USD54.99 / EUR 50 | 10mm MACCD dynamic driver | Three tuning nozzles | Modular 3.5mm and 4.4mm cable

TL;DR, around 2 minutes read

The Juzear Nimbus is a single dynamic driver IEM at around USD55 with three interchangeable tuning nozzles. All three share the same low end, which is noticeably elevated but has only medium impact and limited sub-bass depth. Most of the difference happens from around 1kHz upwards.

The white nozzles are my preferred all-round option with the best balance between bass, vocals and treble. Black is noticeably more relaxed and works especially well at higher volume or on days when I am more sensitive to treble and forward vocals. Red pushes the vocals furthest forward and is the least suitable for me once the volume goes up.

What makes the Nimbus interesting to me is that I actually found two of the three nozzles useful rather than simply sticking with the white stock nozzles. That combined with the compact metal shells, the nice glass faceplates and good modular cable and the overall package feels more expensive than USD55.

Its main limitation is the bass. It works across a mixed library, but listeners who mainly want deep and hard-hitting bass for EDM, rap or hip-hop should probably look for other options.

What I liked

• White and black nozzles both give me genuinely useful tuning options
• Good balance with the stock white nozzles
• Clean mids with good vocal replay with white nozzles
• Compact and comfortable metal shells
• Very good metal build quality for the price
• Modular 3.5mm and 4.4mm cable
• Good package with nine pairs of tips

What I didn't like

• Sub-bass could reach deeper and hit harder
• Bass needs some volume before the impact really comes through
• Very high volume adds more drone than additional impact
• Red nozzles become shouty for me above mid volume
• Soundstage is only average in width and depth

Main strength

The three nozzles make a clear difference in the music presentation to me, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three actually usable tunings from one shell and makes the Nimbus compatible with many music genres.

Main weakness

The bass needs higher volume to really show impact and its depth stays limited especially when compared to other sets. Tip rolling can improve the bass slightly.
On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.

This is the gist of it but if you want to read more about package details, graphing, sound impressions please feel free to dig into.

Review background

What caught my attention at USD55 was the metal build together with three tuning nozzles and the nice blue glass faceplate. Tuning filters are nothing new at this price and brands such as Simgot, Tanchjim and Hidizs have already sets on the market using this idea.

I am not always a fan of it though. Quite often the different options feel exaggerated enough that I end up using only the preinstalled nozzle anyway.

Luckily Nimbus turned out differently for me. I really enjoyed two of its three options, white and black, and changed between them depending on what I was listening to and how sensitive my ears were that day. That already provides enough versatility to me to make the Nimbus a useful set to me.

And if you are a bit into graph sniffing the measurements further down show where those differences are coming from.

Build, Fit & Accessories

The shells are compact, rounded and made from metal, with nice reflective blue glass faceplates. They have noticeable weight in the hand and feel considerably more solid than the usual lightweight resin shell.

For me the build is one of the highlights. It does not really feel like a USD55 IEM, especially when there are still considerably more expensive sets using cheaper-feeling shells or glued-on nozzles. This is a clear step-up from cheaper models around USD30 and below.

Fit&Comfort

The Nimbus is slightly smaller than medium in size and sits securely and comfortably in my mid-sized ears. I had no pressure build-up during longer sessions and the vented shells remained comfortable even after several hours.

The metal nozzle is 5.2mm wide and around 6.2mm at the lip according to my own calliper. My usual Divinus Velvet wide bore tips in size L fit without any issue and getting a seal was easy.

Unboxing

For the price, Juzear also puts a lot in the box. You get the IEMs, the modular cable with 3.5 and 4.4mm plugs for my review sample, three pairs of tuning nozzles, nine pairs of narrow and wide bore eartips, a light blue pocketable spring pouch, instructions and a QC card.

Cable

The cable is a two-wire twisted design and feels good for the price.
Mine has interchangeable 3.5mm unbalanced and 4.4mm balanced plugs. The plug swap works cleanly and securely. My only complaint is that the cable holds a little bit of memory.

The light blue pouch is basic rather than protective like a hard case, but it is small enough to be pocketable.

Long-Session Comfort

The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.

Key Specs

Driver Setup	1x 10mm MACCD composite diaphragm dynamic driver, TPEE suspension, N52 neodymium magnet
Impedance	32 Ω
Sensitivity	108 dB ±1 dB SPL/mW
Frequency Response	20 Hz to 20 kHz
THD+N	≤ 0.8%
Isolation	26 dB
Cable	Four-strand single-crystal copper silver-plated cable with interchangeable 3.5mm and 4.4mm plugs
Connector	Recessed 0.78mm 2-pin
Shell	CNC machined zinc alloy with blue glass faceplate
Nozzles	Three interchangeable metal filters: white, red and black
Weight	9.2g per side
Price	USD54.99 / around EUR 50 for the modular version; USD59.99 / around EUR 54.50 for the 3.5mm mic + USB-C version
Where to buy, not affiliated	HiFiGo: hifigo.com/products/juzear-poise-series-nimbus,<br>AliExpress, 3.5mm and 4.4mm: aliexpress.com/item/1005012898042561.html, AliExpress, 3.5mm mic and USB-C: aliexpress.com/item/1005012898663425.html,<br>Amazon US: amazon.com/dp/B0H73CL5YC,<br>Amazon JP: amazon.co.jp/dp/B0HBQCY8PY, <br>Amazon AU: amazon.com.au/dp/B0HBQQ9TJ4,<br>Amazon UK: amazon.co.uk/dp/B0H7BJT7VX,<br>Amazon DE: amazon.de/dp/B0HBQXVW46

Sources & tips, setup

My sources were the Questyle Sigma Pro and Hiby R4 Evangelion, streaming from Qobuz and Spotify at the highest available quality.

I used the stock cable with its 4.4mm plug and Divinus Velvet wide bore tips in size L throughout most of my listening.

The Nimbus is easy to drive and does not need a powerful dongle or amplifier, although in my experience it does benefit from some volume before the bass and overall dynamics really come alive sounding more exciting and dynamic.

This review is based on more than 30 hours of listening.

Measurements

I measured the Nimbus with my own 711 clone coupler using stock eartips.

The red graph shows the red nozzles, blue is black, white is white and the yellow line is the Harman IE 2019 target.

The interesting part is that all three nozzles measure almost identically through the bass and lower mids. The response starts separating from around 1kHz upwards.

The sub-bass partially follows the Harman target before the Nimbus starts to deviate from around 60Hz towards 1kHz. There is more mid-bass emphasis than Harman and slightly less energy around 600Hz to 1kHz.

What surprised me is that the graph suggests more low-end power than I actually hear.

The red nozzles have the strongest ear gain of the three and the most energy through the presence and treble regions. That matches what I hear: they bring vocals noticeably forward and are also the nozzle that becomes shouty for me as I increase the volume.

The black nozzles move in the opposite direction. They have clearly less energy from roughly 1kHz upwards and give me the most relaxed presentation where the bass is more in focus.

White sits between the two and, to my ears, gives the best overall balance.

Depending on the frequency, the largest difference between red and black reaches roughly 4dB. White generally sits somewhere in between. That does not look much on paper, but the changes happen exactly in the regions that strongly influence vocal presence, perceived detail and treble energy.

All three nozzles also show elevated energy around 10 to 14kHz, while red carries the most energy through parts of the 4 to 10kHz region.

Sound

Overall Character

The Nimbus is basically three versions of the same underlying tuning.

All three nozzles share almost (might be a deviation of half dB or purely measurement variance) the same bass and lower mids up to around 1kHz. From there they start to separate in vocal emphasis, presence and treble.

The stock white nozzles are my favourite overall. Vocals sit slightly forward, bass remains mostly controlled with medium impact, and there is enough treble energy to keep things lively without becoming too aggressive for me.

The black nozzles are noticeably more relaxed. Because the upper frequencies step back, the bass also feels relatively more prominent even though it measures almost the same. They are the nozzle that scales best with volume for me.

Red is different. Vocals move much further towards the front and draw most of my attention. Because that part of the presentation becomes stronger together with volume, I cannot really crank them up without eventually finding them shouty.

I spent most of my time switching between white and black rather than settling on one permanently. On days where I could not take much treble or very forward vocals, I used black. On other days I preferred white because vocals and instruments had more presence and life.

That nozzle swap became an actual part of how I used the Nimbus during my review.

Bass

Bass is noticeably elevated but its impact stays around medium.

On Key Glock's "Dough", the sub-bass stays controlled but I would like it to reach deeper and hit harder which can partially be improved with the right tips (like Dunu S&S). A$AP Rocky's "Fkin' Problems" works better for me and gives the low end more perceived impact without becoming overly droning or overshadowing the rest of the track.

The unusual part is how the bass scales with volume.

It needs fairly high volume before the sub-bass impact really starts to show. The decay is quite quick, almost BA-like in behaviour, so the rumble feels controlled and relatively shallow rather than deep and lingering. It is worth noting that I tried different tips and while the Dunu S&S tips slightly improved the bass presentation, my impressions still remain that the bass has solid impact but has its limitations in terms of impact and depth. That might be nagging on very high level for a USD55 set but in my opinion is worth noting.

But there is a limit to how much volume helps with bass impact.

At very high volume, which I would not want to listen to for an extended time anyway, the bass starts to drone more into the mix while the actual impact barely increases further.

Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind. If you prefer bass to remain part of the overall presentation rather than dominate it, that will probably be fine.

Emika's "My Heart Bleeds Melody" gives me a similar result. The punch is clearly there and enough to make the track enjoyable, but this is not the kind of bass presentation that takes over the whole song.

What I kept noticing across my listening is that the bass is always present but never becomes the main attraction. It leaves plenty of room for vocals and instruments, but the limited depth and only medium impact are also the main reasons I would hesitate to recommend the Nimbus specifically for a bass-heavy library. Or only with caveats.

Midrange & Vocals

The lower mids are mostly relaxed and slightly scooped from roughly 600Hz to 1kHz compared with the Harman IE 2019 target.

That gives the mids a somewhat leaner character, especially as the white and red nozzles add more energy further up.

Red pushes this furthest. Its additional upper-mid and presence energy puts vocals right in front, which can be enjoyable at moderate volume but is also where the shout starts for me.

Black goes in the opposite direction and is the option I would choose for anyone particularly sensitive to shout.

There is very little bass bleed, so the mids stay clean and male and female vocals come through clearly.

I never found the mids particularly dry, but they are not thick either. At higher volume, the separation between the bass and mids becomes especially noticeable.

On Dire Straits' "Sultans of Swing", Mark Knopfler's voice sits just a little ahead of centre with the white nozzles and comes through with pleasant texture without becoming too dominant.

Treble

Treble is elevated but does not constantly sound energetic imo.

With the black nozzles I hear it as mostly relaxed, although a few areas still poke through more than others. That uneven distribution can sound a little artificial on certain tracks to me, but most of the time I find it enjoyable because it adds some excitement and detail without becoming aggressive.

With the white and red nozzles I can hear more treble information coming through.

The difference is especially noticeable through roughly 4 to 10kHz. On R.E.M.'s "Drive", strings sound more natural and detailed to me with the white nozzles than with black. Electric guitars also get a slightly sharper and more defined edge.

The Doors' "Riders on the Storm" shows the difference even more clearly. The rain effects and keyboard have better texture and presence through white than through black.

That is one of the reasons I kept returning to the white nozzles despite finding black easier for very long or louder sessions.

Red has even more energy, but interestingly the main problem for me is not really the treble itself. It is the stronger upper-mid and presence region below it. So despite the additional treble energy, I would not necessarily describe red as simply the "treble-head nozzle."

Tip rolling can obviously change the presentation further. Juzear includes nine pairs, although I did not spend enough time with the narrow bore options to give proper feedback on them.

Staging & Imaging

Soundstage is about average.

What works better for me is the separation and layering. Even on busier tracks the presentation stays relatively clear and individual instruments have enough space to come through.

Detail retrieval is solid rather than exceptional, and spatial information is good without producing especially large width or depth.

The nozzle choice changes the perceived space slightly. Black gives me the smallest-room impression, while the additional presence and treble from white and red can create a little more obvious separation.

On John Coltrane's "Mr. P.C. (2020 Remaster)", the saxophone in my left ear sounds particularly good through the white nozzles. The perceived room also feels larger than with black where the drums and bass seem positioned further back.

Final Verdict

After using all three nozzles, I think the main reason to buy the Nimbus is simply the choice it gives you.

None of the three individual tunings is reinventing what a USD55 single dynamic driver can do. What makes the set more interesting is that the nozzle changes are large and useable enough that I actually would use them.

White would be my default recommendation and gives me the best overall balance. Black is the one I would choose and recommend for longer sessions, or treble sensitive folks on higher volume or when I want less vocal and treble energy. Red is much more specialised and too forward for my own preference once the volume is above mid volume.

The one limitation none of the nozzles fixes is the bass for me.
If deep sub-bass and hard mid-bass impact are your priorities, particularly for EDM, rap and hip-hop, there are stronger options.

For a mixed library, however, the Nimbus works well. The clean mids, useful nozzle system, compact fit and very good build quality make it easy to recommend at this price.

And from a hardware perspective, I think Juzear has done especially well here. Metal shells, nice glass faceplates, a modular cable and nine pairs of tips for around USD55 is simply a very complete package in my opinion.

Disclosure

This review sample was provided by HiFiGo.

No payment was received and HiFiGo had no influence over this review. There are no affiliate links in this review.

Thanks for reading.

USD54.99 / EUR 50 | 10mm MACCD dynamic driver | Three tuning nozzles | Modular 3.5mm and 4.4mm cable

TL;DR, around 2 minutes read

The Juzear Nimbus is a single dynamic driver IEM at around USD55 with three interchangeable tuning nozzles. All three share the same low end, which is noticeably elevated but has only medium impact and limited sub-bass depth. Most of the difference happens from around 1kHz upwards.

The white nozzles are my preferred all-round option with the best balance between bass, vocals and treble. Black is noticeably more relaxed and works especially well at higher volume or on days when I am more sensitive to treble and forward vocals. Red pushes the vocals furthest forward and is the least suitable for me once the volume goes up.

What makes the Nimbus interesting to me is that I actually found two of the three nozzles useful rather than simply sticking with the white stock nozzles. That combined with the compact metal shells, the nice glass faceplates and good modular cable and the overall package feels more expensive than USD55.

Its main limitation is the bass. It works across a mixed library, but listeners who mainly want deep and hard-hitting bass for EDM, rap or hip-hop should probably look for other options.

What I liked

• White and black nozzles both give me genuinely useful tuning options
• Good balance with the stock white nozzles
• Clean mids with good vocal replay with white nozzles
• Compact and comfortable metal shells
• Very good metal build quality for the price
• Modular 3.5mm and 4.4mm cable
• Good package with nine pairs of tips

What I didn't like

• Sub-bass could reach deeper and hit harder
• Bass needs some volume before the impact really comes through
• Very high volume adds more drone than additional impact
• Red nozzles become shouty for me above mid volume
• Soundstage is only average in width and depth

Main strength

The three nozzles make a clear difference in the music presentation to me, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three actually usable tunings from one shell and makes the Nimbus compatible with many music genres.

Main weakness

The bass needs higher volume to really show impact and its depth stays limited especially when compared to other sets. Tip rolling can improve the bass slightly.
On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.

This is the gist of it but if you want to read more about package details, graphing, sound impressions please feel free to dig into.

Review background

What caught my attention at USD55 was the metal build together with three tuning nozzles and the nice blue glass faceplate. Tuning filters are nothing new at this price and brands such as Simgot, Tanchjim and Hidizs have already sets on the market using this idea.

I am not always a fan of it though. Quite often the different options feel exaggerated enough that I end up using only the preinstalled nozzle anyway.

Luckily Nimbus turned out differently for me. I really enjoyed two of its three options, white and black, and changed between them depending on what I was listening to and how sensitive my ears were that day. That already provides enough versatility to me to make the Nimbus a useful set to me.

And if you are a bit into graph sniffing the measurements further down show where those differences are coming from.

Build, Fit & Accessories

The shells are compact, rounded and made from metal, with nice reflective blue glass faceplates. They have noticeable weight in the hand and feel considerably more solid than the usual lightweight resin shell.

For me the build is one of the highlights. It does not really feel like a USD55 IEM, especially when there are still considerably more expensive sets using cheaper-feeling shells or glued-on nozzles. This is a clear step-up from cheaper models around USD30 and below.

Fit&Comfort

The Nimbus is slightly smaller than medium in size and sits securely and comfortably in my mid-sized ears. I had no pressure build-up during longer sessions and the vented shells remained comfortable even after several hours.

The metal nozzle is 5.2mm wide and around 6.2mm at the lip according to my own calliper. My usual Divinus Velvet wide bore tips in size L fit without any issue and getting a seal was easy.

Unboxing

For the price, Juzear also puts a lot in the box. You get the IEMs, the modular cable with 3.5 and 4.4mm plugs for my review sample, three pairs of tuning nozzles, nine pairs of narrow and wide bore eartips, a light blue pocketable spring pouch, instructions and a QC card.

Cable

The cable is a two-wire twisted design and feels good for the price.
Mine has interchangeable 3.5mm unbalanced and 4.4mm balanced plugs. The plug swap works cleanly and securely. My only complaint is that the cable holds a little bit of memory.

The light blue pouch is basic rather than protective like a hard case, but it is small enough to be pocketable.

Long-Session Comfort

The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.

Key Specs

Driver Setup	1x 10mm MACCD composite diaphragm dynamic driver, TPEE suspension, N52 neodymium magnet
Impedance	32 Ω
Sensitivity	108 dB ±1 dB SPL/mW
Frequency Response	20 Hz to 20 kHz
THD+N	≤ 0.8%
Isolation	26 dB
Cable	Four-strand single-crystal copper silver-plated cable with interchangeable 3.5mm and 4.4mm plugs
Connector	Recessed 0.78mm 2-pin
Shell	CNC machined zinc alloy with blue glass faceplate
Nozzles	Three interchangeable metal filters: white, red and black
Weight	9.2g per side
Price	USD54.99 / around EUR 50 for the modular version; USD59.99 / around EUR 54.50 for the 3.5mm mic + USB-C version
Where to buy, not affiliated	HiFiGo: hifigo.com/products/juzear-poise-series-nimbus,<br>AliExpress, 3.5mm and 4.4mm: aliexpress.com/item/1005012898042561.html, AliExpress, 3.5mm mic and USB-C: aliexpress.com/item/1005012898663425.html,<br>Amazon US: amazon.com/dp/B0H73CL5YC,<br>Amazon JP: amazon.co.jp/dp/B0HBQCY8PY, <br>Amazon AU: amazon.com.au/dp/B0HBQQ9TJ4,<br>Amazon UK: amazon.co.uk/dp/B0H7BJT7VX,<br>Amazon DE: amazon.de/dp/B0HBQXVW46

Sources & tips, setup

My sources were the Questyle Sigma Pro and Hiby R4 Evangelion, streaming from Qobuz and Spotify at the highest available quality.

I used the stock cable with its 4.4mm plug and Divinus Velvet wide bore tips in size L throughout most of my listening.

The Nimbus is easy to drive and does not need a powerful dongle or amplifier, although in my experience it does benefit from some volume before the bass and overall dynamics really come alive sounding more exciting and dynamic.

This review is based on more than 30 hours of listening.

Measurements

I measured the Nimbus with my own 711 clone coupler using stock eartips.

The red graph shows the red nozzles, blue is black, white is white and the yellow line is the Harman IE 2019 target.

The interesting part is that all three nozzles measure almost identically through the bass and lower mids. The response starts separating from around 1kHz upwards.

The sub-bass partially follows the Harman target before the Nimbus starts to deviate from around 60Hz towards 1kHz. There is more mid-bass emphasis than Harman and slightly less energy around 600Hz to 1kHz.

What surprised me is that the graph suggests more low-end power than I actually hear.

The red nozzles have the strongest ear gain of the three and the most energy through the presence and treble regions. That matches what I hear: they bring vocals noticeably forward and are also the nozzle that becomes shouty for me as I increase the volume.

The black nozzles move in the opposite direction. They have clearly less energy from roughly 1kHz upwards and give me the most relaxed presentation where the bass is more in focus.

White sits between the two and, to my ears, gives the best overall balance.

Depending on the frequency, the largest difference between red and black reaches roughly 4dB. White generally sits somewhere in between. That does not look much on paper, but the changes happen exactly in the regions that strongly influence vocal presence, perceived detail and treble energy.

All three nozzles also show elevated energy around 10 to 14kHz, while red carries the most energy through parts of the 4 to 10kHz region.

Sound

Overall Character

The Nimbus is basically three versions of the same underlying tuning.

All three nozzles share almost (might be a deviation of half dB or purely measurement variance) the same bass and lower mids up to around 1kHz. From there they start to separate in vocal emphasis, presence and treble.

The stock white nozzles are my favourite overall. Vocals sit slightly forward, bass remains mostly controlled with medium impact, and there is enough treble energy to keep things lively without becoming too aggressive for me.

The black nozzles are noticeably more relaxed. Because the upper frequencies step back, the bass also feels relatively more prominent even though it measures almost the same. They are the nozzle that scales best with volume for me.

Red is different. Vocals move much further towards the front and draw most of my attention. Because that part of the presentation becomes stronger together with volume, I cannot really crank them up without eventually finding them shouty.

I spent most of my time switching between white and black rather than settling on one permanently. On days where I could not take much treble or very forward vocals, I used black. On other days I preferred white because vocals and instruments had more presence and life.

That nozzle swap became an actual part of how I used the Nimbus during my review.

