u/Ill-Yogurtcloset-622

Hello to you all!

First, a big shoutout to Ribbon and Kiwi Ears for giving me this set to review it and give my sincere opinions. There’s no payment involved, nor script to follow in the development of this review. My only bias is my tuning and music preferences.

The Kiwi Ears x B_Media Chorus is the new budget-oriented set by Kiwi Ears, after a successful formula which went initially with the Kiwi Ears Belle launched back at the end of 2025, now collaborating with Axel Bostrom from B_Media a famous reviewer on TikTok who helped Kiwi Ears to retune the Belle and giving some perks to appeal to a wider public for this 2026.

TLDR; An exceptional challenger for the 40 USD or less segment who offers a balanced and relaxing experience, keeping a warm, balanced and smooth yet detailed sound, with a great amount of bass, more musicality than technicalities, yet air and an open feeling to add to a smooth treble as a fun factor, all of this with the special sauce Kiwi Ears is pulling out this 2026 in the budget oriented segment.

Pros:

- Lightweight, comfortable, durable shell design

- Warm, musical mild V-shape tuning with a good amount and quality bass

- Smooth, relaxed but not dark and non-fatiguing treble; very low sibilance

- Female vocals sound clear and engaging without shoutiness

- Decent included accessories and cable quality

- Easy to drive; and scales with better sources

- Good value under 40 USD

Cons:

- Average technical performance

- Soundstage is intimate, not very wide

- Slight midbass bleed to the lower midrange can recess male vocals

- Can sound congested on very fast and/or complex tracks

- Treble may feel too relaxed for bright-sound fans

- No carrying case included

- Stock eartips could be better (wide bore eartips preferred)

You can get a Chorus at an MSRP of 39.99 to 44.99 USD (With a 3.5 mm cable without mic, with mic, and a USB-C with mic versions available). You can find it directly on the official Kiwi Ears webpage: https://kiwiears.com/products/kiwi-ears-x-b_media-chorus?variant=46324585300118, on Linsoul store, official Linsoul store on AliExpress, Amazon and other minor retailers online.

Technical specs:

- Driver: 10 mm DLC Dynamic Driver.

- Sensitivity: 103dB ± 1dB / 1kHz

- Freq. Response: 20 Hz - 20kHz

- Impedance: 32Ω ± 1Ω

- TDH: < 0.1 % / 1kHz

- Connection: 0.78 mm 2 pin recessed

- Cable: 1.2 m USB-C/3.5 mm with or without microphone, 2 cores, OCC

What’s in the package?

The box shows an image of the set, the x B_Media Chorus sent to me comes with a 3.5 mm cable with a microphone, but there’s also a 3.5 mm cable without a mic, and a USB-C with mic options available.

Simple and enough packaging by the way, consisting on the IEMs itself, 6 pair of narrow (gray) and balanced (white/transparent) bore eartips (2S-2M-2L sizes), one of the pair (narrow bore M size) comes installed on the IEMs, a warranty card, another card with instructions in how to install the IEMs in the cable and how to use them.

The cable is a twisted pair, with a 3.5 mm single ended jack, a 0.78 mm 2 pin recessed connection, it feels good quality, and it’s not prone to tangle of translated vibrations. The cable looks well-built and matches with the shells.

The IEMs themselves are made of resin with a CNC machined metal faceplate with a commemorative Kiwi Ears X B_Media logo design and a metal mesh in the center to give it more air than its predecessor the Belle. It is very lightweight, and seems that is not prompt to scratches or so, more like a “beater” set, doesn’t have rough or sharp edges, nice nozzles with a similar metallic mesh to protect it from earwax, getting a good eartip grip and fit, making a nice seal as well because of its medium-size nozzle (6.2 mm of diameter).

How does the Kiwi Ears x B_Media Chorus sound?

The Chorus with its 10 mm DLC dynamic driver offers a mild V-shape tuning, that is bassy yet balanced, warm, organic yet giving some decent technicalities.

For this review I'm using some wide bore eartips included in the Kiwi Ears Cadenza 2 package in its M size, getting a good fit, seal and overall sound synergy; I think the balanced bore eartips included could also work. I'm using the stock cable, and later changed it to a Kinera Celest Seed with a 4.4 mm balanced jack looking for the Chorus to scale with more powerful sources. The graph is taken from ATechReviews´s squiglink.

Bass:

The bass of the Chorus comes with a good quantity and decent quality on the bass shelf (a bit more than the Belle), with great extension into the lower frequencies, offering that nice thump, it is not so fast, with enough impact and transparency, with also a not so fast decay yet zero bloating or muddiness on fast tracks.

In songs like “why you gotta kick me when i'm down?” by Bring Me The Horizon, in the amo album, shows how the Chorus handles this portion of frequencies, with good bass drops and drum kick, and a bass guitar line who punches in your ears without congesting them. In “Echo Chamber” by Northlane, from the Obsidian album, the punchy bass drops are delivered nicely by the Chorus, maybe I'm missing a bit more of the impact, but what I'm hearing is satisfactory.

Midrange: 

In the Chorus, the midbass bleeds slightly into the lower midrange, so male vocals are a bit recessed, but not veiled nor thin. The overall midrange is well-presented and has a good noteweight, resolution and transparency.

In “Hellbound” by Gaerea, from the Loss album, the Chorus shows well positioned male vocals, clean and harsh, also, with great instrumental display, the sound is not congested when the song turns faster. As a V-shaped tuned set, the frequency curve takes a dip which goes to 800 Hz, then it enters a warm pinna gain which peaks at 3 kHz, giving enough presence, transparency and decent resolution.

Female voices are beautifully displayed, forwarded and with zero shoutiness or producing fatigue at high volumes. In “Eleanor” by The Gathering, from the Mandylion album, the Chorus showed the vocals of Anneke van Giersbergen with excellence, her gorgeous and unique voice is mesmerizing as always.

Highrange:

The Chorus has a smooth and relaxing highrange. The lower treble takes a nice and well-putted dip into the 6 kHz region to tame sibilance, with less energy than the Belle you can crank the volume up without spicy and fatigue. The mid-treble has a pronounced peak at 8 kHz to give some energy to the mix, yet (excuse me if I'm being redundant) sounding relaxed and laid back but not dark at all.

In “Mementos” by Bosse-de-Nage, from the Hidden Fires Burn Hottest album, the Chorus shows the fantastic drums by Harry Cantwell with full hi-hats and cymbals display, in a smooth yet tactile and natural way, so, if you have mild treble tolerance, you can crank the volume a little more to enjoy the song without worrying about sibilance or fatigue.

Technicalities:

Going into the upper highs, the Chorus takes a noticeably different approach than the Belle, with more air and a more open sensation, all of this without bothersome peaks, so, it’s everything but fatiguing in long sessions. The soundstage remains intimate as in the Belle, but with good width and depth.

In the technicalities department, in resume: The Chorus is an IEM with more focus on the tonality and musicality than the technical perks. The imaging and layering of instruments are average for its segment, and yes, it’s not a macro and microdetail beast, but gives you clarity and spark**.** Perhaps, with complex and fast songs like “Nocturnal” by Long Distance Calling, from the The Phantom Void album, you can feel a bit of congestion, but that’s if you are nitpicking and listening critically, so, I’m recommending you to just enjoy the music.

In “Desperation Train (Live)” by Death By Stereo, in the Dead Alive (Live) album, the Chorus for a live presentation makes you feel immersed, yet you can pick almost all the nuances and details in drums, guitars, vocals and background noises.

Final thoughts and conclusions

The Kiwi Ears x B_Media Chorus is not just a retune and re-shell of the Belle, it is a plus for it to be a very compelling option in the budget segment for IEMs. Delivering a bassy and balanced, warm, organic, yet clean and full detailed sound with a musical more than analytical character who doesn’t fatigue you at all at high volumes and brings you joy for long sessions.

The Chorus with its 103 dB of sensitivity and 32 ohms of impedance it’s easy to drive, the addition of the DSP cable is a well-received thing, because you can use it with UAPP or Walkplay on android or in your pc without looking for an additional source. But I tried it with a cable with a 4.4 mm balanced jack to see how it scales with more power and my recommendation is to pair it with quality and powerful sources to get the most of it.

I would like for Kiwi Ears to include in its package a carrying bag like the one in other IEMs like the NiceHCK Tears or the CCA Phoenix. Also, I think the stock eartips are fine to use as it is, but instead of those narrow bore ones, I would like some wide bore eartips, finding a better fit and seal with the Chorus.

The Chorus enters as a competitive option in a very crowded market segment, but for its price is more than good for folks who don't want to be lost in a sea of macro and microdetails but to enjoy the music as it is, and that's perfectly fine. Those who crave a brighter and more energetic tuning will find its treble lacking, but users preferring a smoother and relaxed but not dark treble should consider it because its focus is a better balance overall. At under 40 USD, the Chorus it’s a great choice for budget-conscious audiophiles who crave a high-fidelity experience without spending a lot.

It is a recommendation: Yes, the Chorus is a fantastic option in its price segment, and is one of my favorite budget IEMs at the moment. So, thanks again to Kiwi Ears, and the gods of audio and musicophilia bless you with a happy listening!

Hello to you all!

First, a big shoutout to Ribbon and Kiwi Ears for giving me this set to review it and give my sincere opinions. There’s no payment involved, nor script to follow in the development of this review. My only bias is my tuning and music preferences.

The Kiwi Ears x B_Media Chorus is the new budget-oriented set by Kiwi Ears, after a successful formula which went initially with the Kiwi Ears Belle launched back at the end of 2025, now collaborating with Axel Bostrom from B_Media a famous reviewer on TikTok who helped Kiwi Ears to retune the Belle and giving some perks to appeal to a wider public for this 2026.

TLDR; An exceptional challenger for the 40 USD or less segment who offers a balanced and relaxing experience, keeping a warm, balanced and smooth yet detailed sound, with a great amount of bass, more musicality than technicalities, yet air and an open feeling to add to a smooth treble as a fun factor, all of this with the special sauce Kiwi Ears is pulling out this 2026 in the budget oriented segment.

Pros:

- Lightweight, comfortable, durable shell design

- Warm, musical mild V-shape tuning with a good amount and quality bass

- Smooth, relaxed but not dark and non-fatiguing treble; very low sibilance

- Female vocals sound clear and engaging without shoutiness

- Decent included accessories and cable quality

- Easy to drive; and scales with better sources

- Good value under 40 USD

Cons:

- Average technical performance

- Soundstage is intimate, not very wide

- Slight midbass bleed to the lower midrange can recess male vocals

- Can sound congested on very fast and/or complex tracks

- Treble may feel too relaxed for bright-sound fans

- No carrying case included

- Stock eartips could be better (wide bore eartips preferred)

You can get a Chorus at an MSRP of 39.99 to 44.99 USD (With a 3.5 mm cable without mic, with mic, and a USB-C with mic versions available). You can find it directly on the official Kiwi Ears webpage: https://kiwiears.com/products/kiwi-ears-x-b_media-chorus?variant=46324585300118, on Linsoul store, official Linsoul store on AliExpress, Amazon and other minor retailers online.

Technical specs:

- Driver: 10 mm DLC Dynamic Driver.

- Sensitivity: 103dB ± 1dB / 1kHz

- Freq. Response: 20 Hz - 20kHz

- Impedance: 32Ω ± 1Ω

- TDH: < 0.1 % / 1kHz

- Connection: 0.78 mm 2 pin recessed

- Cable: 1.2 m USB-C/3.5 mm with or without microphone, 2 cores, OCC

What’s in the package?

The box shows an image of the set, the x B_Media Chorus sent to me comes with a 3.5 mm cable with a microphone, but there’s also a 3.5 mm cable without a mic, and a USB-C with mic options available.

Simple and enough packaging by the way, consisting on the IEMs itself, 6 pair of narrow (gray) and balanced (white/transparent) bore eartips (2S-2M-2L sizes), one of the pair (narrow bore M size) comes installed on the IEMs, a warranty card, another card with instructions in how to install the IEMs in the cable and how to use them.

The cable is a twisted pair, with a 3.5 mm single ended jack, a 0.78 mm 2 pin recessed connection, it feels good quality, and it’s not prone to tangle of translated vibrations. The cable looks well-built and matches with the shells.

The IEMs themselves are made of resin with a CNC machined metal faceplate with a commemorative Kiwi Ears X B_Media logo design and a metal mesh in the center to give it more air than its predecessor the Belle. It is very lightweight, and seems that is not prompt to scratches or so, more like a “beater” set, doesn’t have rough or sharp edges, nice nozzles with a similar metallic mesh to protect it from earwax, getting a good eartip grip and fit, making a nice seal as well because of its medium-size nozzle (6.2 mm of diameter).

How does the Kiwi Ears x B_Media Chorus sound?

The Chorus with its 10 mm DLC dynamic driver offers a mild V-shape tuning, that is bassy yet balanced, warm, organic yet giving some decent technicalities.

For this review I'm using some wide bore eartips included in the Kiwi Ears Cadenza 2 package in its M size, getting a good fit, seal and overall sound synergy; I think the balanced bore eartips included could also work. I'm using the stock cable, and later changed it to a Kinera Celest Seed with a 4.4 mm balanced jack looking for the Chorus to scale with more powerful sources. The graph is taken from ATechReviews´s squiglink.

Bass:

The bass of the Chorus comes with a good quantity and decent quality on the bass shelf (a bit more than the Belle), with great extension into the lower frequencies, offering that nice thump, it is not so fast, with enough impact and transparency, with also a not so fast decay yet zero bloating or muddiness on fast tracks.

In songs like “why you gotta kick me when i'm down?” by Bring Me The Horizon, in the amo album, shows how the Chorus handles this portion of frequencies, with good bass drops and drum kick, and a bass guitar line who punches in your ears without congesting them. In “Echo Chamber” by Northlane, from the Obsidian album, the punchy bass drops are delivered nicely by the Chorus, maybe I'm missing a bit more of the impact, but what I'm hearing is satisfactory.

Midrange: 

In the Chorus, the midbass bleeds slightly into the lower midrange, so male vocals are a bit recessed, but not veiled nor thin. The overall midrange is well-presented and has a good noteweight, resolution and transparency.

In “Hellbound” by Gaerea, from the Loss album, the Chorus shows well positioned male vocals, clean and harsh, also, with great instrumental display, the sound is not congested when the song turns faster. As a V-shaped tuned set, the frequency curve takes a dip which goes to 800 Hz, then it enters a warm pinna gain which peaks at 3 kHz, giving enough presence, transparency and decent resolution.

Female voices are beautifully displayed, forwarded and with zero shoutiness or producing fatigue at high volumes. In “Eleanor” by The Gathering, from the Mandylion album, the Chorus showed the vocals of Anneke van Giersbergen with excellence, her gorgeous and unique voice is mesmerizing as always.

Highrange:

The Chorus has a smooth and relaxing highrange. The lower treble takes a nice and well-putted dip into the 6 kHz region to tame sibilance, with less energy than the Belle you can crank the volume up without spicy and fatigue. The mid-treble has a pronounced peak at 8 kHz to give some energy to the mix, yet (excuse me if I'm being redundant) sounding relaxed and laid back but not dark at all.

In “Mementos” by Bosse-de-Nage, from the Hidden Fires Burn Hottest album, the Chorus shows the fantastic drums by Harry Cantwell with full hi-hats and cymbals display, in a smooth yet tactile and natural way, so, if you have mild treble tolerance, you can crank the volume a little more to enjoy the song without worrying about sibilance or fatigue.

Technicalities:

Going into the upper highs, the Chorus takes a noticeably different approach than the Belle, with more air and a more open sensation, all of this without bothersome peaks, so, it’s everything but fatiguing in long sessions. The soundstage remains intimate as in the Belle, but with good width and depth.

In the technicalities department, in resume: The Chorus is an IEM with more focus on the tonality and musicality than the technical perks. The imaging and layering of instruments are average for its segment, and yes, it’s not a macro and microdetail beast, but gives you clarity and spark**.** Perhaps, with complex and fast songs like “Nocturnal” by Long Distance Calling, from the The Phantom Void album, you can feel a bit of congestion, but that’s if you are nitpicking and listening critically, so, I’m recommending you to just enjoy the music.

In “Desperation Train (Live)” by Death By Stereo, in the Dead Alive (Live) album, the Chorus for a live presentation makes you feel immersed, yet you can pick almost all the nuances and details in drums, guitars, vocals and background noises.

Final thoughts and conclusions

The Kiwi Ears x B_Media Chorus is not just a retune and re-shell of the Belle, it is a plus for it to be a very compelling option in the budget segment for IEMs. Delivering a bassy and balanced, warm, organic, yet clean and full detailed sound with a musical more than analytical character who doesn’t fatigue you at all at high volumes and brings you joy for long sessions.

The Chorus with its 103 dB of sensitivity and 32 ohms of impedance it’s easy to drive, the addition of the DSP cable is a well-received thing, because you can use it with UAPP or Walkplay on android or in your pc without looking for an additional source. But I tried it with a cable with a 4.4 mm balanced jack to see how it scales with more power and my recommendation is to pair it with quality and powerful sources to get the most of it.

I would like for Kiwi Ears to include in its package a carrying bag like the one in other IEMs like the NiceHCK Tears or the CCA Phoenix. Also, I think the stock eartips are fine to use as it is, but instead of those narrow bore ones, I would like some wide bore eartips, finding a better fit and seal with the Chorus.

The Chorus enters as a competitive option in a very crowded market segment, but for its price is more than good for folks who don't want to be lost in a sea of macro and microdetails but to enjoy the music as it is, and that's perfectly fine. Those who crave a brighter and more energetic tuning will find its treble lacking, but users preferring a smoother and relaxed but not dark treble should consider it because its focus is a better balance overall. At under 40 USD, the Chorus it’s a great choice for budget-conscious audiophiles who crave a high-fidelity experience without spending a lot.

It is a recommendation: Yes, the Chorus is a fantastic option in its price segment, and is one of my favorite budget IEMs at the moment. So, thanks again to Kiwi Ears, and the gods of audio and musicophilia bless you with a happy listening!

Hello to you all!

First, a big shoutout to Ribbon and Kiwi Ears for giving me this set to review it and give my sincere opinions. There’s no payment involved, nor script to follow in the development of this review. My only bias is my tuning and music preferences.

The Kiwi Ears x B_Media Chorus is the new budget-oriented set by Kiwi Ears, after a successful formula which went initially with the Kiwi Ears Belle launched back at the end of 2025, now collaborating with Axel Bostrom from B_Media a famous reviewer on TikTok who helped Kiwi Ears to retune the Belle and giving some perks to appeal to a wider public for this 2026.

TLDR; An exceptional challenger for the 40 USD or less segment who offers a balanced and relaxing experience, keeping a warm, balanced and smooth yet detailed sound, with a great amount of bass, more musicality than technicalities, yet air and an open feeling to add to a smooth treble as a fun factor, all of this with the special sauce Kiwi Ears is pulling out this 2026 in the budget oriented segment.

Pros:

- Lightweight, comfortable, durable shell design

- Warm, musical mild V-shape tuning with a good amount and quality bass

- Smooth, relaxed but not dark and non-fatiguing treble; very low sibilance

- Female vocals sound clear and engaging without shoutiness

- Decent included accessories and cable quality

- Easy to drive; and scales with better sources

- Good value under 40 USD

Cons:

- Average technical performance

- Soundstage is intimate, not very wide

- Slight midbass bleed to the lower midrange can recess male vocals

- Can sound congested on very fast and/or complex tracks

- Treble may feel too relaxed for bright-sound fans

- No carrying case included

- Stock eartips could be better (wide bore eartips preferred)

You can get a Chorus at an MSRP of 39.99 to 44.99 USD (With a 3.5 mm cable without mic, with mic, and a USB-C with mic versions available). You can find it directly on the official Kiwi Ears webpage: https://kiwiears.com/products/kiwi-ears-x-b_media-chorus?variant=46324585300118, on Linsoul store, official Linsoul store on AliExpress, Amazon and other minor retailers online.

Technical specs:

- Driver: 10 mm DLC Dynamic Driver.

- Sensitivity: 103dB ± 1dB / 1kHz

- Freq. Response: 20 Hz - 20kHz

- Impedance: 32Ω ± 1Ω

- TDH: < 0.1 % / 1kHz

- Connection: 0.78 mm 2 pin recessed

- Cable: 1.2 m USB-C/3.5 mm with or without microphone, 2 cores, OCC

What’s in the package?

The box shows an image of the set, the x B_Media Chorus sent to me comes with a 3.5 mm cable with a microphone, but there’s also a 3.5 mm cable without a mic, and a USB-C with mic options available.

Simple and enough packaging by the way, consisting on the IEMs itself, 6 pair of narrow (gray) and balanced (white/transparent) bore eartips (2S-2M-2L sizes), one of the pair (narrow bore M size) comes installed on the IEMs, a warranty card, another card with instructions in how to install the IEMs in the cable and how to use them.

The cable is a twisted pair, with a 3.5 mm single ended jack, a 0.78 mm 2 pin recessed connection, it feels good quality, and it’s not prone to tangle of translated vibrations. The cable looks well-built and matches with the shells.

The IEMs themselves are made of resin with a CNC machined metal faceplate with a commemorative Kiwi Ears X B_Media logo design and a metal mesh in the center to give it more air than its predecessor the Belle. It is very lightweight, and seems that is not prompt to scratches or so, more like a “beater” set, doesn’t have rough or sharp edges, nice nozzles with a similar metallic mesh to protect it from earwax, getting a good eartip grip and fit, making a nice seal as well because of its medium-size nozzle (6.2 mm of diameter).

How does the Kiwi Ears x B_Media Chorus sound?

The Chorus with its 10 mm DLC dynamic driver offers a mild V-shape tuning, that is bassy yet balanced, warm, organic yet giving some decent technicalities.

For this review I'm using some wide bore eartips included in the Kiwi Ears Cadenza 2 package in its M size, getting a good fit, seal and overall sound synergy; I think the balanced bore eartips included could also work. I'm using the stock cable, and later changed it to a Kinera Celest Seed with a 4.4 mm balanced jack looking for the Chorus to scale with more powerful sources. The graph is taken from ATechReviews´s squiglink.

Bass:

The bass of the Chorus comes with a good quantity and decent quality on the bass shelf (a bit more than the Belle), with great extension into the lower frequencies, offering that nice thump, it is not so fast, with enough impact and transparency, with also a not so fast decay yet zero bloating or muddiness on fast tracks.

In songs like “why you gotta kick me when i'm down?” by Bring Me The Horizon, in the amo album, shows how the Chorus handles this portion of frequencies, with good bass drops and drum kick, and a bass guitar line who punches in your ears without congesting them. In “Echo Chamber” by Northlane, from the Obsidian album, the punchy bass drops are delivered nicely by the Chorus, maybe I'm missing a bit more of the impact, but what I'm hearing is satisfactory.

Midrange: 

In the Chorus, the midbass bleeds slightly into the lower midrange, so male vocals are a bit recessed, but not veiled nor thin. The overall midrange is well-presented and has a good noteweight, resolution and transparency.

In “Hellbound” by Gaerea, from the Loss album, the Chorus shows well positioned male vocals, clean and harsh, also, with great instrumental display, the sound is not congested when the song turns faster. As a V-shaped tuned set, the frequency curve takes a dip which goes to 800 Hz, then it enters a warm pinna gain which peaks at 3 kHz, giving enough presence, transparency and decent resolution.

