisely in competitive video games. Its deep yet controlled bass and good separation between sound layers allow for a clean presentation, although its conservative nature in the treble means it's not an IEM particularly geared towards competing for maximum information.

In Counter-Strike 2, footsteps, reloads, and utility sounds are correctly defined, with a precise stereo image that makes it easy to interpret the direction of opponents. The distance is also quite convincing, although it doesn't reach the level of other brighter and more analytical systems.

In Apex Legends, where the verticality and the number of simultaneous effects complicate reading, it maintains a fairly good organization. Skills, shots, and movements remain sufficiently separated, although I do miss a bit more space in the upper frequencies to better distinguish certain distant sounds.

In Call of Duty: Warzone, the controlled bass once again works in its favor. Explosions and killstreaks don't completely mask footsteps or nearby movements, maintaining a fairly clean sound even in chaotic situations.

Finally, Battlefield 6 demonstrates its limitations and strengths. The separation is adequate and the image sufficiently precise, but I wouldn't call it a competitive marvel. The Odyssey 2 performs well, without particularly standing out, offering a clean, natural, and comfortable experience rather than a purely analytical one.

Final conclusion and personal assessments:

In short, the Odyssey 2 strikes me as a system that knows exactly what it wants to offer, doesn't try to deceive anyone, and can appeal to all ears.

Its deep, fast, and well-textured bass, accompanied by natural and forward-focused mids, creates a balanced, clean, and incredibly easy to enjoy sound. Technically, it performs admirably, especially in terms of soundstage, separation, and positioning, although it doesn't aim for the highest level of resolution. Its biggest drawback is a treble that's too conservative for some listeners, slightly limiting the sense of spaciousness and micro-detail. In return, it offers virtually fatigue free listening and enormous versatility.

Personally, I think it's a great all-rounder and one of those IEMs that quickly wins you over; you don't need much time to understand its concept and enjoy it.

If you've made it this far, thanks for reading.

More reviews on my blog.

Social media links in my profile.

See you in the next review!

Disclaimer: 

This set of monitors was sent by Linsoul. I sincerely appreciate the opportunity to test one of their products free of charge and that no conditions were imposed on this review.

Despite this, my priority is to be as impartial as possible within the inherent subjectivity of reviewing an audio product. My opinion is solely my own and is based on my own perception. If you have a different one, it's equally valid. Please feel free to share it.

My sources:

- Topping DX5 II for music and video games on my main PC.

- NiceHCK Octave while I work.

- FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.

- FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for listening Wireless internet access on the street.

- Apple Music.

- Local FLAC and MP3 files.

- Windows/MacOS/iOS/iPadOS/Android.

Hello Community!

It's time to tell you about my recent experience with the ZiiGaat Odyssey 2, a hybrid set tuned in collaboration with Hangout Audio and completely different from the Odyssey OG. Read my review below.

Price: €219-$250

Pros:

- Excellent control, clarity, and texture in the bass range, which is deep and punchy.

- The mid and upper mids sound natural and front-facing.

- Satisfactory technical capabilities: the soundstage is wide, precise, and well-defined.

- It doesn't need sharp highs to deliver good detail.

- Zero listening fatigue.

- A great all-rounder IEM.

- High-quality accessories.

Cons:

- The spacing between chords in the high range is limited.

- More discerning listeners might want more sparkle in the treble: it's a bit too conservative.

Accessories:

-Two capsules.

-Two sets of silicone eartips, sizes S and M.

-One set of foam eartips.

-Modular cable with 0.78mm connector and 3.5mm/4.4mm connectors.

-Replacement filters for the nozzles.

-Carrying and storage case.

-User manual.

Comfort, design, and construction: 

First and foremost, I'm captivated by the design of most ZiiGaat products. The space theme excites me, and the Odyssey 2 continues in that vein, showcasing a combination of nebulae and stars reflected in the light on its resin faceplate, giving the whole thing a lustrous and brilliant touch.

The manufacturing, as is customary for the brand, reaches a very high level of quality, with no noticeable gaps at the joint between the two parts of the set, and the aluminum capsule feels very satisfying to the touch.

Regarding ergonomics, the most important aspect of this section, I must point out that the monitors are large but don't protrude too much from the perimeter of your head, as they've been designed to be more horizontal than vertical.

Adjusting them is easy thanks to their rounded shape, and I haven't noticed any uncomfortable pressure points during my long, continuous listening sessions. The whole thing isn't intrusive at all, neither on the ear nor in the ear canal; it knows exactly where to rest lightly to find a firm and effective fit.

One aspect that particularly impressed me was the sealing and isolation I achieved, giving me the pleasant feeling of being alone in a large room. I thought the cable was excellent. It's one of those medium-thickness cables that's easy to move and doesn't get in the way, making it suitable for any situation, from sports to desktop use. It's durable, feels reliable, and will surely have a long lifespan. Finally, the eartips, especially the black silicone ones, are fantastic, and since I tried them with the ZiiGaat Lush, they've become a staple on my desk and in my tests: they're elastic, soft, seal well, and keep the bass and mids in place, cleanly.

Technical specifications:

- 10mm driver + 3 BA (Knowles 2x 32873 and 1x 33518)

- 20 ohms impedance

- 105 dB sensitivity

- 20Hz-25kHz frequency response

Test setup:

- Neutral power supply

- Gain set to high

- Stock black silicone eartips

- Stock 4.4mm cable

Sound Signature: 

The Odyssey 2 truly embodies a simple yet easy-to-understand concept: a response free of harshness, where the bass and midrange take center stage in the tonality, always with clarity, balance, and naturalness rather than a constant pursuit of brightness or micro-detail. The main appeal of this system is its ability to handle any musical genre you throw at it with ease.

Starting with the low end, the sub-bass has a pronounced extension. The depth is easily palpable, and there's a sense of presence that allows the instruments to maintain a good physical dimension. It's not an overly dominant bass, as the volume is quite well-balanced, but it does offer that sense of presence that prevents the overall sound from becoming too thin.

The mid-bass maintains this same approach, although here I find one of the most interesting aspects of the Odyssey 2. The impact is fast, firm, and quite punchy, with a good level of texture and a sense of control that will delight fans of this range. I don't find it bloated, but rather clean and direct. The decay is fast enough that the notes don't accumulate, allowing the rest of the spectrum to develop quite freely. I personally think this is one of the great strengths of this ensemble: it manages to offer physicality and enjoyment without sacrificing the overall order of the tonality.

The midrange is presented very naturally. I didn't perceive any particularly significant bleeding from the lower register, which greatly benefits the instruments and allows for a clean presentation even when the bass takes center stage. The note weight is correctly balanced.

The tuning and timbre seem to me to be one of the Odyssey 2's strongest points. Ultimately, the idea behind the tuning of these monitors isn't to sound overly warm, but neither does it offer the excessively refined presentation found in other, more technically tuned sets.

Furthermore, the mid and upper mids are quite forward. Vocals and much of the instrumentation have a presence that I find very pleasing, without ever sounding excessively forward or aggressive. The articulation is good, the level of detail is sufficient, and above all, there's a sense of naturalness that greatly contributes to the set's ability to work well with different musical genres.

The overall dynamics also impressed me. Transients appear quickly enough, and notes fade out smoothly, allowing you to follow the different instrumental lines without too much effort. It's not a monitor that tries to dissect every recording like a surgical instrument, but it does maintain a quite satisfactory level of separation. When the mix increases in density and complexity to levels that could become chaotic, the various elements maintain a logical organization, resulting in a smooth and enjoyable listening experience.

The male vocals have a decent body, with convincing articulation and a natural timbre. I wouldn't say they're particularly deep or dense, but they do maintain enough presence to avoid being buried behind the instrumentation. The female vocals, on the other hand, strike me as especially pleasant thanks to the clarity and directness I mentioned earlier. They project easily and retain a good naturalness, without the monitors having to resort to an excessive amount of high-frequency energy to make them stand out.

As for the higher frequencies, we find probably the most conservative aspect of this mix. The extension is adequate, and there's enough information to prevent the presentation from sounding dull, but the amount of energy is clearly restrained. This isn't an IEM that tries to grab your attention with excessive sparkle or a burst of brilliance, and I think this has a very positive consequence: listening fatigue is practically nonexistent during my listening sessions.

This decision also has its downside. For more discerning ears or those who enjoy a particularly bright presentation, the Odyssey 2 might feel a bit too restrained. The spacing between certain chords and notes in the high end is narrow, and the sense of spaciousness doesn't reach the levels of other sets that utilize more energy in this range. I don't consider it a poorly resolved treble, but rather an area where ZiiGaat has prioritized control and comfort over creating a false sense of detail.

Precisely for this reason, I find it interesting that the Odyssey 2 manages to convey a good amount of information without resorting to sharp treble. The resolution doesn't depend solely on boosting this area of ​​the spectrum, but also relies on the clarity of the bass, the good separation of the mids, and the overall organization of the presentation. Even so, I think it's fair to say that the limited energy in the high range slightly affects the perception of micro-detail compared to brighter offerings.

The detail recovery is also impressive. There's enough information to enjoy the recordings without having to constantly analyze them, and I think that naturalness is one of its strengths. The presentation doesn't force you to pay attention to every little nuance; it simply lets it emerge when appropriate.

Speaking of the technical performance to conclude, I think we find a very satisfactory result here. The soundstage conveys a convincing sense of spaciousness and, more importantly, maintains a fairly precise organization. The instrument placement is logical, the imaging is quite accurate, and the separation between sound layers allows you to easily follow the different elements of the mix.

It's not a system that tries to create an artificially enormous soundstage, nor does it intend to. However, the combination of spaciousness, precision, and separation seems more than sufficient for the segment it occupies. Technically, it's not meant to be the main focus of Odyssey 2, but it complements a sound design that works exceptionally well as an all-around ensemble.

Single-player video games:

See how I analyze sound in this section.

During the most intense moments, where explosions, collapses, or large-scale effects dominate the scene, the sound is powerful and sufficiently deep.

to deliver large doses of sound action. There's no particularly prolonged rumble, as the excellent bass control allows each effect to fade quickly, avoiding unnecessary build-up and maintaining a clean presentation even when the scene becomes chaotic.

The dialogue is also presented quite well. The voices retain natural articulation and a sufficiently frontal position, blending easily with the music and effects. The male voices can sound a bit light in certain situations, but I never had any trouble following the conversations or understanding the narrative.

Where I think Odyssey 2 truly excels is in its ambient sound design. The good separation and recovery of information make it easy to appreciate small details like echoes, wind, the movement of vegetation, or creaks, elements that significantly enrich the sense of immersion.

Technically, it maintains a satisfactory level. The scene is expansive, the image is precise, and the positioning makes it easy to correctly interpret the space. Furthermore, the conservative treble works in its favor during long sessions, preventing any feeling of fatigue. Ultimately, it doesn't aim to impress solely through spectacle, but rather offers a clean, natural, and very comfortable cinematic experience without any sibilance in the sharpest and most metallic effects.

Multiplayer shooter video games: 

See how I analyze the sound in this section.

If there's one scenario where the Odyssey 2 shows a different side than in music, it's precisely in competitive video games. Its deep yet controlled bass and good separation between sound layers allow for a clean presentation, although its conservative nature in the treble means it's not an IEM particularly geared towards competing for maximum information.

In Counter-Strike 2, footsteps, reloads, and utility sounds are correctly defined, with a precise stereo image that makes it easy to interpret the direction of opponents. The distance is also quite convincing, although it doesn't reach the level of other brighter and more analytical systems.

In Apex Legends, where the verticality and the number of simultaneous effects complicate reading, it maintains a fairly good organization. Skills, shots, and movements remain sufficiently separated, although I do miss a bit more space in the upper frequencies to better distinguish certain distant sounds.