Bass

Bass is noticeably elevated but its impact stays around medium.

On Key Glock's "Dough", the sub-bass stays controlled but I would like it to reach deeper and hit harder which can partially be improved with the right tips (like Dunu S&S). A$AP Rocky's "Fkin' Problems" works better for me and gives the low end more perceived impact without becoming overly droning or overshadowing the rest of the track.

The unusual part is how the bass scales with volume.

It needs fairly high volume before the sub-bass impact really starts to show. The decay is quite quick, almost BA-like in behaviour, so the rumble feels controlled and relatively shallow rather than deep and lingering. It is worth noting that I tried different tips and while the Dunu S&S tips slightly improved the bass presentation, my impressions still remain that the bass has solid impact but has its limitations in terms of impact and depth. That might be nagging on very high level for a USD55 set but in my opinion is worth noting.

But there is a limit to how much volume helps with bass impact.

At very high volume, which I would not want to listen to for an extended time anyway, the bass starts to drone more into the mix while the actual impact barely increases further.

Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind. If you prefer bass to remain part of the overall presentation rather than dominate it, that will probably be fine.

Emika's "My Heart Bleeds Melody" gives me a similar result. The punch is clearly there and enough to make the track enjoyable, but this is not the kind of bass presentation that takes over the whole song.

What I kept noticing across my listening is that the bass is always present but never becomes the main attraction. It leaves plenty of room for vocals and instruments, but the limited depth and only medium impact are also the main reasons I would hesitate to recommend the Nimbus specifically for a bass-heavy library. Or only with caveats.

Midrange & Vocals

The lower mids are mostly relaxed and slightly scooped from roughly 600Hz to 1kHz compared with the Harman IE 2019 target.

That gives the mids a somewhat leaner character, especially as the white and red nozzles add more energy further up.

Red pushes this furthest. Its additional upper-mid and presence energy puts vocals right in front, which can be enjoyable at moderate volume but is also where the shout starts for me.

Black goes in the opposite direction and is the option I would choose for anyone particularly sensitive to shout.

There is very little bass bleed, so the mids stay clean and male and female vocals come through clearly.

I never found the mids particularly dry, but they are not thick either. At higher volume, the separation between the bass and mids becomes especially noticeable.

On Dire Straits' "Sultans of Swing", Mark Knopfler's voice sits just a little ahead of centre with the white nozzles and comes through with pleasant texture without becoming too dominant.

Treble

Treble is elevated but does not constantly sound energetic imo.

With the black nozzles I hear it as mostly relaxed, although a few areas still poke through more than others. That uneven distribution can sound a little artificial on certain tracks to me, but most of the time I find it enjoyable because it adds some excitement and detail without becoming aggressive.

With the white and red nozzles I can hear more treble information coming through.

The difference is especially noticeable through roughly 4 to 10kHz. On R.E.M.'s "Drive", strings sound more natural and detailed to me with the white nozzles than with black. Electric guitars also get a slightly sharper and more defined edge.

The Doors' "Riders on the Storm" shows the difference even more clearly. The rain effects and keyboard have better texture and presence through white than through black.

That is one of the reasons I kept returning to the white nozzles despite finding black easier for very long or louder sessions.

Red has even more energy, but interestingly the main problem for me is not really the treble itself. It is the stronger upper-mid and presence region below it. So despite the additional treble energy, I would not necessarily describe red as simply the "treble-head nozzle."

Tip rolling can obviously change the presentation further. Juzear includes nine pairs, although I did not spend enough time with the narrow bore options to give proper feedback on them.

Staging & Imaging

Soundstage is about average.

What works better for me is the separation and layering. Even on busier tracks the presentation stays relatively clear and individual instruments have enough space to come through.

Detail retrieval is solid rather than exceptional, and spatial information is good without producing especially large width or depth.

The nozzle choice changes the perceived space slightly. Black gives me the smallest-room impression, while the additional presence and treble from white and red can create a little more obvious separation.

On John Coltrane's "Mr. P.C. (2020 Remaster)", the saxophone in my left ear sounds particularly good through the white nozzles. The perceived room also feels larger than with black where the drums and bass seem positioned further back.

Final Verdict

After using all three nozzles, I think the main reason to buy the Nimbus is simply the choice it gives you.

None of the three individual tunings is reinventing what a USD55 single dynamic driver can do. What makes the set more interesting is that the nozzle changes are large and useable enough that I actually would use them.

White would be my default recommendation and gives me the best overall balance. Black is the one I would choose and recommend for longer sessions, or treble sensitive folks on higher volume or when I want less vocal and treble energy. Red is much more specialised and too forward for my own preference once the volume is above mid volume.

The one limitation none of the nozzles fixes is the bass for me.
If deep sub-bass and hard mid-bass impact are your priorities, particularly for EDM, rap and hip-hop, there are stronger options.

For a mixed library, however, the Nimbus works well. The clean mids, useful nozzle system, compact fit and very good build quality make it easy to recommend at this price.

And from a hardware perspective, I think Juzear has done especially well here. Metal shells, nice glass faceplates, a modular cable and nine pairs of tips for around USD55 is simply a very complete package in my opinion.

Disclosure

This review sample was provided by HiFiGo.

No payment was received and HiFiGo had no influence over this review. There are no affiliate links in this review.

Thanks for reading.

$54.99 USD / EUR 50 | Wired | 10mm MACCD dynamic driver | 3.5mm and 4.4mm interchangeable plug OR 3.5mm with mic and USB-C at around $59.99 / EUR54.50

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Specs, accessories, measurements and the sound breakdown follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The Juzear Nimbus is a single dynamic driver at around USD55 with three interchangeable nozzles. The low end is the same on all three, noticeably elevated with medium impact. Everything from around 1kHz up changes with the nozzle. White is the balanced default, black is the most relaxed and scales the best with volume, and red is the most vocal forward. The basic character is on the natural side and the nozzle swap makes the set compatible with many genres. The build is metal with glass faceplates and does not feel like a USD55 IEM. I do see its limitations on bass heavy genres where an impactful bass is needed.

At a Glance

✓ Suits You If

• You want one set which can shift its emphasis instead of one fixed signature
• You have a mixed library across pop, jazz, rock and vocal centric genres, and bassy genres like EDM, rap and hip-hop with caveats
• You listen at mid to higher volume
• You want a metal build and an interchangeable plug at this price

✗ Skip It If

• You are a bass head who needs a deep and impactful bass
• You want a wide and deep soundstage
• You listen mostly on low volume, since the bass needs volume to show impact

Main Strengths & Weaknesses

Main strength

The three nozzles make a clear difference in the music presentation, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three usable tunings from one shell and makes the Nimbus compatible with many music genres.

Main weakness

The bass needs higher volume to really show impact and its depth stays limited. On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.

Who Is This For?

The Nimbus makes the most sense if you:

• Want the most even balance of the three, which is the white nozzles
• Have a vocal focused library, where the red nozzles come in
• Are sensitive for shout and want the black nozzles as the safe option
• Want long fatigue free listening sessions, again the black nozzles
• Care about build quality and connector flexibility at the budget end

👆 That's the core verdict. Everything below goes deeper into specs, accessories, measurements and sound.

How the Juzear Nimbus ended up in my ears

Mostly because at that price point, I found the build and design interesting paired with three different nozzles. But would they have impact and if so, are they actually useable?

Making an IEM versatile with different tuning filters or nozzles is not a new concept and other manufacturers have released sets comparable in this price region like Simgot, Tanchjim and Hidizs to name a few.

I am not always happy with the type of versatility as they can be quite exaggerated in different ways. So, usually I would end up using only the preinstalled nozzle instead of swapping.

A bit different in case of the Nimbus where the tuning nozzles reach from natural, relaxed leaning to very vocal forward. Two of the nozzles are enjoyable to me, the white and the black ones. Let's have a closer look in the sound impressions part and if you are a bit into graph sniffing, welcome to read my frequency response measurements part, too.

---

Key Specs

Driver Setup	1x 10mm MACCD composite diaphragm dynamic driver, TPEE suspension, N52 neodymium magnet
Impedance	32 Ω
Sensitivity	108 dB ±1 dB SPL/mW
Frequency Response	20 Hz to 20 kHz
THD+N	≤ 0.8%
Isolation	26 dB
Cable	Four-strand single-crystal copper silver-plated, two-wire twisted, with interchangeable 3.5mm and 4.4mm plug
Connector	0.78mm 2-pin
Shell	CNC machined zinc alloy with multi-layer electroplating, blue laser colour glass faceplate
Nozzle	Metal, three interchangeable filter types in white, red and black. Nozzle 5.2mm wide, 6.2mm at the lip, measured with my own caliper
Weight	9.2 g per side
Price	$54.99 USD / EUR 50 for the 3.5mm and 4.4mm version I received. The 3.5mm with mic plus USB-C version is $59.99 or around EUR54.50
Where to Buy, not affiliated	hifigo.com/products/juzear-poise-series-nimbus · AliExpress 3.5mm and 4.4mm: aliexpress.com/item/1005012898042561.html · AliExpress 3.5mm mic and USB-C: aliexpress.com/item/1005012898663425.html · amazon.com/dp/B0H73CL5YC · amazon.co.jp/dp/B0HBQCY8PY · amazon.com.au/dp/B0HBQQ9TJ4 · amazon.co.uk/dp/B0H7BJT7VX · amazon.de/dp/B0HBQXVW46

Note. The Nimbus comes in two versions. Mine is the 3.5mm and 4.4mm interchangeable plug version. The other one ships with a 3.5mm mic cable and a USB-C dongle built around the CX31993 chip for calls, gaming and computer use.

Accessories & Cable

In the box: the IEMs, the cable with its interchangeable plug, three pairs of nozzles, nine pairs of eartips, a light blue spring pouch and paperwork with the instructions and the QC card. The unboxing experience is very good in this price bracket.

Cable	Two-wire twisted, feels good and is ok in handling, though it is slightly memory prone. The plug is changeable between 3.5mm unbalanced and 4.4mm balanced on my version. Depending on whether you listen on your mobile device or at home, the USB-C version might be a good option instead
Eartips	Nine pairs in total, narrow and wide bore
Case	A light blue spring pouch. It does a basic protection and is pocketable
Other	Three pairs of interchangeable nozzles, instructions and a QC card

The highlight for me are the compact metal shells with their blue glass faceplates and the three different nozzle types, which have different filters and adjust the sound mostly in the mids to presence region.

Build Quality, Fit & Comfort

Fit & Comfort

The shells have noticeable weight and are about smaller than medium size. They sit secure in my mid-sized ears and fit very well thanks to the compact and rounded shell design. Even after several hours of wearing, my ears do not feel fatigued and there is no pressure build up as the shells are vented. The metal nozzles took my usual Divinus Velvet wide bore in size L without any issue and the seal was easy to get.

Build & Design

The shells and nozzles are made of metal and feel very solid in hand, and heavier than the usual resin shells. The blue glass faceplates feel very smooth and are reflective. The build feels premium and not like a USD55 IEM, and I still see IEMs much higher priced which have glued on nozzles or a cheaper build.

Cable

Covered in the table above. The short version is that it is good for the money, the plug swap works cleanly, and the only complaint is that it holds a bit of memory.

Mic Quality

Inline Mic	N/A on my version. There is no mic on the 3.5mm and 4.4mm cable, so I cannot say anything about the mic on the other version. That one ships with a 3.5mm mic cable and a USB-C DAC

> 💼 Personal note. I spent most of my time swapping between the white and the black nozzles rather than settling on one. The swap is quick enough and the difference is clear enough that it became part of how I used the set. On days where I could not take much treble and forward vocals I would go with the black nozzles. On other days I really enjoyed the white nozzles which highlight vocals better.

Long-Session Comfort

The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.

Sources, Tips & Setup

Sources were the Questyle Sigma Pro and the Hiby R4 Evangelion edition, streaming from Qobuz and Spotify at the highest available quality, using the stock cable with the 4.4mm plug. Eartips were the Divinus Velvet wide bore in size L throughout. The Nimbus is easy to drive and needs no extra dongle or amp, though it does want a bit of volume to open up.

This review is based on more than 30 hours of listening.

Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

The red graph shows the red nozzles, the blue graph shows the black nozzles, the white graph shows the white nozzles and the yellow line is the Harman IE 2019 target.

What the graph shows

The sub-bass partially aligns with the Harman target but then deviates from around 60Hz to around 1kHz. That means the Nimbus has more mid-bass emphasis than the Harman target, and slightly less energy at around 600Hz to 1kHz which lets vocals and instruments sound cleaner. The graph actually suggests more power in the low end than I hear, which surprised me.

From around 1kHz up until around 2.5kHz the red nozzles have a very similar response compared to Harman, but then the red nozzles slope downward. The red nozzles have the most elevated ear gain of the three and the most treble, so they are the ones which get shouty for me on higher volume, but they stay less shouty than the Harman curve.

The black nozzles follow the same as the red nozzles below 1kHz. From 1kHz on the black nozzles have less energy compared to Harman and then deviate substantially. Similar with the white nozzles but slightly different to the black ones. From 1.5kHz on the white nozzles deviate from Harman substantially and are energy wise between the black and the red ones.

For additional detail and air the Nimbus has an elevated 10 to 14kHz region on all three nozzles. The red ones carry the most energy of the three in the 4 to 10kHz area, and again at 14kHz they have more energy than the other two.

Depending on where you look on the graph the difference is at its highest around 4dB between the red and the black nozzles. Otherwise it is always somewhere between 1 and 2dB between each nozzle. That is not a lot on paper but it sits in the region which controls vocal energy and detail, and that is why three nozzles sharing the same low end can sound this different.

Sound Impressions

Overall Character

The Nimbus is threefold in a way. Three different sound signatures depending on the nozzle being used. They all share an identical frequency response from 20Hz up to around 1kHz, where they diverge into distinct vocal emphasis, presence region and mid-treble.

By default the Nimbus comes with the white nozzles installed. These carry slightly forward vocals, a mostly controlled bass with medium impact and some nice energy in the treble with reasonable detail retrieval. To my ears they have the best balance between bass, mids and presence region, with excitement that is well dosed. The black nozzles have the most relaxed sound signature with the perception of the most bass impact, as the rest of the frequencies are giving the bass more space, and of the three they scale the best with volume. Different on the red nozzles. The vocals are very much in front drawing the attention. The rest of the mix scales with the vocals, meaning I cannot really crank up this set that much as it gets shouty on higher volume.

Bass

Since the low end on all three nozzles is the same, this section refers to all three without mentioning it explicitly.

Bass is noticeably elevated with medium impact. The sub-bass on Key Glock's "Dough" is fine and stays controlled, but could reach deeper with more impact in my opinion. On A$AP Rocky's "Fkin' Problems" the sub-bass feels more impactful without droning too much or overshadowing the rest of the track.

It requires high volume to let the sub-bass have a better impact, and it has almost a BA like behaviour with a quick decay which does not linger long, with a rather controlled and shallow than deep rumble. But even volume scaling has its limit. The bass on very high volume, which is barely listenable for extended time, starts to increasingly drone affecting the rest of the mix, where the overall impact barely increases.

Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind, which is fine if you do not like an emphasized bass presentation and have it more as part of the whole performance. On Emika's "My Heart Bleeds Melody" a similar picture forms on this EDM track. The mid-bass has noticeable impact but will not bother with an overwhelming performance, but its punch feels good enough to make this track work for me.

The gist of the Nimbus bass is that it is on most tracks well audible but not heavily emphasized, leaving plenty of space to instruments and vocals without disappearing, but it needs higher volume to really show impact and its limited depth.

Midrange & Vocals

Lower mids are mostly relaxed and just slightly scooped out from around 600Hz to 1kHz when compared to the Harman 2019 target. The result is slightly thinner mids and upper mids, which are even more emphasized when using the white and red nozzles. The red nozzles push that the furthest. Their extra energy sits in the upper mids and presence region, which puts vocals right in front and is also where the shout comes from for me. The black nozzles are the other way around and are a recommendation for listeners who are sensitive for shout. As there is only very slight bass bleed, the mids stay pretty clean and clear, which results in good vocal replay for male and female voices. Overall the mids are well implemented, not sounding too dry but neither are they overly thickened. Especially on higher volume the clarity and separation between bass and mids become very visible. On Dire Straits' "Sultans of Swing", front man Mark Knopfler's vocals are just a little bit more front than mid centered and sound pleasant with good texture and emphasis. The controlled bass and mids have an impact on the treble, too.

Treble

The treble region has a noticeable elevation but does not sound overly energetic, actually slightly relaxed on the black nozzles with the occasional push of certain regions. The result is a relaxed leaning tonality with a bit unevenly distributed treble elevation. That can come across on some tracks as artificial, but is to my ears enjoyable on most tracks as it brings excitement and details without getting overly aggressive.

Both red and white nozzles have more details to present and slightly more treble energy, which sounds to me more natural and exciting and less uneven on these two nozzles. The 4 to 10kHz area is where that difference sits. Eg on R.E.M.'s "Drive" strings sound more pleasant, more life-like and detailed with the white nozzles when compared to the black ones. Same goes for sharper electric guitars. They carry a slight nice edge. Some more sparkle on instruments with a better extended treble. That is very much highlighted on The Doors' "Riders on the Storm", where the rain and the keys have good plasticity and detail. The difference to the black nozzles is clearly audible and I like it.

The red nozzles are in most cases too much for me though, and what makes them too much sits below the treble rather than in it. So they are less a treble head option than their extra energy suggests.

Tip rolling can change the sound here as on any other set, and with nine pairs in the box there is enough to try. I did try the narrow bore tips but not long enough to give proper feedback on them.

Staging & Imaging

Soundstage is about average on the Nimbus. Good is the separation and layering, so even on busy tracks it sounds relatively clear, where instruments have enough space to come through. Thanks to the well controlled bass and good mids, the detail retrieval feels solid. Spatial information is good but not very wide or deep.

Depending on the nozzle, layering, separation and imaging can slightly vary, as the presence region and treble add more space between the instruments, where the black sounds as if it plays in the smallest room. On John Coltrane's "Mr. P.C. (2020 Remaster)" the sax in my left ear sounds really good with the white nozzles and the room seems to be bigger than on the black ones, where the drums and bass are clearly further away in the back.

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Final Verdict

Looking at the whole set, the value of the Juzear Nimbus sits in the choice rather than in any single one of the three tunings. On its own none of the nozzles are reinventing the wheel at USD55. But together they make the Nimbus a versatile set which covers most of my library on different listening days.

A thing to consider is the bass on all three nozzles. Whatever they change further up, they do not add sub-bass depth or mid-bass impact, so a bass heavy library is the one case where I would consider other options.

Build, fit and the package are a no brainer for me. Metal shells, glass faceplates, a cable with an interchangeable plug, nine pairs of tips with a pocketable pouch are for USD55 very good value and a recommendation.

✅ Juzear Nimbus can be recommended if you

• Listen at mid to higher volume across a mixed library
• Want a metal build and an interchangeable plug at this price
• Are happy to swap nozzles rather than settle on one signature

❌ Consider other options if

• You need a deep and impactful bass, since no nozzle changes the low end
• You are chasing maximum treble air and detail retrieval
• You want a wide and deep soundstage

Disclosure

This review sample was provided by HiFiGo. No payment was received and HiFiGo had no influence over this review. No affiliate links are included in this review.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

$54.99 USD / EUR 50 | Wired | 10mm MACCD dynamic driver | 3.5mm and 4.4mm interchangeable plug OR 3.5mm with mic and USB-C at around $59.99 / EUR54.50

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Specs, accessories, measurements and the sound breakdown follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The Juzear Nimbus is a single dynamic driver at around USD55 with three interchangeable nozzles. The low end is the same on all three, noticeably elevated with medium impact. Everything from around 1kHz up changes with the nozzle. White is the balanced default, black is the most relaxed and scales the best with volume, and red is the most vocal forward. The basic character is on the natural side and the nozzle swap makes the set compatible with many genres. The build is metal with glass faceplates and does not feel like a USD55 IEM. I do see its limitations on bass heavy genres where an impactful bass is needed.

At a Glance

✓ Suits You If

• You want one set which can shift its emphasis instead of one fixed signature
• You have a mixed library across pop, jazz, rock and vocal centric genres, and bassy genres like EDM, rap and hip-hop with caveats
• You listen at mid to higher volume
• You want a metal build and an interchangeable plug at this price

✗ Skip It If

• You are a bass head who needs a deep and impactful bass
• You want a wide and deep soundstage
• You listen mostly on low volume, since the bass needs volume to show impact

Main Strengths & Weaknesses

Main strength

The three nozzles make a clear difference in the music presentation, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three usable tunings from one shell and makes the Nimbus compatible with many music genres.

Main weakness

The bass needs higher volume to really show impact and its depth stays limited. On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.

Who Is This For?

The Nimbus makes the most sense if you:

• Want the most even balance of the three, which is the white nozzles
• Have a vocal focused library, where the red nozzles come in
• Are sensitive for shout and want the black nozzles as the safe option
• Want long fatigue free listening sessions, again the black nozzles
• Care about build quality and connector flexibility at the budget end

👆 That's the core verdict. Everything below goes deeper into specs, accessories, measurements and sound.

How the Juzear Nimbus ended up in my ears

Mostly because at that price point, I found the build and design interesting paired with three different nozzles. But would they have impact and if so, are they actually useable?

Making an IEM versatile with different tuning filters or nozzles is not a new concept and other manufacturers have released sets comparable in this price region like Simgot, Tanchjim and Hidizs to name a few.

I am not always happy with the type of versatility as they can be quite exaggerated in different ways. So, usually I would end up using only the preinstalled nozzle instead of swapping.