Female voices are beautifully displayed, forwarded and with zero shoutiness or producing fatigue at high volumes. In “Eleanor” by The Gathering, from the Mandylion album, the Chorus showed the vocals of Anneke van Giersbergen with excellence, her gorgeous and unique voice is mesmerizing as always.

Highrange:

The Chorus has a smooth and relaxing highrange. The lower treble takes a nice and well-putted dip into the 6 kHz region to tame sibilance, with less energy than the Belle you can crank the volume up without spicy and fatigue. The mid-treble has a pronounced peak at 8 kHz to give some energy to the mix, yet (excuse me if I'm being redundant) sounding relaxed and laid back but not dark at all.

In “Mementos” by Bosse-de-Nage, from the Hidden Fires Burn Hottest album, the Chorus shows the fantastic drums by Harry Cantwell with full hi-hats and cymbals display, in a smooth yet tactile and natural way, so, if you have mild treble tolerance, you can crank the volume a little more to enjoy the song without worrying about sibilance or fatigue.

Technicalities:

Going into the upper highs, the Chorus takes a noticeably different approach than the Belle, with more air and a more open sensation, all of this without bothersome peaks, so, it’s everything but fatiguing in long sessions. The soundstage remains intimate as in the Belle, but with good width and depth.

In the technicalities department, in resume: The Chorus is an IEM with more focus on the tonality and musicality than the technical perks. The imaging and layering of instruments are average for its segment, and yes, it’s not a macro and microdetail beast, but gives you clarity and spark**.** Perhaps, with complex and fast songs like “Nocturnal” by Long Distance Calling, from the The Phantom Void album, you can feel a bit of congestion, but that’s if you are nitpicking and listening critically, so, I’m recommending you to just enjoy the music.

In “Desperation Train (Live)” by Death By Stereo, in the Dead Alive (Live) album, the Chorus for a live presentation makes you feel immersed, yet you can pick almost all the nuances and details in drums, guitars, vocals and background noises.

Final thoughts and conclusions

The Kiwi Ears x B_Media Chorus is not just a retune and re-shell of the Belle, it is a plus for it to be a very compelling option in the budget segment for IEMs. Delivering a bassy and balanced, warm, organic, yet clean and full detailed sound with a musical more than analytical character who doesn’t fatigue you at all at high volumes and brings you joy for long sessions.

The Chorus with its 103 dB of sensitivity and 32 ohms of impedance it’s easy to drive, the addition of the DSP cable is a well-received thing, because you can use it with UAPP or Walkplay on android or in your pc without looking for an additional source. But I tried it with a cable with a 4.4 mm balanced jack to see how it scales with more power and my recommendation is to pair it with quality and powerful sources to get the most of it.

I would like for Kiwi Ears to include in its package a carrying bag like the one in other IEMs like the NiceHCK Tears or the CCA Phoenix. Also, I think the stock eartips are fine to use as it is, but instead of those narrow bore ones, I would like some wide bore eartips, finding a better fit and seal with the Chorus.

The Chorus enters as a competitive option in a very crowded market segment, but for its price is more than good for folks who don't want to be lost in a sea of macro and microdetails but to enjoy the music as it is, and that's perfectly fine. Those who crave a brighter and more energetic tuning will find its treble lacking, but users preferring a smoother and relaxed but not dark treble should consider it because its focus is a better balance overall. At under 40 USD, the Chorus it’s a great choice for budget-conscious audiophiles who crave a high-fidelity experience without spending a lot.

It is a recommendation: Yes, the Chorus is a fantastic option in its price segment, and is one of my favorite budget IEMs at the moment. So, thanks again to Kiwi Ears, and the gods of audio and musicophilia bless you with a happy listening!

Disclaimer: First, a big shoutout to Vicky from EPZ Audio for giving me this IEM to make this review and to give it my sincere opinions and impressions. This review is unpaid, so, the only bias at play is my musical and tuning preferences.

Introduction:

The EPZ P40 is the new tribrid IEMs by EPZ Audio, following the success of the P50 last year, but this time with a less expensive yet immensely competitive option with a 2 DD + 1 Planar + 1 PZT driver config, and a premium package for a more than affordable price.

TDLR; EPZ presents the P40, a fantastic tribrid configured IEM that delivers a neutral and bright sound who comes closer to the Harman 2019 target (measured with a 5128 rig, not the old 711 one) with a great bass shelf, well-done tuned midrange, and a treble who not only adds spark to the mix, but also it is airy, open and pretty natural and not fatiguing tuning overall.

An IEM with pausegame potential, a set who don’t want to be the brightest one but the most crystal clear and natural. With a premium package including a quality matching cable, great selection of eartips included and a beautiful carrying case; making it a high valuable option for seasoned audiophiles and newcomers.

Pros:

- High-quality modular cable with 3.5 mm and 4.4 mm connectors

- Lightweight, ergonomic and well-built resin shells

- Attractive faceplate design with good scratch and fingerprint resistance

- Clean and balanced bass with good extension and impact

- Natural and detailed midrange with a great and natural vocal presence

- Crisp, sharp and airy treble with controlled sibilance

- Wide soundstage with excellent imaging and layering of instruments

- "Funalytical" tuning that resolves and at the same time is musical

- Easy to drive and with good scalability with higher quality audio sources

- Great value for less than 200 USD

Cons:

- Neutral bright tuning can fatigue out listeners who are sensitive to it

- Not suitable for bass lovers looking for a lot of bass

- Can be sibilant at very high volumes

- Medium-sized nozzles may not be comfortable for all ears

- Less analytical than other detail-focused competing IEMs

You can get a P40 IEMs for a MSRP of 159.99 USD (maybe less on sale), directly on EPZ Official Web: https://epzaudio.com/products/epz-p40-tribrid-iems, the official EPZ store on AliExpress, and other retailers online.    

Technical specifications:
- Driver Type:
   - 9 mm DLC dynamic driver (Bass)
   - 7 mm DLC dynamic driver (Midrange)
   - Microplanar driver
   - PZT ceramic driver
- Casing Material: Medical grade resin.
- Frequency Response: 20 Hz - 20 kHz.
- Sensitivity: 100 +/- 3 dB.
- Impedance: 14 Ω.
- Cable: Furukawa Silver-plated, twister pair.
- Jack connector: SE 3.5 mm and balanced 4.4 mm (modular).
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.

What comes in its package?

· Earphones *2
· The user Guide and QC Card
. 6 pairs of ‘KBEar/NICEHCK’ like 07 eartips SML sizes
· A storage Box in faux leather and rectangular shape
· A 0.78mm, 2 pin, twisted pair cable with a screwing locking modular mechanism, with two jack connectors (3.5 mm single ended and 4.4 mm balanced)

Its cable looks of high quality, is not so thick, but it is flexible, matching perfectly with the shells and has 2 pins, 0.78 mm connectors. It is modular, with the 3.5 mm single ended and 4.4 mm balanced jacks included, 90 grades oriented, with that screwing lock mechanism. It’s not prone to tangle nor producing translated vibrations.

The shells are made of translucent blue medical grade resin with a pretty ergonomic design, and the faceplates are made of resin with a metal border, with a shiny design who changes color according to the light and orientation with the EPZ logo in silver letters (I loved that minimalist yet gorgeous design). It’s very well constructed, lightweight despite carrying 4 drivers per side, and it is on the mid-size (perfect to use it in long sessions), it doesn’t seem prompt to micro scratches and fingerprints.

It’s well vented, with a vent close to the nozzle to avoid pressure building; with a metallic nozzle that is on the mid-size (6 mm diameter), but as I always say: check if it fits your ears.

How the EPZ P40 sounds:

The P40 with its 2 dynamic drivers + 1 MPD + 1 PZT driver configuration offers a crystal-clear, neutral yet bright sound, with great balanced and focused on the mids and high frequencies, it’s a mild V-shaped tuned set.

For this review, EPZ provided me the EPZ M100 liquid silicone eartips to use with the P40, so I’m using the M sized ones. I tried the IEM with the stock eartips finding that they are also perfect for it, giving a good fit and seal.

The stock cable is more than fine as it is, so at the moment I don’t see the need to change it. The graph is taken from the Earphone Archives squiglink page, so thanks to them.

BASS:

The P40 focus is not in this region, but, it offers a pretty decent quantity and high quality bass shelf, with a good amount of subbass thump and midbass bump, it is so clean, with good velocity, with a neutral decay, highly resolving, well extended into the lower frequencies, with a magnificent impact, tonality and dynamics overall, as a mild V-shape tuned set, midbass bleeds slightly into the lower midrange yet making male vocals sounds natural unlike other Harman 2019 target “complaining” sets.

In songs like “The Epilogue” by Crosses, from the Crosses album, you can feel the great impact of the bass drops and bass guitar line, the P40 doesn’t leave you craving more bass, it delivers what you need, not more, not less.

In “Flows Through You” by Bruce Soord and Jonas Renske, from the Wisdom of Crowds album, the P40 shows how a real balanced bass is excellently delivered, the bass drops have a lotta impact, and it’s not overwhelming vocals, samples and keyboards, it is zero bloomy or muffled, the cleanness and resolution is there.

MIDS:

The P40 midrange begins with a slight midbass bleed into the lower midrange, though male vocals remain neutral, not recessed at all, free of muddiness nor thin. Midrange carry a great noteweight, and yes, it is the main focus of this set, but it is never overcoming other frequencies no matter the volume you are listening to sounds.

The frequency curve of the P40 takes a dip to 600 Hz later advancing into a bit warm pinna gain, yet offering a clean sound, with great resolution, presence and refined character; female vocals are forwarded, nor shouty or fatiguing at all.

In songs like “In Dark Distortion” by At The Gates, in the The Ghost of a Future Dead album, the melodic death metal pioneers present the last recording by Tomas Lindberg doing his unquestionable vocal greatness, the P40 shows how the neutral tuning is well done, the fast drumming and melodic (excuse me the redundancy) guitars are delivered fantastically.

In “We Will Rise” by Arch Enemy, from the Anthems of Rebellion album, all the instruments are presented impeccably, the P40 delivers that hash banshee vocals of Angela Gosow perfectly.

TREBLE:

In this segment of frequencies, the P40 takes an interesting twist into the neutral bright tuning, it is very sparkling, crisp and kind of sharp without being spicy, handling the sibilance nicely with an 8 kHz dip instead of a fatiguing energy, so, it’s not arduous in long sessions at a mid-to-high volume, but of course, as a bright leaning set is preferred to not listen music at high volume.

In songs like “Face to Face I to IV” by Edge of Sanity, from the masterpiece album Crimson II, the P40 not only deliver a crystal clear and natural upper range, but shows all the nuances and colorations of the track almost perfectly.

Listening to “Fell on Black Days” by Soundgarden, from the Superunknown classic album, the P40 is presenting all the hi-hats and cymbals in the drums, the guitars and colorations are reproduced so transparent, with a pretty natural timbre.

TECHNICALITIES:

In the P40, the upper treble extends very well, thanks to the PZT driver (avoiding the PZT sheen you can notice on other sets who use that kind of driver), rolling off unlike the Harman 2019 target going smoothly up to 16 kHz, without bad-putted peaks, presenting an airy and open sound, the soundstage is expansive, with great wide and depth.

In songs like “Gets Me Through” by Ozzy Osbourne, from his Live At Budokan album, the P40 can transport you to the historic concert, positioning the instruments perfectly in the mix, with a resolution who punches way above its weight, and excellent imaging and layering of instruments; capturing the intensity and emotion of the 2000s hit from the Prince of Darkness himself.

The P40 is more musical than analytical, something like a ‘funalytical’ set more than a macro and micro detail beast who bores folks who want to enjoy their music at its fullest, it is very engaging with that neutral and clean more than bright character.

With full detailed songs like “Idioteque (Canal Studios 04-08/2001)” by Radiohead, from the Kid A Collector’s Edition album, the catchy and melodic track is delivered by the P40 almost perfectly, you can be sure to hear all its macro and microdetails at full display, well positioned, well separated, with a natural tone.
 
COMPARISONS:

EPZ P40 vs. Hidizs MP 145 Pro:

The MP145 Pro (169.99 USD MSRP) is a 1 planar driver IEM by Hidizs. It has a neutral bright tuning with substantially less bass than the P40 balancing the sound, and it is also taking a brighter approach, and finally it is more analytical than musical.

Another thing with the MP145 Pro is than its more prone to sibilance with spicy tracks, so in this case I prefer the P40, because it’s better for casual and critical listening than for just getting all the nuances in music as the MP145 Pro is.

EPZ P40 vs. Punch Audio Portazo:

The Punch Audio Portazo (189.99 USD MSRP) is a hybrid IEM with a 1 DD + 2 Planar driver configuration. It has a more bassy yet still balanced and organic sound. The Portazo is more V-shaped than the P40, with less treble energy and less upper treble extension.

The Portazo is a balanced set going towards being “basshead”, with more subbass than midbass focus, and gives a great display of technical capacity, but the P40 delivers a more neutral and cleaner sound. It is a matter of tuning preferences, I’m very happy with the balance and clarity the P40 offers, but the Portazo it’s better handling the sibilance at high volume. With both sets you can’t go wrong, but you need what fits in your tastes.

EPZ P40 vs. Simgot Supermix 4:

The Supermix 4 (150 USD MSRP) has a similar subbass and midbass to the P40, it is also a Harman 2019 target tuned set, but the bass overall feels less impactful than on the P40, also, the male vocals are recessed and sometimes sound thin, with drier upper mids and less mid treble energy than the P40. Both handling the sibilance good, yet the PZT driver implementation on the Supermix 4 unlike the one on the P40 can bother a lot of people who is sensible to that upper treble region. The SM4 is still holding well in 2026, but the P40 is an overall better set who totally worths the money you pay for it.  

Closing thoughts and conclusions:

The EPZ P40 is a set who not only shows how you can crank the treble to get clarity but balances its sound to sound neutral and musical, zero boring and nicely mature and refined.

In the under 160 USD segment, its quantity and high quality bass delivery who balances that naturalness and brightness, and its added lower and higher frequencies' extension put it as an overall neutral, musical and technical yet engaging work of art, with a great pausegame potential, making it ideal for seasoned audiophiles who look for the most accurate to the mix sounding set, and newcomers who want great value and quality on Hi-Fi gear, all of them receiving a very high-quality audio experience at a fair cost.

The P40 with its 100 dB sensitivity and 14 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use it with the 4.4 mm balanced jack connection because this set scales greatly with more quality and powerful sources.

Can I recommend it? Totally yes, if you are looking for a neutral and crystal-clear audio for less than 200 USD, the EPZ P40 stands out as a more than compelling value proposition and one of the better competitors for its price segment, who punches way above its weight. With a premium package and contemporary technology, and of course, the EPZ seal of quality.

Once again, thanks to EPZ for providing me with this IEM to test it, enjoy it, and finally give me the reasons to recommend it as a product that exceeds my expectations and deserves more praise IMHO, it is now one of my favorite sets in my collection. And thank you, dear reader, for checking my review, please have a happy listening!

 

Disclaimer: First, a big shoutout to Vicky from EPZ Audio for giving me this IEM to make this review and to give it my sincere opinions and impressions. This review is unpaid, so, the only bias at play is my musical and tuning preferences.

Introduction:

The EPZ P40 is the new tribrid IEMs by EPZ Audio, following the success of the P50 last year, but this time with a less expensive yet immensely competitive option with a 2 DD + 1 Planar + 1 PZT driver config, and a premium package for a more than affordable price.

TDLR; EPZ presents the P40, a fantastic tribrid configured IEM that delivers a neutral and bright sound who comes closer to the Harman 2019 target (measured with a 5128 rig, not the old 711 one) with a great bass shelf, well-done tuned midrange, and a treble who not only adds spark to the mix, but also it is airy, open and pretty natural and not fatiguing tuning overall.

An IEM with pausegame potential, a set who don’t want to be the brightest one but the most crystal clear and natural. With a premium package including a quality matching cable, great selection of eartips included and a beautiful carrying case; making it a high valuable option for seasoned audiophiles and newcomers.

Pros:

- High-quality modular cable with 3.5 mm and 4.4 mm connectors

- Lightweight, ergonomic and well-built resin shells

- Attractive faceplate design with good scratch and fingerprint resistance

- Clean and balanced bass with good extension and impact

- Natural and detailed midrange with a great and natural vocal presence

- Crisp, sharp and airy treble with controlled sibilance

- Wide soundstage with excellent imaging and layering of instruments

- "Funalytical" tuning that resolves and at the same time is musical

- Easy to drive and with good scalability with higher quality audio sources

- Great value for less than 200 USD

Cons:

- Neutral bright tuning can fatigue out listeners who are sensitive to it

- Not suitable for bass lovers looking for a lot of bass

- Can be sibilant at very high volumes

- Medium-sized nozzles may not be comfortable for all ears

- Less analytical than other detail-focused competing IEMs

You can get a P40 IEMs for a MSRP of 159.99 USD (maybe less on sale), directly on EPZ Official Web: https://epzaudio.com/products/epz-p40-tribrid-iems, the official EPZ store on AliExpress, and other retailers online.    

Technical specifications:
- Driver Type:
   - 9 mm DLC dynamic driver (Bass)
   - 7 mm DLC dynamic driver (Midrange)
   - Microplanar driver
   - PZT ceramic driver
- Casing Material: Medical grade resin.
- Frequency Response: 20 Hz - 20 kHz.
- Sensitivity: 100 +/- 3 dB.
- Impedance: 14 Ω.
- Cable: Furukawa Silver-plated, twister pair.
- Jack connector: SE 3.5 mm and balanced 4.4 mm (modular).
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.

What comes in its package?

· Earphones *2
· The user Guide and QC Card
. 6 pairs of ‘KBEar/NICEHCK’ like 07 eartips SML sizes
· A storage Box in faux leather and rectangular shape
· A 0.78mm, 2 pin, twisted pair cable with a screwing locking modular mechanism, with two jack connectors (3.5 mm single ended and 4.4 mm balanced)

Its cable looks of high quality, is not so thick, but it is flexible, matching perfectly with the shells and has 2 pins, 0.78 mm connectors. It is modular, with the 3.5 mm single ended and 4.4 mm balanced jacks included, 90 grades oriented, with that screwing lock mechanism. It’s not prone to tangle nor producing translated vibrations.

The shells are made of translucent blue medical grade resin with a pretty ergonomic design, and the faceplates are made of resin with a metal border, with a shiny design who changes color according to the light and orientation with the EPZ logo in silver letters (I loved that minimalist yet gorgeous design). It’s very well constructed, lightweight despite carrying 4 drivers per side, and it is on the mid-size (perfect to use it in long sessions), it doesn’t seem prompt to micro scratches and fingerprints.

It’s well vented, with a vent close to the nozzle to avoid pressure building; with a metallic nozzle that is on the mid-size (6 mm diameter), but as I always say: check if it fits your ears.

How the EPZ P40 sounds:

The P40 with its 2 dynamic drivers + 1 MPD + 1 PZT driver configuration offers a crystal-clear, neutral yet bright sound, with great balanced and focused on the mids and high frequencies, it’s a mild V-shaped tuned set.

For this review, EPZ provided me the EPZ M100 liquid silicone eartips to use with the P40, so I’m using the M sized ones. I tried the IEM with the stock eartips finding that they are also perfect for it, giving a good fit and seal.

The stock cable is more than fine as it is, so at the moment I don’t see the need to change it. The graph is taken from the Earphone Archives squiglink page, so thanks to them.

BASS:

The P40 focus is not in this region, but, it offers a pretty decent quantity and high quality bass shelf, with a good amount of subbass thump and midbass bump, it is so clean, with good velocity, with a neutral decay, highly resolving, well extended into the lower frequencies, with a magnificent impact, tonality and dynamics overall, as a mild V-shape tuned set, midbass bleeds slightly into the lower midrange yet making male vocals sounds natural unlike other Harman 2019 target “complaining” sets.

In songs like “The Epilogue” by Crosses, from the Crosses album, you can feel the great impact of the bass drops and bass guitar line, the P40 doesn’t leave you craving more bass, it delivers what you need, not more, not less.

In “Flows Through You” by Bruce Soord and Jonas Renske, from the Wisdom of Crowds album, the P40 shows how a real balanced bass is excellently delivered, the bass drops have a lotta impact, and it’s not overwhelming vocals, samples and keyboards, it is zero bloomy or muffled, the cleanness and resolution is there.

MIDS:

The P40 midrange begins with a slight midbass bleed into the lower midrange, though male vocals remain neutral, not recessed at all, free of muddiness nor thin. Midrange carry a great noteweight, and yes, it is the main focus of this set, but it is never overcoming other frequencies no matter the volume you are listening to sounds.

The frequency curve of the P40 takes a dip to 600 Hz later advancing into a bit warm pinna gain, yet offering a clean sound, with great resolution, presence and refined character; female vocals are forwarded, nor shouty or fatiguing at all.

In songs like “In Dark Distortion” by At The Gates, in the The Ghost of a Future Dead album, the melodic death metal pioneers present the last recording by Tomas Lindberg doing his unquestionable vocal greatness, the P40 shows how the neutral tuning is well done, the fast drumming and melodic (excuse me the redundancy) guitars are delivered fantastically.

In “We Will Rise” by Arch Enemy, from the Anthems of Rebellion album, all the instruments are presented impeccably, the P40 delivers that hash banshee vocals of Angela Gosow perfectly.

TREBLE:

In this segment of frequencies, the P40 takes an interesting twist into the neutral bright tuning, it is very sparkling, crisp and kind of sharp without being spicy, handling the sibilance nicely with an 8 kHz dip instead of a fatiguing energy, so, it’s not arduous in long sessions at a mid-to-high volume, but of course, as a bright leaning set is preferred to not listen music at high volume.

In songs like “Face to Face I to IV” by Edge of Sanity, from the masterpiece album Crimson II, the P40 not only deliver a crystal clear and natural upper range, but shows all the nuances and colorations of the track almost perfectly.

Listening to “Fell on Black Days” by Soundgarden, from the Superunknown classic album, the P40 is presenting all the hi-hats and cymbals in the drums, the guitars and colorations are reproduced so transparent, with a pretty natural timbre.

TECHNICALITIES:

In the P40, the upper treble extends very well, thanks to the PZT driver (avoiding the PZT sheen you can notice on other sets who use that kind of driver), rolling off unlike the Harman 2019 target going smoothly up to 16 kHz, without bad-putted peaks, presenting an airy and open sound, the soundstage is expansive, with great wide and depth.

In songs like “Gets Me Through” by Ozzy Osbourne, from his Live At Budokan album, the P40 can transport you to the historic concert, positioning the instruments perfectly in the mix, with a resolution who punches way above its weight, and excellent imaging and layering of instruments; capturing the intensity and emotion of the 2000s hit from the Prince of Darkness himself.

The P40 is more musical than analytical, something like a ‘funalytical’ set more than a macro and micro detail beast who bores folks who want to enjoy their music at its fullest, it is very engaging with that neutral and clean more than bright character.

With full detailed songs like “Idioteque (Canal Studios 04-08/2001)” by Radiohead, from the Kid A Collector’s Edition album, the catchy and melodic track is delivered by the P40 almost perfectly, you can be sure to hear all its macro and microdetails at full display, well positioned, well separated, with a natural tone.
 
COMPARISONS:

EPZ P40 vs. Hidizs MP 145 Pro:

The MP145 Pro (169.99 USD MSRP) is a 1 planar driver IEM by Hidizs. It has a neutral bright tuning with substantially less bass than the P40 balancing the sound, and it is also taking a brighter approach, and finally it is more analytical than musical.