In Call of Duty: Warzone, the controlled bass once again works in its favor. Explosions and killstreaks don't completely mask footsteps or nearby movements, maintaining a fairly clean sound even in chaotic situations.

Finally, Battlefield 6 demonstrates its limitations and strengths. The separation is adequate and the image sufficiently precise, but I wouldn't call it a competitive marvel. The Odyssey 2 performs well, without particularly standing out, offering a clean, natural, and comfortable experience rather than a purely analytical one.

Final conclusion and personal assessments:

In short, the Odyssey 2 strikes me as a system that knows exactly what it wants to offer, doesn't try to deceive anyone, and can appeal to all ears.

Its deep, fast, and well-textured bass, accompanied by natural and forward-focused mids, creates a balanced, clean, and incredibly easy to enjoy sound. Technically, it performs admirably, especially in terms of soundstage, separation, and positioning, although it doesn't aim for the highest level of resolution. Its biggest drawback is a treble that's too conservative for some listeners, slightly limiting the sense of spaciousness and micro-detail. In return, it offers virtually fatigue free listening and enormous versatility.

Personally, I think it's a great all-rounder and one of those IEMs that quickly wins you over; you don't need much time to understand its concept and enjoy it.

If you've made it this far, thanks for reading.

More reviews on my blog.

Social media links in my profile.

See you in the next review!

Disclaimer: 

This set of monitors was sent by Linsoul. I sincerely appreciate the opportunity to test one of their products free of charge and that no conditions were imposed on this review.

Despite this, my priority is to be as impartial as possible within the inherent subjectivity of reviewing an audio product. My opinion is solely my own and is based on my own perception. If you have a different one, it's equally valid. Please feel free to share it.

My sources:

- Topping DX5 II for music and video games on my main PC.

- NiceHCK Octave while I work.

- FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.

- FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for listening Wireless internet access on the street.

- Apple Music.

- Local FLAC and MP3 files.

- Windows/MacOS/iOS/iPadOS/Android.

Hello Community!

It's time to tell you about my recent experience with the ZiiGaat Odyssey 2, a hybrid set tuned in collaboration with Hangout Audio and completely different from the Odyssey OG. Read my review below.

Price: €219-$250

Pros:

- Excellent control, clarity, and texture in the bass range, which is deep and punchy.

- The mid and upper mids sound natural and front-facing.

- Satisfactory technical capabilities: the soundstage is wide, precise, and well-defined.

- It doesn't need sharp highs to deliver good detail.

- Zero listening fatigue.

- A great all-rounder IEM.

- High-quality accessories.

Cons:

- The spacing between chords in the high range is limited.

- More discerning listeners might want more sparkle in the treble: it's a bit too conservative.

Accessories:

-Two capsules.

-Two sets of silicone eartips, sizes S and M.

-One set of foam eartips.

-Modular cable with 0.78mm connector and 3.5mm/4.4mm connectors.

-Replacement filters for the nozzles.

-Carrying and storage case.

-User manual.

Comfort, design, and construction: 

First and foremost, I'm captivated by the design of most ZiiGaat products. The space theme excites me, and the Odyssey 2 continues in that vein, showcasing a combination of nebulae and stars reflected in the light on its resin faceplate, giving the whole thing a lustrous and brilliant touch.

The manufacturing, as is customary for the brand, reaches a very high level of quality, with no noticeable gaps at the joint between the two parts of the set, and the aluminum capsule feels very satisfying to the touch.

Regarding ergonomics, the most important aspect of this section, I must point out that the monitors are large but don't protrude too much from the perimeter of your head, as they've been designed to be more horizontal than vertical.

Adjusting them is easy thanks to their rounded shape, and I haven't noticed any uncomfortable pressure points during my long, continuous listening sessions. The whole thing isn't intrusive at all, neither on the ear nor in the ear canal; it knows exactly where to rest lightly to find a firm and effective fit.

One aspect that particularly impressed me was the sealing and isolation I achieved, giving me the pleasant feeling of being alone in a large room. I thought the cable was excellent. It's one of those medium-thickness cables that's easy to move and doesn't get in the way, making it suitable for any situation, from sports to desktop use. It's durable, feels reliable, and will surely have a long lifespan. Finally, the eartips, especially the black silicone ones, are fantastic, and since I tried them with the ZiiGaat Lush, they've become a staple on my desk and in my tests: they're elastic, soft, seal well, and keep the bass and mids in place, cleanly.

Technical specifications:

- 10mm driver + 3 BA (Knowles 2x 32873 and 1x 33518)

- 20 ohms impedance

- 105 dB sensitivity

- 20Hz-25kHz frequency response

Test setup:

- Neutral power supply

- Gain set to high

- Stock black silicone eartips

- Stock 4.4mm cable

Sound Signature: 

The Odyssey 2 truly embodies a simple yet easy-to-understand concept: a response free of harshness, where the bass and midrange take center stage in the tonality, always with clarity, balance, and naturalness rather than a constant pursuit of brightness or micro-detail. The main appeal of this system is its ability to handle any musical genre you throw at it with ease.

Starting with the low end, the sub-bass has a pronounced extension. The depth is easily palpable, and there's a sense of presence that allows the instruments to maintain a good physical dimension. It's not an overly dominant bass, as the volume is quite well-balanced, but it does offer that sense of presence that prevents the overall sound from becoming too thin.

The mid-bass maintains this same approach, although here I find one of the most interesting aspects of the Odyssey 2. The impact is fast, firm, and quite punchy, with a good level of texture and a sense of control that will delight fans of this range. I don't find it bloated, but rather clean and direct. The decay is fast enough that the notes don't accumulate, allowing the rest of the spectrum to develop quite freely. I personally think this is one of the great strengths of this ensemble: it manages to offer physicality and enjoyment without sacrificing the overall order of the tonality.

The midrange is presented very naturally. I didn't perceive any particularly significant bleeding from the lower register, which greatly benefits the instruments and allows for a clean presentation even when the bass takes center stage. The note weight is correctly balanced.

The tuning and timbre seem to me to be one of the Odyssey 2's strongest points. Ultimately, the idea behind the tuning of these monitors isn't to sound overly warm, but neither does it offer the excessively refined presentation found in other, more technically tuned sets.

Furthermore, the mid and upper mids are quite forward. Vocals and much of the instrumentation have a presence that I find very pleasing, without ever sounding excessively forward or aggressive. The articulation is good, the level of detail is sufficient, and above all, there's a sense of naturalness that greatly contributes to the set's ability to work well with different musical genres.

The overall dynamics also impressed me. Transients appear quickly enough, and notes fade out smoothly, allowing you to follow the different instrumental lines without too much effort. It's not a monitor that tries to dissect every recording like a surgical instrument, but it does maintain a quite satisfactory level of separation. When the mix increases in density and complexity to levels that could become chaotic, the various elements maintain a logical organization, resulting in a smooth and enjoyable listening experience.

The male vocals have a decent body, with convincing articulation and a natural timbre. I wouldn't say they're particularly deep or dense, but they do maintain enough presence to avoid being buried behind the instrumentation. The female vocals, on the other hand, strike me as especially pleasant thanks to the clarity and directness I mentioned earlier. They project easily and retain a good naturalness, without the monitors having to resort to an excessive amount of high-frequency energy to make them stand out.

As for the higher frequencies, we find probably the most conservative aspect of this mix. The extension is adequate, and there's enough information to prevent the presentation from sounding dull, but the amount of energy is clearly restrained. This isn't an IEM that tries to grab your attention with excessive sparkle or a burst of brilliance, and I think this has a very positive consequence: listening fatigue is practically nonexistent during my listening sessions.

This decision also has its downside. For more discerning ears or those who enjoy a particularly bright presentation, the Odyssey 2 might feel a bit too restrained. The spacing between certain chords and notes in the high end is narrow, and the sense of spaciousness doesn't reach the levels of other sets that utilize more energy in this range. I don't consider it a poorly resolved treble, but rather an area where ZiiGaat has prioritized control and comfort over creating a false sense of detail.

Precisely for this reason, I find it interesting that the Odyssey 2 manages to convey a good amount of information without resorting to sharp treble. The resolution doesn't depend solely on boosting this area of ​​the spectrum, but also relies on the clarity of the bass, the good separation of the mids, and the overall organization of the presentation. Even so, I think it's fair to say that the limited energy in the high range slightly affects the perception of micro-detail compared to brighter offerings.

The detail recovery is also impressive. There's enough information to enjoy the recordings without having to constantly analyze them, and I think that naturalness is one of its strengths. The presentation doesn't force you to pay attention to every little nuance; it simply lets it emerge when appropriate.

Speaking of the technical performance to conclude, I think we find a very satisfactory result here. The soundstage conveys a convincing sense of spaciousness and, more importantly, maintains a fairly precise organization. The instrument placement is logical, the imaging is quite accurate, and the separation between sound layers allows you to easily follow the different elements of the mix.

It's not a system that tries to create an artificially enormous soundstage, nor does it intend to. However, the combination of spaciousness, precision, and separation seems more than sufficient for the segment it occupies. Technically, it's not meant to be the main focus of Odyssey 2, but it complements a sound design that works exceptionally well as an all-around ensemble.

Single-player video games:

See how I analyze sound in this section.

During the most intense moments, where explosions, collapses, or large-scale effects dominate the scene, the sound is powerful and sufficiently deep.

to deliver large doses of sound action. There's no particularly prolonged rumble, as the excellent bass control allows each effect to fade quickly, avoiding unnecessary build-up and maintaining a clean presentation even when the scene becomes chaotic.

The dialogue is also presented quite well. The voices retain natural articulation and a sufficiently frontal position, blending easily with the music and effects. The male voices can sound a bit light in certain situations, but I never had any trouble following the conversations or understanding the narrative.

Where I think Odyssey 2 truly excels is in its ambient sound design. The good separation and recovery of information make it easy to appreciate small details like echoes, wind, the movement of vegetation, or creaks, elements that significantly enrich the sense of immersion.

Technically, it maintains a satisfactory level. The scene is expansive, the image is precise, and the positioning makes it easy to correctly interpret the space. Furthermore, the conservative treble works in its favor during long sessions, preventing any feeling of fatigue. Ultimately, it doesn't aim to impress solely through spectacle, but rather offers a clean, natural, and very comfortable cinematic experience without any sibilance in the sharpest and most metallic effects.

Multiplayer shooter video games: 

See how I analyze the sound in this section.

If there's one scenario where the Odyssey 2 shows a different side than in music, it's precisely in competitive video games. Its deep yet controlled bass and good separation between sound layers allow for a clean presentation, although its conservative nature in the treble means it's not an IEM particularly geared towards competing for maximum information.

In Counter-Strike 2, footsteps, reloads, and utility sounds are correctly defined, with a precise stereo image that makes it easy to interpret the direction of opponents. The distance is also quite convincing, although it doesn't reach the level of other brighter and more analytical systems.

In Apex Legends, where the verticality and the number of simultaneous effects complicate reading, it maintains a fairly good organization. Skills, shots, and movements remain sufficiently separated, although I do miss a bit more space in the upper frequencies to better distinguish certain distant sounds.

In Call of Duty: Warzone, the controlled bass once again works in its favor. Explosions and killstreaks don't completely mask footsteps or nearby movements, maintaining a fairly clean sound even in chaotic situations.

Finally, Battlefield 6 demonstrates its limitations and strengths. The separation is adequate and the image sufficiently precise, but I wouldn't call it a competitive marvel. The Odyssey 2 performs well, without particularly standing out, offering a clean, natural, and comfortable experience rather than a purely analytical one.