A bit different in case of the Nimbus where the tuning nozzles reach from natural, relaxed leaning to very vocal forward. Two of the nozzles are enjoyable to me, the white and the black ones. Let's have a closer look in the sound impressions part and if you are a bit into graph sniffing, welcome to read my frequency response measurements part, too.

---

Key Specs

Driver Setup	1x 10mm MACCD composite diaphragm dynamic driver, TPEE suspension, N52 neodymium magnet
Impedance	32 Ω
Sensitivity	108 dB ±1 dB SPL/mW
Frequency Response	20 Hz to 20 kHz
THD+N	≤ 0.8%
Isolation	26 dB
Cable	Four-strand single-crystal copper silver-plated, two-wire twisted, with interchangeable 3.5mm and 4.4mm plug
Connector	0.78mm 2-pin
Shell	CNC machined zinc alloy with multi-layer electroplating, blue laser colour glass faceplate
Nozzle	Metal, three interchangeable filter types in white, red and black. Nozzle 5.2mm wide, 6.2mm at the lip, measured with my own caliper
Weight	9.2 g per side
Price	$54.99 USD / EUR 50 for the 3.5mm and 4.4mm version I received. The 3.5mm with mic plus USB-C version is $59.99 or around EUR54.50
Where to Buy, not affiliated	hifigo.com/products/juzear-poise-series-nimbus · AliExpress 3.5mm and 4.4mm: aliexpress.com/item/1005012898042561.html · AliExpress 3.5mm mic and USB-C: aliexpress.com/item/1005012898663425.html · amazon.com/dp/B0H73CL5YC · amazon.co.jp/dp/B0HBQCY8PY · amazon.com.au/dp/B0HBQQ9TJ4 · amazon.co.uk/dp/B0H7BJT7VX · amazon.de/dp/B0HBQXVW46

Note. The Nimbus comes in two versions. Mine is the 3.5mm and 4.4mm interchangeable plug version. The other one ships with a 3.5mm mic cable and a USB-C dongle built around the CX31993 chip for calls, gaming and computer use.

Accessories & Cable

In the box: the IEMs, the cable with its interchangeable plug, three pairs of nozzles, nine pairs of eartips, a light blue spring pouch and paperwork with the instructions and the QC card. The unboxing experience is very good in this price bracket.

Cable	Two-wire twisted, feels good and is ok in handling, though it is slightly memory prone. The plug is changeable between 3.5mm unbalanced and 4.4mm balanced on my version. Depending on whether you listen on your mobile device or at home, the USB-C version might be a good option instead
Eartips	Nine pairs in total, narrow and wide bore
Case	A light blue spring pouch. It does a basic protection and is pocketable
Other	Three pairs of interchangeable nozzles, instructions and a QC card

The highlight for me are the compact metal shells with their blue glass faceplates and the three different nozzle types, which have different filters and adjust the sound mostly in the mids to presence region.

Build Quality, Fit & Comfort

Fit & Comfort

The shells have noticeable weight and are about smaller than medium size. They sit secure in my mid-sized ears and fit very well thanks to the compact and rounded shell design. Even after several hours of wearing, my ears do not feel fatigued and there is no pressure build up as the shells are vented. The metal nozzles took my usual Divinus Velvet wide bore in size L without any issue and the seal was easy to get.

Build & Design

The shells and nozzles are made of metal and feel very solid in hand, and heavier than the usual resin shells. The blue glass faceplates feel very smooth and are reflective. The build feels premium and not like a USD55 IEM, and I still see IEMs much higher priced which have glued on nozzles or a cheaper build.

Cable

Covered in the table above. The short version is that it is good for the money, the plug swap works cleanly, and the only complaint is that it holds a bit of memory.

Mic Quality

Inline Mic	N/A on my version. There is no mic on the 3.5mm and 4.4mm cable, so I cannot say anything about the mic on the other version. That one ships with a 3.5mm mic cable and a USB-C DAC

> 💼 Personal note. I spent most of my time swapping between the white and the black nozzles rather than settling on one. The swap is quick enough and the difference is clear enough that it became part of how I used the set. On days where I could not take much treble and forward vocals I would go with the black nozzles. On other days I really enjoyed the white nozzles which highlight vocals better.

Long-Session Comfort

The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.

Sources, Tips & Setup

Sources were the Questyle Sigma Pro and the Hiby R4 Evangelion edition, streaming from Qobuz and Spotify at the highest available quality, using the stock cable with the 4.4mm plug. Eartips were the Divinus Velvet wide bore in size L throughout. The Nimbus is easy to drive and needs no extra dongle or amp, though it does want a bit of volume to open up.

This review is based on more than 30 hours of listening.

Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

The red graph shows the red nozzles, the blue graph shows the black nozzles, the white graph shows the white nozzles and the yellow line is the Harman IE 2019 target.

What the graph shows

The sub-bass partially aligns with the Harman target but then deviates from around 60Hz to around 1kHz. That means the Nimbus has more mid-bass emphasis than the Harman target, and slightly less energy at around 600Hz to 1kHz which lets vocals and instruments sound cleaner. The graph actually suggests more power in the low end than I hear, which surprised me.

From around 1kHz up until around 2.5kHz the red nozzles have a very similar response compared to Harman, but then the red nozzles slope downward. The red nozzles have the most elevated ear gain of the three and the most treble, so they are the ones which get shouty for me on higher volume, but they stay less shouty than the Harman curve.

The black nozzles follow the same as the red nozzles below 1kHz. From 1kHz on the black nozzles have less energy compared to Harman and then deviate substantially. Similar with the white nozzles but slightly different to the black ones. From 1.5kHz on the white nozzles deviate from Harman substantially and are energy wise between the black and the red ones.

For additional detail and air the Nimbus has an elevated 10 to 14kHz region on all three nozzles. The red ones carry the most energy of the three in the 4 to 10kHz area, and again at 14kHz they have more energy than the other two.

Depending on where you look on the graph the difference is at its highest around 4dB between the red and the black nozzles. Otherwise it is always somewhere between 1 and 2dB between each nozzle. That is not a lot on paper but it sits in the region which controls vocal energy and detail, and that is why three nozzles sharing the same low end can sound this different.

Sound Impressions

Overall Character

The Nimbus is threefold in a way. Three different sound signatures depending on the nozzle being used. They all share an identical frequency response from 20Hz up to around 1kHz, where they diverge into distinct vocal emphasis, presence region and mid-treble.

By default the Nimbus comes with the white nozzles installed. These carry slightly forward vocals, a mostly controlled bass with medium impact and some nice energy in the treble with reasonable detail retrieval. To my ears they have the best balance between bass, mids and presence region, with excitement that is well dosed. The black nozzles have the most relaxed sound signature with the perception of the most bass impact, as the rest of the frequencies are giving the bass more space, and of the three they scale the best with volume. Different on the red nozzles. The vocals are very much in front drawing the attention. The rest of the mix scales with the vocals, meaning I cannot really crank up this set that much as it gets shouty on higher volume.

Bass

Since the low end on all three nozzles is the same, this section refers to all three without mentioning it explicitly.

Bass is noticeably elevated with medium impact. The sub-bass on Key Glock's "Dough" is fine and stays controlled, but could reach deeper with more impact in my opinion. On A$AP Rocky's "Fkin' Problems" the sub-bass feels more impactful without droning too much or overshadowing the rest of the track.

It requires high volume to let the sub-bass have a better impact, and it has almost a BA like behaviour with a quick decay which does not linger long, with a rather controlled and shallow than deep rumble. But even volume scaling has its limit. The bass on very high volume, which is barely listenable for extended time, starts to increasingly drone affecting the rest of the mix, where the overall impact barely increases.

Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind, which is fine if you do not like an emphasized bass presentation and have it more as part of the whole performance. On Emika's "My Heart Bleeds Melody" a similar picture forms on this EDM track. The mid-bass has noticeable impact but will not bother with an overwhelming performance, but its punch feels good enough to make this track work for me.

The gist of the Nimbus bass is that it is on most tracks well audible but not heavily emphasized, leaving plenty of space to instruments and vocals without disappearing, but it needs higher volume to really show impact and its limited depth.

Midrange & Vocals

Lower mids are mostly relaxed and just slightly scooped out from around 600Hz to 1kHz when compared to the Harman 2019 target. The result is slightly thinner mids and upper mids, which are even more emphasized when using the white and red nozzles. The red nozzles push that the furthest. Their extra energy sits in the upper mids and presence region, which puts vocals right in front and is also where the shout comes from for me. The black nozzles are the other way around and are a recommendation for listeners who are sensitive for shout. As there is only very slight bass bleed, the mids stay pretty clean and clear, which results in good vocal replay for male and female voices. Overall the mids are well implemented, not sounding too dry but neither are they overly thickened. Especially on higher volume the clarity and separation between bass and mids become very visible. On Dire Straits' "Sultans of Swing", front man Mark Knopfler's vocals are just a little bit more front than mid centered and sound pleasant with good texture and emphasis. The controlled bass and mids have an impact on the treble, too.

Treble

The treble region has a noticeable elevation but does not sound overly energetic, actually slightly relaxed on the black nozzles with the occasional push of certain regions. The result is a relaxed leaning tonality with a bit unevenly distributed treble elevation. That can come across on some tracks as artificial, but is to my ears enjoyable on most tracks as it brings excitement and details without getting overly aggressive.

Both red and white nozzles have more details to present and slightly more treble energy, which sounds to me more natural and exciting and less uneven on these two nozzles. The 4 to 10kHz area is where that difference sits. Eg on R.E.M.'s "Drive" strings sound more pleasant, more life-like and detailed with the white nozzles when compared to the black ones. Same goes for sharper electric guitars. They carry a slight nice edge. Some more sparkle on instruments with a better extended treble. That is very much highlighted on The Doors' "Riders on the Storm", where the rain and the keys have good plasticity and detail. The difference to the black nozzles is clearly audible and I like it.

The red nozzles are in most cases too much for me though, and what makes them too much sits below the treble rather than in it. So they are less a treble head option than their extra energy suggests.

Tip rolling can change the sound here as on any other set, and with nine pairs in the box there is enough to try. I did try the narrow bore tips but not long enough to give proper feedback on them.

Staging & Imaging

Soundstage is about average on the Nimbus. Good is the separation and layering, so even on busy tracks it sounds relatively clear, where instruments have enough space to come through. Thanks to the well controlled bass and good mids, the detail retrieval feels solid. Spatial information is good but not very wide or deep.

Depending on the nozzle, layering, separation and imaging can slightly vary, as the presence region and treble add more space between the instruments, where the black sounds as if it plays in the smallest room. On John Coltrane's "Mr. P.C. (2020 Remaster)" the sax in my left ear sounds really good with the white nozzles and the room seems to be bigger than on the black ones, where the drums and bass are clearly further away in the back.

---

Final Verdict

Looking at the whole set, the value of the Juzear Nimbus sits in the choice rather than in any single one of the three tunings. On its own none of the nozzles are reinventing the wheel at USD55. But together they make the Nimbus a versatile set which covers most of my library on different listening days.

A thing to consider is the bass on all three nozzles. Whatever they change further up, they do not add sub-bass depth or mid-bass impact, so a bass heavy library is the one case where I would consider other options.

Build, fit and the package are a no brainer for me. Metal shells, glass faceplates, a cable with an interchangeable plug, nine pairs of tips with a pocketable pouch are for USD55 very good value and a recommendation.

✅ Juzear Nimbus can be recommended if you

• Listen at mid to higher volume across a mixed library
• Want a metal build and an interchangeable plug at this price
• Are happy to swap nozzles rather than settle on one signature

❌ Consider other options if

• You need a deep and impactful bass, since no nozzle changes the low end
• You are chasing maximum treble air and detail retrieval
• You want a wide and deep soundstage

Disclosure

This review sample was provided by HiFiGo. No payment was received and HiFiGo had no influence over this review. No affiliate links are included in this review.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

$54.99 USD / EUR 50 | Wired | 10mm MACCD dynamic driver | 3.5mm and 4.4mm interchangeable plug OR 3.5mm with mic and USB-C at around $59.99 / EUR54.50

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Specs, accessories, measurements and the sound breakdown follow below for those who want the detail.

---

⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The Juzear Nimbus is a single dynamic driver at around USD55 with three interchangeable nozzles. The low end is the same on all three, noticeably elevated with medium impact. Everything from around 1kHz up changes with the nozzle. White is the balanced default, black is the most relaxed and scales the best with volume, and red is the most vocal forward. The basic character is on the natural side and the nozzle swap makes the set compatible with many genres. The build is metal with glass faceplates and does not feel like a USD55 IEM. I do see its limitations on bass heavy genres where an impactful bass is needed.

At a Glance

✓ Suits You If

• You want one set which can shift its emphasis instead of one fixed signature
• You have a mixed library across pop, jazz, rock and vocal centric genres, and bassy genres like EDM, rap and hip-hop with caveats
• You listen at mid to higher volume
• You want a metal build and an interchangeable plug at this price

✗ Skip It If

• You are a bass head who needs a deep and impactful bass
• You want a wide and deep soundstage
• You listen mostly on low volume, since the bass needs volume to show impact

Main Strengths & Weaknesses

Main strength

The three nozzles make a clear difference in the music presentation, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three usable tunings from one shell and makes the Nimbus compatible with many music genres.

Main weakness

The bass needs higher volume to really show impact and its depth stays limited. On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.

Who Is This For?

The Nimbus makes the most sense if you:

• Want the most even balance of the three, which is the white nozzles
• Have a vocal focused library, where the red nozzles come in
• Are sensitive for shout and want the black nozzles as the safe option
• Want long fatigue free listening sessions, again the black nozzles
• Care about build quality and connector flexibility at the budget end

👆 That's the core verdict. Everything below goes deeper into specs, accessories, measurements and sound.

How the Juzear Nimbus ended up in my ears

Mostly because at that price point, I found the build and design interesting paired with three different nozzles. But would they have impact and if so, are they actually useable?

Making an IEM versatile with different tuning filters or nozzles is not a new concept and other manufacturers have released sets comparable in this price region like Simgot, Tanchjim and Hidizs to name a few.

I am not always happy with the type of versatility as they can be quite exaggerated in different ways. So, usually I would end up using only the preinstalled nozzle instead of swapping.

A bit different in case of the Nimbus where the tuning nozzles reach from natural, relaxed leaning to very vocal forward. Two of the nozzles are enjoyable to me, the white and the black ones. Let's have a closer look in the sound impressions part and if you are a bit into graph sniffing, welcome to read my frequency response measurements part, too.

---

Key Specs

Driver Setup	1x 10mm MACCD composite diaphragm dynamic driver, TPEE suspension, N52 neodymium magnet
Impedance	32 Ω
Sensitivity	108 dB ±1 dB SPL/mW
Frequency Response	20 Hz to 20 kHz
THD+N	≤ 0.8%
Isolation	26 dB
Cable	Four-strand single-crystal copper silver-plated, two-wire twisted, with interchangeable 3.5mm and 4.4mm plug
Connector	0.78mm 2-pin
Shell	CNC machined zinc alloy with multi-layer electroplating, blue laser colour glass faceplate
Nozzle	Metal, three interchangeable filter types in white, red and black. Nozzle 5.2mm wide, 6.2mm at the lip, measured with my own caliper
Weight	9.2 g per side
Price	$54.99 USD / EUR 50 for the 3.5mm and 4.4mm version I received. The 3.5mm with mic plus USB-C version is $59.99 or around EUR54.50
Where to Buy, not affiliated	hifigo.com/products/juzear-poise-series-nimbus · AliExpress 3.5mm and 4.4mm: aliexpress.com/item/1005012898042561.html · AliExpress 3.5mm mic and USB-C: aliexpress.com/item/1005012898663425.html · amazon.com/dp/B0H73CL5YC · amazon.co.jp/dp/B0HBQCY8PY · amazon.com.au/dp/B0HBQQ9TJ4 · amazon.co.uk/dp/B0H7BJT7VX · amazon.de/dp/B0HBQXVW46

Note. The Nimbus comes in two versions. Mine is the 3.5mm and 4.4mm interchangeable plug version. The other one ships with a 3.5mm mic cable and a USB-C dongle built around the CX31993 chip for calls, gaming and computer use.

Accessories & Cable

In the box: the IEMs, the cable with its interchangeable plug, three pairs of nozzles, nine pairs of eartips, a light blue spring pouch and paperwork with the instructions and the QC card. The unboxing experience is very good in this price bracket.

Cable	Two-wire twisted, feels good and is ok in handling, though it is slightly memory prone. The plug is changeable between 3.5mm unbalanced and 4.4mm balanced on my version. Depending on whether you listen on your mobile device or at home, the USB-C version might be a good option instead
Eartips	Nine pairs in total, narrow and wide bore
Case	A light blue spring pouch. It does a basic protection and is pocketable
Other	Three pairs of interchangeable nozzles, instructions and a QC card

The highlight for me are the compact metal shells with their blue glass faceplates and the three different nozzle types, which have different filters and adjust the sound mostly in the mids to presence region.

Build Quality, Fit & Comfort

Fit & Comfort

The shells have noticeable weight and are about smaller than medium size. They sit secure in my mid-sized ears and fit very well thanks to the compact and rounded shell design. Even after several hours of wearing, my ears do not feel fatigued and there is no pressure build up as the shells are vented. The metal nozzles took my usual Divinus Velvet wide bore in size L without any issue and the seal was easy to get.

Build & Design

The shells and nozzles are made of metal and feel very solid in hand, and heavier than the usual resin shells. The blue glass faceplates feel very smooth and are reflective. The build feels premium and not like a USD55 IEM, and I still see IEMs much higher priced which have glued on nozzles or a cheaper build.

Cable

Covered in the table above. The short version is that it is good for the money, the plug swap works cleanly, and the only complaint is that it holds a bit of memory.

Mic Quality

Inline Mic	N/A on my version. There is no mic on the 3.5mm and 4.4mm cable, so I cannot say anything about the mic on the other version. That one ships with a 3.5mm mic cable and a USB-C DAC

> 💼 Personal note. I spent most of my time swapping between the white and the black nozzles rather than settling on one. The swap is quick enough and the difference is clear enough that it became part of how I used the set. On days where I could not take much treble and forward vocals I would go with the black nozzles. On other days I really enjoyed the white nozzles which highlight vocals better.

Long-Session Comfort

The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.

Sources, Tips & Setup

Sources were the Questyle Sigma Pro and the Hiby R4 Evangelion edition, streaming from Qobuz and Spotify at the highest available quality, using the stock cable with the 4.4mm plug. Eartips were the Divinus Velvet wide bore in size L throughout. The Nimbus is easy to drive and needs no extra dongle or amp, though it does want a bit of volume to open up.

This review is based on more than 30 hours of listening.

Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

The red graph shows the red nozzles, the blue graph shows the black nozzles, the white graph shows the white nozzles and the yellow line is the Harman IE 2019 target.

What the graph shows

The sub-bass partially aligns with the Harman target but then deviates from around 60Hz to around 1kHz. That means the Nimbus has more mid-bass emphasis than the Harman target, and slightly less energy at around 600Hz to 1kHz which lets vocals and instruments sound cleaner. The graph actually suggests more power in the low end than I hear, which surprised me.

From around 1kHz up until around 2.5kHz the red nozzles have a very similar response compared to Harman, but then the red nozzles slope downward. The red nozzles have the most elevated ear gain of the three and the most treble, so they are the ones which get shouty for me on higher volume, but they stay less shouty than the Harman curve.

The black nozzles follow the same as the red nozzles below 1kHz. From 1kHz on the black nozzles have less energy compared to Harman and then deviate substantially. Similar with the white nozzles but slightly different to the black ones. From 1.5kHz on the white nozzles deviate from Harman substantially and are energy wise between the black and the red ones.

For additional detail and air the Nimbus has an elevated 10 to 14kHz region on all three nozzles. The red ones carry the most energy of the three in the 4 to 10kHz area, and again at 14kHz they have more energy than the other two.

Depending on where you look on the graph the difference is at its highest around 4dB between the red and the black nozzles. Otherwise it is always somewhere between 1 and 2dB between each nozzle. That is not a lot on paper but it sits in the region which controls vocal energy and detail, and that is why three nozzles sharing the same low end can sound this different.

Sound Impressions

Overall Character

The Nimbus is threefold in a way. Three different sound signatures depending on the nozzle being used. They all share an identical frequency response from 20Hz up to around 1kHz, where they diverge into distinct vocal emphasis, presence region and mid-treble.

By default the Nimbus comes with the white nozzles installed. These carry slightly forward vocals, a mostly controlled bass with medium impact and some nice energy in the treble with reasonable detail retrieval. To my ears they have the best balance between bass, mids and presence region, with excitement that is well dosed. The black nozzles have the most relaxed sound signature with the perception of the most bass impact, as the rest of the frequencies are giving the bass more space, and of the three they scale the best with volume. Different on the red nozzles. The vocals are very much in front drawing the attention. The rest of the mix scales with the vocals, meaning I cannot really crank up this set that much as it gets shouty on higher volume.

Bass

Since the low end on all three nozzles is the same, this section refers to all three without mentioning it explicitly.

Bass is noticeably elevated with medium impact. The sub-bass on Key Glock's "Dough" is fine and stays controlled, but could reach deeper with more impact in my opinion. On A$AP Rocky's "Fkin' Problems" the sub-bass feels more impactful without droning too much or overshadowing the rest of the track.

It requires high volume to let the sub-bass have a better impact, and it has almost a BA like behaviour with a quick decay which does not linger long, with a rather controlled and shallow than deep rumble. But even volume scaling has its limit. The bass on very high volume, which is barely listenable for extended time, starts to increasingly drone affecting the rest of the mix, where the overall impact barely increases.

Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind, which is fine if you do not like an emphasized bass presentation and have it more as part of the whole performance. On Emika's "My Heart Bleeds Melody" a similar picture forms on this EDM track. The mid-bass has noticeable impact but will not bother with an overwhelming performance, but its punch feels good enough to make this track work for me.

The gist of the Nimbus bass is that it is on most tracks well audible but not heavily emphasized, leaving plenty of space to instruments and vocals without disappearing, but it needs higher volume to really show impact and its limited depth.

Midrange & Vocals

Lower mids are mostly relaxed and just slightly scooped out from around 600Hz to 1kHz when compared to the Harman 2019 target. The result is slightly thinner mids and upper mids, which are even more emphasized when using the white and red nozzles. The red nozzles push that the furthest. Their extra energy sits in the upper mids and presence region, which puts vocals right in front and is also where the shout comes from for me. The black nozzles are the other way around and are a recommendation for listeners who are sensitive for shout. As there is only very slight bass bleed, the mids stay pretty clean and clear, which results in good vocal replay for male and female voices. Overall the mids are well implemented, not sounding too dry but neither are they overly thickened. Especially on higher volume the clarity and separation between bass and mids become very visible. On Dire Straits' "Sultans of Swing", front man Mark Knopfler's vocals are just a little bit more front than mid centered and sound pleasant with good texture and emphasis. The controlled bass and mids have an impact on the treble, too.

Treble

The treble region has a noticeable elevation but does not sound overly energetic, actually slightly relaxed on the black nozzles with the occasional push of certain regions. The result is a relaxed leaning tonality with a bit unevenly distributed treble elevation. That can come across on some tracks as artificial, but is to my ears enjoyable on most tracks as it brings excitement and details without getting overly aggressive.

Both red and white nozzles have more details to present and slightly more treble energy, which sounds to me more natural and exciting and less uneven on these two nozzles. The 4 to 10kHz area is where that difference sits. Eg on R.E.M.'s "Drive" strings sound more pleasant, more life-like and detailed with the white nozzles when compared to the black ones. Same goes for sharper electric guitars. They carry a slight nice edge. Some more sparkle on instruments with a better extended treble. That is very much highlighted on The Doors' "Riders on the Storm", where the rain and the keys have good plasticity and detail. The difference to the black nozzles is clearly audible and I like it.

The red nozzles are in most cases too much for me though, and what makes them too much sits below the treble rather than in it. So they are less a treble head option than their extra energy suggests.

Tip rolling can change the sound here as on any other set, and with nine pairs in the box there is enough to try. I did try the narrow bore tips but not long enough to give proper feedback on them.

Staging & Imaging

Soundstage is about average on the Nimbus. Good is the separation and layering, so even on busy tracks it sounds relatively clear, where instruments have enough space to come through. Thanks to the well controlled bass and good mids, the detail retrieval feels solid. Spatial information is good but not very wide or deep.

Depending on the nozzle, layering, separation and imaging can slightly vary, as the presence region and treble add more space between the instruments, where the black sounds as if it plays in the smallest room. On John Coltrane's "Mr. P.C. (2020 Remaster)" the sax in my left ear sounds really good with the white nozzles and the room seems to be bigger than on the black ones, where the drums and bass are clearly further away in the back.

---

Final Verdict

Looking at the whole set, the value of the Juzear Nimbus sits in the choice rather than in any single one of the three tunings. On its own none of the nozzles are reinventing the wheel at USD55. But together they make the Nimbus a versatile set which covers most of my library on different listening days.

A thing to consider is the bass on all three nozzles. Whatever they change further up, they do not add sub-bass depth or mid-bass impact, so a bass heavy library is the one case where I would consider other options.

Build, fit and the package are a no brainer for me. Metal shells, glass faceplates, a cable with an interchangeable plug, nine pairs of tips with a pocketable pouch are for USD55 very good value and a recommendation.

✅ Juzear Nimbus can be recommended if you

• Listen at mid to higher volume across a mixed library
• Want a metal build and an interchangeable plug at this price
• Are happy to swap nozzles rather than settle on one signature

❌ Consider other options if

• You need a deep and impactful bass, since no nozzle changes the low end
• You are chasing maximum treble air and detail retrieval
• You want a wide and deep soundstage

Disclosure

This review sample was provided by HiFiGo. No payment was received and HiFiGo had no influence over this review. No affiliate links are included in this review.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

$54.99 USD / EUR 50 | Wired | 10mm MACCD dynamic driver | 3.5mm and 4.4mm interchangeable plug OR 3.5mm with mic and USB-C at around $59.99 / EUR54.50

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Specs, accessories, measurements and the sound breakdown follow below for those who want the detail.

---

⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The Juzear Nimbus is a single dynamic driver at around USD55 with three interchangeable nozzles. The low end is the same on all three, noticeably elevated with medium impact. Everything from around 1kHz up changes with the nozzle. White is the balanced default, black is the most relaxed and scales the best with volume, and red is the most vocal forward. The basic character is on the natural side and the nozzle swap makes the set compatible with many genres. The build is metal with glass faceplates and does not feel like a USD55 IEM. I do see its limitations on bass heavy genres where an impactful bass is needed.

At a Glance

✓ Suits You If

• You want one set which can shift its emphasis instead of one fixed signature
• You have a mixed library across pop, jazz, rock and vocal centric genres, and bassy genres like EDM, rap and hip-hop with caveats
• You listen at mid to higher volume
• You want a metal build and an interchangeable plug at this price

✗ Skip It If

• You are a bass head who needs a deep and impactful bass
• You want a wide and deep soundstage
• You listen mostly on low volume, since the bass needs volume to show impact

Main Strengths & Weaknesses

Main strength

The three nozzles make a clear difference in the music presentation, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three usable tunings from one shell and makes the Nimbus compatible with many music genres.

Main weakness

The bass needs higher volume to really show impact and its depth stays limited. On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.

Who Is This For?

The Nimbus makes the most sense if you:

• Want the most even balance of the three, which is the white nozzles
• Have a vocal focused library, where the red nozzles come in
• Are sensitive for shout and want the black nozzles as the safe option
• Want long fatigue free listening sessions, again the black nozzles
• Care about build quality and connector flexibility at the budget end

👆 That's the core verdict. Everything below goes deeper into specs, accessories, measurements and sound.

How the Juzear Nimbus ended up in my ears

Mostly because at that price point, I found the build and design interesting paired with three different nozzles. But would they have impact and if so, are they actually useable?

Making an IEM versatile with different tuning filters or nozzles is not a new concept and other manufacturers have released sets comparable in this price region like Simgot, Tanchjim and Hidizs to name a few.

I am not always happy with the type of versatility as they can be quite exaggerated in different ways. So, usually I would end up using only the preinstalled nozzle instead of swapping.

A bit different in case of the Nimbus where the tuning nozzles reach from natural, relaxed leaning to very vocal forward. Two of the nozzles are enjoyable to me, the white and the black ones. Let's have a closer look in the sound impressions part and if you are a bit into graph sniffing, welcome to read my frequency response measurements part, too.

---

Key Specs

Driver Setup	1x 10mm MACCD composite diaphragm dynamic driver, TPEE suspension, N52 neodymium magnet
Impedance	32 Ω
Sensitivity	108 dB ±1 dB SPL/mW
Frequency Response	20 Hz to 20 kHz
THD+N	≤ 0.8%
Isolation	26 dB
Cable	Four-strand single-crystal copper silver-plated, two-wire twisted, with interchangeable 3.5mm and 4.4mm plug
Connector	0.78mm 2-pin
Shell	CNC machined zinc alloy with multi-layer electroplating, blue laser colour glass faceplate
Nozzle	Metal, three interchangeable filter types in white, red and black. Nozzle 5.2mm wide, 6.2mm at the lip, measured with my own caliper
Weight	9.2 g per side
Price	$54.99 USD / EUR 50 for the 3.5mm and 4.4mm version I received. The 3.5mm with mic plus USB-C version is $59.99 or around EUR54.50
Where to Buy, not affiliated	hifigo.com/products/juzear-poise-series-nimbus · AliExpress 3.5mm and 4.4mm: aliexpress.com/item/1005012898042561.html · AliExpress 3.5mm mic and USB-C: aliexpress.com/item/1005012898663425.html · amazon.com/dp/B0H73CL5YC · amazon.co.jp/dp/B0HBQCY8PY · amazon.com.au/dp/B0HBQQ9TJ4 · amazon.co.uk/dp/B0H7BJT7VX · amazon.de/dp/B0HBQXVW46

Note. The Nimbus comes in two versions. Mine is the 3.5mm and 4.4mm interchangeable plug version. The other one ships with a 3.5mm mic cable and a USB-C dongle built around the CX31993 chip for calls, gaming and computer use.

Accessories & Cable

In the box: the IEMs, the cable with its interchangeable plug, three pairs of nozzles, nine pairs of eartips, a light blue spring pouch and paperwork with the instructions and the QC card. The unboxing experience is very good in this price bracket.

Cable	Two-wire twisted, feels good and is ok in handling, though it is slightly memory prone. The plug is changeable between 3.5mm unbalanced and 4.4mm balanced on my version. Depending on whether you listen on your mobile device or at home, the USB-C version might be a good option instead
Eartips	Nine pairs in total, narrow and wide bore
Case	A light blue spring pouch. It does a basic protection and is pocketable
Other	Three pairs of interchangeable nozzles, instructions and a QC card

The highlight for me are the compact metal shells with their blue glass faceplates and the three different nozzle types, which have different filters and adjust the sound mostly in the mids to presence region.

Build Quality, Fit & Comfort

Fit & Comfort

The shells have noticeable weight and are about smaller than medium size. They sit secure in my mid-sized ears and fit very well thanks to the compact and rounded shell design. Even after several hours of wearing, my ears do not feel fatigued and there is no pressure build up as the shells are vented. The metal nozzles took my usual Divinus Velvet wide bore in size L without any issue and the seal was easy to get.

Build & Design

The shells and nozzles are made of metal and feel very solid in hand, and heavier than the usual resin shells. The blue glass faceplates feel very smooth and are reflective. The build feels premium and not like a USD55 IEM, and I still see IEMs much higher priced which have glued on nozzles or a cheaper build.

Cable

Covered in the table above. The short version is that it is good for the money, the plug swap works cleanly, and the only complaint is that it holds a bit of memory.

Mic Quality

Inline Mic	N/A on my version. There is no mic on the 3.5mm and 4.4mm cable, so I cannot say anything about the mic on the other version. That one ships with a 3.5mm mic cable and a USB-C DAC

> 💼 Personal note. I spent most of my time swapping between the white and the black nozzles rather than settling on one. The swap is quick enough and the difference is clear enough that it became part of how I used the set. On days where I could not take much treble and forward vocals I would go with the black nozzles. On other days I really enjoyed the white nozzles which highlight vocals better.

Long-Session Comfort

The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.

Sources, Tips & Setup

Sources were the Questyle Sigma Pro and the Hiby R4 Evangelion edition, streaming from Qobuz and Spotify at the highest available quality, using the stock cable with the 4.4mm plug. Eartips were the Divinus Velvet wide bore in size L throughout. The Nimbus is easy to drive and needs no extra dongle or amp, though it does want a bit of volume to open up.

This review is based on more than 30 hours of listening.

Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

The red graph shows the red nozzles, the blue graph shows the black nozzles, the white graph shows the white nozzles and the yellow line is the Harman IE 2019 target.

What the graph shows

The sub-bass partially aligns with the Harman target but then deviates from around 60Hz to around 1kHz. That means the Nimbus has more mid-bass emphasis than the Harman target, and slightly less energy at around 600Hz to 1kHz which lets vocals and instruments sound cleaner. The graph actually suggests more power in the low end than I hear, which surprised me.

From around 1kHz up until around 2.5kHz the red nozzles have a very similar response compared to Harman, but then the red nozzles slope downward. The red nozzles have the most elevated ear gain of the three and the most treble, so they are the ones which get shouty for me on higher volume, but they stay less shouty than the Harman curve.

The black nozzles follow the same as the red nozzles below 1kHz. From 1kHz on the black nozzles have less energy compared to Harman and then deviate substantially. Similar with the white nozzles but slightly different to the black ones. From 1.5kHz on the white nozzles deviate from Harman substantially and are energy wise between the black and the red ones.

For additional detail and air the Nimbus has an elevated 10 to 14kHz region on all three nozzles. The red ones carry the most energy of the three in the 4 to 10kHz area, and again at 14kHz they have more energy than the other two.

Depending on where you look on the graph the difference is at its highest around 4dB between the red and the black nozzles. Otherwise it is always somewhere between 1 and 2dB between each nozzle. That is not a lot on paper but it sits in the region which controls vocal energy and detail, and that is why three nozzles sharing the same low end can sound this different.

Sound Impressions

Overall Character

The Nimbus is threefold in a way. Three different sound signatures depending on the nozzle being used. They all share an identical frequency response from 20Hz up to around 1kHz, where they diverge into distinct vocal emphasis, presence region and mid-treble.

By default the Nimbus comes with the white nozzles installed. These carry slightly forward vocals, a mostly controlled bass with medium impact and some nice energy in the treble with reasonable detail retrieval. To my ears they have the best balance between bass, mids and presence region, with excitement that is well dosed. The black nozzles have the most relaxed sound signature with the perception of the most bass impact, as the rest of the frequencies are giving the bass more space, and of the three they scale the best with volume. Different on the red nozzles. The vocals are very much in front drawing the attention. The rest of the mix scales with the vocals, meaning I cannot really crank up this set that much as it gets shouty on higher volume.

Bass

Since the low end on all three nozzles is the same, this section refers to all three without mentioning it explicitly.

Bass is noticeably elevated with medium impact. The sub-bass on Key Glock's "Dough" is fine and stays controlled, but could reach deeper with more impact in my opinion. On A$AP Rocky's "Fkin' Problems" the sub-bass feels more impactful without droning too much or overshadowing the rest of the track.

It requires high volume to let the sub-bass have a better impact, and it has almost a BA like behaviour with a quick decay which does not linger long, with a rather controlled and shallow than deep rumble. But even volume scaling has its limit. The bass on very high volume, which is barely listenable for extended time, starts to increasingly drone affecting the rest of the mix, where the overall impact barely increases.

Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind, which is fine if you do not like an emphasized bass presentation and have it more as part of the whole performance. On Emika's "My Heart Bleeds Melody" a similar picture forms on this EDM track. The mid-bass has noticeable impact but will not bother with an overwhelming performance, but its punch feels good enough to make this track work for me.

The gist of the Nimbus bass is that it is on most tracks well audible but not heavily emphasized, leaving plenty of space to instruments and vocals without disappearing, but it needs higher volume to really show impact and its limited depth.

Midrange & Vocals

Lower mids are mostly relaxed and just slightly scooped out from around 600Hz to 1kHz when compared to the Harman 2019 target. The result is slightly thinner mids and upper mids, which are even more emphasized when using the white and red nozzles. The red nozzles push that the furthest. Their extra energy sits in the upper mids and presence region, which puts vocals right in front and is also where the shout comes from for me. The black nozzles are the other way around and are a recommendation for listeners who are sensitive for shout. As there is only very slight bass bleed, the mids stay pretty clean and clear, which results in good vocal replay for male and female voices. Overall the mids are well implemented, not sounding too dry but neither are they overly thickened. Especially on higher volume the clarity and separation between bass and mids become very visible. On Dire Straits' "Sultans of Swing", front man Mark Knopfler's vocals are just a little bit more front than mid centered and sound pleasant with good texture and emphasis. The controlled bass and mids have an impact on the treble, too.

Treble

The treble region has a noticeable elevation but does not sound overly energetic, actually slightly relaxed on the black nozzles with the occasional push of certain regions. The result is a relaxed leaning tonality with a bit unevenly distributed treble elevation. That can come across on some tracks as artificial, but is to my ears enjoyable on most tracks as it brings excitement and details without getting overly aggressive.

Both red and white nozzles have more details to present and slightly more treble energy, which sounds to me more natural and exciting and less uneven on these two nozzles. The 4 to 10kHz area is where that difference sits. Eg on R.E.M.'s "Drive" strings sound more pleasant, more life-like and detailed with the white nozzles when compared to the black ones. Same goes for sharper electric guitars. They carry a slight nice edge. Some more sparkle on instruments with a better extended treble. That is very much highlighted on The Doors' "Riders on the Storm", where the rain and the keys have good plasticity and detail. The difference to the black nozzles is clearly audible and I like it.

The red nozzles are in most cases too much for me though, and what makes them too much sits below the treble rather than in it. So they are less a treble head option than their extra energy suggests.

Tip rolling can change the sound here as on any other set, and with nine pairs in the box there is enough to try. I did try the narrow bore tips but not long enough to give proper feedback on them.

Staging & Imaging

Soundstage is about average on the Nimbus. Good is the separation and layering, so even on busy tracks it sounds relatively clear, where instruments have enough space to come through. Thanks to the well controlled bass and good mids, the detail retrieval feels solid. Spatial information is good but not very wide or deep.

Depending on the nozzle, layering, separation and imaging can slightly vary, as the presence region and treble add more space between the instruments, where the black sounds as if it plays in the smallest room. On John Coltrane's "Mr. P.C. (2020 Remaster)" the sax in my left ear sounds really good with the white nozzles and the room seems to be bigger than on the black ones, where the drums and bass are clearly further away in the back.

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Final Verdict

Looking at the whole set, the value of the Juzear Nimbus sits in the choice rather than in any single one of the three tunings. On its own none of the nozzles are reinventing the wheel at USD55. But together they make the Nimbus a versatile set which covers most of my library on different listening days.

A thing to consider is the bass on all three nozzles. Whatever they change further up, they do not add sub-bass depth or mid-bass impact, so a bass heavy library is the one case where I would consider other options.

Build, fit and the package are a no brainer for me. Metal shells, glass faceplates, a cable with an interchangeable plug, nine pairs of tips with a pocketable pouch are for USD55 very good value and a recommendation.

✅ Juzear Nimbus can be recommended if you

• Listen at mid to higher volume across a mixed library
• Want a metal build and an interchangeable plug at this price
• Are happy to swap nozzles rather than settle on one signature

❌ Consider other options if

• You need a deep and impactful bass, since no nozzle changes the low end
• You are chasing maximum treble air and detail retrieval
• You want a wide and deep soundstage

Disclosure

This review sample was provided by HiFiGo. No payment was received and HiFiGo had no influence over this review. No affiliate links are included in this review.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

Hi everyone,

HiFiGo asked me if I wanted to highlight some products from their upcoming Back to School / AliExpress sale starting August 17.

Rather than posting a huge list of discounted products, I went through the campaign sheet and picked six that I can actually recommend. Most of them I've either reviewed already or have spent enough time with to have a pretty clear opinion.

There are no affiliate links involved here. HiFiGo asked me to participate in the campaign, but the picks and comments below are mine.

MuseHiFi M3 Ultra, affordable portable tubes

Sale price: around USD110 before additional coins

This remains one of the more unusual portable DAC/amps I've tried.
Instead of simply giving you another clean, powerful dongle, the M3 Ultra uses JAN6418 tubes and actually brings some of that softer, richer tube character into a genuinely portable device.

I particularly liked it when pairing brighter or more analytical IEMs where a little extra warmth and body can be welcome. Or to simply add some additional bass fun and treble elevation, depending on the IEMs hardware configuration.

It isn't something I'd buy purely for measurements or maximum neutrality but rather for additional flavour it can add.

My full review: Muse M3 Ultra

HiFiGo:
https://hifigo.com/products/muse-hifi-m3-ultra
Aliexpress: HIFIZOO: https://www.aliexpress.com/item/1005012415377539.html

Store Code: USBTSS02

Amazon US: https://www.amazon.com/dp/B0GYSPW1LC
Amazon JP: https://www.amazon.co.jp/dp/B0H14VXGCC

PULA ARC, ridiculously easy recommendation around $20

Sale price: around USD20, potentially lower with codes/coins

The ARC is one of those inexpensive single-DD sets that doesn't need a complicated explanation.

It has a fairly balanced, slightly U-shaped presentation, good bass quality, clean mids and a smooth enough upper end to make it an easy everyday listen. It doesn't try to impress with excessive bass or treble just because it's inexpensive.

At roughly $20 during the sale, this would probably be my budget pick of this list.

My full review: Pula Arc

HiFiGo: https://hifigo.com/products/pula-audio-arc
Aliexpress HIFIZOO: https://www.aliexpress.com/item/1005012637621566.html
Code: USBTSS02
Amazon JP: https://www.amazon.co.jp/dp/B0H7X723R1?th=1

Store

AFUL Explorer, a classic that is still good

Sale price: around USD95, potentially around USD88 with code/coins

I haven't reviewed the Explorer myself, but I've spent a lot of time with it to understand why it has remained popular for so long.

Warm, smooth and bassy without turning everything into mush.
The relaxed upper mids and treble also make it a particularly easy set for longer listening sessions. Fit and comfort are excellent for me.

If you prefer something energetic and very bright, this isn't the one. But if your priorities are bass, musicality and fatigue-free listening, the Explorer is still a very safe recommendation around USD100.

HiFiGo: https://hifigo.com/products/aful-explorerAliexpress: https://www.aliexpress.com/item/1005007061750218.htmler/
Store Code: US817P3

Juzear Fiesta, my bass-lover pick

Sale price: around USD102, potentially around USD92 with code/coins

Easy recommendation from me as I love bass.