Another thing with the MP145 Pro is than its more prone to sibilance with spicy tracks, so in this case I prefer the P40, because it’s better for casual and critical listening than for just getting all the nuances in music as the MP145 Pro is.

EPZ P40 vs. Punch Audio Portazo:

The Punch Audio Portazo (189.99 USD MSRP) is a hybrid IEM with a 1 DD + 2 Planar driver configuration. It has a more bassy yet still balanced and organic sound. The Portazo is more V-shaped than the P40, with less treble energy and less upper treble extension.

The Portazo is a balanced set going towards being “basshead”, with more subbass than midbass focus, and gives a great display of technical capacity, but the P40 delivers a more neutral and cleaner sound. It is a matter of tuning preferences, I’m very happy with the balance and clarity the P40 offers, but the Portazo it’s better handling the sibilance at high volume. With both sets you can’t go wrong, but you need what fits in your tastes.

EPZ P40 vs. Simgot Supermix 4:

The Supermix 4 (150 USD MSRP) has a similar subbass and midbass to the P40, it is also a Harman 2019 target tuned set, but the bass overall feels less impactful than on the P40, also, the male vocals are recessed and sometimes sound thin, with drier upper mids and less mid treble energy than the P40. Both handling the sibilance good, yet the PZT driver implementation on the Supermix 4 unlike the one on the P40 can bother a lot of people who is sensible to that upper treble region. The SM4 is still holding well in 2026, but the P40 is an overall better set who totally worths the money you pay for it.  

Closing thoughts and conclusions:

The EPZ P40 is a set who not only shows how you can crank the treble to get clarity but balances its sound to sound neutral and musical, zero boring and nicely mature and refined.

In the under 160 USD segment, its quantity and high quality bass delivery who balances that naturalness and brightness, and its added lower and higher frequencies' extension put it as an overall neutral, musical and technical yet engaging work of art, with a great pausegame potential, making it ideal for seasoned audiophiles who look for the most accurate to the mix sounding set, and newcomers who want great value and quality on Hi-Fi gear, all of them receiving a very high-quality audio experience at a fair cost.

The P40 with its 100 dB sensitivity and 14 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use it with the 4.4 mm balanced jack connection because this set scales greatly with more quality and powerful sources.

Can I recommend it? Totally yes, if you are looking for a neutral and crystal-clear audio for less than 200 USD, the EPZ P40 stands out as a more than compelling value proposition and one of the better competitors for its price segment, who punches way above its weight. With a premium package and contemporary technology, and of course, the EPZ seal of quality.

Once again, thanks to EPZ for providing me with this IEM to test it, enjoy it, and finally give me the reasons to recommend it as a product that exceeds my expectations and deserves more praise IMHO, it is now one of my favorite sets in my collection. And thank you, dear reader, for checking my review, please have a happy listening!

Hello to you all!

First, a big shoutout to Meggie from KeepHiFi for giving me this set to test it and give my sincere opinions. There’s no payment involved in the development of this review. With my biases being my musical and tuning preferences.

TDLR; Another banger hybrid set who uses the well-known and praised ‘Zenith’ dynamic driver, paired with a second-generation 30019 BA driver, this time from KZ (Knowledge Zenith) themselves for the under 25 USD segment. A revival of a budget legend who began with the original ZST back in 2016 and the ZST X back in 2020, with 10 years of history under its shoulders.

Now the ZST Pro X comes with a flagship dynamic driver and a new BA configuration, and of course, a refined tuning, who offers a bassy, warm, organic and musical more than analytical ride, yet keeping a more than decently detailed sound, all of this with the special sauce KZ is pulling out this 2026.

Pros:

- Lightweight and comfortable shells

- Great midbass slam and subbass extension

- More musical than analytical mild V / U-shaped tuning

- Refined, crisp and sharp treble without major harshness

- Natural BA timbre for a budget hybrid (2nd gen 30019 BA)

- Good soundstage, imaging, and layering of instruments

- It’s engaging and non-fatiguing at high volume

- Good macro and micro detail retrieval for the price

- Kind of easy to drive

- Good value under 25 USD

Cons:

- The included ‘new’ wide bore Starline eartips give poor seal (please bring back the good old Starlines)

- The stock cable is improved, but it is still thin and tangles easily

- No carrying bag included (As for example, NiceHCK Tears and CCA Phoenix)

- Its medium- to large nozzle may not suit small ears

- Midbass bleed into lower mids. Male vocals sound slightly recessed

- Upper mids/treble can get a bit harsh at high volume

- Upper treble extension is only average

KZ (Knowledge Zenith), launched back in 2025 the Zenith, with a 10 mm flagship dynamic driver, punching way above its weight, resulting on a successful IEM pointed to seasoned audiophiles on a budget. Back in 2025 last months GK (Groove Keeper), who was once a KZ subbrand, after parting ways with its main brand, launched an IEM back in November 2025 in the budget-oriented segment of the market, with the ‘same’ dynamic driver as the well-known and praised Zenith but cutting cost in the fabrication and accessories, its name is the GK Kunten, and it entered the market disrupting it.

Now, after that successful entry, GK launched a new set, a hybrid IEM driven by a 1 x 10 mm dynamic driver (the same as the GK Kunten) + 1 Microplanar driver configuration. This KZ ZST Pro X is the response from KZ to that product, a KeepHiFi exclusive IEM but using a second generation 30019 BA driver instead of a MPD handling the upper mids and treble, not only to revive a legendary “cheap” IEM: ZST and ZST X, but presenting this 2026 an IEM who distinct the brand from their competitors, all within the budget-oriented market.

With its MSRP of 26.99 to 29.99 USD (With 3.5 mm cable with or without mic, and usb-c with mic, and Silver or Black colors available). You can find it directly on the Yinyoo Official Store at Amazon:https://www.amazon.com/dp/B0GSQSSLQ3?th=1, and coming soon in the KeepHiFi official store, and in other retailers online.

Technical specs:

- Housing materials: ABS plastic, metallic faceplate
- Drivers:
- 1 x 10 mm super-linear composite diaphragm dynamic driver (bass and lower mids)
- 1 x second-generation 30019 BA driver (upper mids and treble)
- Freq. Response: 20 Hz – 40 kHz
- Sensitivity: 110 dB/ mW @ 1 kHz
- Impedance: 40 Ω
- Connection: 0.78 mm, QDC
- Cable: 1.2 m 3.5 mm with or without microphone, 2 cores, silver-plated OCC (USB-C available)

What’s in the package?

The box is the usual KZ box, with the “No matter how luxurious the packaging can not change the inherent quality of the product…”, its front shows an image of the set and its driver configuration. The ZST Pro X sent to me is color black with a cable with a 3.5 mm single ended jack, but there’s also a silver color shells and a USB-C cable options available.

Simple and sufficient packaging by the way, consisting on the IEMs itself, 2 pair of the new wide bore KZ Starline eartips (S and M (installed) sizes), a warranty card, the cable that is 2 cores, with an 3.5 mm single ended 0.78 mm QDC connection, it feels thin and decent quality (at least is an improved one over the usual KZ cable included in the package of almost all of their IEMs), and it’s prone to tangle but not of producing translated vibrations.

The IEMs itself are made of ABS plastic in which you can look the dynamic driver inside and, in the nozzle, the custom 2nd gen BA driver, with metal faceplates with some shiny accents, 3 little vents and one vent with a mesh in the lower part.

The shells are kind of lightweight, and seems that is not prompt to scratches. Doesn’t have rough or sharp edges, its nozzle it’s plastic and has a lip to assure good eartips grip and fit, making a nice seal as well, but its medium to large size diameter (6.2 mm) is not the best option for persons with small ears, so keep that in mind.

Eartips and cable used:

Honestly, I don’t find the included new starline eartips a good fit for the ZST Pro X because those eartips are thin and don’t make a good seal in the ears. So, I was using some KBEar coffee clone eartips, but later change them to some KBEar 07 eartips finding the best sound synergy, fit and seal.

The included cable is fine to use it as it is, but I changed it to a QKZ T1 cable, and a 3.5 mm jack, finding it matches perfectly with the ZST Pro X shells.

How the ZST Pro X sounds?

The ZST Pro X with its 10 mm super-linear ‘Zenith’ dynamic driver + 1 2nd-gen 30019 BA driver configuration offers a mild V/U-shaped tuning, that is bassy but pretty balanced, warm, with a smoothed yet refined treble.

Thanks to Jaytiss for his measurements of this set. No equalization was used in the review of this IEM.

BASS:

The ZST Pro X comes with a more than good quantity and quality on the bass shelf, with decent subbass thump, extension, and great midbass slam; great resolution and transparency, with a remarkable attack and impact. As a mild U / V-shaped tuned IEM, its midbass bleeds into the lower mids.

In songs like “SYNC.wav” by Moodring, from the Stargazer album, is shown that nice bass impact, with greatly delivered drum kicks and bass guitar by the ZST Pro X, it sounds totally clean and clear.

In songs like “Pink Cellphone” by Deftones, from the Saturday Night Wrist album, the groovy and smooth bass drops in the mix is perfectly sounding thanks to the ZST Pro X, with zero bloating and great impact and a natural decay.

MIDS:

Talking about the mids on the ZST Pro X, midbass bleeds into the lower mids, the male vocals are recessed, but nor veiled nor thin. The midrange has a more than decent note weight thanks to the ‘Zenith’ dynamic driver.

In songs like “Nothing Sacred” by Paradise Lost, from the controversial (but my favorite) album Host, the ZST Pro X shows us that character the ‘Zenith’ driver has, the groovy drumming is nicely heard, the rhythmic electric guitars, and the main vocals are emotional yet powerful presented.

The FR curve in the ZST Pro X takes a dip who goes to 700 Hz approximately, then it enters a warm pinna gain encountering its first peak at 2.5 kHz, later descending smoothly to be merged with the lower treble, showing great presence, transparency and a more than average resolution. Female vocals are forwarded, and, at high volumes they are not shouty nor fatiguing.

In songs like the pop hit “Vogue” by Madonna, from her I’m Breathless album, the incredible Madonna’s vocals in the ZST Pro X shows why she is the Queen of POP, and the keyboards, electronic drums and samples in the song are there.

HIGHS:

The ZST Pro X has a refined treble; it is crisp and sharp but not spicy (and I like that a lot). The lower treble goes descending from the upper midrange to take a dip in 6 kHz and 10 kHz to handle the sibilance almost perfectly, elevating to a very energetic peak at 8 kHz. The 30019 BA driver does a more than decent job in it, with more than average resolution and a natural timbre without that ‘cheap BA’ sheen.

In songs like “King of Those Who Know” by Cynic, from their masterpiece album Traced in Air, the ZST Pro X shows that refined treble implementation, the prog death metal drumming with jazzy sauce, keyboards and guitars are delivered with a smile on my face, and zero fatigue at high volume.

In “Believe” by Control Denied, from their first and only released album The Fragile Art of Existence, the constant and magnificent drum work by Richard Christy, the guitars by the great and only Chuck Schuldiner, all of this are shown fantastically by the ZST Pro X, with that 30019 BA driver making featuring its well-crafted tuning.

TECHNICAL CAPACITIES:

Going into the upper highs, the ZST Pro X takes a smoother approach, with an open and decently air display, you can use this IEM at high volumes without fatigue in long sessions.

In the technicalities, the ZST Pro X is an IEM who punches above its weight, with an expansive soundstage, with good horizontality and depth. The imaging and layering of instruments are also more than average; the ZST Pro X is not an analytical snoozefest but a musical, engaging and detailed beauty, giving you some technical perks, with a pretty natural timbre**.** 

Now, in live songs like “Chalice of Blood (Live)” by Forbidden, from the Raw Evil: Live at the Dynamo, you can get all the details in the track, not congested, distinguishing the instruments is possible, the ZST Pro X can immerse you in the thrash legends concert.

In “No Quarter (Live at MSG 1973)” by Led Zeppelin, in the The Song Remains the Same live album, the ZST Pro X can show you a full display of macro and microdetails, Page, Bonham, Plant, all of them are heard perfectly, the balanced and natural tonality heard is more than great.

Comparisons:

KZ ZST Pro X vs. CCA Xyrra:

The Xyrra is a relatively new IEM driven by a 1 10 mm DD + 1 30118 BA configuration. In comparison, the Xyrra’s bass is a bit more focused on the midbass than the subbass, it also is more V-shaped tuned than the ZST Pro X, with drier upper mids, a more energetic treble and airier, it also is pretty spicy at mid-to high volumes, so you are getting fatigued faster than in the ZST Pro X.

Something I noticed in the Xyrra is that distinguishable BA timbre and unnaturalness, unlike the 30019 BA in the ZST Pro X and its smooth and natural treble delivery, so, I’m more inclined to the ZST Pro X tonality. The Xyrra is a wonderful IEM, but the ZST Pro X is a better all-rounder set.

KZ ZST Pro X vs. Gk Streak:

The Gk Streak is a new IEM by GK, driven by a 1 10 mm ‘KUN’ DD + 1 MPD configuration. In comparison, the ZST Pro X is bassier, and the Streak has a bit less energetic upper mids and treble than in the ZST Pro X.

The MPD in the Streak is well-implemented, having a natural timbre but smoother than in the ZST Pro X; it’s less spicy and less prone to sibilance at high-volumes in contrast to the ZST Pro X, who has a more crisp and sharp treble, but less upper treble extension than in the Streak. This time I can’t choose one of another, both are excellent IEMs, you can’t go wrong with both.

KZ ZST Pro X vs. KZ Duonic Bass:

The KZ Duonic Bass is another hybrid set by KZ, who’s replacing the Castor and Castor Pro line of IEMS, driven by a 1 8 mm DD + 1 8 mm ‘Tri-Magnetic’ Planar Driver, so, it uses a MPL instead of a BA as in the ZST Pro X. The Duonic Bass has a bit less subbass than the ZST Pro X; it has a bit less warm upper mids, but a more ‘Harman’ and similarly energetic treble, it also is airier and more open than the ZST Pro X.

That pseudo-planar in the Duonic Bass is a very good implementation, with a natural timbre as the 30019 BA on the ZST Pro X so, it is a matter of tuning preferences. I’m more inclined to the ZST Pro X by a bit, just for that ‘Zenith’ dynamic driver implementation, but I also love the tuning of the Duonic Bass. Again, you can’t go wrong with both.   ​

Final thoughts and conclusions:

The ZST Pro X is a fantastic option in the budget-oriented sub 25 USD market of IEMs, delivering a bassy, musical and engaging, crisp and sparkly tuning, with more than average technical capacities, with a refined character that make a stand in a crowded and very competitive segment.

The ZST Pro X, with its 40 ohms of impedance a 110 dB of sensitivity it’s easy to drive, even with low powered sources to give all its qualities; the option with the DSP cable is a well-received thing, because you can use it without looking for an additional source.

I tried it with mostly all the sources I have, encountering it being a hybrid set, it benefits of being paired with neutral and slightly warm sources, not requiring too much output power to shine at its best. However, I modified the QKZ T1 cable by changing the single-ended 3.5 mm jack to a balanced 4.4 mm jack, finding that the ZST Pro X scales adequately, with a little more openness and soundstage feeling, as well as more refined treble.

Apart from the included eartips (I prefer the old and well-known KZ starline eartips), I would like for KZ and KeepHiFi to sell the ZST Pro X with a carrying pouch or case as the CCA Phoenix or the TRN Conch. So, I guess KZ is pulling all the money in the earphones themselves.

Its remarkable bass quantity and quality, and its musical more than analytical tonality make it ideal for listeners who appreciate an engaging yet decently technical audio experience on a budget.

At under 25 USD, the ZST Pro X it’s not a market disruptor, but is one of the best choices for budget-conscious audiophiles and newcomers who crave a high-fidelity experience without spending a lot.

It is a recommendation: The KZ ZST Pro X presents itself as a more than competitive option, with its musical yet refined tonality and technical perks that can be perfect to both seasoned audiophiles seeking the best value and beginners entering the hobby. So, thanks again to KeepHiFi and KZ, and the gods of audio and musicophilia bless you with a happy listening!

Hello to you all!

First, a big shoutout to Meggie from KeepHiFi for giving me this set to test it and give my sincere opinions. There’s no payment involved in the development of this review. With my biases being my musical and tuning preferences.

TDLR; Another banger hybrid set who uses the well-known and praised ‘Zenith’ dynamic driver, paired with a second-generation 30019 BA driver, this time from KZ (Knowledge Zenith) themselves for the under 25 USD segment. A revival of a budget legend who began with the original ZST back in 2016 and the ZST X back in 2020, with 10 years of history under its shoulders.

Now the ZST Pro X comes with a flagship dynamic driver and a new BA configuration, and of course, a refined tuning, who offers a bassy, warm, organic and musical more than analytical ride, yet keeping a more than decently detailed sound, all of this with the special sauce KZ is pulling out this 2026.

Pros:

- Lightweight and comfortable shells

- Great midbass slam and subbass extension

- More musical than analytical mild V / U-shaped tuning

- Refined, crisp and sharp treble without major harshness

- Natural BA timbre for a budget hybrid (2nd gen 30019 BA)

- Good soundstage, imaging, and layering of instruments

- It’s engaging and non-fatiguing at high volume

- Good macro and micro detail retrieval for the price

- Kind of easy to drive

- Good value under 25 USD

Cons:

- The included ‘new’ wide bore Starline eartips give poor seal (please bring back the good old Starlines)

- The stock cable is improved, but it is still thin and tangles easily

- No carrying bag included (As for example, NiceHCK Tears and CCA Phoenix)

- Its medium- to large nozzle may not suit small ears

- Midbass bleed into lower mids. Male vocals sound slightly recessed

- Upper mids/treble can get a bit harsh at high volume

- Upper treble extension is only average

KZ (Knowledge Zenith), launched back in 2025 the Zenith, with a 10 mm flagship dynamic driver, punching way above its weight, resulting on a successful IEM pointed to seasoned audiophiles on a budget. Back in 2025 last months GK (Groove Keeper), who was once a KZ subbrand, after parting ways with its main brand, launched an IEM back in November 2025 in the budget-oriented segment of the market, with the ‘same’ dynamic driver as the well-known and praised Zenith but cutting cost in the fabrication and accessories, its name is the GK Kunten, and it entered the market disrupting it.

Now, after that successful entry, GK launched a new set, a hybrid IEM driven by a 1 x 10 mm dynamic driver (the same as the GK Kunten) + 1 Microplanar driver configuration. This KZ ZST Pro X is the response from KZ to that product, a KeepHiFi exclusive IEM but using a second generation 30019 BA driver instead of a MPD handling the upper mids and treble, not only to revive a legendary “cheap” IEM: ZST and ZST X, but presenting this 2026 an IEM who distinct the brand from their competitors, all within the budget-oriented market.

With its MSRP of 26.99 to 29.99 USD (With 3.5 mm cable with or without mic, and usb-c with mic, and Silver or Black colors available). You can find it directly on the Yinyoo Official Store at Amazon:https://www.amazon.com/dp/B0GSQSSLQ3?th=1, and coming soon in the KeepHiFi official store, and in other retailers online.

Technical specs:

- Housing materials: ABS plastic, metallic faceplate
- Drivers:
- 1 x 10 mm super-linear composite diaphragm dynamic driver (bass and lower mids)
- 1 x second-generation 30019 BA driver (upper mids and treble)
- Freq. Response: 20 Hz – 40 kHz
- Sensitivity: 110 dB/ mW @ 1 kHz
- Impedance: 40 Ω
- Connection: 0.78 mm, QDC
- Cable: 1.2 m 3.5 mm with or without microphone, 2 cores, silver-plated OCC (USB-C available)

What’s in the package?

The box is the usual KZ box, with the “No matter how luxurious the packaging can not change the inherent quality of the product…”, its front shows an image of the set and its driver configuration. The ZST Pro X sent to me is color black with a cable with a 3.5 mm single ended jack, but there’s also a silver color shells and a USB-C cable options available.

Simple and sufficient packaging by the way, consisting on the IEMs itself, 2 pair of the new wide bore KZ Starline eartips (S and M (installed) sizes), a warranty card, the cable that is 2 cores, with an 3.5 mm single ended 0.78 mm QDC connection, it feels thin and decent quality (at least is an improved one over the usual KZ cable included in the package of almost all of their IEMs), and it’s prone to tangle but not of producing translated vibrations.

The IEMs itself are made of ABS plastic in which you can look the dynamic driver inside and, in the nozzle, the custom 2nd gen BA driver, with metal faceplates with some shiny accents, 3 little vents and one vent with a mesh in the lower part.

The shells are kind of lightweight, and seems that is not prompt to scratches. Doesn’t have rough or sharp edges, its nozzle it’s plastic and has a lip to assure good eartips grip and fit, making a nice seal as well, but its medium to large size diameter (6.2 mm) is not the best option for persons with small ears, so keep that in mind.

Eartips and cable used:

Honestly, I don’t find the included new starline eartips a good fit for the ZST Pro X because those eartips are thin and don’t make a good seal in the ears. So, I was using some KBEar coffee clone eartips, but later change them to some KBEar 07 eartips finding the best sound synergy, fit and seal.

The included cable is fine to use it as it is, but I changed it to a QKZ T1 cable, and a 3.5 mm jack, finding it matches perfectly with the ZST Pro X shells.

How the ZST Pro X sounds?

The ZST Pro X with its 10 mm super-linear ‘Zenith’ dynamic driver + 1 2nd-gen 30019 BA driver configuration offers a mild V/U-shaped tuning, that is bassy but pretty balanced, warm, with a smoothed yet refined treble.

Thanks to Jaytiss for his measurements of this set. No equalization was used in the review of this IEM.

BASS:

The ZST Pro X comes with a more than good quantity and quality on the bass shelf, with decent subbass thump, extension, and great midbass slam; great resolution and transparency, with a remarkable attack and impact. As a mild U / V-shaped tuned IEM, its midbass bleeds into the lower mids.

In songs like “SYNC.wav” by Moodring, from the Stargazer album, is shown that nice bass impact, with greatly delivered drum kicks and bass guitar by the ZST Pro X, it sounds totally clean and clear.

In songs like “Pink Cellphone” by Deftones, from the Saturday Night Wrist album, the groovy and smooth bass drops in the mix is perfectly sounding thanks to the ZST Pro X, with zero bloating and great impact and a natural decay.

MIDS:

Talking about the mids on the ZST Pro X, midbass bleeds into the lower mids, the male vocals are recessed, but nor veiled nor thin. The midrange has a more than decent note weight thanks to the ‘Zenith’ dynamic driver.

In songs like “Nothing Sacred” by Paradise Lost, from the controversial (but my favorite) album Host, the ZST Pro X shows us that character the ‘Zenith’ driver has, the groovy drumming is nicely heard, the rhythmic electric guitars, and the main vocals are emotional yet powerful presented.

The FR curve in the ZST Pro X takes a dip who goes to 700 Hz approximately, then it enters a warm pinna gain encountering its first peak at 2.5 kHz, later descending smoothly to be merged with the lower treble, showing great presence, transparency and a more than average resolution. Female vocals are forwarded, and, at high volumes they are not shouty nor fatiguing.

In songs like the pop hit “Vogue” by Madonna, from her I’m Breathless album, the incredible Madonna’s vocals in the ZST Pro X shows why she is the Queen of POP, and the keyboards, electronic drums and samples in the song are there.

HIGHS:

The ZST Pro X has a refined treble; it is crisp and sharp but not spicy (and I like that a lot). The lower treble goes descending from the upper midrange to take a dip in 6 kHz and 10 kHz to handle the sibilance almost perfectly, elevating to a very energetic peak at 8 kHz. The 30019 BA driver does a more than decent job in it, with more than average resolution and a natural timbre without that ‘cheap BA’ sheen.

