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DUNU × Gizaudio DaVinci Review – The Art of Warmth

2 × Dynamic Driver + 4 × Balanced Armature per side

The DUNU × Gizaudio DaVinci was released in mid-May 2024. The original retail price was 299.99 US dollars. HiFiGo currently asks 289.99 dollars, GeekWills still lists it for 299.99 dollars. At HiFi-Passion it is listed for 299 euros, although it is currently out of stock there. Amazon Germany and Amazon US still have product pages for the DaVinci, but currently without a regular visible Featured Offer.

The DaVinci is a collaboration between DUNU and Timmy from Gizaudio. After Galileo with LETSHUOER and Chopin with Binary, it was Timmy’s third major IEM collaboration and his first with DUNU. What I find interesting is that the tuning was not simply approved behind closed doors at some point. After demonstrations at CanJam Singapore, the final tuning was adjusted again based on the feedback collected there.

I bought mine used at the beginning of 2025 and took it straight with me on a short trip to Bonn, the former capital of Germany, back when Germany was still divided by the Wall into East and West Germany. I can recommend it to anyone visiting Germany, completely different from the current capital Berlin, somehow cosy, friendly and playful. Really beautiful, just like the DaVinci. Wow, what a transition from me. 😊

I still like it very much today and for me it has become an indispensable part of my collection. The DaVinci is simply a great musical product.

The name DaVinci fits surprisingly well. Leonardo da Vinci was not only a painter, but also an engineer, draftsman and inventor – someone where art and technology constantly came together. That is exactly what DUNU is trying to do here as well: an eye-catching wooden faceplate on one side and underneath a fairly complex 2DD+4BA setup with five ways and five separate sound channels.

The foundation is powerful, warm and full-bodied. Above that, the mids remain surprisingly complete and the presence region is built up in a controlled way, while the treble stays rather relaxed overall.

A Few Words About DUNU – Part 1

DUNU is a very experienced ChiFi brand.

DUNU is based today in Dongguan in the Chinese province of Guangdong. DUNU itself names Dongguan Dadian Electronics Co., Ltd. as the company behind the brand, where development and manufacturing are located. Historically, DUNU comes from the TopSound environment.
The company began developing and manufacturing headphones and earphones in 1994. That makes DUNU older than quite a large number of the brands we regularly talk about today.
DUNU initially worked heavily as an OEM/ODM manufacturer and developed or produced products for other companies. Only later did its own brand move more strongly into the international spotlight. A former DUNU executive once described the early days in retrospect as an OEM business with structures in Taiwan, Hong Kong and China.

In the early 2010s, DUNU became increasingly visible in the international IEM scene as well.
Models such as the DN-1000, DN-2000 and Titan 1 made the brand known outside China. The DN series in particular was already using hybrid constructions quite early, while the Titan 1 stood out among other things with its titanium-coated Dynamic Driver.
Multi-driver hybrids are not some trend DUNU only jumped on yesterday. There are people working there who really know what they are doing and you can hear that. In my opinion you can hardly go completely wrong with a DUNU IEM, somehow they are all pretty good.

Some of the people behind DUNU are very well known in the audio scene. Mike Sun was introduced as CEO of DUNU TopSound, while Andy Zhao, as senior acoustic engineer and head of Chinese manufacturing, was involved in several important projects. DUNU not only handles development and assembly, but also owns its own measurement and development facilities including an anechoic chamber.

They have been doing all of this for quite a while, I would really like to see it in person one day.

Technical Specifications

Driver configuration: 2DD + 4BA per side
Subbass: 1 × 10 mm Dynamic Driver
Bass: 1 × 8 mm Dynamic Driver
DD diaphragm: Bio-Cellulose Dome
Mids: 2 × Custom Balanced Armature
Treble: 1 × Custom Balanced Armature
Ultra-high: 1 × Custom Balanced Armature
Crossover: 5-way
Acoustic sound paths: 5 separate tubes
Impedance: 35 Ohms @ 1 kHz
Sensitivity: 109 dB/mW
Frequency range: 5 Hz – 40 kHz
Connection: recessed 0.78 mm 2-Pin
Weight: approx. 6.6 g per side
Cable: DUNU LEO
Plug: modular 3.5 mm + 4.4 mm
Shell: 3D-printed resin with stabilized wooden faceplates.