Final conclusion and personal assessments:

In short, the Odyssey 2 strikes me as a system that knows exactly what it wants to offer, doesn't try to deceive anyone, and can appeal to all ears.

Its deep, fast, and well-textured bass, accompanied by natural and forward-focused mids, creates a balanced, clean, and incredibly easy to enjoy sound. Technically, it performs admirably, especially in terms of soundstage, separation, and positioning, although it doesn't aim for the highest level of resolution. Its biggest drawback is a treble that's too conservative for some listeners, slightly limiting the sense of spaciousness and micro-detail. In return, it offers virtually fatigue free listening and enormous versatility.

Personally, I think it's a great all-rounder and one of those IEMs that quickly wins you over; you don't need much time to understand its concept and enjoy it.

If you've made it this far, thanks for reading.

More reviews on my blog.

Social media links in my profile.

See you in the next review!

Disclaimer: 

This set of monitors was sent by Linsoul. I sincerely appreciate the opportunity to test one of their products free of charge and that no conditions were imposed on this review.

Despite this, my priority is to be as impartial as possible within the inherent subjectivity of reviewing an audio product. My opinion is solely my own and is based on my own perception. If you have a different one, it's equally valid. Please feel free to share it.

My sources:

- Topping DX5 II for music and video games on my main PC.

- NiceHCK Octave while I work.

- FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.

- FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for listening Wireless internet access on the street.

- Apple Music.

- Local FLAC and MP3 files.

- Windows/MacOS/iOS/iPadOS/Android.

Hello Community!

Today I bring you the Nici Hifi 42 Quantum Wanderer, the first venture by the well-known cable brand into the world of budget IEMs. I invite you to discover it through my own experience.

Price: €57–$65

Pros:

-Good depth and extension in the low-end range.
-Very physical bass, with excellent impact and no excessive rumble.
-Natural and clean mids: you'll enjoy both instruments and vocals.
-Excellent sense of space and positioning.
-Realistic timbre.
-Above-average instrumental separation for the price range.
-Overall cleanliness throughout the entire tuning.

Cons:

-It may be too large a set for certain ears.
-Be careful with songs that tend to be sibilant: this set does not hide them.
-The upper mids have an attack that is too abrupt.
-Somewhat sparse accessory package: a 4.4mm cable would have been fantastic.

Accessories:

-Two earpieces.
-Cable with 0.78mm connection and 3.5mm termination.
-One set of S/M/L ear tips.
-User manual.

Comfort, design, and build quality:

These are large monitors. That's the first thing I need to point out. Be very careful if you have small ears. I would not have had any problems with insertion and fit if it weren't for the included ear tips, which are too short. I solved this by using different ones.

They are not the most comfortable set I have ever used, since the shells protrude beyond the contour of your outer ear. I did not experience any pressure or pain after long hours of use, but you do get the feeling that they do not fit like a glove.

I found the cable to be good, as it does not tangle, it is not very heavy, and it never caused any pulling. It is not lightweight, but it is not super heavy either. You could say it is suitable for any use, whether at a desk or while on the move. The only drawback I find is that there is only a 3.5mm termination option.

As for the build quality, it is made of resin with a multicolored faceplate featuring shimmering highlights. I did not notice any imperfections or signs of poor quality control.

Aesthetically, it is very eye-catching, truly beautiful. I would not choose it if aesthetics were my top priority, as it is a bit too glossy, but I have to admit that it is genuinely gorgeous and that kaleidoscopic effect suits it very well.

Technical specifications:

-1DD + 1BC configuration.
-15 ohm impedance.
-104 dB sensitivity.
-Declared frequency response: 20Hz–20kHz.

Test setup:

-Neutral source.
-Gain set to high.
-Kiwi Ears Terra 4.4mm cable.
-Penon Orange ear tips.

Sound signature:

Listening the Quantum Wanderer, I got the impression that it was not trying to give the feeling of resembling yet another hybrid set by relying on oversized, bloated bass or an overly spectacular presentation, as its soul revolves around offering a fairly balanced response, where the combined work of the dynamic driver and the bone conduction driver provides a physical and spatial sensation that complements a very interesting tuning.

Starting with the low end, the sub-bass reaches remarkable depth and appears effortlessly. There is a sense of pressure and immersion that is superior to what is usually found when compared to other types of configurations, greatly enhanced by the implementation of the bone conduction driver. The sub-bass is perceived with a certain physicality that adds an extra dimension to certain recordings.

The mid-bass follows the same philosophy, although with a more controlled behavior. The punch is firm, with good impact and a convincing texture, but it avoids becoming slow or excessively invasive. It retains a warm touch that adds musicality to the overall presentation without bleeding into other frequencies. It does not possess the speed of some profiles that are more analytically oriented, but it does offer a very pleasant and satisfying balance between body, definition, and enjoyment.

Speaking about the midrange, there is no particularly pronounced bleed from the lower end, allowing the instrumentation to maintain a good level of cleanliness even when the bass takes center stage. The instruments display a rather organic timbre, with a level of resolution that I consider substantially above average for this price range, along with properly balanced note weight. They do not aim to sound excessively thin, but neither do they convey exaggerated density. The set maintains a highly accomplished balance between density and body.

The overall dynamism of the set also caught my attention. The transients appear with enough speed for the music to retain its agility, and the presentation maintains a fairly convincing level of separation. It does not aim to dissect the recording like a purely analytical monitor, but it does allow the different instrumental lines to breathe easily, offering an orderly listening experience even when the mix becomes more complex.

The vocals are handled quite well. Male vocals benefit from pleasing body and convincing articulation, while female vocals appear slightly more forward, more open, and with a level of clarity that ultimately makes them one of the most attractive aspects of the set. At no point did I perceive an artificially colored presentation, but rather a reproduction that is quite expressive and natural.

In the upper end, the treble is probably the most debatable aspect of the Quantum Wanderer. The extension is good, and the amount of air contributes to a very open soundstage while revealing a fair amount of detail. Depending on the recording, especially around the presence region, there may be a touch of brightness that can end up causing some listening fatigue at high volumes or with songs that tend to be sibilant. Personally, I do not think it is poorly executed treble, but it is one that demands a certain degree of compatibility with our preferences or a certain level of tolerance.

To conclude the technical performance, I believe this is where a significant part of this set's appeal lies. The soundstage conveys a very convincing sense of spaciousness across all three dimensions and, more importantly, maintains a very well-organized presentation. The stereo image is precise, instrument positioning is well defined, and the separation between sonic layers makes it easy to follow each element within the mix.

Detail retrieval also leaves a very positive impression. It does not build an excessively clinical presentation nor does it force you into a constant analytical exercise, but the combination of resolution, cleanliness, and spaciousness allows information to emerge in a very natural way.

Single-player video games:

See how I analyze sound in this field.

If, during the music analysis, I already mentioned that the Quantum Wanderer has quite a distinctive personality, in single-player video games that philosophy remains very much present. It does not seek to impress solely through exaggerated bass, but instead builds an immersive experience thanks to its spacious soundstage and the physical sensation provided by the bone conduction driver.

During the most intense moments, where explosions, collapsing structures, or massive creatures fill the screen, it delivers firm and deep impact with an uncommon sense of physicality. Even so, the bass remains well controlled, preventing all that energy from muddying the rest of the soundscape.

Dialogue also benefits. Voices retain convincing timbre and very natural articulation, integrating properly among the sound effects and soundtrack. Male voices exhibit pleasant body, while female voices enjoy an additional touch of clarity and openness.

Where it truly stands out is in environmental reproduction. The wide soundstage and excellent retrieval of subtle nuances make it easy to appreciate the wind, echoes, water, or the creaking of different surfaces, allowing environments to constantly convey a vivid sense of life.

All of this is accompanied by highly competent technical performance. The separation between effects, music, and dialogue remains at a good level even when the action becomes particularly intense. The stereo image is precise, and the positioning of sounds makes it easy to interpret the surrounding space naturally.

Perhaps the only less convincing aspect is the energy in the upper treble. The large amount of information enhances immersion, although certain titles with bright sound effects may end up producing a slight degree of listening fatigue.

Final conclusion and personal impressions:

I'm going to start with what I liked the least: the contents of the package. I think it is quite austere. While it is true that I liked the cable in terms of build quality, for this type of set I would have preferred the balanced option provided by a 4.4mm termination, as it scales the sound better and the strengths of the set become more noticeable. Even so, a carrying pouch and another set of deeper ear tips to suit all kinds of ears would be the icing on the cake of a package that is already very appealing.

For me, having a certain tolerance for higher frequencies, the peaks around the 8kHz region were not an issue, but they may become bothersome for listeners with more sensitive ears, and I must emphasize this: better control of this region would allow the listening volume to be increased further and all the capabilities of these monitors to be fully appreciated.

Even so, I found it to be an excellent first venture by the brand. Despite being a warm set, it conveys a great deal of clarity and liveliness. It is not an IEM that will bore you, nor one in which you will miss enjoying vocals or instruments with a highly accomplished level of transparency and naturalness.

If you've made it this far, thank you for reading.

More reviews on my blog.

Social media links are available on my profile.

See you in the next review!

Disclaimer:

This set of monitors was sent to me by Nici Hifi. I sincerely appreciate the opportunity to try one of their products free of charge, and the fact that no conditions were imposed on me when preparing this review.

Despite this, my priority is to be as impartial as possible within the subjectivity that comes with evaluating an audio product. My opinion belongs solely to me and is based on what I hear with my own ears. If your opinion is different, it is just as valid. Please feel free to share it.

My sources:

-Topping DX5 II for music and gaming on my 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 go.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

Hello Community!

Today I bring you the Nici Hifi 42 Quantum Wanderer, the first venture by the well-known cable brand into the world of budget IEMs. I invite you to discover it through my own experience.

Price: €57–$65

Pros:

-Good depth and extension in the low-end range.
-Very physical bass, with excellent impact and no excessive rumble.
-Natural and clean mids: you'll enjoy both instruments and vocals.
-Excellent sense of space and positioning.
-Realistic timbre.
-Above-average instrumental separation for the price range.
-Overall cleanliness throughout the entire tuning.

Cons:

-It may be too large a set for certain ears.
-Be careful with songs that tend to be sibilant: this set does not hide them.
-The upper mids have an attack that is too abrupt.
-Somewhat sparse accessory package: a 4.4mm cable would have been fantastic.

Accessories:

-Two earpieces.
-Cable with 0.78mm connection and 3.5mm termination.
-One set of S/M/L ear tips.
-User manual.

Comfort, design, and build quality:

These are large monitors. That's the first thing I need to point out. Be very careful if you have small ears. I would not have had any problems with insertion and fit if it weren't for the included ear tips, which are too short. I solved this by using different ones.

They are not the most comfortable set I have ever used, since the shells protrude beyond the contour of your outer ear. I did not experience any pressure or pain after long hours of use, but you do get the feeling that they do not fit like a glove.

I found the cable to be good, as it does not tangle, it is not very heavy, and it never caused any pulling. It is not lightweight, but it is not super heavy either. You could say it is suitable for any use, whether at a desk or while on the move. The only drawback I find is that there is only a 3.5mm termination option.

As for the build quality, it is made of resin with a multicolored faceplate featuring shimmering highlights. I did not notice any imperfections or signs of poor quality control.

Aesthetically, it is very eye-catching, truly beautiful. I would not choose it if aesthetics were my top priority, as it is a bit too glossy, but I have to admit that it is genuinely gorgeous and that kaleidoscopic effect suits it very well.

Technical specifications:

-1DD + 1BC configuration.
-15 ohm impedance.
-104 dB sensitivity.
-Declared frequency response: 20Hz–20kHz.