In songs like “King of Those Who Know” by Cynic, from their masterpiece album Traced in Air, the ZST Pro X shows that refined treble implementation, the prog death metal drumming with jazzy sauce, keyboards and guitars are delivered with a smile on my face, and zero fatigue at high volume.

In “Believe” by Control Denied, from their first and only released album The Fragile Art of Existence, the constant and magnificent drum work by Richard Christy, the guitars by the great and only Chuck Schuldiner, all of this are shown fantastically by the ZST Pro X, with that 30019 BA driver making featuring its well-crafted tuning.

TECHNICAL CAPACITIES:

Going into the upper highs, the ZST Pro X takes a smoother approach, with an open and decently air display, you can use this IEM at high volumes without fatigue in long sessions.

In the technicalities, the ZST Pro X is an IEM who punches above its weight, with an expansive soundstage, with good horizontality and depth. The imaging and layering of instruments are also more than average; the ZST Pro X is not an analytical snoozefest but a musical, engaging and detailed beauty, giving you some technical perks, with a pretty natural timbre**.** 

Now, in live songs like “Chalice of Blood (Live)” by Forbidden, from the Raw Evil: Live at the Dynamo, you can get all the details in the track, not congested, distinguishing the instruments is possible, the ZST Pro X can immerse you in the thrash legends concert.

In “No Quarter (Live at MSG 1973)” by Led Zeppelin, in the The Song Remains the Same live album, the ZST Pro X can show you a full display of macro and microdetails, Page, Bonham, Plant, all of them are heard perfectly, the balanced and natural tonality heard is more than great.

Comparisons:

KZ ZST Pro X vs. CCA Xyrra:

The Xyrra is a relatively new IEM driven by a 1 10 mm DD + 1 30118 BA configuration. In comparison, the Xyrra’s bass is a bit more focused on the midbass than the subbass, it also is more V-shaped tuned than the ZST Pro X, with drier upper mids, a more energetic treble and airier, it also is pretty spicy at mid-to high volumes, so you are getting fatigued faster than in the ZST Pro X.

Something I noticed in the Xyrra is that distinguishable BA timbre and unnaturalness, unlike the 30019 BA in the ZST Pro X and its smooth and natural treble delivery, so, I’m more inclined to the ZST Pro X tonality. The Xyrra is a wonderful IEM, but the ZST Pro X is a better all-rounder set.

KZ ZST Pro X vs. Gk Streak:

The Gk Streak is a new IEM by GK, driven by a 1 10 mm ‘KUN’ DD + 1 MPD configuration. In comparison, the ZST Pro X is bassier, and the Streak has a bit less energetic upper mids and treble than in the ZST Pro X.

The MPD in the Streak is well-implemented, having a natural timbre but smoother than in the ZST Pro X; it’s less spicy and less prone to sibilance at high-volumes in contrast to the ZST Pro X, who has a more crisp and sharp treble, but less upper treble extension than in the Streak. This time I can’t choose one of another, both are excellent IEMs, you can’t go wrong with both.

KZ ZST Pro X vs. KZ Duonic Bass:

The KZ Duonic Bass is another hybrid set by KZ, who’s replacing the Castor and Castor Pro line of IEMS, driven by a 1 8 mm DD + 1 8 mm ‘Tri-Magnetic’ Planar Driver, so, it uses a MPL instead of a BA as in the ZST Pro X. The Duonic Bass has a bit less subbass than the ZST Pro X; it has a bit less warm upper mids, but a more ‘Harman’ and similarly energetic treble, it also is airier and more open than the ZST Pro X.

That pseudo-planar in the Duonic Bass is a very good implementation, with a natural timbre as the 30019 BA on the ZST Pro X so, it is a matter of tuning preferences. I’m more inclined to the ZST Pro X by a bit, just for that ‘Zenith’ dynamic driver implementation, but I also love the tuning of the Duonic Bass. Again, you can’t go wrong with both.   ​

Final thoughts and conclusions:

The ZST Pro X is a fantastic option in the budget-oriented sub 25 USD market of IEMs, delivering a bassy, musical and engaging, crisp and sparkly tuning, with more than average technical capacities, with a refined character that make a stand in a crowded and very competitive segment.

The ZST Pro X, with its 40 ohms of impedance a 110 dB of sensitivity it’s easy to drive, even with low powered sources to give all its qualities; the option with the DSP cable is a well-received thing, because you can use it without looking for an additional source.

I tried it with mostly all the sources I have, encountering it being a hybrid set, it benefits of being paired with neutral and slightly warm sources, not requiring too much output power to shine at its best. However, I modified the QKZ T1 cable by changing the single-ended 3.5 mm jack to a balanced 4.4 mm jack, finding that the ZST Pro X scales adequately, with a little more openness and soundstage feeling, as well as more refined treble.

Apart from the included eartips (I prefer the old and well-known KZ starline eartips), I would like for KZ and KeepHiFi to sell the ZST Pro X with a carrying pouch or case as the CCA Phoenix or the TRN Conch. So, I guess KZ is pulling all the money in the earphones themselves.

Its remarkable bass quantity and quality, and its musical more than analytical tonality make it ideal for listeners who appreciate an engaging yet decently technical audio experience on a budget.

At under 25 USD, the ZST Pro X it’s not a market disruptor, but is one of the best choices for budget-conscious audiophiles and newcomers who crave a high-fidelity experience without spending a lot.

It is a recommendation: The KZ ZST Pro X presents itself as a more than competitive option, with its musical yet refined tonality and technical perks that can be perfect to both seasoned audiophiles seeking the best value and beginners entering the hobby. So, thanks again to KeepHiFi and KZ, and the gods of audio and musicophilia bless you with a happy listening!

Hello to you all!

First, a big shoutout to Meggie from KeepHiFi for giving me this set to test it and give my sincere opinions. There’s no payment involved in the development of this review. With my biases being my musical and tuning preferences.

TDLR; Another banger hybrid set who uses the well-known and praised ‘Zenith’ dynamic driver, paired with a second-generation 30019 BA driver, this time from KZ (Knowledge Zenith) themselves for the under 25 USD segment. A revival of a budget legend who began with the original ZST back in 2016 and the ZST X back in 2020, with 10 years of history under its shoulders.

Now the ZST Pro X comes with a flagship dynamic driver and a new BA configuration, and of course, a refined tuning, who offers a bassy, warm, organic and musical more than analytical ride, yet keeping a more than decently detailed sound, all of this with the special sauce KZ is pulling out this 2026.

Pros:

- Lightweight and comfortable shells

- Great midbass slam and subbass extension

- More musical than analytical mild V / U-shaped tuning

- Refined, crisp and sharp treble without major harshness

- Natural BA timbre for a budget hybrid (2nd gen 30019 BA)

- Good soundstage, imaging, and layering of instruments

- It’s engaging and non-fatiguing at high volume

- Good macro and micro detail retrieval for the price

- Kind of easy to drive

- Good value under 25 USD

Cons:

- The included ‘new’ wide bore Starline eartips give poor seal (please bring back the good old Starlines)

- The stock cable is improved, but it is still thin and tangles easily

- No carrying bag included (As for example, NiceHCK Tears and CCA Phoenix)

- Its medium- to large nozzle may not suit small ears

- Midbass bleed into lower mids. Male vocals sound slightly recessed

- Upper mids/treble can get a bit harsh at high volume

- Upper treble extension is only average

KZ (Knowledge Zenith), launched back in 2025 the Zenith, with a 10 mm flagship dynamic driver, punching way above its weight, resulting on a successful IEM pointed to seasoned audiophiles on a budget. Back in 2025 last months GK (Groove Keeper), who was once a KZ subbrand, after parting ways with its main brand, launched an IEM back in November 2025 in the budget-oriented segment of the market, with the ‘same’ dynamic driver as the well-known and praised Zenith but cutting cost in the fabrication and accessories, its name is the GK Kunten, and it entered the market disrupting it.

Now, after that successful entry, GK launched a new set, a hybrid IEM driven by a 1 x 10 mm dynamic driver (the same as the GK Kunten) + 1 Microplanar driver configuration. This KZ ZST Pro X is the response from KZ to that product, a KeepHiFi exclusive IEM but using a second generation 30019 BA driver instead of a MPD handling the upper mids and treble, not only to revive a legendary “cheap” IEM: ZST and ZST X, but presenting this 2026 an IEM who distinct the brand from their competitors, all within the budget-oriented market.

With its MSRP of 26.99 to 29.99 USD (With 3.5 mm cable with or without mic, and usb-c with mic, and Silver or Black colors available). You can find it directly on the Yinyoo Official Store at Amazon:https://www.amazon.com/dp/B0GSQSSLQ3?th=1, and coming soon in the KeepHiFi official store, and in other retailers online.

Technical specs:

- Housing materials: ABS plastic, metallic faceplate
- Drivers:
- 1 x 10 mm super-linear composite diaphragm dynamic driver (bass and lower mids)
- 1 x second-generation 30019 BA driver (upper mids and treble)
- Freq. Response: 20 Hz – 40 kHz
- Sensitivity: 110 dB/ mW @ 1 kHz
- Impedance: 40 Ω
- Connection: 0.78 mm, QDC
- Cable: 1.2 m 3.5 mm with or without microphone, 2 cores, silver-plated OCC (USB-C available)

What’s in the package?

The box is the usual KZ box, with the “No matter how luxurious the packaging can not change the inherent quality of the product…”, its front shows an image of the set and its driver configuration. The ZST Pro X sent to me is color black with a cable with a 3.5 mm single ended jack, but there’s also a silver color shells and a USB-C cable options available.

Simple and sufficient packaging by the way, consisting on the IEMs itself, 2 pair of the new wide bore KZ Starline eartips (S and M (installed) sizes), a warranty card, the cable that is 2 cores, with an 3.5 mm single ended 0.78 mm QDC connection, it feels thin and decent quality (at least is an improved one over the usual KZ cable included in the package of almost all of their IEMs), and it’s prone to tangle but not of producing translated vibrations.

The IEMs itself are made of ABS plastic in which you can look the dynamic driver inside and, in the nozzle, the custom 2nd gen BA driver, with metal faceplates with some shiny accents, 3 little vents and one vent with a mesh in the lower part.

The shells are kind of lightweight, and seems that is not prompt to scratches. Doesn’t have rough or sharp edges, its nozzle it’s plastic and has a lip to assure good eartips grip and fit, making a nice seal as well, but its medium to large size diameter (6.2 mm) is not the best option for persons with small ears, so keep that in mind.

Eartips and cable used:

Honestly, I don’t find the included new starline eartips a good fit for the ZST Pro X because those eartips are thin and don’t make a good seal in the ears. So, I was using some KBEar coffee clone eartips, but later change them to some KBEar 07 eartips finding the best sound synergy, fit and seal.

The included cable is fine to use it as it is, but I changed it to a QKZ T1 cable, and a 3.5 mm jack, finding it matches perfectly with the ZST Pro X shells.

How the ZST Pro X sounds?

The ZST Pro X with its 10 mm super-linear ‘Zenith’ dynamic driver + 1 2nd-gen 30019 BA driver configuration offers a mild V/U-shaped tuning, that is bassy but pretty balanced, warm, with a smoothed yet refined treble.

Thanks to Jaytiss for his measurements of this set. No equalization was used in the review of this IEM.

BASS:

The ZST Pro X comes with a more than good quantity and quality on the bass shelf, with decent subbass thump, extension, and great midbass slam; great resolution and transparency, with a remarkable attack and impact. As a mild U / V-shaped tuned IEM, its midbass bleeds into the lower mids.

In songs like “SYNC.wav” by Moodring, from the Stargazer album, is shown that nice bass impact, with greatly delivered drum kicks and bass guitar by the ZST Pro X, it sounds totally clean and clear.

In songs like “Pink Cellphone” by Deftones, from the Saturday Night Wrist album, the groovy and smooth bass drops in the mix is perfectly sounding thanks to the ZST Pro X, with zero bloating and great impact and a natural decay.

MIDS:

Talking about the mids on the ZST Pro X, midbass bleeds into the lower mids, the male vocals are recessed, but nor veiled nor thin. The midrange has a more than decent note weight thanks to the ‘Zenith’ dynamic driver.

In songs like “Nothing Sacred” by Paradise Lost, from the controversial (but my favorite) album Host, the ZST Pro X shows us that character the ‘Zenith’ driver has, the groovy drumming is nicely heard, the rhythmic electric guitars, and the main vocals are emotional yet powerful presented.

The FR curve in the ZST Pro X takes a dip who goes to 700 Hz approximately, then it enters a warm pinna gain encountering its first peak at 2.5 kHz, later descending smoothly to be merged with the lower treble, showing great presence, transparency and a more than average resolution. Female vocals are forwarded, and, at high volumes they are not shouty nor fatiguing.

In songs like the pop hit “Vogue” by Madonna, from her I’m Breathless album, the incredible Madonna’s vocals in the ZST Pro X shows why she is the Queen of POP, and the keyboards, electronic drums and samples in the song are there.

HIGHS:

The ZST Pro X has a refined treble; it is crisp and sharp but not spicy (and I like that a lot). The lower treble goes descending from the upper midrange to take a dip in 6 kHz and 10 kHz to handle the sibilance almost perfectly, elevating to a very energetic peak at 8 kHz. The 30019 BA driver does a more than decent job in it, with more than average resolution and a natural timbre without that ‘cheap BA’ sheen.

In songs like “King of Those Who Know” by Cynic, from their masterpiece album Traced in Air, the ZST Pro X shows that refined treble implementation, the prog death metal drumming with jazzy sauce, keyboards and guitars are delivered with a smile on my face, and zero fatigue at high volume.

In “Believe” by Control Denied, from their first and only released album The Fragile Art of Existence, the constant and magnificent drum work by Richard Christy, the guitars by the great and only Chuck Schuldiner, all of this are shown fantastically by the ZST Pro X, with that 30019 BA driver making featuring its well-crafted tuning.

TECHNICAL CAPACITIES:

Going into the upper highs, the ZST Pro X takes a smoother approach, with an open and decently air display, you can use this IEM at high volumes without fatigue in long sessions.

In the technicalities, the ZST Pro X is an IEM who punches above its weight, with an expansive soundstage, with good horizontality and depth. The imaging and layering of instruments are also more than average; the ZST Pro X is not an analytical snoozefest but a musical, engaging and detailed beauty, giving you some technical perks, with a pretty natural timbre**.** 

Now, in live songs like “Chalice of Blood (Live)” by Forbidden, from the Raw Evil: Live at the Dynamo, you can get all the details in the track, not congested, distinguishing the instruments is possible, the ZST Pro X can immerse you in the thrash legends concert.

In “No Quarter (Live at MSG 1973)” by Led Zeppelin, in the The Song Remains the Same live album, the ZST Pro X can show you a full display of macro and microdetails, Page, Bonham, Plant, all of them are heard perfectly, the balanced and natural tonality heard is more than great.

Comparisons:

KZ ZST Pro X vs. CCA Xyrra:

The Xyrra is a relatively new IEM driven by a 1 10 mm DD + 1 30118 BA configuration. In comparison, the Xyrra’s bass is a bit more focused on the midbass than the subbass, it also is more V-shaped tuned than the ZST Pro X, with drier upper mids, a more energetic treble and airier, it also is pretty spicy at mid-to high volumes, so you are getting fatigued faster than in the ZST Pro X.

Something I noticed in the Xyrra is that distinguishable BA timbre and unnaturalness, unlike the 30019 BA in the ZST Pro X and its smooth and natural treble delivery, so, I’m more inclined to the ZST Pro X tonality. The Xyrra is a wonderful IEM, but the ZST Pro X is a better all-rounder set.

KZ ZST Pro X vs. Gk Streak:

The Gk Streak is a new IEM by GK, driven by a 1 10 mm ‘KUN’ DD + 1 MPD configuration. In comparison, the ZST Pro X is bassier, and the Streak has a bit less energetic upper mids and treble than in the ZST Pro X.

The MPD in the Streak is well-implemented, having a natural timbre but smoother than in the ZST Pro X; it’s less spicy and less prone to sibilance at high-volumes in contrast to the ZST Pro X, who has a more crisp and sharp treble, but less upper treble extension than in the Streak. This time I can’t choose one of another, both are excellent IEMs, you can’t go wrong with both.

KZ ZST Pro X vs. KZ Duonic Bass:

The KZ Duonic Bass is another hybrid set by KZ, who’s replacing the Castor and Castor Pro line of IEMS, driven by a 1 8 mm DD + 1 8 mm ‘Tri-Magnetic’ Planar Driver, so, it uses a MPL instead of a BA as in the ZST Pro X. The Duonic Bass has a bit less subbass than the ZST Pro X; it has a bit less warm upper mids, but a more ‘Harman’ and similarly energetic treble, it also is airier and more open than the ZST Pro X.

That pseudo-planar in the Duonic Bass is a very good implementation, with a natural timbre as the 30019 BA on the ZST Pro X so, it is a matter of tuning preferences. I’m more inclined to the ZST Pro X by a bit, just for that ‘Zenith’ dynamic driver implementation, but I also love the tuning of the Duonic Bass. Again, you can’t go wrong with both.   ​

Final thoughts and conclusions:

The ZST Pro X is a fantastic option in the budget-oriented sub 25 USD market of IEMs, delivering a bassy, musical and engaging, crisp and sparkly tuning, with more than average technical capacities, with a refined character that make a stand in a crowded and very competitive segment.

The ZST Pro X, with its 40 ohms of impedance a 110 dB of sensitivity it’s easy to drive, even with low powered sources to give all its qualities; the option with the DSP cable is a well-received thing, because you can use it without looking for an additional source.

I tried it with mostly all the sources I have, encountering it being a hybrid set, it benefits of being paired with neutral and slightly warm sources, not requiring too much output power to shine at its best. However, I modified the QKZ T1 cable by changing the single-ended 3.5 mm jack to a balanced 4.4 mm jack, finding that the ZST Pro X scales adequately, with a little more openness and soundstage feeling, as well as more refined treble.

Apart from the included eartips (I prefer the old and well-known KZ starline eartips), I would like for KZ and KeepHiFi to sell the ZST Pro X with a carrying pouch or case as the CCA Phoenix or the TRN Conch. So, I guess KZ is pulling all the money in the earphones themselves.

Its remarkable bass quantity and quality, and its musical more than analytical tonality make it ideal for listeners who appreciate an engaging yet decently technical audio experience on a budget.

At under 25 USD, the ZST Pro X it’s not a market disruptor, but is one of the best choices for budget-conscious audiophiles and newcomers who crave a high-fidelity experience without spending a lot.

It is a recommendation: The KZ ZST Pro X presents itself as a more than competitive option, with its musical yet refined tonality and technical perks that can be perfect to both seasoned audiophiles seeking the best value and beginners entering the hobby. So, thanks again to KeepHiFi and KZ, and the gods of audio and musicophilia bless you with a happy listening!

First, a big shoutout to Jessie from HIDIZS for providing me with this set, however, they are not giving me any payment or script to follow, allowing me to deliver an honest and sincere review. The only biases at play are my tuning and music preferences.

Introduction: 

The HIDIZS My Lin is the soon-to-be launched IEM by HIDIZS, an iteration over its previous model the MS2 Pro, a very interesting hybrid set consisted on 1 DD + 1 BA. Inspired the Ruo Xue Lin character, with a different tuning, different design, what else?

Following the success of the MK12 Turris, MP145 and MP145 Pro, the HIDIZS My Lin is another addition to the lineup. It features a 10.2 mm PU+PEEK with DLC-coating dynamic driver and a Silvercore™ Balanced Armature driver. With an offering of 3 types of tuning nozzles to personalize the sound profile.

With an MSRP of $129 USD (Currently at 89 USD for the first 100 units, and 99 USD for a limited time at launch, and with a 3.5 mm singled ended or a 4.4 mm balanced cable available), the My Lin is going to be launched the 12th of May.

You can find it at the HIDIZS Official web: https://www.hidizs.net/products/hidizs-my-lin-special-edition-1ba-1dd-hybrid-hifi-in-ear-monitors, as well as at other online retailers.

TL; DR: A new hybrid IEM in the under 130 USD segment from Hidizs. With a more balanced, and warm, yet vocals focused tonality, pointing more to the musicality than the technical proficiency. With various customization options, some tasty accessories, and a tasty character, the My Lin puts the ‘special’ in an iteration and re-tuning over a successful formula bring by Hidizs with the MS2 Pro. It’s more a sidegrade than an upgrade, yet delivers a huge amount of joy when you are listening music with it, all of this for an affordable price.

Pros:

- Comfortable and ergonomic shells despite their weight

- Robust zinc alloy construction using CNC machining

- Powerful, well-extended and impactful, and well-controlled bass

- Neutral/warm, soft and musical sound profile

- Focused on female voices, but without stridency

- Crisp highs without harshness or auditory fatigue

- Good technical performance for its price. Above-average imaging, layering of instruments. Sufficiently wide soundstage

- Adjustment nozzles work for correct sound customization

- Easy to drive and scales nicely with more powerful sources

Cons:

- The stock cable tends to get tangled

- Earpieces are somewhat heavy

- Slight bleeding from mid-bass to low mids, male vocals may sound slightly recessed

- The timbre of the balanced armature transducer becomes a bit artificial at high volume

- The treble is not the most detailed or extended

- Soundstage depth is average

- Original ear tips may not provide the best fit for everyone

Technical specifications:

Dynamic Driver: 10.2mm PU+PEEK DLC coating diaphragm dynamic driver

Balance Armature Driver: HIDIZS Silvercore™ BA driver

Housing:  ZA12 Zinc Alloy Integrated Molding

Tuning Nozzles: 3 Pneumatic Sound Tuning Filters **(**High Frequency, Balanced, Low

Frequency)

Frequency Response: 20 Hz – 40 kHz

Sensitivity: 111 dB

Impedance: 17 Ω

Cable: High-purity Oxygen-free Copper twisted pair Wire, Length 1.2m

Earphone Connector: 0.78mm 2-pin Gold-plated Connector

Plug: 3.5mm/4.4mm Gold-plated Plug Cable

Weight: Approx.26g (excl. cable)

Packaging:

· 2x HIDIZS My Lin earphones
· 1x User manual
· 1x Warranty card
· 1x My Lin acrylic stand
· 1x Set of My Lin stickers
· 1x My Lin cleaning cloth
· 1x Carrying pouch
· 1x 0.78mm 2 pins 0.78 mm 2 strands twisted pair cable with 4.4 mm balanced jack
· 3x Pairs of High Frequency, Balanced (installed), Low Frequency tuning nozzles

· 6x Pairs of eartips (SML sizes, 3 pairs of balanced bore eartips, 3 pairs of narrow bore eartips)

The My Lin’s cable this time it’s different from the cable included with the MS2 Pro, it’s thicker, so well-crafted, and it is flexible; still prone to tangle, but doesn’t produce translated vibrations, and finally, it pairs nicely with the shells.

The shells are crafted from CNC machined Zinc alloy, with the same design as the MS2 Pro, offering a well-done construction. They are into the heavy side (13 gr for each earpiece), but are ergonomic, evading the fatigue in long sessions. The faceplate features a resin texture with a carbon fiber unique design, and a vent to release pressure. The 6mm diameter nozzle is comfortable in my ears, but, as I always say: see if it fit you.