The 10 mm DD handles the sub-bass, while a separate 8 mm DD takes care of the rest of the bass range. Both Dynamic Drivers work in separate chambers.
Above them sit four custom BAs that are really well tuned and do not need to hide behind Sonion or Knowles BAs. I honestly hear no difference at all! Compliments to DUNU.
Two of them handle the mids together, followed by a dedicated BA for the treble and another one for the ultra-high range. DUNU does not disclose external OEMs or specific model numbers for these four BA drivers.
On top of that there is a 5-way crossover with five separate acoustic sound paths.
The internal structure was implemented together with HIGETECH. Using high-resolution 3D printing, the individual acoustic channels are integrated directly into the shell structure.
I also like the separation of the two Dynamic Drivers for sub-bass and midbass.

Unboxing, Build Quality and Accessories

The packaging picks up the DaVinci theme. The beige or cream-coloured outer box is decorated with drawings and technical sketches reminiscent of Leonardo da Vinci’s manuscripts. Underneath sits the actual sturdy inner packaging.

The complete package includes:

DUNU × Gizaudio DaVinci
DUNU LEO Modular Cable
3.5 mm module
4.4 mm balanced module
3.5 to 6.35 mm adapter
10 pairs of eartips
DUNU S&S Tips
DUNU Candy Tips
DUNU Standard/Olive Tips
large zipper case
cleaning tool
documentation

The ten pairs of tips are spread across three different tip families. These include the well-known DUNU S&S, the softer Candy Tips and a more traditionally shaped silicone tip.
I use the S&S Tips.
By now probably everyone who has gone a little deeper into the IEM swamp knows them, otherwise get yourself some, they can take some IEMs to another level and also solve fit problems. The DaVinci does not really need that though, it also sounds wonderful with the other tips.
The Candy Tips are more traditional in construction and are softer and rounder.
So tip rolling can start straight out of the box, sometimes that is fun too.

The included cable is called LEO and was developed by DUNU for the DaVinci.
It consists of four strands of high-purity silver-plated monocrystalline copper and uses a braided Litz construction. On the IEM side there are recessed 0.78 mm 2-Pin connectors.
DUNU uses its modular plug system and includes both 3.5 mm single ended and 4.4 mm balanced. That is how I like it.
There is even an additional 3.5 to 6.35 mm adapter. So from a smartphone dongle all the way to a desktop amp, basically everything is covered straight out of the box.

The large rectangular zipper case with the DUNU logo offers considerably more space than just for the two IEMs. Cable, modules, tips and other accessories can all disappear inside together. It has proven itself so well that it is still included with current models such as the new DUNU 242.

The actual shell is made from skin-friendly resin and manufactured using high-precision 3D printing.
On top sits a faceplate made from stabilized natural wood. Because of the natural grain, the individual faceplates are never completely identical, giving every pair a little bit of its own character.
At 6.6 grams per side, the DaVinci remains relatively light despite its six drivers. The 2-Pin sockets sit recessed in the shell and the nozzles bring the five separate acoustic paths together.

Sound

The DaVinci sounds warm, full and powerful, without simply burying its mids underneath the bass.
It is simply very musical and easy to listen to for long sessions, if I had to describe it in simple terms.

Bass

The DaVinci has a lot of sub-bass, a powerful midbass and plenty of body as a result, but it still stays clean enough away from the mids.

Of course “Angel” by Massive Attack fits perfectly for testing this.
The bassline is already there very early in the track and builds this dark, heavy underlying mood throughout almost the entire song.
The DaVinci turns it into exactly what I want to hear from this kind of tuning:

Weight.

The sub-bass stands deep and big in the room, above it the midbass gets enough punch so the whole thing does not just rumble around down low.
As more and more elements are added later in the track, the foundation remains present.
The DaVinci sounds beautifully rich.

Mids and Vocals

Despite the large amount of bass, the mids do not disappear. Vocals have plenty of body and especially male vocals benefit from the warmth coming up from the bass region.

Here we take “Way Down We Go” by KALEO.
At around 0:15 Jökull Júlíusson’s voice stands fairly free in the room and immediately shows what the DaVinci does with male vocals.
It sounds powerful, full-bodied and dark enough, without being completely buried.
When drums and bass become stronger later on, the voice remains clearly recognizable and continues to sit cleanly above the foundation.
Lots of bass and still no half a voice. Really good.