Test setup:

-Neutral source.
-Gain set to high.
-Kiwi Ears Terra 4.4mm cable.
-Penon Orange ear tips.

Sound signature:

Listening the Quantum Wanderer, I got the impression that it was not trying to give the feeling of resembling yet another hybrid set by relying on oversized, bloated bass or an overly spectacular presentation, as its soul revolves around offering a fairly balanced response, where the combined work of the dynamic driver and the bone conduction driver provides a physical and spatial sensation that complements a very interesting tuning.

Starting with the low end, the sub-bass reaches remarkable depth and appears effortlessly. There is a sense of pressure and immersion that is superior to what is usually found when compared to other types of configurations, greatly enhanced by the implementation of the bone conduction driver. The sub-bass is perceived with a certain physicality that adds an extra dimension to certain recordings.

The mid-bass follows the same philosophy, although with a more controlled behavior. The punch is firm, with good impact and a convincing texture, but it avoids becoming slow or excessively invasive. It retains a warm touch that adds musicality to the overall presentation without bleeding into other frequencies. It does not possess the speed of some profiles that are more analytically oriented, but it does offer a very pleasant and satisfying balance between body, definition, and enjoyment.

Speaking about the midrange, there is no particularly pronounced bleed from the lower end, allowing the instrumentation to maintain a good level of cleanliness even when the bass takes center stage. The instruments display a rather organic timbre, with a level of resolution that I consider substantially above average for this price range, along with properly balanced note weight. They do not aim to sound excessively thin, but neither do they convey exaggerated density. The set maintains a highly accomplished balance between density and body.

The overall dynamism of the set also caught my attention. The transients appear with enough speed for the music to retain its agility, and the presentation maintains a fairly convincing level of separation. It does not aim to dissect the recording like a purely analytical monitor, but it does allow the different instrumental lines to breathe easily, offering an orderly listening experience even when the mix becomes more complex.

The vocals are handled quite well. Male vocals benefit from pleasing body and convincing articulation, while female vocals appear slightly more forward, more open, and with a level of clarity that ultimately makes them one of the most attractive aspects of the set. At no point did I perceive an artificially colored presentation, but rather a reproduction that is quite expressive and natural.

In the upper end, the treble is probably the most debatable aspect of the Quantum Wanderer. The extension is good, and the amount of air contributes to a very open soundstage while revealing a fair amount of detail. Depending on the recording, especially around the presence region, there may be a touch of brightness that can end up causing some listening fatigue at high volumes or with songs that tend to be sibilant. Personally, I do not think it is poorly executed treble, but it is one that demands a certain degree of compatibility with our preferences or a certain level of tolerance.

To conclude the technical performance, I believe this is where a significant part of this set's appeal lies. The soundstage conveys a very convincing sense of spaciousness across all three dimensions and, more importantly, maintains a very well-organized presentation. The stereo image is precise, instrument positioning is well defined, and the separation between sonic layers makes it easy to follow each element within the mix.

Detail retrieval also leaves a very positive impression. It does not build an excessively clinical presentation nor does it force you into a constant analytical exercise, but the combination of resolution, cleanliness, and spaciousness allows information to emerge in a very natural way.

Single-player video games:

See how I analyze sound in this field.

If, during the music analysis, I already mentioned that the Quantum Wanderer has quite a distinctive personality, in single-player video games that philosophy remains very much present. It does not seek to impress solely through exaggerated bass, but instead builds an immersive experience thanks to its spacious soundstage and the physical sensation provided by the bone conduction driver.

During the most intense moments, where explosions, collapsing structures, or massive creatures fill the screen, it delivers firm and deep impact with an uncommon sense of physicality. Even so, the bass remains well controlled, preventing all that energy from muddying the rest of the soundscape.

Dialogue also benefits. Voices retain convincing timbre and very natural articulation, integrating properly among the sound effects and soundtrack. Male voices exhibit pleasant body, while female voices enjoy an additional touch of clarity and openness.

Where it truly stands out is in environmental reproduction. The wide soundstage and excellent retrieval of subtle nuances make it easy to appreciate the wind, echoes, water, or the creaking of different surfaces, allowing environments to constantly convey a vivid sense of life.

All of this is accompanied by highly competent technical performance. The separation between effects, music, and dialogue remains at a good level even when the action becomes particularly intense. The stereo image is precise, and the positioning of sounds makes it easy to interpret the surrounding space naturally.

Perhaps the only less convincing aspect is the energy in the upper treble. The large amount of information enhances immersion, although certain titles with bright sound effects may end up producing a slight degree of listening fatigue.

Final conclusion and personal impressions:

I'm going to start with what I liked the least: the contents of the package. I think it is quite austere. While it is true that I liked the cable in terms of build quality, for this type of set I would have preferred the balanced option provided by a 4.4mm termination, as it scales the sound better and the strengths of the set become more noticeable. Even so, a carrying pouch and another set of deeper ear tips to suit all kinds of ears would be the icing on the cake of a package that is already very appealing.

For me, having a certain tolerance for higher frequencies, the peaks around the 8kHz region were not an issue, but they may become bothersome for listeners with more sensitive ears, and I must emphasize this: better control of this region would allow the listening volume to be increased further and all the capabilities of these monitors to be fully appreciated.

Even so, I found it to be an excellent first venture by the brand. Despite being a warm set, it conveys a great deal of clarity and liveliness. It is not an IEM that will bore you, nor one in which you will miss enjoying vocals or instruments with a highly accomplished level of transparency and naturalness.

If you've made it this far, thank you for reading.

More reviews on my blog.

Social media links are available on my profile.

See you in the next review!

Disclaimer:

This set of monitors was sent to me by Nici Hifi. I sincerely appreciate the opportunity to try one of their products free of charge, and the fact that no conditions were imposed on me when preparing this review.

Despite this, my priority is to be as impartial as possible within the subjectivity that comes with evaluating an audio product. My opinion belongs solely to me and is based on what I hear with my own ears. If your opinion is different, it is just as valid. Please feel free to share it.

My sources:

-Topping DX5 II for music and gaming on my 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 go.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

Hello Community!

Today I bring you the Nici Hifi 42 Quantum Wanderer, the first venture by the well-known cable brand into the world of budget IEMs. I invite you to discover it through my own experience.

Price: €57–$65

Pros:

-Good depth and extension in the low-end range.
-Very physical bass, with excellent impact and no excessive rumble.
-Natural and clean mids: you'll enjoy both instruments and vocals.
-Excellent sense of space and positioning.
-Realistic timbre.
-Above-average instrumental separation for the price range.
-Overall cleanliness throughout the entire tuning.

Cons:

-It may be too large a set for certain ears.
-Be careful with songs that tend to be sibilant: this set does not hide them.
-The upper mids have an attack that is too abrupt.
-Somewhat sparse accessory package: a 4.4mm cable would have been fantastic.

Accessories:

-Two earpieces.
-Cable with 0.78mm connection and 3.5mm termination.
-One set of S/M/L ear tips.
-User manual.

Comfort, design, and build quality:

These are large monitors. That's the first thing I need to point out. Be very careful if you have small ears. I would not have had any problems with insertion and fit if it weren't for the included ear tips, which are too short. I solved this by using different ones.

They are not the most comfortable set I have ever used, since the shells protrude beyond the contour of your outer ear. I did not experience any pressure or pain after long hours of use, but you do get the feeling that they do not fit like a glove.

I found the cable to be good, as it does not tangle, it is not very heavy, and it never caused any pulling. It is not lightweight, but it is not super heavy either. You could say it is suitable for any use, whether at a desk or while on the move. The only drawback I find is that there is only a 3.5mm termination option.

As for the build quality, it is made of resin with a multicolored faceplate featuring shimmering highlights. I did not notice any imperfections or signs of poor quality control.

Aesthetically, it is very eye-catching, truly beautiful. I would not choose it if aesthetics were my top priority, as it is a bit too glossy, but I have to admit that it is genuinely gorgeous and that kaleidoscopic effect suits it very well.

Technical specifications:

-1DD + 1BC configuration.
-15 ohm impedance.
-104 dB sensitivity.
-Declared frequency response: 20Hz–20kHz.

Test setup:

-Neutral source.
-Gain set to high.
-Kiwi Ears Terra 4.4mm cable.
-Penon Orange ear tips.

Sound signature:

Listening the Quantum Wanderer, I got the impression that it was not trying to give the feeling of resembling yet another hybrid set by relying on oversized, bloated bass or an overly spectacular presentation, as its soul revolves around offering a fairly balanced response, where the combined work of the dynamic driver and the bone conduction driver provides a physical and spatial sensation that complements a very interesting tuning.

Starting with the low end, the sub-bass reaches remarkable depth and appears effortlessly. There is a sense of pressure and immersion that is superior to what is usually found when compared to other types of configurations, greatly enhanced by the implementation of the bone conduction driver. The sub-bass is perceived with a certain physicality that adds an extra dimension to certain recordings.

The mid-bass follows the same philosophy, although with a more controlled behavior. The punch is firm, with good impact and a convincing texture, but it avoids becoming slow or excessively invasive. It retains a warm touch that adds musicality to the overall presentation without bleeding into other frequencies. It does not possess the speed of some profiles that are more analytically oriented, but it does offer a very pleasant and satisfying balance between body, definition, and enjoyment.

Speaking about the midrange, there is no particularly pronounced bleed from the lower end, allowing the instrumentation to maintain a good level of cleanliness even when the bass takes center stage. The instruments display a rather organic timbre, with a level of resolution that I consider substantially above average for this price range, along with properly balanced note weight. They do not aim to sound excessively thin, but neither do they convey exaggerated density. The set maintains a highly accomplished balance between density and body.

The overall dynamism of the set also caught my attention. The transients appear with enough speed for the music to retain its agility, and the presentation maintains a fairly convincing level of separation. It does not aim to dissect the recording like a purely analytical monitor, but it does allow the different instrumental lines to breathe easily, offering an orderly listening experience even when the mix becomes more complex.

The vocals are handled quite well. Male vocals benefit from pleasing body and convincing articulation, while female vocals appear slightly more forward, more open, and with a level of clarity that ultimately makes them one of the most attractive aspects of the set. At no point did I perceive an artificially colored presentation, but rather a reproduction that is quite expressive and natural.

In the upper end, the treble is probably the most debatable aspect of the Quantum Wanderer. The extension is good, and the amount of air contributes to a very open soundstage while revealing a fair amount of detail. Depending on the recording, especially around the presence region, there may be a touch of brightness that can end up causing some listening fatigue at high volumes or with songs that tend to be sibilant. Personally, I do not think it is poorly executed treble, but it is one that demands a certain degree of compatibility with our preferences or a certain level of tolerance.

To conclude the technical performance, I believe this is where a significant part of this set's appeal lies. The soundstage conveys a very convincing sense of spaciousness across all three dimensions and, more importantly, maintains a very well-organized presentation. The stereo image is precise, instrument positioning is well defined, and the separation between sonic layers makes it easy to follow each element within the mix.

Detail retrieval also leaves a very positive impression. It does not build an excessively clinical presentation nor does it force you into a constant analytical exercise, but the combination of resolution, cleanliness, and spaciousness allows information to emerge in a very natural way.

Single-player video games:

See how I analyze sound in this field.

If, during the music analysis, I already mentioned that the Quantum Wanderer has quite a distinctive personality, in single-player video games that philosophy remains very much present. It does not seek to impress solely through exaggerated bass, but instead builds an immersive experience thanks to its spacious soundstage and the physical sensation provided by the bone conduction driver.

During the most intense moments, where explosions, collapsing structures, or massive creatures fill the screen, it delivers firm and deep impact with an uncommon sense of physicality. Even so, the bass remains well controlled, preventing all that energy from muddying the rest of the soundscape.