How the My Lin sounds:

The My Lin, equipped with a configuration of a 10.2 mm PU + PEEK DLC coated dynamic driver + 1 custom Balanced Armature driver, follows according to Hidizs the Harman 2019 target curve, it is a mild V-shaped tuned set.

For this review, in comparison with the MS2 Pro I reviewed a while ago, I’m using the stock cable, but I recommend you to change if it fits you better. I’m using the stock balanced eartips but later changed them to some Penon Liqueur Orange eartips to get a better seal and fit.

I’m using the Red (Balanced) nozzles, to later comparing it with the MS2 Pro ‘stock’ settings. Regarding the other tuning nozzles (Black: bass, and White: mids and treble), the tuning nozzles change the upper midrange and lower highrange balanced with the bass, however, based on my tastes, the stock Red aligns with them. Thanks to DucBloke for graphing the My Lin in all its configurations, and the MS2 Pro for the comparison.

BASS:

The My Lin features a punchy and quality bass shelf, with a decent subbass thump and midbass kick in all the nozzles. It is clean, sufficiently fast, well resolving, with a natural decay and dynamics, and nicely extended into the lower frequencies. The midbass bleed into the lower midrange, but avoids unnaturalness in male vocals.

In tracks like “PRIDE.” by Kendrick Lamar, from his DAMN. album, the My Lin shows a nice impact in the bass kick and bass guitar, who never overwhelms other frequencies. In songs like “Bloody Well Right” by John Helliwell, in his John Helliwell’s Super Big Tramp Band album, are a sample in how the **My Lin’**s bass delivery is of a more than decent quality, sound natural, with good potency, transparency and resolution.

MIDS:

As mentioned earlier, in the My Lin the midbass slightly bleeds into the lower midrange, so male vocals are a bit recessed, but remain clear, neither muddy nor thin. As a mild V-shaped tuned set, there is a dip in the midrange who at the 800 Hz elevates into a warm and smooth pinna gain offering good transparency and presence, and it is well-resolving. You can get different upper midrange responses according to the nozzle selected.

Female vocals are forwarded, showing the focus of this set, but not shouty nor fatiguing at mid to high volume. In “What You Waiting For?” by Gwen Stefani, in her Love.Angel.Music.Baby. album, the groove of the pop single are well mixed with the Gwen Stefani vocals with good grace. Now, in songs like “nihilist blues (feat. Grimes)” by Bring Me the Horizon, from the amo album, the My Lin presents female and male vocals being the center of the catchy track.

TREBLE:

The focus of the My Lin is not in the highrange, but it has a well-putted 6 kHz and 10 kHz dips to tame sibilance, balancing that mid-treble 5 and 8 kHz giving energy to the music. The treble here is decently clean, crisp, and sharp, yet avoids spicy at high volumes.

In ***“***The End is Not the End” by Atreyu, from their new album The End is Not the End, the My Lin reproduces perfectly the fast drumming by Brandon Saller, capturing those hi-hats and cymbals so nicely and zero harshness. In song like “Growing Numb” by Death by Stereo, in their Black Sheep of the American Dream album, the My Lin shows that is focus is not in the highrange, yet delivering crispness and a sharp treble who don’t fatigue you at high volume.

Technical Capacity:

In the My Lin the upper treble extends following the Harman 2019 target, with a bit more air than in the MS2 Pro, it doesn’t feel so open. The soundstage feels expansive enough, wider than depth.

In “Cloud Connected (Live)” by In Flames, in the Songs from the Hearth of Gothenburg (Live) album, the My Lin creates an immersive experience, the macro and microdetails are presented with impressive clarity, but at high volumes the BA timbre feels a bit unnatural.

The My Lin has more than average resolution, with an instrumental separation who punches above its weight, and good layering of instruments. In complex and fast songs like “(sic) (Live)” by Slipknot, from the Day of the Gusano (Live) album, the My Lin delivers a zero congestion or bloated mix, every instrument and vocals immerses you into the concert.

COMPARISONS:

Hidizs My Lin vs. Hidizs MS2 Pro:

Sharing the same housing design and driver configuration, the MS2 Pro is a 1 DD + 1 BA driver configuration IEM. With a MSRP of 99 USD it’s also a V-shaped tuned set launched back in 2025.

The MS2 Pro has a bit less bass than the My Lin, but its upper midrange and highrange sound less warm, sharper and crispier, and more analytical than musical in comparison to the My Lin, it also has a bit less upper treble air and open feeling than the My Lin, who sounds more relaxed in the mids and treble, more focused in vocals and airier and more open. So, it’s a matter of what fits more into your tastes, because I’m going between both and loving what they offer and how sounds so similar and different at the same time.

Hidizs My Lin vs. Tanchjim Fission:

The Fission is a 1 DD configured IEM with the DMT5 tech, and you can get it at 129.99 USD MSRP. With a similar price to the My Lin but with the Tanchjim house sound, it has a very different tuning approach.

The Fission has considerably less bass than the My Lin, but it’s still a quality one, it’s less warm and don’t have the upper midrange bump at 2.5 kHz and peak at 4.5 kHz, but a peak at 3 kHz who dips into the 6 kHz region and tames sibilance. The Fission also has more air and overall upper treble extension than the My Lin.

What tuning is more engaging and musical? Both are more musical and engaging, but the Fission is more an all-rounder than the My Lin, who of course is more vocal focused, but bassier and more balanced. I’m a bit more inclined to the Fission tuning, but with both sets you can’t go wrong.

Hidizs My Lin vs. TRN Whale Shark:

The Whale Shark is a 3 DD + 1 Planar configured set with an MSRP of 129.99 USD. This time the Whale Shark is a mild V-shaped tuned set. With a similar approach to the MS2 Pro but a different sound character than it and the My Lin, the Whale Shark is a big fish in the sea.

The Whale Shark also has 3 tuning nozzles, and what’s the difference with the My Lin? It has also the same bass and lower midrange approach, but the Whale Shark bass has more weight and impact in the bass, a less noticeable peak but at 4 kHz, a more profound dip at 6 kHz to tame sibilance but a more energetic mid highrange and upper treble extension.

The Whale Shark is a ‘funalytical’ set who has a musical yet technical tuning, with less focus on vocals in comparison to the My Lin, and perhaps it is pointed towards a more audiophile public than the My Lin. I’m a bit more inclined to the Whale Shark tuning, but still considering the My Lin to listen to all the female vocalists in my music library, and of course, to have a more relaxing music listening.  

Hidizs My Lin vs. Kefine Quatio:

In this case the Kefine Quatio (129.99 USD MSRP) with its 2 DD + 2 BA configuration has a U / V-shaped tuning, and similar to the My Lin goes towards the Harman 2019 target. The Quatio has a more midbass than subbass predominancy, lower midrange recession, warmer upper midrange, less peaky lower highrange and a bit less energetic mid higrange.

The Quatio is as the My Lin a more musical than technical tuned set, but its macro and microdetail retrieval is more than average; now, the Quatio feels less bright and less prone to sibilance with spicy tracks than the My Lin.

This is a matter of tuning tastes, with me preferring by a bit the Quatio, but going between both sets to enjoy the different music artist in my collection. The My Lin is an excellent set, who trades blows with the Quatio, so, choose the one who fits more into your needs and tastes.

Closing thoughts and conclusions:

The Hidizs My Lin is more than just another contender in the sub 130 USD segment, it offers a different tuning over the MS2 Pro, with an engaging, musical and vocal focused character, with great bass extension, a natural and warm sound, and a smooth treble and upper treble extension.

This time, it’s not just a “re-shell and put some fancy stuff” to charge more for a product, but a different take on a set who was an analytical beast, who can work for an immense public who loves the vocals and instrumental part of music than going close to the sun in the highs to hear all the microdetails you can hear.

I would like an even better and thicker cable, but the stock one is pretty fine for it. Maybe I’ll like for Hidizs to include a carrying case instead of the well-known carrying pouch, and a better eartips selection (Like the brand’s Sea Anemone eartips, included in more premium sets like the MK12 Turris and the MP145 Pro), but if you don’t have some aftermarket eartips at the moment, the stock ones can work with it.

The My Lin, with its 111 dB of sensitivity and 17 ohms of impedance, is very easy to drive, even from a low powered source. But, using it with a balanced output, it benefits from more quality and/or powerful sources to scale and shows its best character.

Would I recommend it? If you are looking with a set with a vocal focus, yes! The Hidizs My Lin is one perfect option in its price segment (under 130 USD). It delivers a high-quality and enough quantity of bass, warm and well-tuned mids, smooth yet crisp treble and good upper treble extension.

As always, I’m very thankful with Hidizs for providing me with this IEM, allowing me to test it, enjoy it, and gather the experience and thoughts needed to recommend it. This is a product that deserves a great recognition when it launches soon. And of course, thank you, dear reader, for checking out my review. Happy listening!

First, a big shoutout to Jessie from HIDIZS for providing me with this set, however, they are not giving me any payment or script to follow, allowing me to deliver an honest and sincere review. The only biases at play are my tuning and music preferences.

Introduction: 

The HIDIZS My Lin is the soon-to-be launched IEM by HIDIZS, an iteration over its previous model the MS2 Pro, a very interesting hybrid set consisted on 1 DD + 1 BA. Inspired the Ruo Xue Lin character, with a different tuning, different design, what else?

Following the success of the MK12 Turris, MP145 and MP145 Pro, the HIDIZS My Lin is another addition to the lineup. It features a 10.2 mm PU+PEEK with DLC-coating dynamic driver and a Silvercore™ Balanced Armature driver. With an offering of 3 types of tuning nozzles to personalize the sound profile.

With an MSRP of $129 USD (Currently at 89 USD for the first 100 units, and 99 USD for a limited time at launch, and with a 3.5 mm singled ended or a 4.4 mm balanced cable available), the My Lin is going to be launched the 12th of May.

You can find it at the HIDIZS Official web: https://www.hidizs.net/products/hidizs-my-lin-special-edition-1ba-1dd-hybrid-hifi-in-ear-monitors, as well as at other online retailers.

TL; DR: A new hybrid IEM in the under 130 USD segment from Hidizs. With a more balanced, and warm, yet vocals focused tonality, pointing more to the musicality than the technical proficiency. With various customization options, some tasty accessories, and a tasty character, the My Lin puts the ‘special’ in an iteration and re-tuning over a successful formula bring by Hidizs with the MS2 Pro. It’s more a sidegrade than an upgrade, yet delivers a huge amount of joy when you are listening music with it, all of this for an affordable price.

Pros:

- Comfortable and ergonomic shells despite their weight

- Robust zinc alloy construction using CNC machining

- Powerful, well-extended and impactful, and well-controlled bass

- Neutral/warm, soft and musical sound profile

- Focused on female voices, but without stridency

- Crisp highs without harshness or auditory fatigue

- Good technical performance for its price. Above-average imaging, layering of instruments. Sufficiently wide soundstage

- Adjustment nozzles work for correct sound customization

- Easy to drive and scales nicely with more powerful sources

Cons:

- The stock cable tends to get tangled

- Earpieces are somewhat heavy

- Slight bleeding from mid-bass to low mids, male vocals may sound slightly recessed

- The timbre of the balanced armature transducer becomes a bit artificial at high volume

- The treble is not the most detailed or extended

- Soundstage depth is average

- Original ear tips may not provide the best fit for everyone

Technical specifications:

Dynamic Driver: 10.2mm PU+PEEK DLC coating diaphragm dynamic driver

Balance Armature Driver: HIDIZS Silvercore™ BA driver

Housing:  ZA12 Zinc Alloy Integrated Molding

Tuning Nozzles: 3 Pneumatic Sound Tuning Filters **(**High Frequency, Balanced, Low

Frequency)

Frequency Response: 20 Hz – 40 kHz

Sensitivity: 111 dB

Impedance: 17 Ω

Cable: High-purity Oxygen-free Copper twisted pair Wire, Length 1.2m

Earphone Connector: 0.78mm 2-pin Gold-plated Connector

Plug: 3.5mm/4.4mm Gold-plated Plug Cable

Weight: Approx.26g (excl. cable)

Packaging:

· 2x HIDIZS My Lin earphones
· 1x User manual
· 1x Warranty card
· 1x My Lin acrylic stand
· 1x Set of My Lin stickers
· 1x My Lin cleaning cloth
· 1x Carrying pouch
· 1x 0.78mm 2 pins 0.78 mm 2 strands twisted pair cable with 4.4 mm balanced jack
· 3x Pairs of High Frequency, Balanced (installed), Low Frequency tuning nozzles

· 6x Pairs of eartips (SML sizes, 3 pairs of balanced bore eartips, 3 pairs of narrow bore eartips)

The My Lin’s cable this time it’s different from the cable included with the MS2 Pro, it’s thicker, so well-crafted, and it is flexible; still prone to tangle, but doesn’t produce translated vibrations, and finally, it pairs nicely with the shells.

The shells are crafted from CNC machined Zinc alloy, with the same design as the MS2 Pro, offering a well-done construction. They are into the heavy side (13 gr for each earpiece), but are ergonomic, evading the fatigue in long sessions. The faceplate features a resin texture with a carbon fiber unique design, and a vent to release pressure. The 6mm diameter nozzle is comfortable in my ears, but, as I always say: see if it fit you.

How the My Lin sounds:

The My Lin, equipped with a configuration of a 10.2 mm PU + PEEK DLC coated dynamic driver + 1 custom Balanced Armature driver, follows according to Hidizs the Harman 2019 target curve, it is a mild V-shaped tuned set.

For this review, in comparison with the MS2 Pro I reviewed a while ago, I’m using the stock cable, but I recommend you to change if it fits you better. I’m using the stock balanced eartips but later changed them to some Penon Liqueur Orange eartips to get a better seal and fit.

I’m using the Red (Balanced) nozzles, to later comparing it with the MS2 Pro ‘stock’ settings. Regarding the other tuning nozzles (Black: bass, and White: mids and treble), the tuning nozzles change the upper midrange and lower highrange balanced with the bass, however, based on my tastes, the stock Red aligns with them. Thanks to DucBloke for graphing the My Lin in all its configurations, and the MS2 Pro for the comparison.

BASS:

The My Lin features a punchy and quality bass shelf, with a decent subbass thump and midbass kick in all the nozzles. It is clean, sufficiently fast, well resolving, with a natural decay and dynamics, and nicely extended into the lower frequencies. The midbass bleed into the lower midrange, but avoids unnaturalness in male vocals.

In tracks like “PRIDE.” by Kendrick Lamar, from his DAMN. album, the My Lin shows a nice impact in the bass kick and bass guitar, who never overwhelms other frequencies. In songs like “Bloody Well Right” by John Helliwell, in his John Helliwell’s Super Big Tramp Band album, are a sample in how the **My Lin’**s bass delivery is of a more than decent quality, sound natural, with good potency, transparency and resolution.

MIDS:

As mentioned earlier, in the My Lin the midbass slightly bleeds into the lower midrange, so male vocals are a bit recessed, but remain clear, neither muddy nor thin. As a mild V-shaped tuned set, there is a dip in the midrange who at the 800 Hz elevates into a warm and smooth pinna gain offering good transparency and presence, and it is well-resolving. You can get different upper midrange responses according to the nozzle selected.

Female vocals are forwarded, showing the focus of this set, but not shouty nor fatiguing at mid to high volume. In “What You Waiting For?” by Gwen Stefani, in her Love.Angel.Music.Baby. album, the groove of the pop single are well mixed with the Gwen Stefani vocals with good grace. Now, in songs like “nihilist blues (feat. Grimes)” by Bring Me the Horizon, from the amo album, the My Lin presents female and male vocals being the center of the catchy track.

TREBLE:

The focus of the My Lin is not in the highrange, but it has a well-putted 6 kHz and 10 kHz dips to tame sibilance, balancing that mid-treble 5 and 8 kHz giving energy to the music. The treble here is decently clean, crisp, and sharp, yet avoids spicy at high volumes.

In ***“***The End is Not the End” by Atreyu, from their new album The End is Not the End, the My Lin reproduces perfectly the fast drumming by Brandon Saller, capturing those hi-hats and cymbals so nicely and zero harshness. In song like “Growing Numb” by Death by Stereo, in their Black Sheep of the American Dream album, the My Lin shows that is focus is not in the highrange, yet delivering crispness and a sharp treble who don’t fatigue you at high volume.

Technical Capacity:

In the My Lin the upper treble extends following the Harman 2019 target, with a bit more air than in the MS2 Pro, it doesn’t feel so open. The soundstage feels expansive enough, wider than depth.

In “Cloud Connected (Live)” by In Flames, in the Songs from the Hearth of Gothenburg (Live) album, the My Lin creates an immersive experience, the macro and microdetails are presented with impressive clarity, but at high volumes the BA timbre feels a bit unnatural.

The My Lin has more than average resolution, with an instrumental separation who punches above its weight, and good layering of instruments. In complex and fast songs like “(sic) (Live)” by Slipknot, from the Day of the Gusano (Live) album, the My Lin delivers a zero congestion or bloated mix, every instrument and vocals immerses you into the concert.

COMPARISONS:

Hidizs My Lin vs. Hidizs MS2 Pro:

Sharing the same housing design and driver configuration, the MS2 Pro is a 1 DD + 1 BA driver configuration IEM. With a MSRP of 99 USD it’s also a V-shaped tuned set launched back in 2025.

The MS2 Pro has a bit less bass than the My Lin, but its upper midrange and highrange sound less warm, sharper and crispier, and more analytical than musical in comparison to the My Lin, it also has a bit less upper treble air and open feeling than the My Lin, who sounds more relaxed in the mids and treble, more focused in vocals and airier and more open. So, it’s a matter of what fits more into your tastes, because I’m going between both and loving what they offer and how sounds so similar and different at the same time.

Hidizs My Lin vs. Tanchjim Fission:

The Fission is a 1 DD configured IEM with the DMT5 tech, and you can get it at 129.99 USD MSRP. With a similar price to the My Lin but with the Tanchjim house sound, it has a very different tuning approach.

The Fission has considerably less bass than the My Lin, but it’s still a quality one, it’s less warm and don’t have the upper midrange bump at 2.5 kHz and peak at 4.5 kHz, but a peak at 3 kHz who dips into the 6 kHz region and tames sibilance. The Fission also has more air and overall upper treble extension than the My Lin.

What tuning is more engaging and musical? Both are more musical and engaging, but the Fission is more an all-rounder than the My Lin, who of course is more vocal focused, but bassier and more balanced. I’m a bit more inclined to the Fission tuning, but with both sets you can’t go wrong.

Hidizs My Lin vs. TRN Whale Shark:

The Whale Shark is a 3 DD + 1 Planar configured set with an MSRP of 129.99 USD. This time the Whale Shark is a mild V-shaped tuned set. With a similar approach to the MS2 Pro but a different sound character than it and the My Lin, the Whale Shark is a big fish in the sea.

The Whale Shark also has 3 tuning nozzles, and what’s the difference with the My Lin? It has also the same bass and lower midrange approach, but the Whale Shark bass has more weight and impact in the bass, a less noticeable peak but at 4 kHz, a more profound dip at 6 kHz to tame sibilance but a more energetic mid highrange and upper treble extension.

The Whale Shark is a ‘funalytical’ set who has a musical yet technical tuning, with less focus on vocals in comparison to the My Lin, and perhaps it is pointed towards a more audiophile public than the My Lin. I’m a bit more inclined to the Whale Shark tuning, but still considering the My Lin to listen to all the female vocalists in my music library, and of course, to have a more relaxing music listening.  

Hidizs My Lin vs. Kefine Quatio:

In this case the Kefine Quatio (129.99 USD MSRP) with its 2 DD + 2 BA configuration has a U / V-shaped tuning, and similar to the My Lin goes towards the Harman 2019 target. The Quatio has a more midbass than subbass predominancy, lower midrange recession, warmer upper midrange, less peaky lower highrange and a bit less energetic mid higrange.

The Quatio is as the My Lin a more musical than technical tuned set, but its macro and microdetail retrieval is more than average; now, the Quatio feels less bright and less prone to sibilance with spicy tracks than the My Lin.

This is a matter of tuning tastes, with me preferring by a bit the Quatio, but going between both sets to enjoy the different music artist in my collection. The My Lin is an excellent set, who trades blows with the Quatio, so, choose the one who fits more into your needs and tastes.

Closing thoughts and conclusions:

The Hidizs My Lin is more than just another contender in the sub 130 USD segment, it offers a different tuning over the MS2 Pro, with an engaging, musical and vocal focused character, with great bass extension, a natural and warm sound, and a smooth treble and upper treble extension.

This time, it’s not just a “re-shell and put some fancy stuff” to charge more for a product, but a different take on a set who was an analytical beast, who can work for an immense public who loves the vocals and instrumental part of music than going close to the sun in the highs to hear all the microdetails you can hear.

I would like an even better and thicker cable, but the stock one is pretty fine for it. Maybe I’ll like for Hidizs to include a carrying case instead of the well-known carrying pouch, and a better eartips selection (Like the brand’s Sea Anemone eartips, included in more premium sets like the MK12 Turris and the MP145 Pro), but if you don’t have some aftermarket eartips at the moment, the stock ones can work with it.

The My Lin, with its 111 dB of sensitivity and 17 ohms of impedance, is very easy to drive, even from a low powered source. But, using it with a balanced output, it benefits from more quality and/or powerful sources to scale and shows its best character.

Would I recommend it? If you are looking with a set with a vocal focus, yes! The Hidizs My Lin is one perfect option in its price segment (under 130 USD). It delivers a high-quality and enough quantity of bass, warm and well-tuned mids, smooth yet crisp treble and good upper treble extension.

As always, I’m very thankful with Hidizs for providing me with this IEM, allowing me to test it, enjoy it, and gather the experience and thoughts needed to recommend it. This is a product that deserves a great recognition when it launches soon. And of course, thank you, dear reader, for checking out my review. Happy listening!

First, a big shoutout to Jessie from HIDIZS for providing me with this set, however, they are not giving me any payment or script to follow, allowing me to deliver an honest and sincere review. The only biases at play are my tuning and music preferences.

Introduction: 

The HIDIZS My Lin is the soon-to-be launched IEM by HIDIZS, an iteration over its previous model the MS2 Pro, a very interesting hybrid set consisted on 1 DD + 1 BA. Inspired the Ruo Xue Lin character, with a different tuning, different design, what else?

Following the success of the MK12 Turris, MP145 and MP145 Pro, the HIDIZS My Lin is another addition to the lineup. It features a 10.2 mm PU+PEEK with DLC-coating dynamic driver and a Silvercore™ Balanced Armature driver. With an offering of 3 types of tuning nozzles to personalize the sound profile.

With an MSRP of $129 USD (Currently at 89 USD for the first 100 units, and 99 USD for a limited time at launch, and with a 3.5 mm singled ended or a 4.4 mm balanced cable available), the My Lin is going to be launched the 12th of May.

You can find it at the HIDIZS Official web: https://www.hidizs.net/products/hidizs-my-lin-special-edition-1ba-1dd-hybrid-hifi-in-ear-monitors, as well as at other online retailers.

TL; DR: A new hybrid IEM in the under 130 USD segment from Hidizs. With a more balanced, and warm, yet vocals focused tonality, pointing more to the musicality than the technical proficiency. With various customization options, some tasty accessories, and a tasty character, the My Lin puts the ‘special’ in an iteration and re-tuning over a successful formula bring by Hidizs with the MS2 Pro. It’s more a sidegrade than an upgrade, yet delivers a huge amount of joy when you are listening music with it, all of this for an affordable price.