Presence

The presence region rises in a controlled way and gives vocals, guitars and snare drums enough contour.

“Go Your Own Way” by Fleetwood Mac is our test track here:
When the song really kicks in after the intro, you quickly notice whether a warm IEM has enough energy to lift guitars and drums out of its bass foundation.
The DaVinci does. The guitars remain present and the snare gets enough attack.

Treble

The treble is rather smooth and controlled, it delivers enough information and shine, but stays deliberately a little more relaxed compared with the bass and mids.
Let us stay with Fleetwood Mac and put on “Dreams”. Oh and turn it up, Fleetwood Mac is meant to be played loud.
The hi-hats and cymbals run through practically the entire track and are excellent for hearing how an IEM handles longer passages of treble material.
The DaVinci presents them cleanly, but does not constantly push them forward.
That is smooth, and it fits its whole character.

Soundstage and Technical Abilities

The stage feels rather medium-sized, but has good depth layering and clean spatial organization.

“Hotel California – Live on MTV, 1994” by Eagles, we have used that one a few times already as a test track:
After the long intro, guitars, percussion, bass and finally the vocals are added one after another.
The individual layers remain cleanly organized and the warm tuning gives the whole performance a beautiful sense of spatial depth. Separation and layering are good.
With very complex and fast music though, you notice that the DaVinci is tuned more for body and naturalness than for maximum speed and surgical micro-detail.

Conclusion

What can I say?
Buy this thing while it is still available, I am going to buy another new one myself, because back then I bought a used unit where the cable was slightly damaged. Simply a must-have – not just for collectors, but for people who love music.

The DUNU × Gizaudio DaVinci shows pretty well why DUNU has survived in the IEM business for so many years.

The two separate Dynamic Drivers, five ways, five acoustic tubes, four BAs, HIGETECH shell and the modular LEO cable deliver a beautiful sound that you just want to enjoy for a very long time.
Warm. Powerful. Full-bodied.
The DaVinci is bass-heavy, but still balanced.

And Timmy? After Chopin and DaVinci I have to give him at least this:
The man knows how to tune.

With that said, let us stick with DaVinci:
Knowledge is not enough; we must apply it. Willing is not enough; we must do it.

Yours,
Faxe.

Massdrop × Noble Kaiser 10 Review – Out of the Way, Make Room – Here Comes the KAISER!
A Small Love Letter to an IEM!
Legacy Time! 😊
10 × Knowles Balanced Armature per side

Noble itself released the original K10 in 2014 as its flagship at the time. A few years later Massdrop brought exactly this tuning back and put it into the universal aluminium version with black shells and red faceplates. The first Massdrop launch was announced for October 2017 at 899.99 US dollars. During later drops the price eventually went down to around 700 dollars.

The old Drop page no longer exists, the Kaiser 10 can now only be bought used. Regular new stock is practically impossible to find and the K10 mainly lives on through the used market.

For me the Kaiser 10 is a true legacy piece.
Even today I still think it is one of the most beautiful IEMs ever made.
Black anodized aluminium, those bright red faceplates, the Noble crown logo, pretty thick shells and ten BAs per side.
For me it still easily beats quite a few pure BA IEMs in the price range up to 500 euros.
A real classic and a masterpiece from Noble!

The midrange is dense, slightly forward and emotional. The bass has surprisingly good body for a pure BA setup, but remains controlled and textured. The treble has energy and shine, without becoming permanently sharp for me.

That is why I still take the Kaiser 10 out of its box from time to time, simply listen to music with it and ignore its little flaws. It manages to combine vocals and bass in such a musical way that listening to your favourite songs is simply fun.

Thank you Noble for this beautiful IEM!

That is also why it does not get a normal 2026 rating from me:
Legacy rating: 8.8.

A Few Words About Noble Audio

Noble Audio officially started on April 15, 2013 as Wizard Audio Industries LLC and was founded by Dr. John Moulton.
Anyone who has been around the IEM scene for a little longer probably also knows his nickname:
The Wizard.
John Moulton holds a doctorate in audiology and was already building his own custom IEMs before Noble. According to Noble, the nickname appeared somewhere in the Head-Fi community after he posted pictures of some of his extremely elaborate CIEM designs there. Another user basically said that there must be a Wizard responsible for this.
When you look at some of those old designs, you can understand it.
From the very beginning Noble was not only known for sound, but also for some completely crazy shells:
Wood. Carbon. Metal. Acrylic. Exotic materials. Eventually even gold and diamonds.