The Fiesta combines emphasized low-end energy with mids that remain surprisingly clean and an upper end that doesn't ruin the fun. Pop, hip-hop, R&B and EDM are particularly good matches. The sub-bass on this thing is to me bass-head level and fun.

There are plenty of bassy IEMs around this price, but the Fiesta gets the balance right for me. Enough bass to genuinely qualify as a fun set without making vocals feel buried.

My full review: Juzear x VD Fiesta

HiFiGo:
https://hifigo.com/products/juzear-x-vivir-digital-fiesta
Aliexpress: https://www.aliexpress.com/item/1005012187899336.html
Store Code: USBTSS01
Aliexpress HIFIZOO: https://www.aliexpress.com/item/1005012381162520.html

Amzon US: https://www.amazon.com/dp/B0H2YDGF6D
Amazon JP: https://www.amazon.co.jp/dp/B0H38B8GLJ

DUNU x KOTO ITO, the bassy more refined all-rounder

Sale price: USD167.99, down from USD199.99

The ITO is another set I've reviewed and one I'd have no problem recommending.

Compared with the cheaper options here, you're stepping into a more refined presentation with very good technical performance, a well-balanced tuning and DUNU's typically excellent build/accessory package.

It's also probably one of the safer recommendations here if your music library jumps between genres and you don't specifically want a bass-head or relaxed tuning.

My full review: Dunu x Koto Ito

HiFiGo: https://hifigo.com/products/dunu-x-ito
Aliexpress：
https://www.aliexpress.com/item/1005009629363739.html
Amazon US：
https://www.amazon.com/dp/B0FNQZYTW8
Amazon JP :
https://www.amazon.co.jp/dp/B0FNC3SF9S

Binary 1900, the newcomer

Sale price: around USD212, potentially around USD196 with code/coins

This one is slightly different because my full review isn't published yet.

I've already spent quite a bit of time with the 1900, though, and I feel comfortable including it here.

Binary uses a combination of a 10 mm dynamic driver, 6 mm passive radiator and four balanced armatures. The result is a lively and musical presentation with plenty of impact while still offering strong technical performance. The bass is has good impact, the mids are mostly clean, the treble well extended without sounding harsh.

The 1900 is a big rec if you like a balanced and mostly natural presentation which is currently one of my favourites in the USD200-400 bracket.
I'll keep this short for now because I don't want to publish half of my upcoming review inside a sale post. ;-)

Full review coming soon.

https://www.aliexpress.com/item/1005012664713633.html
Store Code: USBTSS01

HiFiGo: https://hifigo.com/products/binary-1900
Aliexpress HIFIZOO: https://www.aliexpress.com/item/1005012570843775.html

Amazon US: https://www.amazon.com/dp/B0H6HWWKND
Aliexpress HiFiGo: https://www.aliexpress.com/item/1005012664713633.html
Amazon JP: https://www.amazon.co.jp/dp/B0H6NVPKCB

If I had to narrow it down...

For maximum value around USD20: PULA ARC
For warm, relaxed listening: AFUL Explorer
For bass and fun lovers: Juzear Fiesta
For a bassy and versatile step-up IEM: DUNU x KOTO ITO
For a balanced and musical sounding newcomer around USD200: Binary 1900
For a portable flavoured source rather than another IEM: MuseHiFi M3 Ultra

The sale starts August 17 and runs through August 26. Some of the AliExpress prices can go lower with store codes and coins depending on your account/region.

As always, these are recommendations based on my own listening rather than purchase advice. If you've heard any of these, feel free to add your impressions below.

 

$59.99 USD / EUR 52.95 | Wired USB-C | Single 10mm LCP + PU Dynamic Driver | USB-C DSP cable with attachable boom mic and inline mic

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, gaming breakdown, sound notes and comparisons with the EPZ G20, EPZ G30 and ZiiGaat Arete 2 follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The EPZ G20 Pro is a wired, gaming-first IEM built around a single in-house 10mm LCP + PU dynamic driver and a USB-C cable with on-board DSP. EPZ developed the G20 further with the support of professional esports feedback and it is tuned mainly for gaming cues rather than for an impactful music presentation. The bass is controlled and lean with no bleed, the lower mids are clean and lean, and the upper mids, presence and treble sit forward and come across crisp and clear. That tuning is clearly meant for FPS gaming, where separation and spatial information matter more than slam and rumble. > > It also handles music mostly well for the money. Especially staging, layering, instrument separation and an overall transparent and detailed sound are very good at this price point and above. The leaner low-end and the lighter note weight on male vocals and instruments are part of its sound signature, but on some track material like EDM, hip-hop and rap the instruments and vocals are missing note weight. Thanks to the PEQ possibilities this can be changed via the EQ web interface, which offers an 8-band PEQ to adjust the sound to your liking. An attachable boom mic and an inline mic on a three-position slider, Walkplay DSP with pro and game presets, a USB extension cable and a 3.9g shell round out a versatile USB-C package priced at $59.99 / EUR 52.95.

At a Glance

✓ Best For

• Competitive FPS first, where footsteps, positioning and weapon cues can decide rounds
• Plug-and-play USB-C on PC, phone, Switch or Steam Deck with built-in DSP EQ and a USB-C extension cable
• Players who want a light USB-C set with both a boom mic and an inline mic on one cable with a mute slider
• A light 3.9g set for long sessions without headset fatigue
• Listeners who like a clean, lean, crisp tonality over warmth and low-end impact
• Casual music listeners who want the performance of a competitive gaming IEM

✗ Not Ideal For

• Bass-heads or anyone after big sub-bass rumble and physical slam
• Listeners who want full note weight and body on male vocals and instruments
• Anyone who needs a 3.5mm or 4.4mm analogue cable in the box, this is USB-C only
• Treble-sensitive listeners pushing high volume on bright material

Main Strengths & Weaknesses

Main strength. Separation, layering, spatial information and detail retrieval are excellent and are the key ingredients that matter for FPS gaming. It was relatively easy to estimate distances and wall cues on CS2 worked well for me. A clean, lean presentation with no bass bleed, crisp and clear vocals and treble, a very light and mostly comfortable shell (mind the semi-custom shape) even on long sessions, and the versatility of a USB-C DSP cable with a dual-mic slider and a detachable excellent quality boom mic.

Main weakness. The low-end is lean, with rolled-off sub and mid-bass and reduced slam, so bass-led genres do not have full impact. Lower mids and male vocals could use more texture and note weight for a fully natural tonality. The crisp tuning can be slightly sharp on some tracks, for example on the snares and vocals of Fleetwood Mac's "Sisters of the Moon", or on game sounds at very high volume, and the last bit of imaging precision is held back a little by the slim note body. Worth mentioning that EPZ offers PEQ software where the G20 Pro's sound can be adjusted to your taste, making it more compatible with all different music style and games.

👆 That's the core verdict. Everything below goes deeper into specs, gaming, sound and comparisons.

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How the EPZ G20 Pro and G20 ended up in my ears

After reviewing the EPZ G30 I got curious how the rest of the EPZ gaming line up would sound in comparison. Especially at the price point of around USD 60, where the IEM is not an ultra budget set anymore but neither is it anywhere near the USD 100 or even USD 200 plus tier which is often considered for gaming.

EPZ provided me with both, the G20 Pro and the G20. They share the same shell design and almost the same accessories package, but the G20 Pro is tuned even more towards professional FPS gaming. I am not a professional but more an ambitious FPS gamer for decades, so this piqued my interest.

The differences between both models were not always immediately clear to me and most of the times even very subtle. This review reflects part of my comparison process and I tried to make my findings transparent.

Key Specs

Driver Setup	Single in-house 10mm LCP + PU composite-diaphragm dynamic driver
Impedance	32 Ω
Sensitivity	100 dB ±3 dB
Frequency Response	20 Hz to 20 kHz
Connector	0.78mm 2-pin flush, cable is swappable
Plug	USB-C with built-in DAC and DSP, USB-A extension included
Cable	4-core silver-plated OFC. USB-C 1.2m / 3.9ft plus 1.5m / 4.9ft USB extension. ENC boom mic and inline mic on a 3-position slider
Microphone	Boom mic and inline mic, slider switches boom / inline / mute
EQ / App	Walkplay DSP, custom tuning is saved to the built-in DAC chip and can be used on any other USB-C device. DRG pro-player presets and game presets for CS, Valorant and Delta Force
Shell	DLP 3D-printed resin, seamless body, reduced front-cavity protrusion, pressure-relief vent
Weight	3.9 g per side
Colourways	Orange / Grey
Price	$59.99 USD / EUR 52.95
Where to Buy, not affiliated	epzaudio.com

Accessories & Cable

In the box: the IEMs, an attachable boom mic, a 1.2m USB-C cable, a 1.5m USB extension cable, eartips in S/M/L and an EPZ carry case. Note this is a USB-C-only set. There is no analogue 3.5mm cable included, and for a 3.5mm jack you would need an adapter such as the EPZ TP15 (the boom mic may not work through some 3.5mm connections, while the inline mic still does).

Cable	4-core silver-plated OFC. USB-C main cable 1.2m, plus a 1.5m USB extension so you can reach the back of a PC and keep the working length short. ENC boom mic for cleaner team chat.
Boom Mic	Attachable, ENC. The stronger option for Discord and team comms, especially with keyboard or room noise.
Inline Mic	Built into the same cable, selected by the slider. Handy for calls where the boom is overkill.
Eartips	Basic S/M/L silicone.
Case	EPZ carry case, holds the IEMs, cable and boom mic.

Build Quality, Fit & Comfort

Fit & Comfort. The G20 Pro keeps the semi-custom shape of the G30 and is almost identical to the G20's shell, but the inner side is slightly less curved through the middle, which makes the shell look a little fuller and slightly bigger. In practice comfort is similar to the G30, so for me it is basically fine for long sessions. The very lightweight shells with only 3.9g help and the shells have a pressure-relief vent that keeps build-up down. As with the G30, the semi-custom shape might not suit everyone. If you have smaller ears or you have had trouble with semi-custom shells before, try before you buy, or order directly from EPZ, who offer a no-reason return for a small extra charge through EPZ Care+. That removes most of the risk.

Build & Design. The resin shell is 3D-printed with EPZ's seamless process, so there are no visible seam lines, and mine is the glossy Orange finish (Grey is the other option). The pressure-relief vent is visible on the upper side. The shells feel smooth and lightweight in hand without any sharp edges. The G20 Pro's nozzles are made out of metal and of average length and hold ear tips without issues due to the emphasized nozzle lip.

Cable. The flush 0.78mm 2-pin connector means the cable is swappable, though the value here is the USB-C DSP cable itself rather than rolling to analogue, which is what I did for this review to get further impressions with a 3.5mm termination on different sources. The 3.9 ft long cable is not microphonic, behaves well and is mostly tangle free. The 4.9 ft long extension cable is a thicker, sturdy cable which is much appreciated as I am able to navigate around my desk without the need to leave the set behind me.

Mic Quality

Boom Mic	As on the G30, the boom mic is my preferred choice of the two mics. My voice was clear, well-articulated and there was no audible background noise in gaming voice chat, phone calls or online meetings. I highly recommend this option for any kind of online meetings or in-game chat.
Inline Mic	Speech quality is good and can be used for calls and meetings where the boom mic might be inconvenient. My voice was clear and the controls worked without issues.

> 💼 Personal note - real-world use > > Similarly to the G30, the G20 Pro was my daily driver for two weeks where I used it up to 6 hours in online meetings, phone calls, gaming and music listening without issues or fatigue. I found it more convenient for online meetings and more comfortable than my headset.

Gaming Performance

Game	Impressions
CS2	Excellent footsteps tracking across surface types including sand-covered floors (Dust II), tiles, wooden planks and water sounds (Anubis). Gun shots, footsteps, grenade explosions and bomb ticks all stay cleanly separated even during busy rounds. A/B separation makes locating planted bombs easy. Bass from detonations stayed very controlled with fast decay to avoid covering other sounds. Flashbang ringing did not feel piercing. Very good performance in my opinion in CS2.
Valorant	Spike defuse cues, ability sounds and footsteps are always very well separated. Weapon shots do sound more energetic than in CS2 as they always do. Pin-pointing enemies and tracking ability cues was easy. Fine details stayed audible even in crowded team-fights thanks to the very good separation and controlled bass.
Apex Legends	The contrast between different game cues is very good, footsteps and vocal separation sound accurate and left/right/back/forward spatial information are very easy to locate. Verticality is always a bit harder to identify given Apex Legends' different multi-level design, but horizontal positioning is reliable throughout. Vocals always felt clear and crisp in team comms during mid-fight. Recommended listening volume is mid-level to avoid mild fatigue on longer sessions.

Gaming Summary: Similar as on the G30, spatial information, separation and layering are the G20 Pro's most valuable traits and the most important ones for FPS gaming. The difference to the G30 is that the G30 has more low-end impact and a more controlled treble, which gives the G30 a more even and fuller sound where cinematic sound effects have more impact and FPS gaming is more fatigue-free. The G20 sounded a little bit more energetic up top even if the differences are minimal. The G20 Pro sounded similarly resolving and maybe a smidge better separated.

Imaging is very good but slightly held back by the lean lower mids. Fatigue is usually not an issue after several hours of combined music and gaming when I kept the volume to around medium (for music) to high (in gaming). The tuning mostly avoids piercing peaks and the low-end never becomes boomy. The G20 Pro is a very good fit for competitive FPS in my opinion.

Long-Session Comfort

My gaming and music sessions were usually around 5 hours or more, where the G20 Pro remained comfortable with no pressure build-up and no listening fatigue. The shells are very comfortable and light-weight for me and I forget that I am even wearing IEMs.

Treble has elevated energy but can get peaky with poorly recorded material. On CS2 flashbangs, gun shots and high-frequency ability cues never reached a piercing level at normal or higher gaming volumes. Only Apex Legends at higher listening volumes started to feel mildly tiring and keeping the volume at a mid level resolved this for me. Otherwise, I used the possibility to adjust the sound via EQ, which makes the set a versatile option like its other siblings the G30 and G20.

Frequency Response Measurements

Method. For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows.

In the graph, green is the EPZ G30, orange the EPZ G20, purple the EPZ G20 Pro, red the ZiiGaat Arete 2 with the bass switch on and yellow the Arete 2 with the bass switch off.

I measured all sets on my own coupler connected with an EPZ 3.5mm cable and with the included DSP USB-C cable. Both measurements were aligning, meaning that the USB-C DSP added no additional tuning but purely replayed the hardware tuning.

The G20 Pro and G20 look fairly similar and in some parts exactly the same, like on their low-end, until the presence region where the G20 Pro is now less emphasized, and the same applies to the treble with a different emphasis which results in a slightly less sharp treble but more air up top. In detail the G20 Pro down slopes from 5k onwards whereas the G20 dips less until 7kHz to reach its peak at around 9kHz. The Pro version has less energy throughout and just has more treble energy at around 10k-12kHz. The emphasis on details and perceived "air" changed slightly vs the G20, which results in a good but not as sharp treble response and a different emphasis on details and air.

The differences are more subtle and to be honest sometimes it was not so clear where the differences lie, which required extensive listening back and forth throughout my library and different gaming scenarios.

Sound Impressions

Overall Character

The G20 Pro is a gaming-first set, and you hear that in the tuning. It is built to let you take advantage of game cues, the footsteps, the positional information, the weapon sounds, rather than for a full-bodied music replay. The bass is kept very controlled, has only a slight elevation and is never emphasized or taking over.

The lower mids are clean and lean, and the upper mids and presence region are pushed slightly forward. The treble follows the same idea and comes across clear and crisp and a bit less sharp than on the G20 while still sounding refined. It is a lean, clarity-led tonality rather than a warm one.

Bass

Bass impact is compact and free of bloom, with zero bass bleed. Sub and mid-bass are always well controlled and are pretty lean. Both are rolled off on the G20 Pro, so there is a slight loss of note weight on some instruments.

On 50 Cent's "Just A Lil Bit" the low-end is actually one of the highlights of the track, with reasonable impact and a very fast decay. The track stays clean and clear throughout and vocals and instruments never smear. 50 Cent's vocals are on the leaner side. For bass-led genres like EDM the quantity and slam are the limiting factor rather than the quality, and I would not choose the G20 Pro specifically for these tracks in my library.

For gaming this is a whole different story. A controlled bass is mandatory in my opinion to have clean mids and treble, to avoid covering details or muddying the separation, layering and imaging. The fast bass decay does not cover up any details on the G20 Pro, which makes it easy to hear even details in a busy situation. From a gaming perspective the G20 Pro's low-end tuning is to my ears well done. For my personal taste I used EPZ's PEQ software to adjust the bass to my liking, which brought enough low-end to make my library enjoyable. Mids and treble stayed fairly clean even on higher EQed bass levels.

Midrange & Vocals

The lower mids could carry more texture and note weight for vocals and instruments. They are lean by design with the gaming purpose in mind, which is what lets the upper mids and treble sit forward and uncoloured. Vocals are clear and crisp, and depending on the game or track they can come across slightly sharp but have good transients which helps with layering and imaging. The leaner mids work in favour of female vocals, giving them a clear, bright touch with emphasis on the s, t and sh sounds.

On Kaleida's "Fake" the female vocal is very clear, clean and slightly crisp without turning harsh or shouty, at least on mid volume, and the echo and layered backing vocals are pushed forward and are easy to follow. The sub-bass under it stays very controlled, though for EDM it could use more depth and rumble, and the mid-bass is tight and compact where some slam would help to drive the beat.

Male vocals are where the lean tuning is obvious. They could use more texture and weight for a fully distinct tonality.

Treble

Treble is crystal clear on the G20 Pro and is a result of the elevated presence and lower-treble region peaking at almost 3kHz and 9kHz, peaking significantly over a pulled-back low-end with around 5-7dB. Vocal and instrument detail is easy to hear, and the set leans bright rather than smooth. On Fleetwood Mac's "Sisters of the Moon" snares have bite and can turn overly sharp on high volume, which was not ideal for me on this track. The G20 Pro also has very good transients, and that speed is a different matter. In games it is an asset, because short and sharp cues come through quickly and stay easy to pick out.

The elevated treble is doing a very good job in some games where treble is not that much emphasized, like in CS2. Other games like Valorant carry much more treble energy where the G20 Pro's treble might get spikey, at least on higher volume. This can be changed by using the DSP EQ where even different game profiles are available.

Staging & Imaging

Separation and spatial information are the G20 Pro's main traits, which is essentially the main thing to look for when gaming, where footstep tracking, weapon reloads and detail retrieval matter. Footsteps on CS2 were easy to spot and its imaging gave almost an ideal idea of where sounds are coming from.

The same traits serve music well. On The Doors' "Riders on the Storm" clarity is excellent and instruments are cleanly separated and easy to place, whether they sit close or further back on the stage. The Fender Rhodes keys are clearly audible on the left, positioned slightly in the back and well nuanced, while the percussions are more subtle but clearly audible.

Jim Morrison's vocal comes across a little thin and brittle for my taste, which is the music trade-off for a tuning that wins in games. Because of the slimmer low-end and mids, imaging could be a touch more exact, since the full body of instruments, and possibly in-game positioning in some games, can be affected by the leaner note weight.

EQ Software

Most IEMs at this price point come with no EQ software, which makes this part of the package worth a section of its own.

The G20 Pro's USB-C cable carries a built-in DAC and DSP, configured in Walkplay either on PC or iPhone via the web interface at peq.szwalkplay.com. You can adjust the sound on a PC or your phone, save a custom tuning to the chip on the cable, and keep that profile when you move to another USB-C device. EPZ ships DRG pro-player presets and dedicated game presets for CS2, Valorant and Delta Force, plus separate profiles for music and everyday use.

It is a great feature if you do not want to install software and want to experiment with different EQ profiles, either with your own settings or shared online settings from other users. You can as well change the mic volume offset to your liking if you do not want to use the ones in your OS. On Android phones you can install the Walkplay app on your phone as well. When using the app the first time it is worth noting that you need to apply or try a setting first before you can manually EQ. Otherwise the sliders are locked, which was confusing in the beginning.

Platform	Browser-based at peq.szwalkplay.com, works on PC and iPhone without installing anything. Android also has a dedicated Walkplay APK.
Presets	DRG pro-player presets and game presets for CS, Valorant and Delta Force, plus music and daily profiles. Mic volume offset can be adjusted independently of your OS settings.
Notes	I used several game presets and own EQ values for a different gaming and music experience, which makes this set versatile.

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📖 DETAILED COMPARISON · EPZ G20 Pro vs EPZ G20 vs EPZ G30 vs ZiiGaat Arete 2

Comparison Setup

Sources were my iPhone 17 Pro Max and my Windows PC, using the G20 Pro's own USB-C DSP cable, which is what most buyers probably will use. I listened on the Divinus Velvet wide bore eartips in size L. The G20 Pro needs no extra amp or DAC, since the DAC sits in the cable. Nevertheless, I used an extra 3.5mm terminated cable from EPZ to check how it performs with my other source gear like the Questyle Sigma Pro. I spent around 50 hours in total, split across music, gaming and calls.