Pros:

- Comfortable and ergonomic shells despite their weight

- Robust zinc alloy construction using CNC machining

- Powerful, well-extended and impactful, and well-controlled bass

- Neutral/warm, soft and musical sound profile

- Focused on female voices, but without stridency

- Crisp highs without harshness or auditory fatigue

- Good technical performance for its price. Above-average imaging, layering of instruments. Sufficiently wide soundstage

- Adjustment nozzles work for correct sound customization

- Easy to drive and scales nicely with more powerful sources

Cons:

- The stock cable tends to get tangled

- Earpieces are somewhat heavy

- Slight bleeding from mid-bass to low mids, male vocals may sound slightly recessed

- The timbre of the balanced armature transducer becomes a bit artificial at high volume

- The treble is not the most detailed or extended

- Soundstage depth is average

- Original ear tips may not provide the best fit for everyone

Technical specifications:

Dynamic Driver: 10.2mm PU+PEEK DLC coating diaphragm dynamic driver

Balance Armature Driver: HIDIZS Silvercore™ BA driver

Housing:  ZA12 Zinc Alloy Integrated Molding

Tuning Nozzles: 3 Pneumatic Sound Tuning Filters **(**High Frequency, Balanced, Low

Frequency)

Frequency Response: 20 Hz – 40 kHz

Sensitivity: 111 dB

Impedance: 17 Ω

Cable: High-purity Oxygen-free Copper twisted pair Wire, Length 1.2m

Earphone Connector: 0.78mm 2-pin Gold-plated Connector

Plug: 3.5mm/4.4mm Gold-plated Plug Cable

Weight: Approx.26g (excl. cable)

Packaging:

· 2x HIDIZS My Lin earphones
· 1x User manual
· 1x Warranty card
· 1x My Lin acrylic stand
· 1x Set of My Lin stickers
· 1x My Lin cleaning cloth
· 1x Carrying pouch
· 1x 0.78mm 2 pins 0.78 mm 2 strands twisted pair cable with 4.4 mm balanced jack
· 3x Pairs of High Frequency, Balanced (installed), Low Frequency tuning nozzles

· 6x Pairs of eartips (SML sizes, 3 pairs of balanced bore eartips, 3 pairs of narrow bore eartips)

The My Lin’s cable this time it’s different from the cable included with the MS2 Pro, it’s thicker, so well-crafted, and it is flexible; still prone to tangle, but doesn’t produce translated vibrations, and finally, it pairs nicely with the shells.

The shells are crafted from CNC machined Zinc alloy, with the same design as the MS2 Pro, offering a well-done construction. They are into the heavy side (13 gr for each earpiece), but are ergonomic, evading the fatigue in long sessions. The faceplate features a resin texture with a carbon fiber unique design, and a vent to release pressure. The 6mm diameter nozzle is comfortable in my ears, but, as I always say: see if it fit you.

How the My Lin sounds:

The My Lin, equipped with a configuration of a 10.2 mm PU + PEEK DLC coated dynamic driver + 1 custom Balanced Armature driver, follows according to Hidizs the Harman 2019 target curve, it is a mild V-shaped tuned set.

For this review, in comparison with the MS2 Pro I reviewed a while ago, I’m using the stock cable, but I recommend you to change if it fits you better. I’m using the stock balanced eartips but later changed them to some Penon Liqueur Orange eartips to get a better seal and fit.

I’m using the Red (Balanced) nozzles, to later comparing it with the MS2 Pro ‘stock’ settings. Regarding the other tuning nozzles (Black: bass, and White: mids and treble), the tuning nozzles change the upper midrange and lower highrange balanced with the bass, however, based on my tastes, the stock Red aligns with them. Thanks to DucBloke for graphing the My Lin in all its configurations, and the MS2 Pro for the comparison.

BASS:

The My Lin features a punchy and quality bass shelf, with a decent subbass thump and midbass kick in all the nozzles. It is clean, sufficiently fast, well resolving, with a natural decay and dynamics, and nicely extended into the lower frequencies. The midbass bleed into the lower midrange, but avoids unnaturalness in male vocals.

In tracks like “PRIDE.” by Kendrick Lamar, from his DAMN. album, the My Lin shows a nice impact in the bass kick and bass guitar, who never overwhelms other frequencies. In songs like “Bloody Well Right” by John Helliwell, in his John Helliwell’s Super Big Tramp Band album, are a sample in how the **My Lin’**s bass delivery is of a more than decent quality, sound natural, with good potency, transparency and resolution.

MIDS:

As mentioned earlier, in the My Lin the midbass slightly bleeds into the lower midrange, so male vocals are a bit recessed, but remain clear, neither muddy nor thin. As a mild V-shaped tuned set, there is a dip in the midrange who at the 800 Hz elevates into a warm and smooth pinna gain offering good transparency and presence, and it is well-resolving. You can get different upper midrange responses according to the nozzle selected.

Female vocals are forwarded, showing the focus of this set, but not shouty nor fatiguing at mid to high volume. In “What You Waiting For?” by Gwen Stefani, in her Love.Angel.Music.Baby. album, the groove of the pop single are well mixed with the Gwen Stefani vocals with good grace. Now, in songs like “nihilist blues (feat. Grimes)” by Bring Me the Horizon, from the amo album, the My Lin presents female and male vocals being the center of the catchy track.

TREBLE:

The focus of the My Lin is not in the highrange, but it has a well-putted 6 kHz and 10 kHz dips to tame sibilance, balancing that mid-treble 5 and 8 kHz giving energy to the music. The treble here is decently clean, crisp, and sharp, yet avoids spicy at high volumes.

In ***“***The End is Not the End” by Atreyu, from their new album The End is Not the End, the My Lin reproduces perfectly the fast drumming by Brandon Saller, capturing those hi-hats and cymbals so nicely and zero harshness. In song like “Growing Numb” by Death by Stereo, in their Black Sheep of the American Dream album, the My Lin shows that is focus is not in the highrange, yet delivering crispness and a sharp treble who don’t fatigue you at high volume.

Technical Capacity:

In the My Lin the upper treble extends following the Harman 2019 target, with a bit more air than in the MS2 Pro, it doesn’t feel so open. The soundstage feels expansive enough, wider than depth.

In “Cloud Connected (Live)” by In Flames, in the Songs from the Hearth of Gothenburg (Live) album, the My Lin creates an immersive experience, the macro and microdetails are presented with impressive clarity, but at high volumes the BA timbre feels a bit unnatural.

The My Lin has more than average resolution, with an instrumental separation who punches above its weight, and good layering of instruments. In complex and fast songs like “(sic) (Live)” by Slipknot, from the Day of the Gusano (Live) album, the My Lin delivers a zero congestion or bloated mix, every instrument and vocals immerses you into the concert.

COMPARISONS:

Hidizs My Lin vs. Hidizs MS2 Pro:

Sharing the same housing design and driver configuration, the MS2 Pro is a 1 DD + 1 BA driver configuration IEM. With a MSRP of 99 USD it’s also a V-shaped tuned set launched back in 2025.

The MS2 Pro has a bit less bass than the My Lin, but its upper midrange and highrange sound less warm, sharper and crispier, and more analytical than musical in comparison to the My Lin, it also has a bit less upper treble air and open feeling than the My Lin, who sounds more relaxed in the mids and treble, more focused in vocals and airier and more open. So, it’s a matter of what fits more into your tastes, because I’m going between both and loving what they offer and how sounds so similar and different at the same time.

Hidizs My Lin vs. Tanchjim Fission:

The Fission is a 1 DD configured IEM with the DMT5 tech, and you can get it at 129.99 USD MSRP. With a similar price to the My Lin but with the Tanchjim house sound, it has a very different tuning approach.

The Fission has considerably less bass than the My Lin, but it’s still a quality one, it’s less warm and don’t have the upper midrange bump at 2.5 kHz and peak at 4.5 kHz, but a peak at 3 kHz who dips into the 6 kHz region and tames sibilance. The Fission also has more air and overall upper treble extension than the My Lin.

What tuning is more engaging and musical? Both are more musical and engaging, but the Fission is more an all-rounder than the My Lin, who of course is more vocal focused, but bassier and more balanced. I’m a bit more inclined to the Fission tuning, but with both sets you can’t go wrong.

Hidizs My Lin vs. TRN Whale Shark:

The Whale Shark is a 3 DD + 1 Planar configured set with an MSRP of 129.99 USD. This time the Whale Shark is a mild V-shaped tuned set. With a similar approach to the MS2 Pro but a different sound character than it and the My Lin, the Whale Shark is a big fish in the sea.

The Whale Shark also has 3 tuning nozzles, and what’s the difference with the My Lin? It has also the same bass and lower midrange approach, but the Whale Shark bass has more weight and impact in the bass, a less noticeable peak but at 4 kHz, a more profound dip at 6 kHz to tame sibilance but a more energetic mid highrange and upper treble extension.

The Whale Shark is a ‘funalytical’ set who has a musical yet technical tuning, with less focus on vocals in comparison to the My Lin, and perhaps it is pointed towards a more audiophile public than the My Lin. I’m a bit more inclined to the Whale Shark tuning, but still considering the My Lin to listen to all the female vocalists in my music library, and of course, to have a more relaxing music listening.  

Hidizs My Lin vs. Kefine Quatio:

In this case the Kefine Quatio (129.99 USD MSRP) with its 2 DD + 2 BA configuration has a U / V-shaped tuning, and similar to the My Lin goes towards the Harman 2019 target. The Quatio has a more midbass than subbass predominancy, lower midrange recession, warmer upper midrange, less peaky lower highrange and a bit less energetic mid higrange.

The Quatio is as the My Lin a more musical than technical tuned set, but its macro and microdetail retrieval is more than average; now, the Quatio feels less bright and less prone to sibilance with spicy tracks than the My Lin.

This is a matter of tuning tastes, with me preferring by a bit the Quatio, but going between both sets to enjoy the different music artist in my collection. The My Lin is an excellent set, who trades blows with the Quatio, so, choose the one who fits more into your needs and tastes.

Closing thoughts and conclusions:

The Hidizs My Lin is more than just another contender in the sub 130 USD segment, it offers a different tuning over the MS2 Pro, with an engaging, musical and vocal focused character, with great bass extension, a natural and warm sound, and a smooth treble and upper treble extension.

This time, it’s not just a “re-shell and put some fancy stuff” to charge more for a product, but a different take on a set who was an analytical beast, who can work for an immense public who loves the vocals and instrumental part of music than going close to the sun in the highs to hear all the microdetails you can hear.

I would like an even better and thicker cable, but the stock one is pretty fine for it. Maybe I’ll like for Hidizs to include a carrying case instead of the well-known carrying pouch, and a better eartips selection (Like the brand’s Sea Anemone eartips, included in more premium sets like the MK12 Turris and the MP145 Pro), but if you don’t have some aftermarket eartips at the moment, the stock ones can work with it.

The My Lin, with its 111 dB of sensitivity and 17 ohms of impedance, is very easy to drive, even from a low powered source. But, using it with a balanced output, it benefits from more quality and/or powerful sources to scale and shows its best character.

Would I recommend it? If you are looking with a set with a vocal focus, yes! The Hidizs My Lin is one perfect option in its price segment (under 130 USD). It delivers a high-quality and enough quantity of bass, warm and well-tuned mids, smooth yet crisp treble and good upper treble extension.

As always, I’m very thankful with Hidizs for providing me with this IEM, allowing me to test it, enjoy it, and gather the experience and thoughts needed to recommend it. This is a product that deserves a great recognition when it launches soon. And of course, thank you, dear reader, for checking out my review. Happy listening!

First, a big shoutout to Betty from Simgot for giving me this set to make this review and to give it my sincere opinions and impressions. This review is unpaid, so the only bias at play is my musical and tuning preferences.

The Simgot ET142 is an IEM by the house of Simgot launched back in 2025, with a refined approach of using not only a Planar Driver but a PZT to handle the upper frequencies, competing with the other leaders in the planar driver IEMs space.

Now, the ET142 is an IEM, focused merely on not only the tuning but also in its technology, and offering multiple options to accommodate to different tastes and necessities. Driven by a 12.5 mm dual-magnetic planar driver + multi-layer piezoelectric ceramic driver, it’s clear that premium quality sound can be achieved without spending a big chunk of money.

TDLR; Simgot presents the ET142, a fantastic hybrid (Planar + PZT) IEM that delivers a neutral and bright sound with a well-putted quality and quantity of bass to balance, in a display of technical distinction, a refined tonality overall, with more than 4 sound firms to personalize the sound to your tastes; accompanied with a premium packaging, with a first-class cable, great selection of eartips included and a beautiful carrying case; making it a very valuable option for audiophiles, while keeping an accessible price.

Pros

• Premium modular cable (Simgot LC7) - (2 pins 0.78 mm, 3.5 mm + 4.4 mm) with excellent ergonomics and zero microphonics

• Premium built CNC aluminum shells; ergonomic despite their weight

• Interchangeable nozzles allow for great flexibility of tuning

• Coherent tuning: neutral-bright, mild V-shaped, musically and technically flawless

• Clean, fast, extended planar bass with good impact and control

• High-resolution mids with great note weight and transparency

• Crisp, extended treble with controlled sibilance

• Wide soundstage, impressive stereo separation and layering of instruments

• Easy to drive; Improves significantly with higher quality sources

Cons:

• Shiny metal shells attract fingerprints and are prone to microscratches

• Shell weight can be bothersome for some users during extended sessions

• Slight bleeding from the midbass to the lower mids

• The energy of the upper mids, lower and mid treble can be fatiguing at high volumes.

• Occasional artificial timbre of the PZT driver at high volume (especially on cymbals and hi-hats)

You can get a Simgot ET142 at a MSRP of 249.99 USD (Usually less on sale), and you can get it at Linsoul: https://www.linsoul.com/products/simgot-et142, Linsoul official store in Amazon and Aliexpress, and other stores online.

Technical specifications:
- Driver Type:
   - 12.5 mm Planar Magnetic Driver.
   - Piezoelectric ceramic driver.
- Casing Material: CNC-machined one-piece aluminum alloy.
- Frequency Response: 8 Hz - 40 kHz.
- Sensitivity: 118dB/Vrms (@ 1kHz).
- Impedance: 14Ω ±15% (@ 1kHz).
- THD: < 0.05 %.
- Tuning filters: Titanium, Gold-plated copper, Stainless steel (Red and Black).
- Cable: 732-core mixed oxygen-free copper & silver-plated Litz.
- Jack connector: SE 3.5 mm and balanced 4.4 mm (modular).
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.

What comes in its package?

· Simgot ET142 earpieces x 2
· User manual and QC card
· 10 pairs of eartips SML sizes:
   o 3 x pairs of narrow bore (orange core)
   o 4 x pairs of wide bore (black core)
   o 3 x pairs of balanced bore (black core)
· 4 pairs of tuning nozzles:
   o Blazed Titanium (‘Stock’)
   o Gold-plated copper (Highs enhanced)
   o Stainless steel (Red: Bass, relaxed mids and highs)
   o Stainless steel (Black: Bass, balanced)
· 4 pairs of replacement nozzle accessories:
   o 4 pairs of o-rings
   o 4 pairs of foams
· 1. Storage Box in faux leather, gray color, and rectangular shape
· 1. Simgot LC7 cable: 0.78mm, 2 pin, 732-core mixed oxygen-free copper & silver-plated Litz twisted cable with two jack connectors (3.5 mm single ended and 4.4 mm balanced)

Its cable is one of the best I got, it looks gorgeous and well-built, is tight and very flexible, doesn’t conserve memory, matching perfectly with the shells, has 2 pin, 0.78 mm connectors, and it is modular, with the 3.5 mm single ended and 4.4 mm balanced jacks included. It’s not prone to tangle nor producing translated vibrations. It is a premium cable Simgot sells for 70 USD.

The shells are made of CNC-machined aluminum alloy with a minimalist design, a shiny silver color, in the heavy weight yet it has an ergonomic shape to use it on long sessions without fatigue. The shells are a fingerprint magnet and prone to get microscratches, so you need to take especial care on it.

It’s well vented, with a vent close to the nozzle and other close to the 0.78 mm 2 pin connector; with an interchangeable nozzle that fits so well in my ears (6.0 mm diameter), but as I always say: check if it fits your ears.

How the Simgot ET142 sounds:

The ET142 with its 12.5 mm planar magnetic driver + piezoelectric driver configuration offers a perfectly transparent, neutral and bright sound, it’s a mild V-shaped tuned set.

For this review, I used the Tangzu Tang Sancai Wide eartips in its M size, finding the best synergy in comfort, fit and seal; my recommendation for the stock eartips included are the Wide Bore and Narrow Bore ones.

The stock cable is perfect as it is, so at the moment I don’t see the need to change it. And, I’m using the Blazed Titanium nozzles, with a twist, I putted a pair of the included foams to them, finding it fits my tuning tastes more than the stock one without foam, and it is an intermediate between the Titanium and the Stainless Steel (black) ones.

The graphs are taken from the Hi-End Portable squiglink page (with its 4 tuning nozzles configuration and the difference between the Blazed Titanium nozzle and the Blazed Titanium with foam nozzle).

BASS:

The ET142 focus is not in this region, but it offers plenty of quantity and a high-quality bass shelf, with more than decent amount of subbass thump and midbass bump. As every planar it offers a crystal-clear sound, it is very fast, but this time with a natural decay; it is very resolving, well extended into the lower frequencies, with a fantastic impact, neutral tonality and well-done dynamics, as a mild V-shape tuned set, the midbass bleeds slightly into the lower mids yet male vocals sounds natural.

In songs like “The Window” by Thrice, from the To Be Everywhere is To Be Nowhere album, you can feel the weight and quality of that drum kick and bass guitar, with a superior resolution and clarity. As I just stated, the ET142 leaves you loving that bass delivery, even using the Gold-plated copper (Highs) nozzles.

In “West End Girls” by Pet Shop Boys, from their first album Please, the Simgot ET142 shows how its more than decent bass delivery, the characteristic 80’s bass drops has a lotta impact, yes, it is not basshead level, but the quality, cleanness and resolution is there.

MIDS:

The ET142 presents a bit of midbass bleed into the lower mids, though male vocals remain natural, just a bit recessed, yet free of muddiness nor thin. Mids carry a great note weight and are the main focus of this set, but there’s a limit to the volume you can handle with it, depending on your own tolerance to that energy (And the nozzle you choose).

The frequency curve takes a dip to 600 Hz before advancing into a warm pinna gain in the 4 nozzle configurations, yet offering remarkable transparency, with magnificent resolution and a refined character, with a 2 kHz peak, more pronounced with the Gold-plated copper nozzle, and relaxed with the Stainless Steel red and black nozzles, descending to a little bump at the 5 kHz region to merge with the lower treble; female vocals are forwarded, nor shouty or fatiguing at mid to high volume.

In songs like “Disco Eterno” by Soda Stereo, from the last album Sueño Stereo, the ET142 shows its refined character, all the groovy drumming, and the unique and legendary Gustavo Cerati vocals in the track are delivered with excellence.

In “Maligno” by Aterciopelados, from the Caribe Atómico album, the groovy, slow paced but full of emotions song are showed flawlessly, the ET142 delivers that powerful voice of Andrea Echeverry perfectly, the drums and guitars are on place.

TREBLE:

In this segment of frequencies, the ET142 is crystal-clean, crisp and sharp close to the sun, but handling the sibilance nicely with some 6 kHz and 10 kHz dips. It has an energic approach with a 8 kHz peak with the 4 nozzle configurations (Less noticeable with both Stainless Steel nozzles), so, it’s not fatiguing in long sessions at a mid-to-high volume, but of course, it is not a high volumes set.

In songs like “Squonk” by Genesis, from the A Trick of the Tail album, the ET142 shows all the mastery of Phil Collins drums and keyboard colorations of the track almost impeccably, it's immensely enjoyable, what a progressive rock classic definitely.

In “Cryogenically Frozen” by Cryptic Shift, from the Overspace & Supertime album, the ET142 in your ears, can show that proggy and jazzy death metal with its full display of instrumental proficiency, the higher frequencies are presented with a natural tonality and you can listen at mid-high volume without fatigue.

TECHNICALITIES:

In the ET142, the upper treble extends very well in the 4 nozzles configuration, rolling off very smoothly and extending over the 20 kHz region, without ugly peaks, an airy and open sound, the soundstage is expansive, wider than depth. At high volumes, there’s occasions in which the PZT timbre can be noticeable and hi-hats and cymbals can sound a bit artificial, so, my recommendation is to listen at mid-to-high volumes and that’s it.

In songs like “Submerged” by Gaerea, from the Loss album, the ET142 can get you all those macro and micro details, positioning the instruments perfectly in the mix, with a more than average resolving capacity, excellent stereo separation and layering of instruments; with zero congestion or bloating.

The ET142 conserve a more musical and engaging than analytical tonality, yet showing that technical proficiency with excellence, that neutral character is a delight. With live songs like “Dr. Stein” by Helloween, from the Live at Budokan album, the funny and enjoyable classic is delivered by the ET142 perfectly, you can be sure to hear all its macro and microdetails at full display, the live scenario feels natural and not canned into 2 dimensions.
 
COMPARISONS:

Simgot ET142 vs. Kiwi Ears Septet:

The Septet (269 USD MSRP) has a 1 DD + 4 BA + 1 Planar + 1 PZT quadbryd configuration. It is a bit less bassy, with flatter lower mids and a very relaxed upper mids and lower treble, but more energetic mid treble.

Another thing with the Septet is its craving for power, the ET142 is easier to drive, and better package and accessories overall. For my preferences, the ET142 is so much better tuned than the Septet and it is less prone to sibilance, with better balance between lower and higher frequencies. So, in this case I prefer the ET142, because it’s better for casual and critical listening than for just music enjoyment as the Septet is**.**

Simgot ET142 vs. Tanchjim Origin:

The Origin (259.99 USD MSRP) has a 1 DD configuration using the DMT 5 technology. It is a set who focus more on the refinement and music enjoyment than on being the most technical overall.

The Origin has noticeably less subbass, but a little more of midbass focus, bleeding into the lower mids, so male vocals are more recessed than in the ET142, yet still natural, more vocal drive, and less peaky mids and treble.

Both sets have more than average technicalities, but the Origin is more musical and engaging than technical, and it is less prone to sibilance with spicy tracks. This is a question of tuning preferences, the ET142 is planar heaven, but the Origin is still an excellent IEM.

Simgot ET142 vs. DUNU DN142:

The DN142 (250 USD MSRP) is a set driven by a 1 DD + 4 BA + 2 MPD configuration. It is a U-shaped tuned set. With less midbass than the ET142, flatter mids, drier upper mids and peakier lower treble.

The DN142 also has a bit less mid treble energy but similar treble extension than the ET142. Similar to the ET142, the DN142 planar timbre can be noticeable at high volumes as the PZT timbre in the ET142.

With different driver config and different tunings, both IEMs are focused on different publics, so, it’s again a choice of tuning more than “what is better”, and both IEMs have premium construction, package and accessories.

Simgot ET142 vs. ZiiGaat x Fresh Reviews Arete 2:

The x Fresh Reviews Arete 2 (279.99 USD MSRP), is the iteration over the well-known and praised x Fresh Reviews Arete original. It is a 1 DD + 4 BA hybrid configuration set, with a very interesting tuning.

The Arete 2 has a more lifted bass shelf, with flatter mids, very relaxed upper mids and enough mid treble spark, as a gaming focused set it has superb upper treble extension and similar technical capacities as the ET142. The Arete 2 is more musical than technical, and this relaxed approach is great for music, but more for videogames.