Dialogue also benefits. Voices retain convincing timbre and very natural articulation, integrating properly among the sound effects and soundtrack. Male voices exhibit pleasant body, while female voices enjoy an additional touch of clarity and openness.

Where it truly stands out is in environmental reproduction. The wide soundstage and excellent retrieval of subtle nuances make it easy to appreciate the wind, echoes, water, or the creaking of different surfaces, allowing environments to constantly convey a vivid sense of life.

All of this is accompanied by highly competent technical performance. The separation between effects, music, and dialogue remains at a good level even when the action becomes particularly intense. The stereo image is precise, and the positioning of sounds makes it easy to interpret the surrounding space naturally.

Perhaps the only less convincing aspect is the energy in the upper treble. The large amount of information enhances immersion, although certain titles with bright sound effects may end up producing a slight degree of listening fatigue.

Final conclusion and personal impressions:

I'm going to start with what I liked the least: the contents of the package. I think it is quite austere. While it is true that I liked the cable in terms of build quality, for this type of set I would have preferred the balanced option provided by a 4.4mm termination, as it scales the sound better and the strengths of the set become more noticeable. Even so, a carrying pouch and another set of deeper ear tips to suit all kinds of ears would be the icing on the cake of a package that is already very appealing.

For me, having a certain tolerance for higher frequencies, the peaks around the 8kHz region were not an issue, but they may become bothersome for listeners with more sensitive ears, and I must emphasize this: better control of this region would allow the listening volume to be increased further and all the capabilities of these monitors to be fully appreciated.

Even so, I found it to be an excellent first venture by the brand. Despite being a warm set, it conveys a great deal of clarity and liveliness. It is not an IEM that will bore you, nor one in which you will miss enjoying vocals or instruments with a highly accomplished level of transparency and naturalness.

If you've made it this far, thank you for reading.

More reviews on my blog.

Social media links are available on my profile.

See you in the next review!

Disclaimer:

This set of monitors was sent to me by Nici Hifi. I sincerely appreciate the opportunity to try one of their products free of charge, and the fact that no conditions were imposed on me when preparing this review.

Despite this, my priority is to be as impartial as possible within the subjectivity that comes with evaluating an audio product. My opinion belongs solely to me and is based on what I hear with my own ears. If your opinion is different, it is just as valid. Please feel free to share it.

My sources:

-Topping DX5 II for music and gaming on my 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 go.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/macOS/iOS/iPadOS/Android.

Hello Community!

The second generation of the OLA from Tanchjim is the one that has been stealing my time these last few weeks. I’ll tell you about my experience with the OLA II.

Price: 44€-50$

Pros:

-Excellent ergonomics and comfort for all types of ears.
-A set that offers very good fun in its mid-bass.
-Clean, transparent, dynamic.
-Very accomplished layer separation.
-Energetic and extended upper range.
-Positions sounds on the stage with great fidelity.

Cons:

-The resolution is not something remarkable.
-Vocals are somewhat behind in the mix.
-The stock eartips could be improved.

Accessories:

-Two shells.
-Cable with 0.78mm connection and 3.5mm termination. USBC and 4.4mm options.
-Two sets of SML size eartips.
-Carrying and storage pouch.
-User manuals.

Comfort, design and construction:

Well, I think the OLA II is a set that, due to its rounded and reduced shape, can and should fit perfectly in all types of ears, regardless of size. It is comfort made into an IEM: the insertion is deep but not intrusive, allowing a firm and secure fit, resulting in a set that sits flush with your ear, without sticking out, as if it were an earplug. As a personal note, I have a preference for this type of highly ergonomic shape, as it does justice to the word universal, since it works for everyone.

The stock eartips seal well, they are not the most comfortable I have tried in this price range and I know that Tanchjim manufactures these accessories with better quality and they should have been included in the package. As I was saying, with the stock tips you get correct isolation and more than enough grip, but I consider that this set of monitors deserves something better and more in line with its sonic and ergonomic value.

What I really loved was the cable, because during my listening sessions and outdoor sports activities, it performed in an outstanding way, since throughout my experience I did not find any pull that caused adjustments to shift, and it slides well both inside and outside clothing, besides feeling to the touch like an accessory of greater value than what we can find in higher-end earphones.

To finish, the manufacturing materials are the right ones for this segment of the market. The first impression is that you believe you have a set that does not express its full value to the touch, as it appears to be entirely made of plastic. Fortunately, that is not the case: the body is made of transparent resin and the faceplate is made of lightweight machined metal alloy, providing a lightness that, as I mentioned above, makes these monitors one of the lightest sets I have tested throughout all this time.

Technical aspects:

-Hybrid configuration of 1DD 10mm + 1BA.
-30 ohms impedance.
-121 dB sensitivity.
-Declared response 8hz-48khz.

Pairing for the tests:

-Neutral source.
-Gain set to low.
-Dunu Candy eartips.
-Stock 3.5mm cable.

Sound Signature:

I would not like to present this OLA II as an earphone that is overly spectacular or designed to impress you, because I believe it hides its cards very well and you only end up appreciating it correctly when you switch to other sets and return to it.

Its philosophy seemed quite different to me. Tanchjim bets on a tuning where tonal balance, cleanliness and respect for timbre have much more weight than the search for an inflated bass or an excess of artificial detail. It is a set that conveys a certain maturity, with an open, organized presentation and a slightly bright character, but without constantly falling into the sensation of being in front of an excessively analytical monitor.

Starting with the lower range, the sub-bass has a correct extension, enough to provide depth, although without ever becoming the main actor of the performance. The atmospheric sensation is present, but this enveloping feeling has to be looked for in certain types of genres or songs.

Meanwhile, the mid-bass maintains exactly that philosophy but with an extra touch. The impact is not extensive, but it is fast, forceful and correctly defined, with a texture and physicality that are quite convincing. It is not an especially warm bass, rather it leans towards a clean response where quantity clearly remains behind quality. In this case, and as usually happens with this type of tuning, it does not sacrifice part of that sense of immediate fun and also favors the rest of the spectrum being able to develop with quite a lot of freedom.

The transition towards the mids is done in a very progressive and silky way. I did not perceive any relevant bleed from the lower range, something that clearly benefits this part of the spectrum. Instruments show a very accurate timbre, with sufficient resolution, but from which I could expect a greater amount for its price range and a presentation where separation and order are evident from the first minutes. The note weight is not particularly high, I would even say it tends to be light, something that personally I think fits quite well with the general philosophy of the set.

Another aspect that I liked was the dynamism it conveys. Transients appear quickly, notes disappear with agility and this allows following the different instrumental lines with quite ease even when the mix gains complexity. It is not a monitor that seeks to sound thick or especially physical, but rather clean and resolving.

Vocals also receive a quite successful treatment. Male vocals maintain convincing articulation and a natural timbre, although they do not have an especially marked thickness, so those who enjoy a warmer presentation may find them somewhat light. Female vocals, on the other hand, seemed to me one of the strengths of the set. They enjoy great openness, clarity and a sensation of air, projecting naturally over the mix and showing a resolution that helps transmit a lot of information without sounding forced. Even so, for me and my overall perception, they are one step behind in terms of prominence.

Regarding the higher frequencies, the OLA II maintains good extension and enough energy to favor a very pleasant sense of space. Small nuances appear easily and air is perceived practically from the first moment. Even so, I would not say that it is a completely relaxed set. It continues maintaining a point of brightness that can become noticeable with certain recordings or at high volumes, although I consider that the control over this area is considerably better than in other sets with the same or lower intensity in this range.

Speaking about the technical section to finish, I think the performance is slightly above average within its segment. The soundstage does not seek to impress through size, but rather it transmits a very convincing organization. Imaging maintains quite high precision, positioning feels logical and the separation between sound layers allows following the different elements of the mix with relative ease.

Detail retrieval also left me with good sensations. It does not aim to be a purely analytical monitor nor a tool for dissecting every recording, but the cleanliness of its presentation and its good level of resolution make information appear with quite naturalness.

Single-player videogames:

Check the conditions under which I analyze sound in this field.

The experience was really similar regarding my music tests: you do not realize the energy it transmits until you switch sets and return to it. OLA II is a set that performs in such a smooth way that it almost seems relaxed.

During moments of greater intensity, where explosions, collapses or large sound effects take the spotlight, the impact is restrained but convincing enough to transmit the action. There is no prolonged rumble nor an especially physical sensation, since the speed of the decay makes every effect disappear with agility, avoiding unnecessary accumulation. This helps even the most chaotic scenes maintain an organized and easy-to-follow presentation.

Dialogues also benefit from this tuning. Voices show very accurate articulation and a convincing timbre, integrating quite naturally within the whole. Perhaps male voices may feel slightly light in certain scenes, but at no moment did I have difficulties following conversations or understanding the narrative even when the action increased in intensity.

Where I consider this set finally makes a difference is in environmental recreation. The OLA II retrieves quite easily small sounds that normally go unnoticed, such as the movement of vegetation, the echo of a room, the wind passing through an open environment or the fall of small particles onto different surfaces. All of this appears in a very natural way, without exaggerations, notably enriching the sense of immersion.

On a technical level it continues leaving good sensations. The separation between sound layers maintains a very competent level, avoiding mixtures even when music, effects and dialogues come together. The stage offers correct dimensions, accompanied by a very precise image that makes it easier to interpret the position of practically any sound within the environment. In the end, it is not a monitor that seeks to impress through spectacle, but rather through a clean, coherent and technically very well resolved presentation.

Final conclusion and personal evaluations:

The OLA II has seemed to me like a set that at first contact is balanced, smooth, harmonious. It delivers energy with subtlety, the fun seems to be in the background, but nothing could be further from reality: as I have said several times throughout my review, it is a set whose full potential I did not discover until I returned to it after trying other sets.

The moment of impression was magnificent, because what seemed hidden comes to light, you appreciate the intentions, the mood it conveys, from its clean, solid and forceful bass all the way to the treble area where brightness takes the leading role in an open scene and presentation, with an electrifying and detailed spark.

In short, I think it is a very well-executed product, starting with the quality of the finish and ergonomics and reaching its mature sound, with character and fidelity.

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 Tanchjim. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed when preparing this analysis.

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

My sources:

-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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

Hello Community!

The second generation of the OLA from Tanchjim is the one that has been stealing my time these last few weeks. I’ll tell you about my experience with the OLA II.

Price: 44€-50$

Pros:

-Excellent ergonomics and comfort for all types of ears.
-A set that offers very good fun in its mid-bass.
-Clean, transparent, dynamic.
-Very accomplished layer separation.
-Energetic and extended upper range.
-Positions sounds on the stage with great fidelity.

Cons:

-The resolution is not something remarkable.
-Vocals are somewhat behind in the mix.
-The stock eartips could be improved.

Accessories:

-Two shells.
-Cable with 0.78mm connection and 3.5mm termination. USBC and 4.4mm options.
-Two sets of SML size eartips.
-Carrying and storage pouch.
-User manuals.

Comfort, design and construction:

Well, I think the OLA II is a set that, due to its rounded and reduced shape, can and should fit perfectly in all types of ears, regardless of size. It is comfort made into an IEM: the insertion is deep but not intrusive, allowing a firm and secure fit, resulting in a set that sits flush with your ear, without sticking out, as if it were an earplug. As a personal note, I have a preference for this type of highly ergonomic shape, as it does justice to the word universal, since it works for everyone.

The stock eartips seal well, they are not the most comfortable I have tried in this price range and I know that Tanchjim manufactures these accessories with better quality and they should have been included in the package. As I was saying, with the stock tips you get correct isolation and more than enough grip, but I consider that this set of monitors deserves something better and more in line with its sonic and ergonomic value.