The Kaiser 10 was released on November 19, 2014 and very quickly became one of the best-known models from the young company. Noble itself still lists it as one of the defining products in the company’s history.
The name Kaiser 10 actually has two meanings.
“Kaiser” refers to Noble technician Kaiser Soze – no, not the guy from The Usual Suspects and the 10 of course stands for the ten balanced armature drivers per side.

In 2017 Kaiser Encore and Katana followed. After that things kept moving forward technically with Khan, Sultan, Viking Ragnar and Ronin.

In 2024 Noble released the Chronicle for its tenth anniversary, limited to 118 units and priced at 6000 dollars. Since August 2025 the Kronos has been sitting at the top of the regular lineup: nine drivers with 2DD, bone conduction, 4BA and 2EST inside a titanium shell for currently 4500 dollars.

Unfortunately that is, like most Noble IEMs, outside my financial reach. That is why I occasionally keep an eye on the used market, but even there prices for Noble IEMs are still very high. Something I can understand when I listen to the Kaiser.

So from the Kaiser 10 with ten BAs we eventually arrived at the Kronos with dynamic drivers, BA, EST and bone conduction.
Quite a lot has happened in a little over ten years.

Technical Specifications

Driver configuration: 10 × balanced armature per side
Driver manufacturer: Knowles
Commonly documented driver setup: 2 × CI-22955 + 4 × TWFK-30017 dual-BA modules
Total armatures: 10 per side
Bass: 2 × Knowles CI-22955
Mids: 2 × balanced armature, one TWFK dual-BA section*
Mid/high: 2 × balanced armature, one TWFK dual-BA section*
Treble: 2 × balanced armature, one TWFK dual-BA section*
Super-high: 2 × balanced armature, one TWFK dual-BA section*
Crossover: 4-way
Acoustic paths: Triple Bore
Frequency range: 15 Hz – 20 kHz
Impedance: <35 Ohms
Connection: 0.78 mm 2-Pin
Cable: 50 inches / 127 cm, braided
Plug: 3.5 mm
Shell: CNC-machined, anodized aluminium
Massdrop version colour: matte black shell + red faceplate
Weight: 25.5 g for the pair.

The five two-armature frequency groups are documented for the Kaiser 10. The CI-22955/TWFK-30017 combination is widely documented in K10 teardown and DIY material, but Noble and Massdrop did not officially publish a model-number assignment for each individual TWFK frequency group.
Ten balanced armatures per side.
The commonly documented setup is two Knowles CI-22955 bass drivers plus four Knowles TWFK-30017 dual-BA packages.
And this is important:
A TWFK-30017 already contains two armatures.
So four TWFK modules give us eight armatures, together with the two CI bass drivers that makes ten BAs per side.

Twenty Knowles armatures in total.
2014!
If that was not a statement!

Massdrop describes five driver groups with two armatures each: two for bass, two for mids, two for the transition between mids and treble, two for treble and another two for the super-high range. The whole thing is controlled by a 4-way crossover and three separate acoustic bores in the nozzle.

What is surprising is how coherent the Kaiser 10 sounds despite this huge number of drivers.
That was already one of the special things about the K10 back then. Several contemporary reviews did not simply highlight the number of drivers, but especially the coherence of the whole setup.

Very clearly: I do not want to romanticize it, but we are talking about an IEM whose basic concept is more than ten years old and in my opinion it still delivers right up there.

Unboxing, Build Quality and Accessories

The packaging of the Massdrop Kaiser 10 is actually almost funny.
With what was originally a flagship you expect a huge luxury box.
You do not get one though. 😊
Massdrop basically shipped the K10 directly inside its black Pelican case. Inside are the IEMs, the cable and almost all of the accessories.

The complete package includes:
Massdrop × Noble Kaiser 10 Universal
Pelican Hardcase
Carabiner
Velvet fabric pouch
11 pairs of eartips
braided 3.5 mm 2-Pin cable
cleaning brush.