Music Track Comparison

Tracks used: Kaleida "Fake" (female vocals, echo, mid-bass) · The Doors "Riders on the Storm" (instrument separation, male vocals, staging) · 50 Cent "Just A Lil Bit" (male vocals, mid and sub-bass)

Track	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Kaleida "Fake"	Clear, clean, slightly crisp female vocal. Echo and backing pushed forward. Controlled but light sub-bass, tight compact mid-bass. Slimmer than on the G30.	Very similar experience to the G20 Pro with a slight deviation in the treble region. Slightly brighter and a smidge more forward vocals.	Sharp, well-articulated female vocal with a clear echo. Clean mid-bass without bloom and decent low-end impact.	Fuller, rounder vocals with more bass warmth and impact. Echo slightly less clear and defined.
The Doors "Riders on the Storm"	Excellent clarity and separation, easy placement. Male vocal a little thin and brittle.	Even more forward vocals than on the G20 Pro. Same experience with vocals due to the slim low-end and similar separation and clarity. Slightly more treble brilliance and sharpness.	Clear instrument separation, vocal slightly lean but well-articulated. Good staging and spatial information.	Bigger, fuller instrument body with more weight to vocals and slightly less defined separation.
50 Cent "Just A Lil Bit"	Reasonable low-end impact with a fast decay. Clean throughout, no bleed, leaner vocals than on the G30.	Reasonable low-end impact with a fast and clean decay. Slightly too lean vocals as on the Pro.	Good sub-bass rumble and controlled mid-bass with clear, lean male vocals without bass bleed.	Heavier low-end punch and rumble, especially with the bass switch on. Vocals sound bigger and fuller.

Full Head-to-Head Comparison

	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Price	$59.99 / EUR 52.95	$49.99 / EUR 44.95	~USD 82 / EUR 71	~USD 279 / EUR 241
Driver	Single 10mm LCP + PU DD	Single 10mm silicone + PU DD	1DD + 1BA hybrid	1DD + 4BA hybrid with bass switch
Sound Signature	Lean, crisp, clarity-led, gaming-first	Lean, crisp, clarity-led, a touch more energetic up top	Neutral to slightly energetic, mild V-shape, clean	Fuller, warmer, relaxed, bigger bass slam
Bass	Controlled and lean, rolled-off sub and mid-bass, compact	Lean and controlled, rolled-off sub and mid-bass, compact	Good impact, controlled mid-bass, decent sub-bass rumble	Bigger slam and rumble, switch adds ~2-3 dB sub-bass
Mids	Lean and clean, lighter note weight on male vocals and instruments	Lean and clean, lighter note weight, vocals a touch more forward	Slightly lean, clear separation, sharper vocal articulation	Fuller, rounder, more body for instruments and vocals
Treble	Forward, crisp and clear, can edge sharp at high volume	Forward and crisp with a bit more brilliance and sharpness	Well-extended, detailed, slight edge at very high volume	Slightly rolled off, non-fatiguing even at high volume
Separation / Layering	Excellent with fast transients	Slightly behind the Pro, which cuts back the 5kHz region better and leaves more room for details	Excellent and feels slightly better in layering and separation than on the G20 Pro	Good, less clear than on all EPZ sets
Spatial / Imaging	Excellent cue clarity, slim note body may limit fine precision	Spatial cues very well rendered, slim note body may limit fine precision	Excellent, best FPS spatial cues of the four	Good and relaxed, more cinematic feel
Fatigue at High Volume	Can get slightly sharp on high volume	Similar to the Pro with a tad more energy up top	Slight edge at very high volume but overall good fatigue control	Non-fatiguing even at loud volumes
FPS Gaming	Excellent overall performance, layering, separation, imaging and clarity are very good	Very good fit for FPS. Can get spicy on high volume with sharp transients	Excellent with the best accuracy to my ears, not as sharp as G20 Pro or G20	Good, better for treble-sensitive gamers, separation could be better, slight masking due to bass impact
Music	Capable, clarity-first, leaner presentation and slightly deficient in note weight	Capable, clarity-first, leaner	Very good all-rounder for gaming and music	Richer and more cinematic, scales very well, compatible as well with bassy genres
Mic	Boom and inline on one USB-C cable, 3-position slider	Boom mic on the USB-C cable, inline mic on the 3.5mm cable	Boom and inline (USB-C)	No mic
Cable	USB-C DSP 1.2m, boom and inline, 1.5m extension included, no analogue in box	USB-C DSP 1.8m and 3.5mm 1.2m, boom mic, USB-A adapter	USB-C with two mics, long, no interchangeable termination	Soft, pliable, interchangeable termination, no mic
Best pick if...	You want the lightest competitive EPZ gaming set with clean cues, two mics and DSP	You want a light and budget friendly gaming IEM with very good accessories and an analogue cable in the box	You want a hybrid with a touch more body and treble air	You want warmth, bass and comfort at a much higher budget with the best build

Comparison Notes

The EPZ gaming series ladder

EPZ has developed a special IEM series dedicated to casual listening, casual and competitive gaming. The "G" series currently includes the G10, G20, G20 Pro and G30, starting from around USD 42 for the G10 and USD 80 for the G30. I have already reviewed the EPZ G30 here.

All of the sets offer a gaming suitable accessories package like a cable extension (on the G20 Pro), a USB-A adapter and a detachable boom mic (G20 to G30). The G30, G20 Pro and G20 have very similar shaped semi-custom shells available in different colours.

EPZ G20 Pro vs EPZ G20, $49.99 / EUR 44.95

The G20 and the G20 Pro share the same shell and have many tonal similarities, like the slim and tight low-end response, clean mids and almost identical upper mids, until the presence region where the G20 has more energy in some frequencies. The emphasis on details and perceived "air" changed slightly, which results in a good but not as sharp treble response on the Pro.

The G20 has overall the more energetic sound signature, which can be a good thing for listeners and gamers who prefer this kind of exciting presentation.

The G20 Pro is to me the more consistently developed gaming IEM as it is precise but slightly more controlled than the G20, which is not only for music an asset but also in games where sharper weapon sounds can be piercing and fatiguing over time.

What the G20 brings is an additional 3.5mm cable which is great for convenience in case your phone is not equipped with USB-C. Something I would like to see on the other models too, or in a future release with interchangeable termination even.

EPZ G20 Pro vs EPZ G30, ~USD 82 / EUR 71

The G30 is the other natural sibling comparison, and a differently developed gaming set when compared to the G20 Pro. Both are EPZ gaming IEMs with a USB-C DSP cable and a boom plus inline mic, so the practical package is similar. The key difference is the driver configuration. The G30 adds a balanced armature to its dynamic for a 1DD + 1BA hybrid, where the G20 Pro runs a single 10mm LCP + PU dynamic. In tonality both are clear and clean, but the G30 has less energy up top and its ear gain region is more controlled. EPZ added around 2dB more low-end impact, which makes a noticeable difference especially for music, where the G30 is more compatible with different music genres and poorer recorded tracks.

In FPS the G30 makes for more relaxed gaming while still being excellent with spatial cues, as its bass response is always controlled and only slightly more elevated than the G20 Pro's. To my ears the G30 also separates and layers slightly better than the G20 Pro. I think this comes from its slightly more emphasized low end, which gives game cues and music instruments more substance and makes them easier to tell apart.

The G30 has a little more body and refinement, while the G20 Pro is the leaner, even more clarity-focused of the two, lighter at 3.9g against 4.4g, and around twenty dollars cheaper. Both are excellent for FPS cues. If you want the most affordable and lightest EPZ gaming set with a crisp, lean tuning, the G20 Pro makes sense. If you want the extra body of the hybrid, the G30 is the step up in music replay and cinematic low-end impact.

EPZ G20 Pro vs ZiiGaat Arete 2, ~USD 279 / EUR 241

The Arete 2 with the bass switch off already has a slightly fuller, warmer sound than the G20 Pro and all other EPZ sets in this line up. Switching the bass switch on adds another 2-3 dB of sub-bass for a noticeably more impactful low end. That fuller presentation gives instruments and vocals more body and weight. The same track sounds bigger and rounder on the Arete 2.

The G20 Pro sounds brighter and more energetic by comparison, which works in its favour for separation in games. The space between instruments feels easier to perceive. Vocal articulation is sharper on the G20 Pro while the Arete 2 produces a more rounded, relaxed presentation. The Arete 2 is also more volume-scalable and stays non-fatiguing at high levels, while the G20 Pro can get edgy on some tracks at high volume.

In FPS games the G20 Pro's spatial cues are clearer and more defined. The Arete 2 is the better pick for treble-sensitive gamers or anyone who wants a more cinematic and immersive feel and prioritises music.

Conclusion

• EPZ G20 - a clean and lean sound, good imaging and detail retrieval suitable for gaming, FPS and casual listeners. It comes with a 3.5mm and a USB-C cable and a boom mic.
• EPZ G20 Pro - best for FPS players who want clean separation, clear cues and a light USB-C set with a great attachable boom mic and inline mic on a budget, and who like a lean, crisp tonality.
• EPZ G30 - best if you want a hybrid with a little more body, and do not mind paying slightly more.
• ZiiGaat Arete 2 - best for a warmer, fuller, more relaxed sound with bass (and bass switch) and comfort for treble-sensitive listeners, at a much higher price and without a mic.

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Final Verdict

The EPZ G20 Pro is clearly a gaming-first single-DD IEM that trades warmth and slam for separation, clarity and clean positional cues. That trade pays off where it counts in FPS gaming. The USB-C DSP cable with cable extension, the excellent dual boom and inline mic, and the very light shell make it a practical, flexible package at $59.99. For music it is capable rather than rich, with a lean low-end and lighter note weight on male vocals, so it suits clarity-first listeners more than bass-heads. For FPS gaming and casual listening the G20 Pro is a clear recommendation.

✅ Recommended if you play FPS and want clear positional cues, separation and a proper mic in a light USB-C set, and you like a clean, crisp tonality.

❌ Skip if you want a warm or bass-forward sound, full-bodied male vocals, or an analogue cable in the box.

Disclosure

This review sample was provided directly by EPZ. No payment was received and no influence was exerted over this review. No affiliate links. Impressions are based on around 50 hours across music, gaming and calls.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

$59.99 USD / EUR 52.95 | Wired USB-C | Single 10mm LCP + PU Dynamic Driver | USB-C DSP cable with attachable boom mic and inline mic

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, gaming breakdown, sound notes and comparisons with the EPZ G20, EPZ G30 and ZiiGaat Arete 2 follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The EPZ G20 Pro is a wired, gaming-first IEM built around a single in-house 10mm LCP + PU dynamic driver and a USB-C cable with on-board DSP. EPZ developed the G20 further with the support of professional esports feedback and it is tuned mainly for gaming cues rather than for an impactful music presentation. The bass is controlled and lean with no bleed, the lower mids are clean and lean, and the upper mids, presence and treble sit forward and come across crisp and clear. That tuning is clearly meant for FPS gaming, where separation and spatial information matter more than slam and rumble. > > It also handles music mostly well for the money. Especially staging, layering, instrument separation and an overall transparent and detailed sound are very good at this price point and above. The leaner low-end and the lighter note weight on male vocals and instruments are part of its sound signature, but on some track material like EDM, hip-hop and rap the instruments and vocals are missing note weight. Thanks to the PEQ possibilities this can be changed via the EQ web interface, which offers an 8-band PEQ to adjust the sound to your liking. An attachable boom mic and an inline mic on a three-position slider, Walkplay DSP with pro and game presets, a USB extension cable and a 3.9g shell round out a versatile USB-C package priced at $59.99 / EUR 52.95.

At a Glance

✓ Best For

• Competitive FPS first, where footsteps, positioning and weapon cues can decide rounds
• Plug-and-play USB-C on PC, phone, Switch or Steam Deck with built-in DSP EQ and a USB-C extension cable
• Players who want a light USB-C set with both a boom mic and an inline mic on one cable with a mute slider
• A light 3.9g set for long sessions without headset fatigue
• Listeners who like a clean, lean, crisp tonality over warmth and low-end impact
• Casual music listeners who want the performance of a competitive gaming IEM

✗ Not Ideal For

• Bass-heads or anyone after big sub-bass rumble and physical slam
• Listeners who want full note weight and body on male vocals and instruments
• Anyone who needs a 3.5mm or 4.4mm analogue cable in the box, this is USB-C only
• Treble-sensitive listeners pushing high volume on bright material

Main Strengths & Weaknesses

Main strength. Separation, layering, spatial information and detail retrieval are excellent and are the key ingredients that matter for FPS gaming. It was relatively easy to estimate distances and wall cues on CS2 worked well for me. A clean, lean presentation with no bass bleed, crisp and clear vocals and treble, a very light and mostly comfortable shell (mind the semi-custom shape) even on long sessions, and the versatility of a USB-C DSP cable with a dual-mic slider and a detachable excellent quality boom mic.

Main weakness. The low-end is lean, with rolled-off sub and mid-bass and reduced slam, so bass-led genres do not have full impact. Lower mids and male vocals could use more texture and note weight for a fully natural tonality. The crisp tuning can be slightly sharp on some tracks, for example on the snares and vocals of Fleetwood Mac's "Sisters of the Moon", or on game sounds at very high volume, and the last bit of imaging precision is held back a little by the slim note body. Worth mentioning that EPZ offers PEQ software where the G20 Pro's sound can be adjusted to your taste, making it more compatible with all different music style and games.

👆 That's the core verdict. Everything below goes deeper into specs, gaming, sound and comparisons.

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How the EPZ G20 Pro and G20 ended up in my ears

After reviewing the EPZ G30 I got curious how the rest of the EPZ gaming line up would sound in comparison. Especially at the price point of around USD 60, where the IEM is not an ultra budget set anymore but neither is it anywhere near the USD 100 or even USD 200 plus tier which is often considered for gaming.

EPZ provided me with both, the G20 Pro and the G20. They share the same shell design and almost the same accessories package, but the G20 Pro is tuned even more towards professional FPS gaming. I am not a professional but more an ambitious FPS gamer for decades, so this piqued my interest.

The differences between both models were not always immediately clear to me and most of the times even very subtle. This review reflects part of my comparison process and I tried to make my findings transparent.

Key Specs

Driver Setup	Single in-house 10mm LCP + PU composite-diaphragm dynamic driver
Impedance	32 Ω
Sensitivity	100 dB ±3 dB
Frequency Response	20 Hz to 20 kHz
Connector	0.78mm 2-pin flush, cable is swappable
Plug	USB-C with built-in DAC and DSP, USB-A extension included
Cable	4-core silver-plated OFC. USB-C 1.2m / 3.9ft plus 1.5m / 4.9ft USB extension. ENC boom mic and inline mic on a 3-position slider
Microphone	Boom mic and inline mic, slider switches boom / inline / mute
EQ / App	Walkplay DSP, custom tuning is saved to the built-in DAC chip and can be used on any other USB-C device. DRG pro-player presets and game presets for CS, Valorant and Delta Force
Shell	DLP 3D-printed resin, seamless body, reduced front-cavity protrusion, pressure-relief vent
Weight	3.9 g per side
Colourways	Orange / Grey
Price	$59.99 USD / EUR 52.95
Where to Buy, not affiliated	epzaudio.com

Accessories & Cable

In the box: the IEMs, an attachable boom mic, a 1.2m USB-C cable, a 1.5m USB extension cable, eartips in S/M/L and an EPZ carry case. Note this is a USB-C-only set. There is no analogue 3.5mm cable included, and for a 3.5mm jack you would need an adapter such as the EPZ TP15 (the boom mic may not work through some 3.5mm connections, while the inline mic still does).

Cable	4-core silver-plated OFC. USB-C main cable 1.2m, plus a 1.5m USB extension so you can reach the back of a PC and keep the working length short. ENC boom mic for cleaner team chat.
Boom Mic	Attachable, ENC. The stronger option for Discord and team comms, especially with keyboard or room noise.
Inline Mic	Built into the same cable, selected by the slider. Handy for calls where the boom is overkill.
Eartips	Basic S/M/L silicone.
Case	EPZ carry case, holds the IEMs, cable and boom mic.

Build Quality, Fit & Comfort

Fit & Comfort. The G20 Pro keeps the semi-custom shape of the G30 and is almost identical to the G20's shell, but the inner side is slightly less curved through the middle, which makes the shell look a little fuller and slightly bigger. In practice comfort is similar to the G30, so for me it is basically fine for long sessions. The very lightweight shells with only 3.9g help and the shells have a pressure-relief vent that keeps build-up down. As with the G30, the semi-custom shape might not suit everyone. If you have smaller ears or you have had trouble with semi-custom shells before, try before you buy, or order directly from EPZ, who offer a no-reason return for a small extra charge through EPZ Care+. That removes most of the risk.

Build & Design. The resin shell is 3D-printed with EPZ's seamless process, so there are no visible seam lines, and mine is the glossy Orange finish (Grey is the other option). The pressure-relief vent is visible on the upper side. The shells feel smooth and lightweight in hand without any sharp edges. The G20 Pro's nozzles are made out of metal and of average length and hold ear tips without issues due to the emphasized nozzle lip.

Cable. The flush 0.78mm 2-pin connector means the cable is swappable, though the value here is the USB-C DSP cable itself rather than rolling to analogue, which is what I did for this review to get further impressions with a 3.5mm termination on different sources. The 3.9 ft long cable is not microphonic, behaves well and is mostly tangle free. The 4.9 ft long extension cable is a thicker, sturdy cable which is much appreciated as I am able to navigate around my desk without the need to leave the set behind me.

Mic Quality

Boom Mic	As on the G30, the boom mic is my preferred choice of the two mics. My voice was clear, well-articulated and there was no audible background noise in gaming voice chat, phone calls or online meetings. I highly recommend this option for any kind of online meetings or in-game chat.
Inline Mic	Speech quality is good and can be used for calls and meetings where the boom mic might be inconvenient. My voice was clear and the controls worked without issues.

> 💼 Personal note - real-world use > > Similarly to the G30, the G20 Pro was my daily driver for two weeks where I used it up to 6 hours in online meetings, phone calls, gaming and music listening without issues or fatigue. I found it more convenient for online meetings and more comfortable than my headset.

Gaming Performance

Game	Impressions
CS2	Excellent footsteps tracking across surface types including sand-covered floors (Dust II), tiles, wooden planks and water sounds (Anubis). Gun shots, footsteps, grenade explosions and bomb ticks all stay cleanly separated even during busy rounds. A/B separation makes locating planted bombs easy. Bass from detonations stayed very controlled with fast decay to avoid covering other sounds. Flashbang ringing did not feel piercing. Very good performance in my opinion in CS2.
Valorant	Spike defuse cues, ability sounds and footsteps are always very well separated. Weapon shots do sound more energetic than in CS2 as they always do. Pin-pointing enemies and tracking ability cues was easy. Fine details stayed audible even in crowded team-fights thanks to the very good separation and controlled bass.
Apex Legends	The contrast between different game cues is very good, footsteps and vocal separation sound accurate and left/right/back/forward spatial information are very easy to locate. Verticality is always a bit harder to identify given Apex Legends' different multi-level design, but horizontal positioning is reliable throughout. Vocals always felt clear and crisp in team comms during mid-fight. Recommended listening volume is mid-level to avoid mild fatigue on longer sessions.

Gaming Summary: Similar as on the G30, spatial information, separation and layering are the G20 Pro's most valuable traits and the most important ones for FPS gaming. The difference to the G30 is that the G30 has more low-end impact and a more controlled treble, which gives the G30 a more even and fuller sound where cinematic sound effects have more impact and FPS gaming is more fatigue-free. The G20 sounded a little bit more energetic up top even if the differences are minimal. The G20 Pro sounded similarly resolving and maybe a smidge better separated.

Imaging is very good but slightly held back by the lean lower mids. Fatigue is usually not an issue after several hours of combined music and gaming when I kept the volume to around medium (for music) to high (in gaming). The tuning mostly avoids piercing peaks and the low-end never becomes boomy. The G20 Pro is a very good fit for competitive FPS in my opinion.

Long-Session Comfort

My gaming and music sessions were usually around 5 hours or more, where the G20 Pro remained comfortable with no pressure build-up and no listening fatigue. The shells are very comfortable and light-weight for me and I forget that I am even wearing IEMs.

Treble has elevated energy but can get peaky with poorly recorded material. On CS2 flashbangs, gun shots and high-frequency ability cues never reached a piercing level at normal or higher gaming volumes. Only Apex Legends at higher listening volumes started to feel mildly tiring and keeping the volume at a mid level resolved this for me. Otherwise, I used the possibility to adjust the sound via EQ, which makes the set a versatile option like its other siblings the G30 and G20.

Frequency Response Measurements

Method. For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows.

In the graph, green is the EPZ G30, orange the EPZ G20, purple the EPZ G20 Pro, red the ZiiGaat Arete 2 with the bass switch on and yellow the Arete 2 with the bass switch off.

I measured all sets on my own coupler connected with an EPZ 3.5mm cable and with the included DSP USB-C cable. Both measurements were aligning, meaning that the USB-C DSP added no additional tuning but purely replayed the hardware tuning.

The G20 Pro and G20 look fairly similar and in some parts exactly the same, like on their low-end, until the presence region where the G20 Pro is now less emphasized, and the same applies to the treble with a different emphasis which results in a slightly less sharp treble but more air up top. In detail the G20 Pro down slopes from 5k onwards whereas the G20 dips less until 7kHz to reach its peak at around 9kHz. The Pro version has less energy throughout and just has more treble energy at around 10k-12kHz. The emphasis on details and perceived "air" changed slightly vs the G20, which results in a good but not as sharp treble response and a different emphasis on details and air.

The differences are more subtle and to be honest sometimes it was not so clear where the differences lie, which required extensive listening back and forth throughout my library and different gaming scenarios.

Sound Impressions

Overall Character

The G20 Pro is a gaming-first set, and you hear that in the tuning. It is built to let you take advantage of game cues, the footsteps, the positional information, the weapon sounds, rather than for a full-bodied music replay. The bass is kept very controlled, has only a slight elevation and is never emphasized or taking over.