This is a matter of tuning preferences and what scenarios are you using it, the ET142 is one of the best planar IEMs in the market, but the Arete 2 it’s a gamers delight who also works for music.

Simgot ET142 vs. Simgot Supermix 5:

The Supermix 5 (220 USD MSRP) is a newer IEM from the Simgot’s house with a 1 DD + 2 BA + 1 MPD + 1 BCD configuration.  It is more a U-shaped tuned set than the mild V-shape tuning of the ET142.

With less bass than the ET142, but the BCD in the SM5 adds impact and a tactile feeling to it. The SM5 has flatter mids, drier upper mids but more energetic lower treble, less energetic mid treble and a bit less upper treble extension than in the ET142, the Supermix 5 is great in its segment, but technically speaking, the ET142 is a more cohesive and integral set, with an excellent and balanced tuning.

Closing thoughts and conclusions:

The Simgot ET142 is a set who impress not only for its premium package and construction, but for its tuning, coherence value. It’s one of the best planar drivers sets I have tried, and for what Simgot offer with it, is one of the best options for its segment.

In the under 250 USD segment, the ET142 very high quality and quantity of bass delivery who balances that neutral and bright character, and its lower and higher frequencies extension put it as an overall musical, engaging, and analytical work of art. Making it ideal for seasoned audiophiles who look for the most detailed set without losing musicality, all of them receiving a very high-quality audio experience at a great value.

I would prefer from Simgot to not use the PZT driver but a microplanar or a branded BA driver for the upper treble of the ET142 tuning to tame that sometimes artificial timbre. And for the shells built, I would prefer a matte finish and a lighter weight, but that’s me nitpicking.

The ET142 with its 118 dB sensitivity and 14 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use it with the 4.4 mm balanced jack connection because this set scales very nicely with more quality and powerful sources.

Can I recommend it? Totally yes, if you are looking for this kind of tuning with that neutral, bright and musical and engaging yet analytical character, the Simgot ET142 is one of the better options for its price segment, and one of the best planar driver IEMs in the actual market. Accompanied with a premium package and premium technology, and of course, the Simgot house sound and seal of excellence.

Once again, thanks to Simgot for providing me with this IEM to test it, enjoy it, and giving me the reasons to recommend it as a product that exceeds my expectations and deserves more praise IMHO. And thank you, dear reader, for checking my review, please have a happy listening!

First, a big shoutout to Betty from Simgot for giving me this set to make this review and to give it my sincere opinions and impressions. This review is unpaid, so the only bias at play is my musical and tuning preferences.

The Simgot ET142 is an IEM by the house of Simgot launched back in 2025, with a refined approach of using not only a Planar Driver but a PZT to handle the upper frequencies, competing with the other leaders in the planar driver IEMs space.

Now, the ET142 is an IEM, focused merely on not only the tuning but also in its technology, and offering multiple options to accommodate to different tastes and necessities. Driven by a 12.5 mm dual-magnetic planar driver + multi-layer piezoelectric ceramic driver, it’s clear that premium quality sound can be achieved without spending a big chunk of money.

TDLR; Simgot presents the ET142, a fantastic hybrid (Planar + PZT) IEM that delivers a neutral and bright sound with a well-putted quality and quantity of bass to balance, in a display of technical distinction, a refined tonality overall, with more than 4 sound firms to personalize the sound to your tastes; accompanied with a premium packaging, with a first-class cable, great selection of eartips included and a beautiful carrying case; making it a very valuable option for audiophiles, while keeping an accessible price.

Pros

• Premium modular cable (Simgot LC7) - (2 pins 0.78 mm, 3.5 mm + 4.4 mm) with excellent ergonomics and zero microphonics

• Premium built CNC aluminum shells; ergonomic despite their weight

• Interchangeable nozzles allow for great flexibility of tuning

• Coherent tuning: neutral-bright, mild V-shaped, musically and technically flawless

• Clean, fast, extended planar bass with good impact and control

• High-resolution mids with great note weight and transparency

• Crisp, extended treble with controlled sibilance

• Wide soundstage, impressive stereo separation and layering of instruments

• Easy to drive; Improves significantly with higher quality sources

Cons:

• Shiny metal shells attract fingerprints and are prone to microscratches

• Shell weight can be bothersome for some users during extended sessions

• Slight bleeding from the midbass to the lower mids

• The energy of the upper mids, lower and mid treble can be fatiguing at high volumes.

• Occasional artificial timbre of the PZT driver at high volume (especially on cymbals and hi-hats)

You can get a Simgot ET142 at a MSRP of 249.99 USD (Usually less on sale), and you can get it at Linsoul: https://www.linsoul.com/products/simgot-et142, Linsoul official store in Amazon and Aliexpress, and other stores online.

Technical specifications:
- Driver Type:
   - 12.5 mm Planar Magnetic Driver.
   - Piezoelectric ceramic driver.
- Casing Material: CNC-machined one-piece aluminum alloy.
- Frequency Response: 8 Hz - 40 kHz.
- Sensitivity: 118dB/Vrms (@ 1kHz).
- Impedance: 14Ω ±15% (@ 1kHz).
- THD: < 0.05 %.
- Tuning filters: Titanium, Gold-plated copper, Stainless steel (Red and Black).
- Cable: 732-core mixed oxygen-free copper & silver-plated Litz.
- Jack connector: SE 3.5 mm and balanced 4.4 mm (modular).
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.

What comes in its package?

· Simgot ET142 earpieces x 2
· User manual and QC card
· 10 pairs of eartips SML sizes:
   o 3 x pairs of narrow bore (orange core)
   o 4 x pairs of wide bore (black core)
   o 3 x pairs of balanced bore (black core)
· 4 pairs of tuning nozzles:
   o Blazed Titanium (‘Stock’)
   o Gold-plated copper (Highs enhanced)
   o Stainless steel (Red: Bass, relaxed mids and highs)
   o Stainless steel (Black: Bass, balanced)
· 4 pairs of replacement nozzle accessories:
   o 4 pairs of o-rings
   o 4 pairs of foams
· 1. Storage Box in faux leather, gray color, and rectangular shape
· 1. Simgot LC7 cable: 0.78mm, 2 pin, 732-core mixed oxygen-free copper & silver-plated Litz twisted cable with two jack connectors (3.5 mm single ended and 4.4 mm balanced)

Its cable is one of the best I got, it looks gorgeous and well-built, is tight and very flexible, doesn’t conserve memory, matching perfectly with the shells, has 2 pin, 0.78 mm connectors, and it is modular, with the 3.5 mm single ended and 4.4 mm balanced jacks included. It’s not prone to tangle nor producing translated vibrations. It is a premium cable Simgot sells for 70 USD.

The shells are made of CNC-machined aluminum alloy with a minimalist design, a shiny silver color, in the heavy weight yet it has an ergonomic shape to use it on long sessions without fatigue. The shells are a fingerprint magnet and prone to get microscratches, so you need to take especial care on it.

It’s well vented, with a vent close to the nozzle and other close to the 0.78 mm 2 pin connector; with an interchangeable nozzle that fits so well in my ears (6.0 mm diameter), but as I always say: check if it fits your ears.

How the Simgot ET142 sounds:

The ET142 with its 12.5 mm planar magnetic driver + piezoelectric driver configuration offers a perfectly transparent, neutral and bright sound, it’s a mild V-shaped tuned set.

For this review, I used the Tangzu Tang Sancai Wide eartips in its M size, finding the best synergy in comfort, fit and seal; my recommendation for the stock eartips included are the Wide Bore and Narrow Bore ones.

The stock cable is perfect as it is, so at the moment I don’t see the need to change it. And, I’m using the Blazed Titanium nozzles, with a twist, I putted a pair of the included foams to them, finding it fits my tuning tastes more than the stock one without foam, and it is an intermediate between the Titanium and the Stainless Steel (black) ones.

The graphs are taken from the Hi-End Portable squiglink page (with its 4 tuning nozzles configuration and the difference between the Blazed Titanium nozzle and the Blazed Titanium with foam nozzle).

BASS:

The ET142 focus is not in this region, but it offers plenty of quantity and a high-quality bass shelf, with more than decent amount of subbass thump and midbass bump. As every planar it offers a crystal-clear sound, it is very fast, but this time with a natural decay; it is very resolving, well extended into the lower frequencies, with a fantastic impact, neutral tonality and well-done dynamics, as a mild V-shape tuned set, the midbass bleeds slightly into the lower mids yet male vocals sounds natural.

In songs like “The Window” by Thrice, from the To Be Everywhere is To Be Nowhere album, you can feel the weight and quality of that drum kick and bass guitar, with a superior resolution and clarity. As I just stated, the ET142 leaves you loving that bass delivery, even using the Gold-plated copper (Highs) nozzles.

In “West End Girls” by Pet Shop Boys, from their first album Please, the Simgot ET142 shows how its more than decent bass delivery, the characteristic 80’s bass drops has a lotta impact, yes, it is not basshead level, but the quality, cleanness and resolution is there.

MIDS:

The ET142 presents a bit of midbass bleed into the lower mids, though male vocals remain natural, just a bit recessed, yet free of muddiness nor thin. Mids carry a great note weight and are the main focus of this set, but there’s a limit to the volume you can handle with it, depending on your own tolerance to that energy (And the nozzle you choose).

The frequency curve takes a dip to 600 Hz before advancing into a warm pinna gain in the 4 nozzle configurations, yet offering remarkable transparency, with magnificent resolution and a refined character, with a 2 kHz peak, more pronounced with the Gold-plated copper nozzle, and relaxed with the Stainless Steel red and black nozzles, descending to a little bump at the 5 kHz region to merge with the lower treble; female vocals are forwarded, nor shouty or fatiguing at mid to high volume.

In songs like “Disco Eterno” by Soda Stereo, from the last album Sueño Stereo, the ET142 shows its refined character, all the groovy drumming, and the unique and legendary Gustavo Cerati vocals in the track are delivered with excellence.

In “Maligno” by Aterciopelados, from the Caribe Atómico album, the groovy, slow paced but full of emotions song are showed flawlessly, the ET142 delivers that powerful voice of Andrea Echeverry perfectly, the drums and guitars are on place.

TREBLE:

In this segment of frequencies, the ET142 is crystal-clean, crisp and sharp close to the sun, but handling the sibilance nicely with some 6 kHz and 10 kHz dips. It has an energic approach with a 8 kHz peak with the 4 nozzle configurations (Less noticeable with both Stainless Steel nozzles), so, it’s not fatiguing in long sessions at a mid-to-high volume, but of course, it is not a high volumes set.

In songs like “Squonk” by Genesis, from the A Trick of the Tail album, the ET142 shows all the mastery of Phil Collins drums and keyboard colorations of the track almost impeccably, it's immensely enjoyable, what a progressive rock classic definitely.

In “Cryogenically Frozen” by Cryptic Shift, from the Overspace & Supertime album, the ET142 in your ears, can show that proggy and jazzy death metal with its full display of instrumental proficiency, the higher frequencies are presented with a natural tonality and you can listen at mid-high volume without fatigue.

TECHNICALITIES:

In the ET142, the upper treble extends very well in the 4 nozzles configuration, rolling off very smoothly and extending over the 20 kHz region, without ugly peaks, an airy and open sound, the soundstage is expansive, wider than depth. At high volumes, there’s occasions in which the PZT timbre can be noticeable and hi-hats and cymbals can sound a bit artificial, so, my recommendation is to listen at mid-to-high volumes and that’s it.

In songs like “Submerged” by Gaerea, from the Loss album, the ET142 can get you all those macro and micro details, positioning the instruments perfectly in the mix, with a more than average resolving capacity, excellent stereo separation and layering of instruments; with zero congestion or bloating.

The ET142 conserve a more musical and engaging than analytical tonality, yet showing that technical proficiency with excellence, that neutral character is a delight. With live songs like “Dr. Stein” by Helloween, from the Live at Budokan album, the funny and enjoyable classic is delivered by the ET142 perfectly, you can be sure to hear all its macro and microdetails at full display, the live scenario feels natural and not canned into 2 dimensions.
 
COMPARISONS:

Simgot ET142 vs. Kiwi Ears Septet:

The Septet (269 USD MSRP) has a 1 DD + 4 BA + 1 Planar + 1 PZT quadbryd configuration. It is a bit less bassy, with flatter lower mids and a very relaxed upper mids and lower treble, but more energetic mid treble.

Another thing with the Septet is its craving for power, the ET142 is easier to drive, and better package and accessories overall. For my preferences, the ET142 is so much better tuned than the Septet and it is less prone to sibilance, with better balance between lower and higher frequencies. So, in this case I prefer the ET142, because it’s better for casual and critical listening than for just music enjoyment as the Septet is**.**

Simgot ET142 vs. Tanchjim Origin:

The Origin (259.99 USD MSRP) has a 1 DD configuration using the DMT 5 technology. It is a set who focus more on the refinement and music enjoyment than on being the most technical overall.

The Origin has noticeably less subbass, but a little more of midbass focus, bleeding into the lower mids, so male vocals are more recessed than in the ET142, yet still natural, more vocal drive, and less peaky mids and treble.

Both sets have more than average technicalities, but the Origin is more musical and engaging than technical, and it is less prone to sibilance with spicy tracks. This is a question of tuning preferences, the ET142 is planar heaven, but the Origin is still an excellent IEM.

Simgot ET142 vs. DUNU DN142:

The DN142 (250 USD MSRP) is a set driven by a 1 DD + 4 BA + 2 MPD configuration. It is a U-shaped tuned set. With less midbass than the ET142, flatter mids, drier upper mids and peakier lower treble.

The DN142 also has a bit less mid treble energy but similar treble extension than the ET142. Similar to the ET142, the DN142 planar timbre can be noticeable at high volumes as the PZT timbre in the ET142.

With different driver config and different tunings, both IEMs are focused on different publics, so, it’s again a choice of tuning more than “what is better”, and both IEMs have premium construction, package and accessories.

Simgot ET142 vs. ZiiGaat x Fresh Reviews Arete 2:

The x Fresh Reviews Arete 2 (279.99 USD MSRP), is the iteration over the well-known and praised x Fresh Reviews Arete original. It is a 1 DD + 4 BA hybrid configuration set, with a very interesting tuning.

The Arete 2 has a more lifted bass shelf, with flatter mids, very relaxed upper mids and enough mid treble spark, as a gaming focused set it has superb upper treble extension and similar technical capacities as the ET142. The Arete 2 is more musical than technical, and this relaxed approach is great for music, but more for videogames.

This is a matter of tuning preferences and what scenarios are you using it, the ET142 is one of the best planar IEMs in the market, but the Arete 2 it’s a gamers delight who also works for music.

Simgot ET142 vs. Simgot Supermix 5:

The Supermix 5 (220 USD MSRP) is a newer IEM from the Simgot’s house with a 1 DD + 2 BA + 1 MPD + 1 BCD configuration.  It is more a U-shaped tuned set than the mild V-shape tuning of the ET142.

With less bass than the ET142, but the BCD in the SM5 adds impact and a tactile feeling to it. The SM5 has flatter mids, drier upper mids but more energetic lower treble, less energetic mid treble and a bit less upper treble extension than in the ET142, the Supermix 5 is great in its segment, but technically speaking, the ET142 is a more cohesive and integral set, with an excellent and balanced tuning.

Closing thoughts and conclusions:

The Simgot ET142 is a set who impress not only for its premium package and construction, but for its tuning, coherence value. It’s one of the best planar drivers sets I have tried, and for what Simgot offer with it, is one of the best options for its segment.

In the under 250 USD segment, the ET142 very high quality and quantity of bass delivery who balances that neutral and bright character, and its lower and higher frequencies extension put it as an overall musical, engaging, and analytical work of art. Making it ideal for seasoned audiophiles who look for the most detailed set without losing musicality, all of them receiving a very high-quality audio experience at a great value.

I would prefer from Simgot to not use the PZT driver but a microplanar or a branded BA driver for the upper treble of the ET142 tuning to tame that sometimes artificial timbre. And for the shells built, I would prefer a matte finish and a lighter weight, but that’s me nitpicking.

The ET142 with its 118 dB sensitivity and 14 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use it with the 4.4 mm balanced jack connection because this set scales very nicely with more quality and powerful sources.

Can I recommend it? Totally yes, if you are looking for this kind of tuning with that neutral, bright and musical and engaging yet analytical character, the Simgot ET142 is one of the better options for its price segment, and one of the best planar driver IEMs in the actual market. Accompanied with a premium package and premium technology, and of course, the Simgot house sound and seal of excellence.

Once again, thanks to Simgot for providing me with this IEM to test it, enjoy it, and giving me the reasons to recommend it as a product that exceeds my expectations and deserves more praise IMHO. And thank you, dear reader, for checking my review, please have a happy listening!

First, a big shoutout to TRN for giving me this set to make this review and to give it my sincere opinions and impressions. However, this review is unpaid, so the only bias at play is my musical and tuning preferences.

Introduction:

The TRN Whale Shark is an IEM launched back in 2025 with a hybrid driver configuration by the house of TRN, following their line of sea life, this time one of the bigger animals in the sea, and with a similar config to a successful IEM, the TRN Shell. The Whale Shark has a driver configuration consisting on 3 DD +1 MPD drivers, and a 3-way passive crossover circuit.

TDLR: TRN presents the Whale Shark, an IEM that joined the sea life line of IEMs by TRN, a hybrid set that not just presents it as a more premium Shell, but a refined and as the Whale Shark in the sea, it’s a gentle giant. It delivers a warm, energetic and not fatiguing set, with a high-quality bass, good note weight and presence on mids, and refined and well extended treble. The Whale Shark doesn’t bite, but a gentle giant present itself with a big fun for audiophiles tuning, accessories wise and price.

Pros

- Beautiful, thick, flexible modular cable (0.78mm 2-pin, 3.5mm + 4.4mm) with low, tangle-free, and zero microphonics

- CNC aluminum solid shells; Good ergonomics despite moderate weight

- Interchangeable nozzles + wide selection of eartips allows for tuning optimization, fit and seal

- Good subbass extension, powerful mids, controlled decay

- Clean, extended highs with effective sibilance control (6 kHz / 10 kHz dips)

- Above-average technical aspects: imaging, layering of instruments, macro/microdetail retrieval. Expansive soundstage (width > depth)

- Easy to drive (110 dB / 16 Ω), scale with better sources

Cons

- The mid-bass bleeds into the lower mids → recessed male vocals

- Upper mids → female vocals can dominate the mix

- Planar timbre artifacts sometimes at high-volume (hi-hats/metal cymbals). The mid-highs can be tiring at high volumes

- Shells prone to micro-scratches and fingerprints

- V-tuning limits neutrality and vocal balance

You can get a Whale Shark for a MSRP of 129.99 USD, in the TRN official web: https://trn-audio.com/trn-whale-shark.html, on HiFiGo: https://hifigo.com/products/trn-whale-shark, Aliexpress HiFiGo official store, and other stores online.

Technical specifications:

- Driver Types:
- 3 x Dynamic Drivers:
   - Beryllium composite 10 mm dynamic driver
   - PET 8 mm dynamic driver
   - Titanium coated 6 mm dynamic driver
- 1 x 6 mm planar driver
- Casing Material: High-quality medical-grade resin.
- Sensitivity: 110 dB (@ 1 kHz).
- Impedance: 16 Ω.
- Cable: Litz-structured single-crystal silver-plated copper, 2 cores twisted.
- Jack connector: Modular: SE 3.5 mm and BAL 4.4 mm.
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.
- Weight: ~15g+31g (with cable).

What comes in its package?

· 2 x Earphones
· 1 x User Manual
· 15 x pairs of eartips
· 3 x Black silicone - Balanced bore
· 3 x White silicone – Narrow bore
· 3 x T tips
· 3 x Seasnail tips – Liquid silicone
· 3 x Black Foam
· 3 pairs of tuning nozzles: Green: Balanced, Red: Bassy, Black: Sparkly
· 1 Carrying case with a rectangular shape
· 1 0.78mm, 2 pin, 2 cores twisted cable with a 3.5 mm single-ended and a 4.4 mm jack connectors

Its cable it is incredible, well-built, is thick yet so flexible, matching perfectly with the shells, it has 2 pin, 0.78 mm connectors, and it is modular with that twistable locking mechanism, a 3.5 mm single ended and a 4.4 mm balanced jacks included. It’s zero prone to tangle nor produces translated vibrations.

The shells are made of CNC machined aluminum alloy, its color is shiny dark blue as the Whale Shark, and a gorgeous and flashy faceplate with a Whale Shark design and jewels inserted. It’s well constructed, the housing is kind of heavy, but in the mid-size, (with good ergonomics to fit and use in long sessions), it seems a bit prompt to micro scratches and fingerprints, so they deserve good caring.

It has only one vent about the area facing the ear, so you aren’t experimenting driver flex; it has an interchangeable metallic nozzle that fits well in my ears (5.7 mm diameter), more to the mid-sized ears person, so that’s a good point for it.

How the Whale Shark sounds:

The Whale Shark with its 3 Dynamic drivers + 1 Planar driver configuration offers a crystal-clear sound, with good quantity of bass boost, nicely-done extension into the lower and high frequencies, resulting on a V-shaped tuned set with the TRN house sound, and some refinement.

For this review, I used some DUNU S&S tips in M size, finding the best synergy in comfort, fit and seal. With that huge selection of eartips included in the package, maybe you can find one that can fit you.

The stock cable is perfectly fine as it is, so I’m using it with its 4.4 mm jack mostly. And with the more ‘balanced’ tuning, I choose the Green Nozzles. The graph is taken from the ATechReviews squiglink page.

BASS:

The Whale Shark offers a high-quality bass shelf, with a good quantity of subbass thump and midbass kick predominantly, it is transparent, decently fast, with a good attack and dynamics, it is resolving, and nicely extended into the lower frequencies. It has a decent impact, as a V-shaped tuned set, the midbass bleeds into the lower mids.

In songs like “Enemy” by Sevendust, in their Seasons album, you can feel the weight and quality of the drum kick and precise bass guitar, and fortunately is not overcoming other frequencies.

In “Atoma” by Atoma, the first track in their masterpiece Skylight album, the Whale Shark shows a great bass character, the dense drumming and kick has a lotta impact, balancing the rhythm of the song.

MIDS:

The Whale Shark lower mids are presented with midbass bleed, male vocals are recessed, fortunately don’t feeling thin nor veiled. The V-shape tuning in this set gives still a pretty good mids portion, with decent note weight, and a more than average resolution and presence.

The frequency curve advances into a warm and smooth pinna gain, good clarity and presence with a peak at 2.5 kHz, with a little dip that precedes another peak at 4.5 kHz merging with the lower treble; female vocals are forwarded, not shouty nor fatiguing.

In songs like “Amon Amok” by Converge, in their last album Love is Not Enough, the Whale Shark shows the dense and fast rhythm of drums delivered with excellence; the harsh vocals sound attenuated but natural.

In “Nifelheim” by Therion, in their Secret of the Runes album, the slow drumming of the song is heard flawlessly, the Whale Shark delivers that beautiful female poison and male vocals in the song so good.

TREBLE:

In this segment of frequencies, the Whale Shark is crystal clean, crisp and with spicy close the sun, handling the sibilance nicely with a 6 kHz and 10 kHz dips, and energetic with an noticeable 8 kHz peak, it’s pretty resolving but not fatiguing in long sessions at mid-to-high volumes; at high volumes, midtreble can be fatiguing and worsened by songs prone to sibilance, and you can hear a bit of Planar driver timbre (hi-hats and cymbals can sound a bit artificial and metallic).