What I really loved was the cable, because during my listening sessions and outdoor sports activities, it performed in an outstanding way, since throughout my experience I did not find any pull that caused adjustments to shift, and it slides well both inside and outside clothing, besides feeling to the touch like an accessory of greater value than what we can find in higher-end earphones.

To finish, the manufacturing materials are the right ones for this segment of the market. The first impression is that you believe you have a set that does not express its full value to the touch, as it appears to be entirely made of plastic. Fortunately, that is not the case: the body is made of transparent resin and the faceplate is made of lightweight machined metal alloy, providing a lightness that, as I mentioned above, makes these monitors one of the lightest sets I have tested throughout all this time.

Technical aspects:

-Hybrid configuration of 1DD 10mm + 1BA.
-30 ohms impedance.
-121 dB sensitivity.
-Declared response 8hz-48khz.

Pairing for the tests:

-Neutral source.
-Gain set to low.
-Dunu Candy eartips.
-Stock 3.5mm cable.

Sound Signature:

I would not like to present this OLA II as an earphone that is overly spectacular or designed to impress you, because I believe it hides its cards very well and you only end up appreciating it correctly when you switch to other sets and return to it.

Its philosophy seemed quite different to me. Tanchjim bets on a tuning where tonal balance, cleanliness and respect for timbre have much more weight than the search for an inflated bass or an excess of artificial detail. It is a set that conveys a certain maturity, with an open, organized presentation and a slightly bright character, but without constantly falling into the sensation of being in front of an excessively analytical monitor.

Starting with the lower range, the sub-bass has a correct extension, enough to provide depth, although without ever becoming the main actor of the performance. The atmospheric sensation is present, but this enveloping feeling has to be looked for in certain types of genres or songs.

Meanwhile, the mid-bass maintains exactly that philosophy but with an extra touch. The impact is not extensive, but it is fast, forceful and correctly defined, with a texture and physicality that are quite convincing. It is not an especially warm bass, rather it leans towards a clean response where quantity clearly remains behind quality. In this case, and as usually happens with this type of tuning, it does not sacrifice part of that sense of immediate fun and also favors the rest of the spectrum being able to develop with quite a lot of freedom.

The transition towards the mids is done in a very progressive and silky way. I did not perceive any relevant bleed from the lower range, something that clearly benefits this part of the spectrum. Instruments show a very accurate timbre, with sufficient resolution, but from which I could expect a greater amount for its price range and a presentation where separation and order are evident from the first minutes. The note weight is not particularly high, I would even say it tends to be light, something that personally I think fits quite well with the general philosophy of the set.

Another aspect that I liked was the dynamism it conveys. Transients appear quickly, notes disappear with agility and this allows following the different instrumental lines with quite ease even when the mix gains complexity. It is not a monitor that seeks to sound thick or especially physical, but rather clean and resolving.

Vocals also receive a quite successful treatment. Male vocals maintain convincing articulation and a natural timbre, although they do not have an especially marked thickness, so those who enjoy a warmer presentation may find them somewhat light. Female vocals, on the other hand, seemed to me one of the strengths of the set. They enjoy great openness, clarity and a sensation of air, projecting naturally over the mix and showing a resolution that helps transmit a lot of information without sounding forced. Even so, for me and my overall perception, they are one step behind in terms of prominence.

Regarding the higher frequencies, the OLA II maintains good extension and enough energy to favor a very pleasant sense of space. Small nuances appear easily and air is perceived practically from the first moment. Even so, I would not say that it is a completely relaxed set. It continues maintaining a point of brightness that can become noticeable with certain recordings or at high volumes, although I consider that the control over this area is considerably better than in other sets with the same or lower intensity in this range.

Speaking about the technical section to finish, I think the performance is slightly above average within its segment. The soundstage does not seek to impress through size, but rather it transmits a very convincing organization. Imaging maintains quite high precision, positioning feels logical and the separation between sound layers allows following the different elements of the mix with relative ease.

Detail retrieval also left me with good sensations. It does not aim to be a purely analytical monitor nor a tool for dissecting every recording, but the cleanliness of its presentation and its good level of resolution make information appear with quite naturalness.

Single-player videogames:

Check the conditions under which I analyze sound in this field.

The experience was really similar regarding my music tests: you do not realize the energy it transmits until you switch sets and return to it. OLA II is a set that performs in such a smooth way that it almost seems relaxed.

During moments of greater intensity, where explosions, collapses or large sound effects take the spotlight, the impact is restrained but convincing enough to transmit the action. There is no prolonged rumble nor an especially physical sensation, since the speed of the decay makes every effect disappear with agility, avoiding unnecessary accumulation. This helps even the most chaotic scenes maintain an organized and easy-to-follow presentation.

Dialogues also benefit from this tuning. Voices show very accurate articulation and a convincing timbre, integrating quite naturally within the whole. Perhaps male voices may feel slightly light in certain scenes, but at no moment did I have difficulties following conversations or understanding the narrative even when the action increased in intensity.

Where I consider this set finally makes a difference is in environmental recreation. The OLA II retrieves quite easily small sounds that normally go unnoticed, such as the movement of vegetation, the echo of a room, the wind passing through an open environment or the fall of small particles onto different surfaces. All of this appears in a very natural way, without exaggerations, notably enriching the sense of immersion.

On a technical level it continues leaving good sensations. The separation between sound layers maintains a very competent level, avoiding mixtures even when music, effects and dialogues come together. The stage offers correct dimensions, accompanied by a very precise image that makes it easier to interpret the position of practically any sound within the environment. In the end, it is not a monitor that seeks to impress through spectacle, but rather through a clean, coherent and technically very well resolved presentation.

Final conclusion and personal evaluations:

The OLA II has seemed to me like a set that at first contact is balanced, smooth, harmonious. It delivers energy with subtlety, the fun seems to be in the background, but nothing could be further from reality: as I have said several times throughout my review, it is a set whose full potential I did not discover until I returned to it after trying other sets.

The moment of impression was magnificent, because what seemed hidden comes to light, you appreciate the intentions, the mood it conveys, from its clean, solid and forceful bass all the way to the treble area where brightness takes the leading role in an open scene and presentation, with an electrifying and detailed spark.

In short, I think it is a very well-executed product, starting with the quality of the finish and ergonomics and reaching its mature sound, with character and fidelity.

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 Tanchjim. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed when preparing this analysis.

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

My sources:

-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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

Hello Community!

The second generation of the OLA from Tanchjim is the one that has been stealing my time these last few weeks. I’ll tell you about my experience with the OLA II.

Price: 44€-50$

Pros:

-Excellent ergonomics and comfort for all types of ears.
-A set that offers very good fun in its mid-bass.
-Clean, transparent, dynamic.
-Very accomplished layer separation.
-Energetic and extended upper range.
-Positions sounds on the stage with great fidelity.

Cons:

-The resolution is not something remarkable.
-Vocals are somewhat behind in the mix.
-The stock eartips could be improved.

Accessories:

-Two shells.
-Cable with 0.78mm connection and 3.5mm termination. USBC and 4.4mm options.
-Two sets of SML size eartips.
-Carrying and storage pouch.
-User manuals.

Comfort, design and construction:

Well, I think the OLA II is a set that, due to its rounded and reduced shape, can and should fit perfectly in all types of ears, regardless of size. It is comfort made into an IEM: the insertion is deep but not intrusive, allowing a firm and secure fit, resulting in a set that sits flush with your ear, without sticking out, as if it were an earplug. As a personal note, I have a preference for this type of highly ergonomic shape, as it does justice to the word universal, since it works for everyone.

The stock eartips seal well, they are not the most comfortable I have tried in this price range and I know that Tanchjim manufactures these accessories with better quality and they should have been included in the package. As I was saying, with the stock tips you get correct isolation and more than enough grip, but I consider that this set of monitors deserves something better and more in line with its sonic and ergonomic value.

What I really loved was the cable, because during my listening sessions and outdoor sports activities, it performed in an outstanding way, since throughout my experience I did not find any pull that caused adjustments to shift, and it slides well both inside and outside clothing, besides feeling to the touch like an accessory of greater value than what we can find in higher-end earphones.

To finish, the manufacturing materials are the right ones for this segment of the market. The first impression is that you believe you have a set that does not express its full value to the touch, as it appears to be entirely made of plastic. Fortunately, that is not the case: the body is made of transparent resin and the faceplate is made of lightweight machined metal alloy, providing a lightness that, as I mentioned above, makes these monitors one of the lightest sets I have tested throughout all this time.

Technical aspects:

-Hybrid configuration of 1DD 10mm + 1BA.
-30 ohms impedance.
-121 dB sensitivity.
-Declared response 8hz-48khz.

Pairing for the tests:

-Neutral source.
-Gain set to low.
-Dunu Candy eartips.
-Stock 3.5mm cable.

Sound Signature:

I would not like to present this OLA II as an earphone that is overly spectacular or designed to impress you, because I believe it hides its cards very well and you only end up appreciating it correctly when you switch to other sets and return to it.

Its philosophy seemed quite different to me. Tanchjim bets on a tuning where tonal balance, cleanliness and respect for timbre have much more weight than the search for an inflated bass or an excess of artificial detail. It is a set that conveys a certain maturity, with an open, organized presentation and a slightly bright character, but without constantly falling into the sensation of being in front of an excessively analytical monitor.

Starting with the lower range, the sub-bass has a correct extension, enough to provide depth, although without ever becoming the main actor of the performance. The atmospheric sensation is present, but this enveloping feeling has to be looked for in certain types of genres or songs.

Meanwhile, the mid-bass maintains exactly that philosophy but with an extra touch. The impact is not extensive, but it is fast, forceful and correctly defined, with a texture and physicality that are quite convincing. It is not an especially warm bass, rather it leans towards a clean response where quantity clearly remains behind quality. In this case, and as usually happens with this type of tuning, it does not sacrifice part of that sense of immediate fun and also favors the rest of the spectrum being able to develop with quite a lot of freedom.

The transition towards the mids is done in a very progressive and silky way. I did not perceive any relevant bleed from the lower range, something that clearly benefits this part of the spectrum. Instruments show a very accurate timbre, with sufficient resolution, but from which I could expect a greater amount for its price range and a presentation where separation and order are evident from the first minutes. The note weight is not particularly high, I would even say it tends to be light, something that personally I think fits quite well with the general philosophy of the set.

Another aspect that I liked was the dynamism it conveys. Transients appear quickly, notes disappear with agility and this allows following the different instrumental lines with quite ease even when the mix gains complexity. It is not a monitor that seeks to sound thick or especially physical, but rather clean and resolving.

Vocals also receive a quite successful treatment. Male vocals maintain convincing articulation and a natural timbre, although they do not have an especially marked thickness, so those who enjoy a warmer presentation may find them somewhat light. Female vocals, on the other hand, seemed to me one of the strengths of the set. They enjoy great openness, clarity and a sensation of air, projecting naturally over the mix and showing a resolution that helps transmit a lot of information without sounding forced. Even so, for me and my overall perception, they are one step behind in terms of prominence.

Regarding the higher frequencies, the OLA II maintains good extension and enough energy to favor a very pleasant sense of space. Small nuances appear easily and air is perceived practically from the first moment. Even so, I would not say that it is a completely relaxed set. It continues maintaining a point of brightness that can become noticeable with certain recordings or at high volumes, although I consider that the control over this area is considerably better than in other sets with the same or lower intensity in this range.

Speaking about the technical section to finish, I think the performance is slightly above average within its segment. The soundstage does not seek to impress through size, but rather it transmits a very convincing organization. Imaging maintains quite high precision, positioning feels logical and the separation between sound layers allows following the different elements of the mix with relative ease.