The lower mids are clean and lean, and the upper mids and presence region are pushed slightly forward. The treble follows the same idea and comes across clear and crisp and a bit less sharp than on the G20 while still sounding refined. It is a lean, clarity-led tonality rather than a warm one.

Bass

Bass impact is compact and free of bloom, with zero bass bleed. Sub and mid-bass are always well controlled and are pretty lean. Both are rolled off on the G20 Pro, so there is a slight loss of note weight on some instruments.

On 50 Cent's "Just A Lil Bit" the low-end is actually one of the highlights of the track, with reasonable impact and a very fast decay. The track stays clean and clear throughout and vocals and instruments never smear. 50 Cent's vocals are on the leaner side. For bass-led genres like EDM the quantity and slam are the limiting factor rather than the quality, and I would not choose the G20 Pro specifically for these tracks in my library.

For gaming this is a whole different story. A controlled bass is mandatory in my opinion to have clean mids and treble, to avoid covering details or muddying the separation, layering and imaging. The fast bass decay does not cover up any details on the G20 Pro, which makes it easy to hear even details in a busy situation. From a gaming perspective the G20 Pro's low-end tuning is to my ears well done. For my personal taste I used EPZ's PEQ software to adjust the bass to my liking, which brought enough low-end to make my library enjoyable. Mids and treble stayed fairly clean even on higher EQed bass levels.

Midrange & Vocals

The lower mids could carry more texture and note weight for vocals and instruments. They are lean by design with the gaming purpose in mind, which is what lets the upper mids and treble sit forward and uncoloured. Vocals are clear and crisp, and depending on the game or track they can come across slightly sharp but have good transients which helps with layering and imaging. The leaner mids work in favour of female vocals, giving them a clear, bright touch with emphasis on the s, t and sh sounds.

On Kaleida's "Fake" the female vocal is very clear, clean and slightly crisp without turning harsh or shouty, at least on mid volume, and the echo and layered backing vocals are pushed forward and are easy to follow. The sub-bass under it stays very controlled, though for EDM it could use more depth and rumble, and the mid-bass is tight and compact where some slam would help to drive the beat.

Male vocals are where the lean tuning is obvious. They could use more texture and weight for a fully distinct tonality.

Treble

Treble is crystal clear on the G20 Pro and is a result of the elevated presence and lower-treble region peaking at almost 3kHz and 9kHz, peaking significantly over a pulled-back low-end with around 5-7dB. Vocal and instrument detail is easy to hear, and the set leans bright rather than smooth. On Fleetwood Mac's "Sisters of the Moon" snares have bite and can turn overly sharp on high volume, which was not ideal for me on this track. The G20 Pro also has very good transients, and that speed is a different matter. In games it is an asset, because short and sharp cues come through quickly and stay easy to pick out.

The elevated treble is doing a very good job in some games where treble is not that much emphasized, like in CS2. Other games like Valorant carry much more treble energy where the G20 Pro's treble might get spikey, at least on higher volume. This can be changed by using the DSP EQ where even different game profiles are available.

Staging & Imaging

Separation and spatial information are the G20 Pro's main traits, which is essentially the main thing to look for when gaming, where footstep tracking, weapon reloads and detail retrieval matter. Footsteps on CS2 were easy to spot and its imaging gave almost an ideal idea of where sounds are coming from.

The same traits serve music well. On The Doors' "Riders on the Storm" clarity is excellent and instruments are cleanly separated and easy to place, whether they sit close or further back on the stage. The Fender Rhodes keys are clearly audible on the left, positioned slightly in the back and well nuanced, while the percussions are more subtle but clearly audible.

Jim Morrison's vocal comes across a little thin and brittle for my taste, which is the music trade-off for a tuning that wins in games. Because of the slimmer low-end and mids, imaging could be a touch more exact, since the full body of instruments, and possibly in-game positioning in some games, can be affected by the leaner note weight.

EQ Software

Most IEMs at this price point come with no EQ software, which makes this part of the package worth a section of its own.

The G20 Pro's USB-C cable carries a built-in DAC and DSP, configured in Walkplay either on PC or iPhone via the web interface at peq.szwalkplay.com. You can adjust the sound on a PC or your phone, save a custom tuning to the chip on the cable, and keep that profile when you move to another USB-C device. EPZ ships DRG pro-player presets and dedicated game presets for CS2, Valorant and Delta Force, plus separate profiles for music and everyday use.

It is a great feature if you do not want to install software and want to experiment with different EQ profiles, either with your own settings or shared online settings from other users. You can as well change the mic volume offset to your liking if you do not want to use the ones in your OS. On Android phones you can install the Walkplay app on your phone as well. When using the app the first time it is worth noting that you need to apply or try a setting first before you can manually EQ. Otherwise the sliders are locked, which was confusing in the beginning.

Platform	Browser-based at peq.szwalkplay.com, works on PC and iPhone without installing anything. Android also has a dedicated Walkplay APK.
Presets	DRG pro-player presets and game presets for CS, Valorant and Delta Force, plus music and daily profiles. Mic volume offset can be adjusted independently of your OS settings.
Notes	I used several game presets and own EQ values for a different gaming and music experience, which makes this set versatile.

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📖 DETAILED COMPARISON · EPZ G20 Pro vs EPZ G20 vs EPZ G30 vs ZiiGaat Arete 2

Comparison Setup

Sources were my iPhone 17 Pro Max and my Windows PC, using the G20 Pro's own USB-C DSP cable, which is what most buyers probably will use. I listened on the Divinus Velvet wide bore eartips in size L. The G20 Pro needs no extra amp or DAC, since the DAC sits in the cable. Nevertheless, I used an extra 3.5mm terminated cable from EPZ to check how it performs with my other source gear like the Questyle Sigma Pro. I spent around 50 hours in total, split across music, gaming and calls.

Music Track Comparison

Tracks used: Kaleida "Fake" (female vocals, echo, mid-bass) · The Doors "Riders on the Storm" (instrument separation, male vocals, staging) · 50 Cent "Just A Lil Bit" (male vocals, mid and sub-bass)

Track	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Kaleida "Fake"	Clear, clean, slightly crisp female vocal. Echo and backing pushed forward. Controlled but light sub-bass, tight compact mid-bass. Slimmer than on the G30.	Very similar experience to the G20 Pro with a slight deviation in the treble region. Slightly brighter and a smidge more forward vocals.	Sharp, well-articulated female vocal with a clear echo. Clean mid-bass without bloom and decent low-end impact.	Fuller, rounder vocals with more bass warmth and impact. Echo slightly less clear and defined.
The Doors "Riders on the Storm"	Excellent clarity and separation, easy placement. Male vocal a little thin and brittle.	Even more forward vocals than on the G20 Pro. Same experience with vocals due to the slim low-end and similar separation and clarity. Slightly more treble brilliance and sharpness.	Clear instrument separation, vocal slightly lean but well-articulated. Good staging and spatial information.	Bigger, fuller instrument body with more weight to vocals and slightly less defined separation.
50 Cent "Just A Lil Bit"	Reasonable low-end impact with a fast decay. Clean throughout, no bleed, leaner vocals than on the G30.	Reasonable low-end impact with a fast and clean decay. Slightly too lean vocals as on the Pro.	Good sub-bass rumble and controlled mid-bass with clear, lean male vocals without bass bleed.	Heavier low-end punch and rumble, especially with the bass switch on. Vocals sound bigger and fuller.

Full Head-to-Head Comparison

	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Price	$59.99 / EUR 52.95	$49.99 / EUR 44.95	~USD 82 / EUR 71	~USD 279 / EUR 241
Driver	Single 10mm LCP + PU DD	Single 10mm silicone + PU DD	1DD + 1BA hybrid	1DD + 4BA hybrid with bass switch
Sound Signature	Lean, crisp, clarity-led, gaming-first	Lean, crisp, clarity-led, a touch more energetic up top	Neutral to slightly energetic, mild V-shape, clean	Fuller, warmer, relaxed, bigger bass slam
Bass	Controlled and lean, rolled-off sub and mid-bass, compact	Lean and controlled, rolled-off sub and mid-bass, compact	Good impact, controlled mid-bass, decent sub-bass rumble	Bigger slam and rumble, switch adds ~2-3 dB sub-bass
Mids	Lean and clean, lighter note weight on male vocals and instruments	Lean and clean, lighter note weight, vocals a touch more forward	Slightly lean, clear separation, sharper vocal articulation	Fuller, rounder, more body for instruments and vocals
Treble	Forward, crisp and clear, can edge sharp at high volume	Forward and crisp with a bit more brilliance and sharpness	Well-extended, detailed, slight edge at very high volume	Slightly rolled off, non-fatiguing even at high volume
Separation / Layering	Excellent with fast transients	Slightly behind the Pro, which cuts back the 5kHz region better and leaves more room for details	Excellent and feels slightly better in layering and separation than on the G20 Pro	Good, less clear than on all EPZ sets
Spatial / Imaging	Excellent cue clarity, slim note body may limit fine precision	Spatial cues very well rendered, slim note body may limit fine precision	Excellent, best FPS spatial cues of the four	Good and relaxed, more cinematic feel
Fatigue at High Volume	Can get slightly sharp on high volume	Similar to the Pro with a tad more energy up top	Slight edge at very high volume but overall good fatigue control	Non-fatiguing even at loud volumes
FPS Gaming	Excellent overall performance, layering, separation, imaging and clarity are very good	Very good fit for FPS. Can get spicy on high volume with sharp transients	Excellent with the best accuracy to my ears, not as sharp as G20 Pro or G20	Good, better for treble-sensitive gamers, separation could be better, slight masking due to bass impact
Music	Capable, clarity-first, leaner presentation and slightly deficient in note weight	Capable, clarity-first, leaner	Very good all-rounder for gaming and music	Richer and more cinematic, scales very well, compatible as well with bassy genres
Mic	Boom and inline on one USB-C cable, 3-position slider	Boom mic on the USB-C cable, inline mic on the 3.5mm cable	Boom and inline (USB-C)	No mic
Cable	USB-C DSP 1.2m, boom and inline, 1.5m extension included, no analogue in box	USB-C DSP 1.8m and 3.5mm 1.2m, boom mic, USB-A adapter	USB-C with two mics, long, no interchangeable termination	Soft, pliable, interchangeable termination, no mic
Best pick if...	You want the lightest competitive EPZ gaming set with clean cues, two mics and DSP	You want a light and budget friendly gaming IEM with very good accessories and an analogue cable in the box	You want a hybrid with a touch more body and treble air	You want warmth, bass and comfort at a much higher budget with the best build

Comparison Notes

The EPZ gaming series ladder

EPZ has developed a special IEM series dedicated to casual listening, casual and competitive gaming. The "G" series currently includes the G10, G20, G20 Pro and G30, starting from around USD 42 for the G10 and USD 80 for the G30. I have already reviewed the EPZ G30 here.

All of the sets offer a gaming suitable accessories package like a cable extension (on the G20 Pro), a USB-A adapter and a detachable boom mic (G20 to G30). The G30, G20 Pro and G20 have very similar shaped semi-custom shells available in different colours.

EPZ G20 Pro vs EPZ G20, $49.99 / EUR 44.95

The G20 and the G20 Pro share the same shell and have many tonal similarities, like the slim and tight low-end response, clean mids and almost identical upper mids, until the presence region where the G20 has more energy in some frequencies. The emphasis on details and perceived "air" changed slightly, which results in a good but not as sharp treble response on the Pro.

The G20 has overall the more energetic sound signature, which can be a good thing for listeners and gamers who prefer this kind of exciting presentation.

The G20 Pro is to me the more consistently developed gaming IEM as it is precise but slightly more controlled than the G20, which is not only for music an asset but also in games where sharper weapon sounds can be piercing and fatiguing over time.

What the G20 brings is an additional 3.5mm cable which is great for convenience in case your phone is not equipped with USB-C. Something I would like to see on the other models too, or in a future release with interchangeable termination even.

EPZ G20 Pro vs EPZ G30, ~USD 82 / EUR 71

The G30 is the other natural sibling comparison, and a differently developed gaming set when compared to the G20 Pro. Both are EPZ gaming IEMs with a USB-C DSP cable and a boom plus inline mic, so the practical package is similar. The key difference is the driver configuration. The G30 adds a balanced armature to its dynamic for a 1DD + 1BA hybrid, where the G20 Pro runs a single 10mm LCP + PU dynamic. In tonality both are clear and clean, but the G30 has less energy up top and its ear gain region is more controlled. EPZ added around 2dB more low-end impact, which makes a noticeable difference especially for music, where the G30 is more compatible with different music genres and poorer recorded tracks.

In FPS the G30 makes for more relaxed gaming while still being excellent with spatial cues, as its bass response is always controlled and only slightly more elevated than the G20 Pro's. To my ears the G30 also separates and layers slightly better than the G20 Pro. I think this comes from its slightly more emphasized low end, which gives game cues and music instruments more substance and makes them easier to tell apart.

The G30 has a little more body and refinement, while the G20 Pro is the leaner, even more clarity-focused of the two, lighter at 3.9g against 4.4g, and around twenty dollars cheaper. Both are excellent for FPS cues. If you want the most affordable and lightest EPZ gaming set with a crisp, lean tuning, the G20 Pro makes sense. If you want the extra body of the hybrid, the G30 is the step up in music replay and cinematic low-end impact.

EPZ G20 Pro vs ZiiGaat Arete 2, ~USD 279 / EUR 241

The Arete 2 with the bass switch off already has a slightly fuller, warmer sound than the G20 Pro and all other EPZ sets in this line up. Switching the bass switch on adds another 2-3 dB of sub-bass for a noticeably more impactful low end. That fuller presentation gives instruments and vocals more body and weight. The same track sounds bigger and rounder on the Arete 2.

The G20 Pro sounds brighter and more energetic by comparison, which works in its favour for separation in games. The space between instruments feels easier to perceive. Vocal articulation is sharper on the G20 Pro while the Arete 2 produces a more rounded, relaxed presentation. The Arete 2 is also more volume-scalable and stays non-fatiguing at high levels, while the G20 Pro can get edgy on some tracks at high volume.

In FPS games the G20 Pro's spatial cues are clearer and more defined. The Arete 2 is the better pick for treble-sensitive gamers or anyone who wants a more cinematic and immersive feel and prioritises music.

Conclusion

• EPZ G20 - a clean and lean sound, good imaging and detail retrieval suitable for gaming, FPS and casual listeners. It comes with a 3.5mm and a USB-C cable and a boom mic.
• EPZ G20 Pro - best for FPS players who want clean separation, clear cues and a light USB-C set with a great attachable boom mic and inline mic on a budget, and who like a lean, crisp tonality.
• EPZ G30 - best if you want a hybrid with a little more body, and do not mind paying slightly more.
• ZiiGaat Arete 2 - best for a warmer, fuller, more relaxed sound with bass (and bass switch) and comfort for treble-sensitive listeners, at a much higher price and without a mic.

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Final Verdict

The EPZ G20 Pro is clearly a gaming-first single-DD IEM that trades warmth and slam for separation, clarity and clean positional cues. That trade pays off where it counts in FPS gaming. The USB-C DSP cable with cable extension, the excellent dual boom and inline mic, and the very light shell make it a practical, flexible package at $59.99. For music it is capable rather than rich, with a lean low-end and lighter note weight on male vocals, so it suits clarity-first listeners more than bass-heads. For FPS gaming and casual listening the G20 Pro is a clear recommendation.

✅ Recommended if you play FPS and want clear positional cues, separation and a proper mic in a light USB-C set, and you like a clean, crisp tonality.

❌ Skip if you want a warm or bass-forward sound, full-bodied male vocals, or an analogue cable in the box.

Disclosure

This review sample was provided directly by EPZ. No payment was received and no influence was exerted over this review. No affiliate links. Impressions are based on around 50 hours across music, gaming and calls.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

$59.99 USD / EUR 52.95 | Wired USB-C | Single 10mm LCP + PU Dynamic Driver | USB-C DSP cable with attachable boom mic and inline mic

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, gaming breakdown, sound notes and comparisons with the EPZ G20, EPZ G30 and ZiiGaat Arete 2 follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The EPZ G20 Pro is a wired, gaming-first IEM built around a single in-house 10mm LCP + PU dynamic driver and a USB-C cable with on-board DSP. EPZ developed the G20 further with the support of professional esports feedback and it is tuned mainly for gaming cues rather than for an impactful music presentation. The bass is controlled and lean with no bleed, the lower mids are clean and lean, and the upper mids, presence and treble sit forward and come across crisp and clear. That tuning is clearly meant for FPS gaming, where separation and spatial information matter more than slam and rumble. > > It also handles music mostly well for the money. Especially staging, layering, instrument separation and an overall transparent and detailed sound are very good at this price point and above. The leaner low-end and the lighter note weight on male vocals and instruments are part of its sound signature, but on some track material like EDM, hip-hop and rap the instruments and vocals are missing note weight. Thanks to the PEQ possibilities this can be changed via the EQ web interface, which offers an 8-band PEQ to adjust the sound to your liking. An attachable boom mic and an inline mic on a three-position slider, Walkplay DSP with pro and game presets, a USB extension cable and a 3.9g shell round out a versatile USB-C package priced at $59.99 / EUR 52.95.

At a Glance

✓ Best For

• Competitive FPS first, where footsteps, positioning and weapon cues can decide rounds
• Plug-and-play USB-C on PC, phone, Switch or Steam Deck with built-in DSP EQ and a USB-C extension cable
• Players who want a light USB-C set with both a boom mic and an inline mic on one cable with a mute slider
• A light 3.9g set for long sessions without headset fatigue
• Listeners who like a clean, lean, crisp tonality over warmth and low-end impact
• Casual music listeners who want the performance of a competitive gaming IEM

✗ Not Ideal For

• Bass-heads or anyone after big sub-bass rumble and physical slam
• Listeners who want full note weight and body on male vocals and instruments
• Anyone who needs a 3.5mm or 4.4mm analogue cable in the box, this is USB-C only
• Treble-sensitive listeners pushing high volume on bright material

Main Strengths & Weaknesses

Main strength. Separation, layering, spatial information and detail retrieval are excellent and are the key ingredients that matter for FPS gaming. It was relatively easy to estimate distances and wall cues on CS2 worked well for me. A clean, lean presentation with no bass bleed, crisp and clear vocals and treble, a very light and mostly comfortable shell (mind the semi-custom shape) even on long sessions, and the versatility of a USB-C DSP cable with a dual-mic slider and a detachable excellent quality boom mic.

Main weakness. The low-end is lean, with rolled-off sub and mid-bass and reduced slam, so bass-led genres do not have full impact. Lower mids and male vocals could use more texture and note weight for a fully natural tonality. The crisp tuning can be slightly sharp on some tracks, for example on the snares and vocals of Fleetwood Mac's "Sisters of the Moon", or on game sounds at very high volume, and the last bit of imaging precision is held back a little by the slim note body. Worth mentioning that EPZ offers PEQ software where the G20 Pro's sound can be adjusted to your taste, making it more compatible with all different music style and games.

👆 That's the core verdict. Everything below goes deeper into specs, gaming, sound and comparisons.

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How the EPZ G20 Pro and G20 ended up in my ears

After reviewing the EPZ G30 I got curious how the rest of the EPZ gaming line up would sound in comparison. Especially at the price point of around USD 60, where the IEM is not an ultra budget set anymore but neither is it anywhere near the USD 100 or even USD 200 plus tier which is often considered for gaming.

EPZ provided me with both, the G20 Pro and the G20. They share the same shell design and almost the same accessories package, but the G20 Pro is tuned even more towards professional FPS gaming. I am not a professional but more an ambitious FPS gamer for decades, so this piqued my interest.

The differences between both models were not always immediately clear to me and most of the times even very subtle. This review reflects part of my comparison process and I tried to make my findings transparent.

Key Specs

Driver Setup	Single in-house 10mm LCP + PU composite-diaphragm dynamic driver
Impedance	32 Ω
Sensitivity	100 dB ±3 dB
Frequency Response	20 Hz to 20 kHz
Connector	0.78mm 2-pin flush, cable is swappable
Plug	USB-C with built-in DAC and DSP, USB-A extension included
Cable	4-core silver-plated OFC. USB-C 1.2m / 3.9ft plus 1.5m / 4.9ft USB extension. ENC boom mic and inline mic on a 3-position slider
Microphone	Boom mic and inline mic, slider switches boom / inline / mute
EQ / App	Walkplay DSP, custom tuning is saved to the built-in DAC chip and can be used on any other USB-C device. DRG pro-player presets and game presets for CS, Valorant and Delta Force
Shell	DLP 3D-printed resin, seamless body, reduced front-cavity protrusion, pressure-relief vent
Weight	3.9 g per side
Colourways	Orange / Grey
Price	$59.99 USD / EUR 52.95
Where to Buy, not affiliated	epzaudio.com

Accessories & Cable

In the box: the IEMs, an attachable boom mic, a 1.2m USB-C cable, a 1.5m USB extension cable, eartips in S/M/L and an EPZ carry case. Note this is a USB-C-only set. There is no analogue 3.5mm cable included, and for a 3.5mm jack you would need an adapter such as the EPZ TP15 (the boom mic may not work through some 3.5mm connections, while the inline mic still does).

Cable	4-core silver-plated OFC. USB-C main cable 1.2m, plus a 1.5m USB extension so you can reach the back of a PC and keep the working length short. ENC boom mic for cleaner team chat.
Boom Mic	Attachable, ENC. The stronger option for Discord and team comms, especially with keyboard or room noise.
Inline Mic	Built into the same cable, selected by the slider. Handy for calls where the boom is overkill.
Eartips	Basic S/M/L silicone.
Case	EPZ carry case, holds the IEMs, cable and boom mic.