Eleven pairs of eartips are decent even by today’s standards. The set includes normal single-flange silicone tips, double-flange silicone tips and foam tips in different sizes.
Noble typically used six pairs of single-flange silicone tips, three pairs of double-flange and two pairs of foam tips with its premium universal IEMs at the time.
I use the Divinus Prism Wide Bore Tips. They sit very securely on the relatively thick nozzle of the Kaiser 10 and open up the upper range a little for me, without adding unnecessary extra bass or warmth to its already full-bodied sound. Vocals and treble in particular sound a little freer and cleaner with them, while the basic character of the K10 remains completely intact.

The Pelican Case will probably survive the next Kaiser as well.
Massive. Water resistant. Carabiner attached.

The stock cable is around 1.27 metres long, four-core braided and ends in a normal 3.5 mm plug. Massdrop also offered optional 2.5 mm balanced and Lightning cables among others.
The cable itself is one of those areas where I can really notice the age of the package.
It works, it is flexible and it is replaceable. I treated myself to a red NICEHCK RedAg 4N Pure Silver 4.4 mm cable. Purely because of the looks I simply could not resist. Unfortunately it is no longer available from NiceHCK, so for that reason alone it fits the Kaiser pretty well too.

The shells are still beautiful.
The Massdrop version is made completely from precision-machined and anodized aluminium. Unlike the normal K10U version it received matte black shells and red faceplates with the Noble crown. Technically and sound-wise the tuning of the original Kaiser 10 remained unchanged.
The shell is pretty thick though and visibly sticks out from many ears. The nozzle is also on the larger side and is roughly in the T500 class. That can definitely matter for smaller ears or ear canals.

The build quality is still excellent today.
A massive aluminium shell that still feels like a real premium IEM even after all these years.
Noble, hats off, I think this IEM might even survive me.

Sound

The Kaiser 10 sounds full, dense and musical, with powerful BA bass, very present mids and energetic treble that for me never becomes unpleasantly sharp.
Its character is less about maximum subbass depth or modern air extension and more about body, vocals and this very coherent old-school multi-BA tuning.

Bass

The bass is fast, controlled and surprisingly full-bodied for a pure BA IEM, but in the subbass it does not reach the physical depth and pressure of modern good dynamic driver systems.

Here we take “Limit to Your Love” by James Blake.
At around 0:55 those extremely deep bass impulses arrive.
The individual bass hits are separated very cleanly, the attack comes quickly and the bass remains controlled.
James Blake’s voice and the piano stay clearly above it and are not covered by a thick carpet of low end.
Right at the bottom that final physical pressure is missing.
The Kaiser compensates for this with contour and texture.
Basslines are very easy to follow and midbass hits in particular sound nicely dry and defined.

Mids and vocals

The mids are the heart of the Kaiser 10. They sound dense, slightly forward and have a lot of body, giving vocals an emotional and almost tangible presence.

Here we take “Someone Like You” by Adele.
At around 0:13 her voice once again comes in alone over the piano.
The Kaiser puts her big and full-bodied right in the centre.
Her voice has substance.
The lower parts remain intact and at the same time the upper mids make articulation and small changes in her voice easy to follow.
When Adele reaches the first big chorus at around 1:15, exactly this character becomes even clearer.
Her voice becomes stronger and gets more energy.
Certain upper vocal parts have a very slight metallic shine, if you are used to modern good BA or hybrid systems you can notice it. But it really is only a hint, not like with……ah…already talked about that one.

Presence

The presence is clearly there, vocals and guitars have clean contours, without the entire range being pushed forward all the time.

“Enter Sandman” by Metallica:
At around 0:55 the intro finally turns into this massive wall of guitars.
The Kaiser 10 presents the guitars beautifully dense.
The individual attacks have bite and the snare cuts through clearly, at the same time the full mids give the whole thing plenty of body.
It sounds big and compact.
The guitars have substance and the snare has attack.
The upper mids give the whole thing enough energy so Metallica does not suddenly sound like elevator music.

Treble

The treble has clear energy and shine, but sounds surprisingly controlled to me and never becomes permanently sharp. Right at the top it lacks a little air and free extension compared with modern EST or micro planar systems.

Here we take “Colors” by Beck again.
From around 0:10 hi-hats, percussion and small electronic effects are already running through the upper range at the same time.
The Kaiser 10 presents these elements clearly.
The hi-hats have shine and short electronic impulses remain easy to follow.
The Kaiser sounds compact, but also very coherent.