Detail retrieval also left me with good sensations. It does not aim to be a purely analytical monitor nor a tool for dissecting every recording, but the cleanliness of its presentation and its good level of resolution make information appear with quite naturalness.

Single-player videogames:

Check the conditions under which I analyze sound in this field.

The experience was really similar regarding my music tests: you do not realize the energy it transmits until you switch sets and return to it. OLA II is a set that performs in such a smooth way that it almost seems relaxed.

During moments of greater intensity, where explosions, collapses or large sound effects take the spotlight, the impact is restrained but convincing enough to transmit the action. There is no prolonged rumble nor an especially physical sensation, since the speed of the decay makes every effect disappear with agility, avoiding unnecessary accumulation. This helps even the most chaotic scenes maintain an organized and easy-to-follow presentation.

Dialogues also benefit from this tuning. Voices show very accurate articulation and a convincing timbre, integrating quite naturally within the whole. Perhaps male voices may feel slightly light in certain scenes, but at no moment did I have difficulties following conversations or understanding the narrative even when the action increased in intensity.

Where I consider this set finally makes a difference is in environmental recreation. The OLA II retrieves quite easily small sounds that normally go unnoticed, such as the movement of vegetation, the echo of a room, the wind passing through an open environment or the fall of small particles onto different surfaces. All of this appears in a very natural way, without exaggerations, notably enriching the sense of immersion.

On a technical level it continues leaving good sensations. The separation between sound layers maintains a very competent level, avoiding mixtures even when music, effects and dialogues come together. The stage offers correct dimensions, accompanied by a very precise image that makes it easier to interpret the position of practically any sound within the environment. In the end, it is not a monitor that seeks to impress through spectacle, but rather through a clean, coherent and technically very well resolved presentation.

Final conclusion and personal evaluations:

The OLA II has seemed to me like a set that at first contact is balanced, smooth, harmonious. It delivers energy with subtlety, the fun seems to be in the background, but nothing could be further from reality: as I have said several times throughout my review, it is a set whose full potential I did not discover until I returned to it after trying other sets.

The moment of impression was magnificent, because what seemed hidden comes to light, you appreciate the intentions, the mood it conveys, from its clean, solid and forceful bass all the way to the treble area where brightness takes the leading role in an open scene and presentation, with an electrifying and detailed spark.

In short, I think it is a very well-executed product, starting with the quality of the finish and ergonomics and reaching its mature sound, with character and fidelity.

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 Tanchjim. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed when preparing this analysis.

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

My sources:

-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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

Hello Community!

The second generation of the OLA from Tanchjim is the one that has been stealing my time these last few weeks. I’ll tell you about my experience with the OLA II.

Price: 44€-50$

Pros:

-Excellent ergonomics and comfort for all types of ears.
-A set that offers very good fun in its mid-bass.
-Clean, transparent, dynamic.
-Very accomplished layer separation.
-Energetic and extended upper range.
-Positions sounds on the stage with great fidelity.

Cons:

-The resolution is not something remarkable.
-Vocals are somewhat behind in the mix.
-The stock eartips could be improved.

Accessories:

-Two shells.
-Cable with 0.78mm connection and 3.5mm termination. USBC and 4.4mm options.
-Two sets of SML size eartips.
-Carrying and storage pouch.
-User manuals.

Comfort, design and construction:

Well, I think the OLA II is a set that, due to its rounded and reduced shape, can and should fit perfectly in all types of ears, regardless of size. It is comfort made into an IEM: the insertion is deep but not intrusive, allowing a firm and secure fit, resulting in a set that sits flush with your ear, without sticking out, as if it were an earplug. As a personal note, I have a preference for this type of highly ergonomic shape, as it does justice to the word universal, since it works for everyone.

The stock eartips seal well, they are not the most comfortable I have tried in this price range and I know that Tanchjim manufactures these accessories with better quality and they should have been included in the package. As I was saying, with the stock tips you get correct isolation and more than enough grip, but I consider that this set of monitors deserves something better and more in line with its sonic and ergonomic value.

What I really loved was the cable, because during my listening sessions and outdoor sports activities, it performed in an outstanding way, since throughout my experience I did not find any pull that caused adjustments to shift, and it slides well both inside and outside clothing, besides feeling to the touch like an accessory of greater value than what we can find in higher-end earphones.

To finish, the manufacturing materials are the right ones for this segment of the market. The first impression is that you believe you have a set that does not express its full value to the touch, as it appears to be entirely made of plastic. Fortunately, that is not the case: the body is made of transparent resin and the faceplate is made of lightweight machined metal alloy, providing a lightness that, as I mentioned above, makes these monitors one of the lightest sets I have tested throughout all this time.

Technical aspects:

-Hybrid configuration of 1DD 10mm + 1BA.
-30 ohms impedance.
-121 dB sensitivity.
-Declared response 8hz-48khz.

Pairing for the tests:

-Neutral source.
-Gain set to low.
-Dunu Candy eartips.
-Stock 3.5mm cable.

Sound Signature:

I would not like to present this OLA II as an earphone that is overly spectacular or designed to impress you, because I believe it hides its cards very well and you only end up appreciating it correctly when you switch to other sets and return to it.

Its philosophy seemed quite different to me. Tanchjim bets on a tuning where tonal balance, cleanliness and respect for timbre have much more weight than the search for an inflated bass or an excess of artificial detail. It is a set that conveys a certain maturity, with an open, organized presentation and a slightly bright character, but without constantly falling into the sensation of being in front of an excessively analytical monitor.

Starting with the lower range, the sub-bass has a correct extension, enough to provide depth, although without ever becoming the main actor of the performance. The atmospheric sensation is present, but this enveloping feeling has to be looked for in certain types of genres or songs.

Meanwhile, the mid-bass maintains exactly that philosophy but with an extra touch. The impact is not extensive, but it is fast, forceful and correctly defined, with a texture and physicality that are quite convincing. It is not an especially warm bass, rather it leans towards a clean response where quantity clearly remains behind quality. In this case, and as usually happens with this type of tuning, it does not sacrifice part of that sense of immediate fun and also favors the rest of the spectrum being able to develop with quite a lot of freedom.

The transition towards the mids is done in a very progressive and silky way. I did not perceive any relevant bleed from the lower range, something that clearly benefits this part of the spectrum. Instruments show a very accurate timbre, with sufficient resolution, but from which I could expect a greater amount for its price range and a presentation where separation and order are evident from the first minutes. The note weight is not particularly high, I would even say it tends to be light, something that personally I think fits quite well with the general philosophy of the set.

Another aspect that I liked was the dynamism it conveys. Transients appear quickly, notes disappear with agility and this allows following the different instrumental lines with quite ease even when the mix gains complexity. It is not a monitor that seeks to sound thick or especially physical, but rather clean and resolving.

Vocals also receive a quite successful treatment. Male vocals maintain convincing articulation and a natural timbre, although they do not have an especially marked thickness, so those who enjoy a warmer presentation may find them somewhat light. Female vocals, on the other hand, seemed to me one of the strengths of the set. They enjoy great openness, clarity and a sensation of air, projecting naturally over the mix and showing a resolution that helps transmit a lot of information without sounding forced. Even so, for me and my overall perception, they are one step behind in terms of prominence.

Regarding the higher frequencies, the OLA II maintains good extension and enough energy to favor a very pleasant sense of space. Small nuances appear easily and air is perceived practically from the first moment. Even so, I would not say that it is a completely relaxed set. It continues maintaining a point of brightness that can become noticeable with certain recordings or at high volumes, although I consider that the control over this area is considerably better than in other sets with the same or lower intensity in this range.

Speaking about the technical section to finish, I think the performance is slightly above average within its segment. The soundstage does not seek to impress through size, but rather it transmits a very convincing organization. Imaging maintains quite high precision, positioning feels logical and the separation between sound layers allows following the different elements of the mix with relative ease.

Detail retrieval also left me with good sensations. It does not aim to be a purely analytical monitor nor a tool for dissecting every recording, but the cleanliness of its presentation and its good level of resolution make information appear with quite naturalness.

Single-player videogames:

Check the conditions under which I analyze sound in this field.

The experience was really similar regarding my music tests: you do not realize the energy it transmits until you switch sets and return to it. OLA II is a set that performs in such a smooth way that it almost seems relaxed.

During moments of greater intensity, where explosions, collapses or large sound effects take the spotlight, the impact is restrained but convincing enough to transmit the action. There is no prolonged rumble nor an especially physical sensation, since the speed of the decay makes every effect disappear with agility, avoiding unnecessary accumulation. This helps even the most chaotic scenes maintain an organized and easy-to-follow presentation.

Dialogues also benefit from this tuning. Voices show very accurate articulation and a convincing timbre, integrating quite naturally within the whole. Perhaps male voices may feel slightly light in certain scenes, but at no moment did I have difficulties following conversations or understanding the narrative even when the action increased in intensity.

Where I consider this set finally makes a difference is in environmental recreation. The OLA II retrieves quite easily small sounds that normally go unnoticed, such as the movement of vegetation, the echo of a room, the wind passing through an open environment or the fall of small particles onto different surfaces. All of this appears in a very natural way, without exaggerations, notably enriching the sense of immersion.

On a technical level it continues leaving good sensations. The separation between sound layers maintains a very competent level, avoiding mixtures even when music, effects and dialogues come together. The stage offers correct dimensions, accompanied by a very precise image that makes it easier to interpret the position of practically any sound within the environment. In the end, it is not a monitor that seeks to impress through spectacle, but rather through a clean, coherent and technically very well resolved presentation.

Final conclusion and personal evaluations:

The OLA II has seemed to me like a set that at first contact is balanced, smooth, harmonious. It delivers energy with subtlety, the fun seems to be in the background, but nothing could be further from reality: as I have said several times throughout my review, it is a set whose full potential I did not discover until I returned to it after trying other sets.

The moment of impression was magnificent, because what seemed hidden comes to light, you appreciate the intentions, the mood it conveys, from its clean, solid and forceful bass all the way to the treble area where brightness takes the leading role in an open scene and presentation, with an electrifying and detailed spark.

In short, I think it is a very well-executed product, starting with the quality of the finish and ergonomics and reaching its mature sound, with character and fidelity.

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 Tanchjim. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed when preparing this analysis.

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

My sources:

-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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

Hello Community!

The second generation of the OLA from Tanchjim is the one that has been stealing my time these last few weeks. I’ll tell you about my experience with the OLA II.

Price: 44€-50$

Pros:

-Excellent ergonomics and comfort for all types of ears.
-A set that offers very good fun in its mid-bass.
-Clean, transparent, dynamic.
-Very accomplished layer separation.
-Energetic and extended upper range.
-Positions sounds on the stage with great fidelity.

Cons:

-The resolution is not something remarkable.
-Vocals are somewhat behind in the mix.
-The stock eartips could be improved.

Accessories:

-Two shells.
-Cable with 0.78mm connection and 3.5mm termination. USBC and 4.4mm options.
-Two sets of SML size eartips.
-Carrying and storage pouch.
-User manuals.

Comfort, design and construction:

Well, I think the OLA II is a set that, due to its rounded and reduced shape, can and should fit perfectly in all types of ears, regardless of size. It is comfort made into an IEM: the insertion is deep but not intrusive, allowing a firm and secure fit, resulting in a set that sits flush with your ear, without sticking out, as if it were an earplug. As a personal note, I have a preference for this type of highly ergonomic shape, as it does justice to the word universal, since it works for everyone.

The stock eartips seal well, they are not the most comfortable I have tried in this price range and I know that Tanchjim manufactures these accessories with better quality and they should have been included in the package. As I was saying, with the stock tips you get correct isolation and more than enough grip, but I consider that this set of monitors deserves something better and more in line with its sonic and ergonomic value.