In songs like “Dark Matter Gods” by Agalloch, from their last album The Serpent & The Sphere, the Whale Shark shows all the details in the complex and dense track almost perfectly, the hi-hats and cymbals sounding natural and refined.

In “Ascent” by Dimmu Borgir, the recently released single, the Whale Shark displays that fast and complex drumming so clearly, the higher frequencies are presented with grace, the 10 kHz dip is well putted, taming sibilance.

TECHNICALITIES:

In the Whale Shark, upper treble extends very well, presenting an airy sound, the soundstage is expansive, wider than depth.

In songs like “Nihilist Undone” by Darkest Hour, in their last album Perpetual Terminal, the Whale Shark can get you immersed into the fast and dense song, presenting all the instruments perfectly in the mix, with a more than average resolution, great imaging and layering of instruments.

The Whale Shark shows a fantastic technical competence, it presents excellent macro and microdetail retrieval, it’s more musical than technical with that sparkly yet refined character. With full detailed songs like “Where To Know” by Bosse-de-Nage, in their last album Hidden Fires Burn Hottest, all of those complex drumming and instrumentation overall has zero bloating or congestion, the macro and micro details are presented by the Whale Shark so good.

COMPARISONS:

TRN Whale Shark vs. TRN Jaws:

In this case the Jaws (129.99 USD MSRP) with its 3 DD + 4 BAs + 1 PD configuration, has also a V-shaped tuning but the Jaws tuning goes more towards a brighter approach. The Jaws has more subbass but less midbass, with the same dynamic driver (10.5 mm Beryllium coated) it feels still impactful, male vocals are not as recessed as in the Whale Shark.

Upper mids in the Jaws are warmer and peakier than in the Whale Shark, and it’s also more energetic, the upper treble extension is less airy than in the Whale Shark. This time I go for the Whale Shark, by a little, because it’s more an all-rounder than the Jaws (who is a treblehead delight) for the same price.

TRN Whale Shark vs. Kefine Quatio:

In this case the Kefine Quatio (129.99 USD MSRP) with its 2 DD + 2 BA configuration has a u/V-shaped tuning, and more towards the Harman 2019 target. The Quatio has a more linear bass with more subbass and less midbass, less lowmids recession, similarly warm upper mids but more energetic treble.

The Quatio is not as good technically than the Whale Shark, but its macro and microdetail retrieval is more than average; now, the Quatio feels brighter and more prone to sibilance with spicy tracks than the Whale Shark, so in this case I prefer the Whale Shark, because it’s better handling the sibilance and its tuning is more an all-rounder and less fatiguing at high volumes or with spicy tracks.

TRN Whale Shark vs. Tanchjim Fission:

In this case the Fission (129.99 USD MSRP) is a 1 DD set with the DMT 5 tech. It got less bass overall and it is more linear than the Whale Shark bass shelf. The Fission also has a different uppermids approach, with a bit less treble energy, and less upper treble extension than the Whale Shark.

The Fission is an excellent set, but the Whale Shark get better the definition of ‘musical and engaging’ tuning, with more bass and similar technicalities overall than the Fission; both are excellent sets for their price, so it is a choice of tuning.

Closing thoughts and conclusions:

The Whale Shark is a set who not only represents what is a typical V-shaped tuning, but improves in it and delivers a refined and mature yet fun and engaging sound, all at an affordable price, with a premium package and accessories, with magnificent results.

I like from TRN to include in the package various eartips, because my experience with the DUNU S&S is satisfactory, but there are some other folks just choose what it is adjusted better to your fit and tastes inside the package; same with the 3 tuning nozzles, all of this to give the choice of sound you want.

And here is when we talk about how easy is to drive it. The Whale Shark with its 110 dB sensitivity and 16 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use them with the 4.4 mm balanced jack because this set shows its full capacity with more quality and powerful sources (it is more open, and you can get better technicalities).

In the under 130 USD segment, the Whale Shark has the sound quality you can expect for its segment; with decent and impactful quantity of bass, but that midbass bleeding into the lower mids gets male vocals noticeable recessed and female vocals too much forwarded, and not everyone likes that.

Can I recommend it? Yes, if you are looking for this kind of tuning with good bass and treble, and a more musical than analytical character, the Whale Shark presents a competitive option of great value and performance for its price, and of course, the TRN house sound and seal of quality.

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

First, a big shoutout to TRN for giving me this set to make this review and to give it my sincere opinions and impressions. However, this review is unpaid, so the only bias at play is my musical and tuning preferences.

Introduction:

The TRN Whale Shark is an IEM launched back in 2025 with a hybrid driver configuration by the house of TRN, following their line of sea life, this time one of the bigger animals in the sea, and with a similar config to a successful IEM, the TRN Shell. The Whale Shark has a driver configuration consisting on 3 DD +1 MPD drivers, and a 3-way passive crossover circuit.

TDLR: TRN presents the Whale Shark, an IEM that joined the sea life line of IEMs by TRN, a hybrid set that not just presents it as a more premium Shell, but a refined and as the Whale Shark in the sea, it’s a gentle giant. It delivers a warm, energetic and not fatiguing set, with a high-quality bass, good note weight and presence on mids, and refined and well extended treble. The Whale Shark doesn’t bite, but a gentle giant present itself with a big fun for audiophiles tuning, accessories wise and price.

Pros

- Beautiful, thick, flexible modular cable (0.78mm 2-pin, 3.5mm + 4.4mm) with low, tangle-free, and zero microphonics

- CNC aluminum solid shells; Good ergonomics despite moderate weight

- Interchangeable nozzles + wide selection of eartips allows for tuning optimization, fit and seal

- Good subbass extension, powerful mids, controlled decay

- Clean, extended highs with effective sibilance control (6 kHz / 10 kHz dips)

- Above-average technical aspects: imaging, layering of instruments, macro/microdetail retrieval. Expansive soundstage (width > depth)

- Easy to drive (110 dB / 16 Ω), scale with better sources

Cons

- The mid-bass bleeds into the lower mids → recessed male vocals

- Upper mids → female vocals can dominate the mix

- Planar timbre artifacts sometimes at high-volume (hi-hats/metal cymbals). The mid-highs can be tiring at high volumes

- Shells prone to micro-scratches and fingerprints

- V-tuning limits neutrality and vocal balance

You can get a Whale Shark for a MSRP of 129.99 USD, in the TRN official web: https://trn-audio.com/trn-whale-shark.html, on HiFiGo: https://hifigo.com/products/trn-whale-shark, Aliexpress HiFiGo official store, and other stores online.

Technical specifications:

- Driver Types:
- 3 x Dynamic Drivers:
   - Beryllium composite 10 mm dynamic driver
   - PET 8 mm dynamic driver
   - Titanium coated 6 mm dynamic driver
- 1 x 6 mm planar driver
- Casing Material: High-quality medical-grade resin.
- Sensitivity: 110 dB (@ 1 kHz).
- Impedance: 16 Ω.
- Cable: Litz-structured single-crystal silver-plated copper, 2 cores twisted.
- Jack connector: Modular: SE 3.5 mm and BAL 4.4 mm.
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.
- Weight: ~15g+31g (with cable).

What comes in its package?

· 2 x Earphones
· 1 x User Manual
· 15 x pairs of eartips
· 3 x Black silicone - Balanced bore
· 3 x White silicone – Narrow bore
· 3 x T tips
· 3 x Seasnail tips – Liquid silicone
· 3 x Black Foam
· 3 pairs of tuning nozzles: Green: Balanced, Red: Bassy, Black: Sparkly
· 1 Carrying case with a rectangular shape
· 1 0.78mm, 2 pin, 2 cores twisted cable with a 3.5 mm single-ended and a 4.4 mm jack connectors

Its cable it is incredible, well-built, is thick yet so flexible, matching perfectly with the shells, it has 2 pin, 0.78 mm connectors, and it is modular with that twistable locking mechanism, a 3.5 mm single ended and a 4.4 mm balanced jacks included. It’s zero prone to tangle nor produces translated vibrations.

The shells are made of CNC machined aluminum alloy, its color is shiny dark blue as the Whale Shark, and a gorgeous and flashy faceplate with a Whale Shark design and jewels inserted. It’s well constructed, the housing is kind of heavy, but in the mid-size, (with good ergonomics to fit and use in long sessions), it seems a bit prompt to micro scratches and fingerprints, so they deserve good caring.

It has only one vent about the area facing the ear, so you aren’t experimenting driver flex; it has an interchangeable metallic nozzle that fits well in my ears (5.7 mm diameter), more to the mid-sized ears person, so that’s a good point for it.

How the Whale Shark sounds:

The Whale Shark with its 3 Dynamic drivers + 1 Planar driver configuration offers a crystal-clear sound, with good quantity of bass boost, nicely-done extension into the lower and high frequencies, resulting on a V-shaped tuned set with the TRN house sound, and some refinement.

For this review, I used some DUNU S&S tips in M size, finding the best synergy in comfort, fit and seal. With that huge selection of eartips included in the package, maybe you can find one that can fit you.

The stock cable is perfectly fine as it is, so I’m using it with its 4.4 mm jack mostly. And with the more ‘balanced’ tuning, I choose the Green Nozzles. The graph is taken from the ATechReviews squiglink page.

BASS:

The Whale Shark offers a high-quality bass shelf, with a good quantity of subbass thump and midbass kick predominantly, it is transparent, decently fast, with a good attack and dynamics, it is resolving, and nicely extended into the lower frequencies. It has a decent impact, as a V-shaped tuned set, the midbass bleeds into the lower mids.

In songs like “Enemy” by Sevendust, in their Seasons album, you can feel the weight and quality of the drum kick and precise bass guitar, and fortunately is not overcoming other frequencies.

In “Atoma” by Atoma, the first track in their masterpiece Skylight album, the Whale Shark shows a great bass character, the dense drumming and kick has a lotta impact, balancing the rhythm of the song.

MIDS:

The Whale Shark lower mids are presented with midbass bleed, male vocals are recessed, fortunately don’t feeling thin nor veiled. The V-shape tuning in this set gives still a pretty good mids portion, with decent note weight, and a more than average resolution and presence.

The frequency curve advances into a warm and smooth pinna gain, good clarity and presence with a peak at 2.5 kHz, with a little dip that precedes another peak at 4.5 kHz merging with the lower treble; female vocals are forwarded, not shouty nor fatiguing.

In songs like “Amon Amok” by Converge, in their last album Love is Not Enough, the Whale Shark shows the dense and fast rhythm of drums delivered with excellence; the harsh vocals sound attenuated but natural.

In “Nifelheim” by Therion, in their Secret of the Runes album, the slow drumming of the song is heard flawlessly, the Whale Shark delivers that beautiful female poison and male vocals in the song so good.

TREBLE:

In this segment of frequencies, the Whale Shark is crystal clean, crisp and with spicy close the sun, handling the sibilance nicely with a 6 kHz and 10 kHz dips, and energetic with an noticeable 8 kHz peak, it’s pretty resolving but not fatiguing in long sessions at mid-to-high volumes; at high volumes, midtreble can be fatiguing and worsened by songs prone to sibilance, and you can hear a bit of Planar driver timbre (hi-hats and cymbals can sound a bit artificial and metallic).

In songs like “Dark Matter Gods” by Agalloch, from their last album The Serpent & The Sphere, the Whale Shark shows all the details in the complex and dense track almost perfectly, the hi-hats and cymbals sounding natural and refined.

In “Ascent” by Dimmu Borgir, the recently released single, the Whale Shark displays that fast and complex drumming so clearly, the higher frequencies are presented with grace, the 10 kHz dip is well putted, taming sibilance.

TECHNICALITIES:

In the Whale Shark, upper treble extends very well, presenting an airy sound, the soundstage is expansive, wider than depth.

In songs like “Nihilist Undone” by Darkest Hour, in their last album Perpetual Terminal, the Whale Shark can get you immersed into the fast and dense song, presenting all the instruments perfectly in the mix, with a more than average resolution, great imaging and layering of instruments.

The Whale Shark shows a fantastic technical competence, it presents excellent macro and microdetail retrieval, it’s more musical than technical with that sparkly yet refined character. With full detailed songs like “Where To Know” by Bosse-de-Nage, in their last album Hidden Fires Burn Hottest, all of those complex drumming and instrumentation overall has zero bloating or congestion, the macro and micro details are presented by the Whale Shark so good.

COMPARISONS:

TRN Whale Shark vs. TRN Jaws:

In this case the Jaws (129.99 USD MSRP) with its 3 DD + 4 BAs + 1 PD configuration, has also a V-shaped tuning but the Jaws tuning goes more towards a brighter approach. The Jaws has more subbass but less midbass, with the same dynamic driver (10.5 mm Beryllium coated) it feels still impactful, male vocals are not as recessed as in the Whale Shark.

Upper mids in the Jaws are warmer and peakier than in the Whale Shark, and it’s also more energetic, the upper treble extension is less airy than in the Whale Shark. This time I go for the Whale Shark, by a little, because it’s more an all-rounder than the Jaws (who is a treblehead delight) for the same price.

TRN Whale Shark vs. Kefine Quatio:

In this case the Kefine Quatio (129.99 USD MSRP) with its 2 DD + 2 BA configuration has a u/V-shaped tuning, and more towards the Harman 2019 target. The Quatio has a more linear bass with more subbass and less midbass, less lowmids recession, similarly warm upper mids but more energetic treble.

The Quatio is not as good technically than the Whale Shark, but its macro and microdetail retrieval is more than average; now, the Quatio feels brighter and more prone to sibilance with spicy tracks than the Whale Shark, so in this case I prefer the Whale Shark, because it’s better handling the sibilance and its tuning is more an all-rounder and less fatiguing at high volumes or with spicy tracks.

TRN Whale Shark vs. Tanchjim Fission:

In this case the Fission (129.99 USD MSRP) is a 1 DD set with the DMT 5 tech. It got less bass overall and it is more linear than the Whale Shark bass shelf. The Fission also has a different uppermids approach, with a bit less treble energy, and less upper treble extension than the Whale Shark.

The Fission is an excellent set, but the Whale Shark get better the definition of ‘musical and engaging’ tuning, with more bass and similar technicalities overall than the Fission; both are excellent sets for their price, so it is a choice of tuning.

Closing thoughts and conclusions:

The Whale Shark is a set who not only represents what is a typical V-shaped tuning, but improves in it and delivers a refined and mature yet fun and engaging sound, all at an affordable price, with a premium package and accessories, with magnificent results.

I like from TRN to include in the package various eartips, because my experience with the DUNU S&S is satisfactory, but there are some other folks just choose what it is adjusted better to your fit and tastes inside the package; same with the 3 tuning nozzles, all of this to give the choice of sound you want.

And here is when we talk about how easy is to drive it. The Whale Shark with its 110 dB sensitivity and 16 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use them with the 4.4 mm balanced jack because this set shows its full capacity with more quality and powerful sources (it is more open, and you can get better technicalities).

In the under 130 USD segment, the Whale Shark has the sound quality you can expect for its segment; with decent and impactful quantity of bass, but that midbass bleeding into the lower mids gets male vocals noticeable recessed and female vocals too much forwarded, and not everyone likes that.

Can I recommend it? Yes, if you are looking for this kind of tuning with good bass and treble, and a more musical than analytical character, the Whale Shark presents a competitive option of great value and performance for its price, and of course, the TRN house sound and seal of quality.

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

First, many thanks to www.fiio.com for reaching out to me a few weeks ago and offering this new Headphone for testing. However, this review did not involve any payment or monetary incentive, and I was not given a script to follow. So, I’m providing my honest and sincere impressions and thought in this review.

FiiO is a brand who means high quality sound, established back in 2007, and focused on portable music products. According to the company, the brand name FIIO is composed of Fi (fidelity from HiFi) and iO (number 1&0), representing the real feeling and convenient life that digital brings to life.

The EH13 is a new bluetooth ANC over-ear headphones, pointed to the segment of 50 USD or less, driven by a 40 mm Sapphire coated dome PEEK + PU Diaphragm Dynamic Driver, and a foldable design, offering LDAC codec support, ANC, Wired passive mode, 75 hours approximately of battery life, and a weight of 278g, also, supporting the FiiO control App on android.

You can buy the FiiO EH13 on FiiO’s Aliexpress and Amazon official stores, for an MSRP of around 49.99 USD. With 2 color combinations available: Black (My unit) and Off-White.

Its main page: https://fiio.com/eh13

TDLR; The EH13 are a minimalist looking and with modern capabilities headphones, also, most importantly, sounding pretty good, in the sub 50 USD market. Offering a more than compelling package, yet it is full of features and perks for a more than fair price, with the FiiO’s seal of high-quality sound.

Pros:

· Affordable price: Great value for less than 50 USD.

· Great build quality: Metal hinges and sliders for durability; foldable design.

· Comfortable fit: Soft and replaceable ear pads with moderate pressure, ideal for long sessions.

· Excellent battery life: Up to 75 hours (ANC off), 45 hours (ANC on).

· Effective ANC: Three adjustable levels, superior to some competitors.

· LDAC compatibility: High-resolution Bluetooth audio with stable connection.

· Physical controls: Dedicated buttons for ANC, playback, and volume/track control.

· App integration: Customizable parametric EQ, presets, firmware updates, and codec selection.

· Good sound equalization (without eq): Neutral-warm, musical sound, with clear bass and smooth highs.

· Decent microphone performance: Clear voice quality for calls.

· Connection with two devices: Ideal for multitasking between the phone and the computer.

· Wired mode available: 3.5 mm input for greater flexibility.

Cons:

· Wired mode cannot be used passively.

· Does not include a carrying case: Packaging is minimal.

· Transparency mode: Less effective than active noise cancellation (ANC) performance.

· Midrange adjustment (no EQ): Male voices are slightly recessed; the midbass are bleeding into the lower-mids.

· Presentation of treble: Soft but somewhat dark, less analytical.

· When used wired, they need a powerful DAC/amplifier to achieve good volume levels.

· Plastic headband: Although padded, it can give a less premium feel.

Technical specs:

· Driver technology: 40 mm dynamic driver with Sapphire-coated dome and PEEK+PU composite diaphragm

· Frequency response: 20 Hz – 40 kHz

· Impedance: 16 ohms

· App support: FiiO control app (ANC levels, custom EQ, presets, firmware update)

· Bluetooth version: 6.0

· Codec support: AAC, SBC, LDAC (32-bit / 96 kHz with bitrates up to 990 kbps)

· Dual-device connection: Yes

· Battery life: Up to 75 hours (With ANC off), 45 hours (With ANC on)

· Charging time: about 2 hr

· Wired connection support: Yes, with a 3.5 mm port

· Built-in microphone: Yes

· Earcup pressure: 4.2 +/- 0.3 N

· Weight: 278 grams

Unboxing:

The packaging is simple yet complete and straight to the point, consisting of the earphones, a manual, an usb-a to usb-c cable for charging it, and finally, an audio cable with 3.5 mm to 3.5 mm jacks.

The Headphones themselves looks nicely-built, they are made of plastic but not feeling cheap, the earpads are soft, and replaceable (according to some users on reddit), more in the mid-size (The opening is 40 mm wide and 60 mm high), fitting perfectly on my ears without producing fatigue and making a decent seal.

They have hinges made of metal, so you can fold them inside (unlike the cheaper EH11). They are not so light (278 g of weight), and yes, a plastic headband, with soft padding with faux leather, not producing too much overheating, keeping it comfortable.

The sliders are metallic, adding firmness to the construction. The earcups move up and down slightly and sideways (also, to fold them). Talking about fatigue, that earcup pressure of 4 Newtons, with my head anatomy I can stand for sessions longer than 2–3 hours without feeling bothered (I’m currently more an IEMs user), so they can be used for short and long commuting, and it provides certain passive sound isolation added to what the ANC does.

How the FiiO EH13 function and sounds:

At a humble 49.99 USD MSRP, and driven by a 40 mm sapphire dome PEEK+PU composite diaphragm dynamic driver, you are expecting a pretty good and impactful bass delivery.

I was checking on its ANC, it has 3 levels to use it according to what noise you want to mitigate, comparing that with my old Soundcore Q35 headphone’s ANC, the EH13 has a much better implementation, blocking a lot of engine noises when I was commuting, but, the transparency mode, having that passive isolation I mentioned it is not so great. The overall sound signature doesn’t change too much because of the use of the DSP compensation, so, that’s a nice feature to have.  

The physical buttons are a blessing, with a button for the ANC, other button to ON/OFF PLAY/PAUSE, and two buttons for volume control and track navigation. The 3.5 mm input is a nice feature to have, but it only works when the EH13 are on, consuming battery life. I tried the EH13 on calls and making voice messages with the other people on the calls reporting good reception and an adequate tone of voice.

When you are using the EH13 in wired mode, it’s kind of difficult to distinguish the sound quality from its bluetooth working mode because of that DSP compensation and the more than decent LDAC implementation, but when the headphones are wired the power they need to be driven are considerable, I tried them on my Kiwi Ears AD1 dongle DAC/AMP and only when I changed the dongle to my Shanling UA Mini I was able to reach decent levels of volume with them.

Its tuning goes not so close to the DF + 10dB Tilt Target, having a neutral-ish, warm and dark character, so the sound presentation is more musical than analytical. The bass is fast, well-defined, and clean enough, with a decent impact and a natural decay, with a good quantity of subbass presence, yet it is more focused on the midbass (of course you can change it via the EQ on the FiiO app).

The mids in the EH13 are decently clean and with a good note weight. Male vocals are recessed but not sounding thin, in the stock settings without EQ, the midbass bleeds into the lower mids, the curve makes a dip until the 800 Hz when it elevates slightly with a first peak at the 2.5 kHz region, later descending to 4 kHz and merging with the lower treble, female vocals and instruments sounds nice, mildly recessed as well, with good resolution overall.

The treble is smooth and kind of dark, yet having enough transparency, also with an adequate extension. An airy and open presentation, and a soundstage who is not so expansive yet has a decent wide and depth.

Technically more than average, with a good resolution, and great imaging and layering of instruments as well, so, with complex and fast tracks the EH13 is not getting congested or muddy at all.

This EH13 is an earphone that can reach decent volumes, with an excellent sibilance control, so, it can be used in long listening sessions.

App support and usage:

Inside the FiiO Control App you can remotely control the ANC (With the 3 levels mentioned), OFF and transparency mode, choose the codecs to use (LDAC, AAC). But the main feature it has is to get access to a parametric EQ with various presets, AutoEQ, some selected by the community, and official, and you can customize your own EQ.

You can change the tone volume. And, get some adjust options: Change the device name, upgrade the firmware, clear pairing, also, you can access the manual of the device to see how to use it.

Final thoughts and conclusion:

I would like the EH13 to have a wired mode without being on, but in my experience it can be used in long sessions with ease.

I also would like FiiO to include a carrying case for them, but you can’t ask too much of such a budget-oriented product, and that’s fine.

The EH13 supports LDAC and bluetooth 6.0, all translated on a fast pairing to my phone and PC, zero disconnections, dropouts and a stable connection.

About the battery life, I was able to use them for my casual listening for 5 days in a row without needing to recharge them. So, for such a full of features and economic device I find that something I appreciate a lot.

Who is the FiiO EH13 best suited for? I think it’s ideal for newcomers exploring the Headphone world or those looking for a reliable set with ANC and a more than capable driver configuration, more focused on the mere enjoyment of music but with lots of features to the daily use without spending too much. It offers a neutral, warm, dark and musical tuning, with the added value of being compatible with the FiiO Control application and being able to equalize it to your liking.