Soundstage and technical abilities

The stage is nicely sized, but by today’s standards not exceptionally wide or deep. Imaging, separation and the coherence of the ten BAs however still work surprisingly well today.

Here we take “Bubbles” by Yosi Horikawa.
The small sounds appearing at completely different positions are placed cleanly by the K10 and even small movements are easy to follow.
The stage remains a little more compact though and especially in depth there are IEMs today that layer much further.

Conclusion

The Noble Kaiser 10 is a piece of IEM history.

In 2014 a ten-BA flagship with this tuning, this build quality and this coherence was something special and even today this thing is still great.

The bass has body, control and good texture, even if modern dynamic drivers can do significantly more in the deepest subbass.
The mids are dense, emotional and still belong to its biggest strengths for me.
The treble has energy and shine, without constantly shouting at me.
The stage is no longer what I would call absolute top class today and a lot has happened over the years when it comes to air, depth layering and microdetail.

But that is not really what the Kaiser 10 is about for me anymore.

I take it out of the Pelican Case, see those red faceplates, put it in my ears and immediately know again why it is the Kaiser.

The design. The build quality. The dense vocals.
That controlled BA bass.
Simply this character.

There are IEMs that are technically better, there are IEMs with deeper bass, bigger stage, more air and more details.

But there is only one Kaiser 10!!!

With that said:
You do not have to rule anymore to remain the Kaiser. 😊
Thanks for reading,

Yours,
Faxe.

I discovered the Penon Fan 4 in a forum on April 18th and immediately smiled.

A new Fan model? World Cup themed shells? That driver setup? For me, this was almost a mandatory buy. There was a short responsible adult moment where I asked myself if I really wanted to spend the money this month.

Another smile. Ordered.

The Fan series is one of the reasons Penon keeps pulling me back in. Fan 2 especially showed me why people still talk about this line: warm, musical, physical, smooth and emotional enough to make me listen to music instead of just listening to gear.

The Fan 4 feels like a real step forward for the series. It uses:

2 x 8 mm coaxial carbon-composite dynamic drivers for the low frequencies
2 x Knowles balanced armatures for the mids
1 x Electret Electrostatic driver for the treble
1 x coil-type bone conduction driver for full-range support

That setup is exactly why I was curious. This does not feel like a small update or just another warm hybrid with a bit of extra sparkle. It feels like Penon tried to build a more complete Fan: more bass authority, cleaner mids, some shimmer on top and a bigger, more physical presentation.

What I like most so far is the balance. The bass is strong, round and physical, but the lower mids stay clean and simply sound good. Vocals remain present and natural. Male voices keep some weight, female vocals do not disappear behind the bass, and the mids still have that musical Penon character.

The Electret driver adds shimmer and sparkle, but I would not describe it like a high-end Sonion EST implementation. It is more about adding light and openness to the Penon warmth. The bone conduction driver adds more body and projection for me, giving the stage a denser and more physical feeling.

For my own slot system, this is clearly a W-shaped IEM: active bass, musical mids/vocals and enough sparkle on top to complete the triangle.

Not neutral.
Not analytical.
Not subtle.

But probably very close to what I personally want from a Penon Fan: body, musicality, vocals, warmth, physical bass and enough shimmer to keep things exciting.

Full review/ranking entry here:
https://www.iemranking.com/show/penon-fan-4

Got the KZ Vibe X today and honestly, this thing is way more fun than I expected.

The “vibration driver” wording is a bit misleading — the shell itself does not really vibrate. What it does instead is move a surprising amount of air in the low end. With a proper seal, the bass has this dark, slightly slow rumble that gives bass hits a physical pressure effect in the ear canal. It is not the tightest or most textured bass I have heard, but it is genuinely enjoyable. What surprised me most is that the rest of the tuning does not fall apart around it. The mids are still very listenable, male vocals do not get buried, and the upper mids give enough clarity to keep things from sounding muddy. Treble is present enough for some sparkle, but the main attraction is definitely the bass effect.

I had to change the tips, though. The stock tips were too small for me and did not give me the seal this IEM needs. With KBEAR 07 tips, the whole thing started to make sense.

Not a neutral set, not a technical monster, and not really a classic V-shape either. More like a fun bass-pressure IEM with surprisingly decent mids. For the price, this is a really entertaining listen. I enjoy this KZ!