What I really loved was the cable, because during my listening sessions and outdoor sports activities, it performed in an outstanding way, since throughout my experience I did not find any pull that caused adjustments to shift, and it slides well both inside and outside clothing, besides feeling to the touch like an accessory of greater value than what we can find in higher-end earphones.

To finish, the manufacturing materials are the right ones for this segment of the market. The first impression is that you believe you have a set that does not express its full value to the touch, as it appears to be entirely made of plastic. Fortunately, that is not the case: the body is made of transparent resin and the faceplate is made of lightweight machined metal alloy, providing a lightness that, as I mentioned above, makes these monitors one of the lightest sets I have tested throughout all this time.

Technical aspects:

-Hybrid configuration of 1DD 10mm + 1BA.
-30 ohms impedance.
-121 dB sensitivity.
-Declared response 8hz-48khz.

Pairing for the tests:

-Neutral source.
-Gain set to low.
-Dunu Candy eartips.
-Stock 3.5mm cable.

Sound Signature:

I would not like to present this OLA II as an earphone that is overly spectacular or designed to impress you, because I believe it hides its cards very well and you only end up appreciating it correctly when you switch to other sets and return to it.

Its philosophy seemed quite different to me. Tanchjim bets on a tuning where tonal balance, cleanliness and respect for timbre have much more weight than the search for an inflated bass or an excess of artificial detail. It is a set that conveys a certain maturity, with an open, organized presentation and a slightly bright character, but without constantly falling into the sensation of being in front of an excessively analytical monitor.

Starting with the lower range, the sub-bass has a correct extension, enough to provide depth, although without ever becoming the main actor of the performance. The atmospheric sensation is present, but this enveloping feeling has to be looked for in certain types of genres or songs.

Meanwhile, the mid-bass maintains exactly that philosophy but with an extra touch. The impact is not extensive, but it is fast, forceful and correctly defined, with a texture and physicality that are quite convincing. It is not an especially warm bass, rather it leans towards a clean response where quantity clearly remains behind quality. In this case, and as usually happens with this type of tuning, it does not sacrifice part of that sense of immediate fun and also favors the rest of the spectrum being able to develop with quite a lot of freedom.

The transition towards the mids is done in a very progressive and silky way. I did not perceive any relevant bleed from the lower range, something that clearly benefits this part of the spectrum. Instruments show a very accurate timbre, with sufficient resolution, but from which I could expect a greater amount for its price range and a presentation where separation and order are evident from the first minutes. The note weight is not particularly high, I would even say it tends to be light, something that personally I think fits quite well with the general philosophy of the set.

Another aspect that I liked was the dynamism it conveys. Transients appear quickly, notes disappear with agility and this allows following the different instrumental lines with quite ease even when the mix gains complexity. It is not a monitor that seeks to sound thick or especially physical, but rather clean and resolving.

Vocals also receive a quite successful treatment. Male vocals maintain convincing articulation and a natural timbre, although they do not have an especially marked thickness, so those who enjoy a warmer presentation may find them somewhat light. Female vocals, on the other hand, seemed to me one of the strengths of the set. They enjoy great openness, clarity and a sensation of air, projecting naturally over the mix and showing a resolution that helps transmit a lot of information without sounding forced. Even so, for me and my overall perception, they are one step behind in terms of prominence.

Regarding the higher frequencies, the OLA II maintains good extension and enough energy to favor a very pleasant sense of space. Small nuances appear easily and air is perceived practically from the first moment. Even so, I would not say that it is a completely relaxed set. It continues maintaining a point of brightness that can become noticeable with certain recordings or at high volumes, although I consider that the control over this area is considerably better than in other sets with the same or lower intensity in this range.

Speaking about the technical section to finish, I think the performance is slightly above average within its segment. The soundstage does not seek to impress through size, but rather it transmits a very convincing organization. Imaging maintains quite high precision, positioning feels logical and the separation between sound layers allows following the different elements of the mix with relative ease.

Detail retrieval also left me with good sensations. It does not aim to be a purely analytical monitor nor a tool for dissecting every recording, but the cleanliness of its presentation and its good level of resolution make information appear with quite naturalness.

Single-player videogames:

Check the conditions under which I analyze sound in this field.

The experience was really similar regarding my music tests: you do not realize the energy it transmits until you switch sets and return to it. OLA II is a set that performs in such a smooth way that it almost seems relaxed.

During moments of greater intensity, where explosions, collapses or large sound effects take the spotlight, the impact is restrained but convincing enough to transmit the action. There is no prolonged rumble nor an especially physical sensation, since the speed of the decay makes every effect disappear with agility, avoiding unnecessary accumulation. This helps even the most chaotic scenes maintain an organized and easy-to-follow presentation.

Dialogues also benefit from this tuning. Voices show very accurate articulation and a convincing timbre, integrating quite naturally within the whole. Perhaps male voices may feel slightly light in certain scenes, but at no moment did I have difficulties following conversations or understanding the narrative even when the action increased in intensity.

Where I consider this set finally makes a difference is in environmental recreation. The OLA II retrieves quite easily small sounds that normally go unnoticed, such as the movement of vegetation, the echo of a room, the wind passing through an open environment or the fall of small particles onto different surfaces. All of this appears in a very natural way, without exaggerations, notably enriching the sense of immersion.

On a technical level it continues leaving good sensations. The separation between sound layers maintains a very competent level, avoiding mixtures even when music, effects and dialogues come together. The stage offers correct dimensions, accompanied by a very precise image that makes it easier to interpret the position of practically any sound within the environment. In the end, it is not a monitor that seeks to impress through spectacle, but rather through a clean, coherent and technically very well resolved presentation.

Final conclusion and personal evaluations:

The OLA II has seemed to me like a set that at first contact is balanced, smooth, harmonious. It delivers energy with subtlety, the fun seems to be in the background, but nothing could be further from reality: as I have said several times throughout my review, it is a set whose full potential I did not discover until I returned to it after trying other sets.

The moment of impression was magnificent, because what seemed hidden comes to light, you appreciate the intentions, the mood it conveys, from its clean, solid and forceful bass all the way to the treble area where brightness takes the leading role in an open scene and presentation, with an electrifying and detailed spark.

In short, I think it is a very well-executed product, starting with the quality of the finish and ergonomics and reaching its mature sound, with character and fidelity.

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 Tanchjim. I sincerely appreciate the opportunity to test one of their products at no cost and that no conditions have been imposed when preparing this analysis.

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

My sources:

-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 outdoors.
-Apple Music.
-Local FLAC and MP3 files.
-Windows/MacOS/IOS/iPadOS/Android.

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.

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.

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.

Hello Community!

I feel especially happy to be able to write about the M300, the flagship of the flatheads from the Sivga brand, because, having tried their most recent model, broadly speaking they could share many things but both continue along clearly differentiated paths.

Official price: €53-$60

Pros:
-Really very natural timbre, with slight warmth in the presentation.
-Vocals sound very real.
-Midrange with great richness in resolution.
-Excellent for acoustic and vocal music.
-Wide soundstage and precise stereo imaging.
-Benefits greatly from a good source and amplification.
-Impeccable material and build quality, characteristic of the brand.

Cons:
-The size may be large for some.
-In dense tracks it loses capabilities.
-Reserved at both ends.
-The cable is not detachable.

Accessories:

-Cable with both earbuds permanently attached and 3.5mm connection, 4.4mm option.
-Three sets of foams with a central hole.
-Storage and carrying case.
-User manual.

Comfort, design and build:

The design is something that Sivga has well measured, since I think we all like their wood finishes. For this model they have used African ebony to house the driver, with finishes both on the shell and on the head of the assembly made of gold-colored machined aluminum.

The assembly does not present gaps in the joints of the pieces, forming a homogeneous body and giving the feeling of a carefully made product and aesthetically somewhat luminous with the reflection of light on its golden metal.

Ergonomically my fit was appropriate but I must mention that it may be the largest flathead in my collection, which for some may result in a fit or comfort problem.

The foams are correct, I do not have to point out anything especially memorable or negative but, what I did like was the quality of the cable, robust, elastic, without producing any type of discomfort although it would have been a better decision to have made it detachable, because of possible future mishaps.

Technical aspects:

-1DD configuration of 15.4mm.
-64 ohms impedance.
-109 dB sensitivity.
-Declared response 20Hz-40kHz.

Pairing for the tests:

-Neutral source.
-Gain set to high.
-Stock foams.
-Stock 3.5mm cable.

Sound signature:

This Sivga model, which is the most expensive of the brand's flatheads, moves away from intentionally showing an excessively spectacular or striking tuning for your ears. At every moment I subjected these earbuds to, in every genre listened to, its philosophy is well focused on giving us a relaxed presentation, with special emphasis on showing a very accurate timbre, balanced, far above wanting to give us the feeling of being in front of a product with outstanding technical performance. Because of this, its response is not too bright, nor is its bass the protagonist, rather it conveys a coherent and pleasant fluidity in the listening experience.

If we talk about the low end, the sub-bass provides a correct and expected extension for this type of earphones. The limitations, obviously, are inherent to this format, so it will depend on your fit whether you manage to obtain a sense of depth that is convincing to you but, never, under any circumstances, will it be the main actor of the performance.

Meanwhile, the mid-bass has an impact that I found satisfying, somewhat restrained, yes, but well defined and textured. It does not stand out much in quantity but it does manage to sustain the rhythm of the tracks with a touch of warmth, which is appreciated to favor a clean tonality.

When the M300 transitions into the mids it does so progressively, smoothly, without abruptness. This area is where, argumentatively, these earbuds will try to convince you, because the instruments convey an accurate timbre and a balanced note weight where naturalness and freshness can be felt, being for me its greatest virtue. The resolution is high, with granularity but without excesses, without becoming analytical, maintaining the little warm touch, where the details emerge thanks to being a clean and organized presentation.

The vocals also seemed exquisite to me, receiving especially careful treatment. The male vocals have a thickness very close to what I like, where their articulation and depth are remarkably well expressed. The female vocals already seemed crazy to me, with openness, slightly forward, clear, clean. I had an absolute blast with vocal tracks of this style. Even so, in both cases, they sound believable, expressive, without artifice, in short: real.

As for the upper end, the M300 reduces its ambitions, it is restrained. Although I did not notice a compressed area, since the extension is correct and the sense of space is present, they do not want to be an excessively energetic set, not even bright. In the end, what this set proposes is in another area, the mids, and well focused on providing a relaxed listening experience.

As for the technicalities and to finish, I praise the soundstage. Its open-earbud nature favors that very convincing sense of spaciousness, very even across the three axes and where I can highlight gratifyingly precise imaging.

However, as long as the track is not a mess where a multitude of elements converge, the presentation will remain organized, readable to our ears, being able to capture a sufficient amount of detail and in accordance with the character of this set.

In the end, it is not an analytical tool but an airy, natural, slightly musical and coherent one.

Final conclusion and personal evaluations:

I think the Sivga M300 perfectly defines the place it wants to occupy, being a set very focused on the midrange, where it really stands out and you can savor its virtues, because it manages to convey a sense of naturalness and freshness in every point that I have analyzed that I have rarely heard, even in much higher-end IEMs or headphones.

On the other hand, it is true that its presentation is calm, perhaps boring for some or even not the most suitable for handling certain genres with ease, but, if what you like are instrumental or vocal recordings, I think the M300 may end up captivating you.

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 earphones has been sent by Sivga. I sincerely appreciate the opportunity to be able to test one of their products free of charge and that no conditions have been imposed when preparing this review.

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

-CCZ CM01 3.5mm.

-Apple Music.

-Local FLAC and MP3 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.

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.