Build Quality, Fit & Comfort

Fit & Comfort. The G20 Pro keeps the semi-custom shape of the G30 and is almost identical to the G20's shell, but the inner side is slightly less curved through the middle, which makes the shell look a little fuller and slightly bigger. In practice comfort is similar to the G30, so for me it is basically fine for long sessions. The very lightweight shells with only 3.9g help and the shells have a pressure-relief vent that keeps build-up down. As with the G30, the semi-custom shape might not suit everyone. If you have smaller ears or you have had trouble with semi-custom shells before, try before you buy, or order directly from EPZ, who offer a no-reason return for a small extra charge through EPZ Care+. That removes most of the risk.

Build & Design. The resin shell is 3D-printed with EPZ's seamless process, so there are no visible seam lines, and mine is the glossy Orange finish (Grey is the other option). The pressure-relief vent is visible on the upper side. The shells feel smooth and lightweight in hand without any sharp edges. The G20 Pro's nozzles are made out of metal and of average length and hold ear tips without issues due to the emphasized nozzle lip.

Cable. The flush 0.78mm 2-pin connector means the cable is swappable, though the value here is the USB-C DSP cable itself rather than rolling to analogue, which is what I did for this review to get further impressions with a 3.5mm termination on different sources. The 3.9 ft long cable is not microphonic, behaves well and is mostly tangle free. The 4.9 ft long extension cable is a thicker, sturdy cable which is much appreciated as I am able to navigate around my desk without the need to leave the set behind me.

Mic Quality

Boom Mic	As on the G30, the boom mic is my preferred choice of the two mics. My voice was clear, well-articulated and there was no audible background noise in gaming voice chat, phone calls or online meetings. I highly recommend this option for any kind of online meetings or in-game chat.
Inline Mic	Speech quality is good and can be used for calls and meetings where the boom mic might be inconvenient. My voice was clear and the controls worked without issues.

> 💼 Personal note - real-world use > > Similarly to the G30, the G20 Pro was my daily driver for two weeks where I used it up to 6 hours in online meetings, phone calls, gaming and music listening without issues or fatigue. I found it more convenient for online meetings and more comfortable than my headset.

Gaming Performance

Game	Impressions
CS2	Excellent footsteps tracking across surface types including sand-covered floors (Dust II), tiles, wooden planks and water sounds (Anubis). Gun shots, footsteps, grenade explosions and bomb ticks all stay cleanly separated even during busy rounds. A/B separation makes locating planted bombs easy. Bass from detonations stayed very controlled with fast decay to avoid covering other sounds. Flashbang ringing did not feel piercing. Very good performance in my opinion in CS2.
Valorant	Spike defuse cues, ability sounds and footsteps are always very well separated. Weapon shots do sound more energetic than in CS2 as they always do. Pin-pointing enemies and tracking ability cues was easy. Fine details stayed audible even in crowded team-fights thanks to the very good separation and controlled bass.
Apex Legends	The contrast between different game cues is very good, footsteps and vocal separation sound accurate and left/right/back/forward spatial information are very easy to locate. Verticality is always a bit harder to identify given Apex Legends' different multi-level design, but horizontal positioning is reliable throughout. Vocals always felt clear and crisp in team comms during mid-fight. Recommended listening volume is mid-level to avoid mild fatigue on longer sessions.

Gaming Summary: Similar as on the G30, spatial information, separation and layering are the G20 Pro's most valuable traits and the most important ones for FPS gaming. The difference to the G30 is that the G30 has more low-end impact and a more controlled treble, which gives the G30 a more even and fuller sound where cinematic sound effects have more impact and FPS gaming is more fatigue-free. The G20 sounded a little bit more energetic up top even if the differences are minimal. The G20 Pro sounded similarly resolving and maybe a smidge better separated.

Imaging is very good but slightly held back by the lean lower mids. Fatigue is usually not an issue after several hours of combined music and gaming when I kept the volume to around medium (for music) to high (in gaming). The tuning mostly avoids piercing peaks and the low-end never becomes boomy. The G20 Pro is a very good fit for competitive FPS in my opinion.

Long-Session Comfort

My gaming and music sessions were usually around 5 hours or more, where the G20 Pro remained comfortable with no pressure build-up and no listening fatigue. The shells are very comfortable and light-weight for me and I forget that I am even wearing IEMs.

Treble has elevated energy but can get peaky with poorly recorded material. On CS2 flashbangs, gun shots and high-frequency ability cues never reached a piercing level at normal or higher gaming volumes. Only Apex Legends at higher listening volumes started to feel mildly tiring and keeping the volume at a mid level resolved this for me. Otherwise, I used the possibility to adjust the sound via EQ, which makes the set a versatile option like its other siblings the G30 and G20.

Frequency Response Measurements

Method. For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows.

In the graph, green is the EPZ G30, orange the EPZ G20, purple the EPZ G20 Pro, red the ZiiGaat Arete 2 with the bass switch on and yellow the Arete 2 with the bass switch off.

I measured all sets on my own coupler connected with an EPZ 3.5mm cable and with the included DSP USB-C cable. Both measurements were aligning, meaning that the USB-C DSP added no additional tuning but purely replayed the hardware tuning.

The G20 Pro and G20 look fairly similar and in some parts exactly the same, like on their low-end, until the presence region where the G20 Pro is now less emphasized, and the same applies to the treble with a different emphasis which results in a slightly less sharp treble but more air up top. In detail the G20 Pro down slopes from 5k onwards whereas the G20 dips less until 7kHz to reach its peak at around 9kHz. The Pro version has less energy throughout and just has more treble energy at around 10k-12kHz. The emphasis on details and perceived "air" changed slightly vs the G20, which results in a good but not as sharp treble response and a different emphasis on details and air.

The differences are more subtle and to be honest sometimes it was not so clear where the differences lie, which required extensive listening back and forth throughout my library and different gaming scenarios.

Sound Impressions

Overall Character

The G20 Pro is a gaming-first set, and you hear that in the tuning. It is built to let you take advantage of game cues, the footsteps, the positional information, the weapon sounds, rather than for a full-bodied music replay. The bass is kept very controlled, has only a slight elevation and is never emphasized or taking over.

The lower mids are clean and lean, and the upper mids and presence region are pushed slightly forward. The treble follows the same idea and comes across clear and crisp and a bit less sharp than on the G20 while still sounding refined. It is a lean, clarity-led tonality rather than a warm one.

Bass

Bass impact is compact and free of bloom, with zero bass bleed. Sub and mid-bass are always well controlled and are pretty lean. Both are rolled off on the G20 Pro, so there is a slight loss of note weight on some instruments.

On 50 Cent's "Just A Lil Bit" the low-end is actually one of the highlights of the track, with reasonable impact and a very fast decay. The track stays clean and clear throughout and vocals and instruments never smear. 50 Cent's vocals are on the leaner side. For bass-led genres like EDM the quantity and slam are the limiting factor rather than the quality, and I would not choose the G20 Pro specifically for these tracks in my library.

For gaming this is a whole different story. A controlled bass is mandatory in my opinion to have clean mids and treble, to avoid covering details or muddying the separation, layering and imaging. The fast bass decay does not cover up any details on the G20 Pro, which makes it easy to hear even details in a busy situation. From a gaming perspective the G20 Pro's low-end tuning is to my ears well done. For my personal taste I used EPZ's PEQ software to adjust the bass to my liking, which brought enough low-end to make my library enjoyable. Mids and treble stayed fairly clean even on higher EQed bass levels.

Midrange & Vocals

The lower mids could carry more texture and note weight for vocals and instruments. They are lean by design with the gaming purpose in mind, which is what lets the upper mids and treble sit forward and uncoloured. Vocals are clear and crisp, and depending on the game or track they can come across slightly sharp but have good transients which helps with layering and imaging. The leaner mids work in favour of female vocals, giving them a clear, bright touch with emphasis on the s, t and sh sounds.

On Kaleida's "Fake" the female vocal is very clear, clean and slightly crisp without turning harsh or shouty, at least on mid volume, and the echo and layered backing vocals are pushed forward and are easy to follow. The sub-bass under it stays very controlled, though for EDM it could use more depth and rumble, and the mid-bass is tight and compact where some slam would help to drive the beat.

Male vocals are where the lean tuning is obvious. They could use more texture and weight for a fully distinct tonality.

Treble

Treble is crystal clear on the G20 Pro and is a result of the elevated presence and lower-treble region peaking at almost 3kHz and 9kHz, peaking significantly over a pulled-back low-end with around 5-7dB. Vocal and instrument detail is easy to hear, and the set leans bright rather than smooth. On Fleetwood Mac's "Sisters of the Moon" snares have bite and can turn overly sharp on high volume, which was not ideal for me on this track. The G20 Pro also has very good transients, and that speed is a different matter. In games it is an asset, because short and sharp cues come through quickly and stay easy to pick out.

The elevated treble is doing a very good job in some games where treble is not that much emphasized, like in CS2. Other games like Valorant carry much more treble energy where the G20 Pro's treble might get spikey, at least on higher volume. This can be changed by using the DSP EQ where even different game profiles are available.

Staging & Imaging

Separation and spatial information are the G20 Pro's main traits, which is essentially the main thing to look for when gaming, where footstep tracking, weapon reloads and detail retrieval matter. Footsteps on CS2 were easy to spot and its imaging gave almost an ideal idea of where sounds are coming from.

The same traits serve music well. On The Doors' "Riders on the Storm" clarity is excellent and instruments are cleanly separated and easy to place, whether they sit close or further back on the stage. The Fender Rhodes keys are clearly audible on the left, positioned slightly in the back and well nuanced, while the percussions are more subtle but clearly audible.

Jim Morrison's vocal comes across a little thin and brittle for my taste, which is the music trade-off for a tuning that wins in games. Because of the slimmer low-end and mids, imaging could be a touch more exact, since the full body of instruments, and possibly in-game positioning in some games, can be affected by the leaner note weight.

EQ Software

Most IEMs at this price point come with no EQ software, which makes this part of the package worth a section of its own.

The G20 Pro's USB-C cable carries a built-in DAC and DSP, configured in Walkplay either on PC or iPhone via the web interface at peq.szwalkplay.com. You can adjust the sound on a PC or your phone, save a custom tuning to the chip on the cable, and keep that profile when you move to another USB-C device. EPZ ships DRG pro-player presets and dedicated game presets for CS2, Valorant and Delta Force, plus separate profiles for music and everyday use.

It is a great feature if you do not want to install software and want to experiment with different EQ profiles, either with your own settings or shared online settings from other users. You can as well change the mic volume offset to your liking if you do not want to use the ones in your OS. On Android phones you can install the Walkplay app on your phone as well. When using the app the first time it is worth noting that you need to apply or try a setting first before you can manually EQ. Otherwise the sliders are locked, which was confusing in the beginning.

Platform	Browser-based at peq.szwalkplay.com, works on PC and iPhone without installing anything. Android also has a dedicated Walkplay APK.
Presets	DRG pro-player presets and game presets for CS, Valorant and Delta Force, plus music and daily profiles. Mic volume offset can be adjusted independently of your OS settings.
Notes	I used several game presets and own EQ values for a different gaming and music experience, which makes this set versatile.

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📖 DETAILED COMPARISON · EPZ G20 Pro vs EPZ G20 vs EPZ G30 vs ZiiGaat Arete 2

Comparison Setup

Sources were my iPhone 17 Pro Max and my Windows PC, using the G20 Pro's own USB-C DSP cable, which is what most buyers probably will use. I listened on the Divinus Velvet wide bore eartips in size L. The G20 Pro needs no extra amp or DAC, since the DAC sits in the cable. Nevertheless, I used an extra 3.5mm terminated cable from EPZ to check how it performs with my other source gear like the Questyle Sigma Pro. I spent around 50 hours in total, split across music, gaming and calls.

Music Track Comparison

Tracks used: Kaleida "Fake" (female vocals, echo, mid-bass) · The Doors "Riders on the Storm" (instrument separation, male vocals, staging) · 50 Cent "Just A Lil Bit" (male vocals, mid and sub-bass)

Track	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Kaleida "Fake"	Clear, clean, slightly crisp female vocal. Echo and backing pushed forward. Controlled but light sub-bass, tight compact mid-bass. Slimmer than on the G30.	Very similar experience to the G20 Pro with a slight deviation in the treble region. Slightly brighter and a smidge more forward vocals.	Sharp, well-articulated female vocal with a clear echo. Clean mid-bass without bloom and decent low-end impact.	Fuller, rounder vocals with more bass warmth and impact. Echo slightly less clear and defined.
The Doors "Riders on the Storm"	Excellent clarity and separation, easy placement. Male vocal a little thin and brittle.	Even more forward vocals than on the G20 Pro. Same experience with vocals due to the slim low-end and similar separation and clarity. Slightly more treble brilliance and sharpness.	Clear instrument separation, vocal slightly lean but well-articulated. Good staging and spatial information.	Bigger, fuller instrument body with more weight to vocals and slightly less defined separation.
50 Cent "Just A Lil Bit"	Reasonable low-end impact with a fast decay. Clean throughout, no bleed, leaner vocals than on the G30.	Reasonable low-end impact with a fast and clean decay. Slightly too lean vocals as on the Pro.	Good sub-bass rumble and controlled mid-bass with clear, lean male vocals without bass bleed.	Heavier low-end punch and rumble, especially with the bass switch on. Vocals sound bigger and fuller.

Full Head-to-Head Comparison

	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Price	$59.99 / EUR 52.95	$49.99 / EUR 44.95	~USD 82 / EUR 71	~USD 279 / EUR 241
Driver	Single 10mm LCP + PU DD	Single 10mm silicone + PU DD	1DD + 1BA hybrid	1DD + 4BA hybrid with bass switch
Sound Signature	Lean, crisp, clarity-led, gaming-first	Lean, crisp, clarity-led, a touch more energetic up top	Neutral to slightly energetic, mild V-shape, clean	Fuller, warmer, relaxed, bigger bass slam
Bass	Controlled and lean, rolled-off sub and mid-bass, compact	Lean and controlled, rolled-off sub and mid-bass, compact	Good impact, controlled mid-bass, decent sub-bass rumble	Bigger slam and rumble, switch adds ~2-3 dB sub-bass
Mids	Lean and clean, lighter note weight on male vocals and instruments	Lean and clean, lighter note weight, vocals a touch more forward	Slightly lean, clear separation, sharper vocal articulation	Fuller, rounder, more body for instruments and vocals
Treble	Forward, crisp and clear, can edge sharp at high volume	Forward and crisp with a bit more brilliance and sharpness	Well-extended, detailed, slight edge at very high volume	Slightly rolled off, non-fatiguing even at high volume
Separation / Layering	Excellent with fast transients	Slightly behind the Pro, which cuts back the 5kHz region better and leaves more room for details	Excellent and feels slightly better in layering and separation than on the G20 Pro	Good, less clear than on all EPZ sets
Spatial / Imaging	Excellent cue clarity, slim note body may limit fine precision	Spatial cues very well rendered, slim note body may limit fine precision	Excellent, best FPS spatial cues of the four	Good and relaxed, more cinematic feel
Fatigue at High Volume	Can get slightly sharp on high volume	Similar to the Pro with a tad more energy up top	Slight edge at very high volume but overall good fatigue control	Non-fatiguing even at loud volumes
FPS Gaming	Excellent overall performance, layering, separation, imaging and clarity are very good	Very good fit for FPS. Can get spicy on high volume with sharp transients	Excellent with the best accuracy to my ears, not as sharp as G20 Pro or G20	Good, better for treble-sensitive gamers, separation could be better, slight masking due to bass impact
Music	Capable, clarity-first, leaner presentation and slightly deficient in note weight	Capable, clarity-first, leaner	Very good all-rounder for gaming and music	Richer and more cinematic, scales very well, compatible as well with bassy genres
Mic	Boom and inline on one USB-C cable, 3-position slider	Boom mic on the USB-C cable, inline mic on the 3.5mm cable	Boom and inline (USB-C)	No mic
Cable	USB-C DSP 1.2m, boom and inline, 1.5m extension included, no analogue in box	USB-C DSP 1.8m and 3.5mm 1.2m, boom mic, USB-A adapter	USB-C with two mics, long, no interchangeable termination	Soft, pliable, interchangeable termination, no mic
Best pick if...	You want the lightest competitive EPZ gaming set with clean cues, two mics and DSP	You want a light and budget friendly gaming IEM with very good accessories and an analogue cable in the box	You want a hybrid with a touch more body and treble air	You want warmth, bass and comfort at a much higher budget with the best build

Comparison Notes

The EPZ gaming series ladder

EPZ has developed a special IEM series dedicated to casual listening, casual and competitive gaming. The "G" series currently includes the G10, G20, G20 Pro and G30, starting from around USD 42 for the G10 and USD 80 for the G30. I have already reviewed the EPZ G30 here.

All of the sets offer a gaming suitable accessories package like a cable extension (on the G20 Pro), a USB-A adapter and a detachable boom mic (G20 to G30). The G30, G20 Pro and G20 have very similar shaped semi-custom shells available in different colours.

EPZ G20 Pro vs EPZ G20, $49.99 / EUR 44.95

The G20 and the G20 Pro share the same shell and have many tonal similarities, like the slim and tight low-end response, clean mids and almost identical upper mids, until the presence region where the G20 has more energy in some frequencies. The emphasis on details and perceived "air" changed slightly, which results in a good but not as sharp treble response on the Pro.

The G20 has overall the more energetic sound signature, which can be a good thing for listeners and gamers who prefer this kind of exciting presentation.

The G20 Pro is to me the more consistently developed gaming IEM as it is precise but slightly more controlled than the G20, which is not only for music an asset but also in games where sharper weapon sounds can be piercing and fatiguing over time.

What the G20 brings is an additional 3.5mm cable which is great for convenience in case your phone is not equipped with USB-C. Something I would like to see on the other models too, or in a future release with interchangeable termination even.

EPZ G20 Pro vs EPZ G30, ~USD 82 / EUR 71

The G30 is the other natural sibling comparison, and a differently developed gaming set when compared to the G20 Pro. Both are EPZ gaming IEMs with a USB-C DSP cable and a boom plus inline mic, so the practical package is similar. The key difference is the driver configuration. The G30 adds a balanced armature to its dynamic for a 1DD + 1BA hybrid, where the G20 Pro runs a single 10mm LCP + PU dynamic. In tonality both are clear and clean, but the G30 has less energy up top and its ear gain region is more controlled. EPZ added around 2dB more low-end impact, which makes a noticeable difference especially for music, where the G30 is more compatible with different music genres and poorer recorded tracks.

In FPS the G30 makes for more relaxed gaming while still being excellent with spatial cues, as its bass response is always controlled and only slightly more elevated than the G20 Pro's. To my ears the G30 also separates and layers slightly better than the G20 Pro. I think this comes from its slightly more emphasized low end, which gives game cues and music instruments more substance and makes them easier to tell apart.

The G30 has a little more body and refinement, while the G20 Pro is the leaner, even more clarity-focused of the two, lighter at 3.9g against 4.4g, and around twenty dollars cheaper. Both are excellent for FPS cues. If you want the most affordable and lightest EPZ gaming set with a crisp, lean tuning, the G20 Pro makes sense. If you want the extra body of the hybrid, the G30 is the step up in music replay and cinematic low-end impact.

EPZ G20 Pro vs ZiiGaat Arete 2, ~USD 279 / EUR 241

The Arete 2 with the bass switch off already has a slightly fuller, warmer sound than the G20 Pro and all other EPZ sets in this line up. Switching the bass switch on adds another 2-3 dB of sub-bass for a noticeably more impactful low end. That fuller presentation gives instruments and vocals more body and weight. The same track sounds bigger and rounder on the Arete 2.

The G20 Pro sounds brighter and more energetic by comparison, which works in its favour for separation in games. The space between instruments feels easier to perceive. Vocal articulation is sharper on the G20 Pro while the Arete 2 produces a more rounded, relaxed presentation. The Arete 2 is also more volume-scalable and stays non-fatiguing at high levels, while the G20 Pro can get edgy on some tracks at high volume.

In FPS games the G20 Pro's spatial cues are clearer and more defined. The Arete 2 is the better pick for treble-sensitive gamers or anyone who wants a more cinematic and immersive feel and prioritises music.

Conclusion

• EPZ G20 - a clean and lean sound, good imaging and detail retrieval suitable for gaming, FPS and casual listeners. It comes with a 3.5mm and a USB-C cable and a boom mic.
• EPZ G20 Pro - best for FPS players who want clean separation, clear cues and a light USB-C set with a great attachable boom mic and inline mic on a budget, and who like a lean, crisp tonality.
• EPZ G30 - best if you want a hybrid with a little more body, and do not mind paying slightly more.
• ZiiGaat Arete 2 - best for a warmer, fuller, more relaxed sound with bass (and bass switch) and comfort for treble-sensitive listeners, at a much higher price and without a mic.

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Final Verdict

The EPZ G20 Pro is clearly a gaming-first single-DD IEM that trades warmth and slam for separation, clarity and clean positional cues. That trade pays off where it counts in FPS gaming. The USB-C DSP cable with cable extension, the excellent dual boom and inline mic, and the very light shell make it a practical, flexible package at $59.99. For music it is capable rather than rich, with a lean low-end and lighter note weight on male vocals, so it suits clarity-first listeners more than bass-heads. For FPS gaming and casual listening the G20 Pro is a clear recommendation.

✅ Recommended if you play FPS and want clear positional cues, separation and a proper mic in a light USB-C set, and you like a clean, crisp tonality.

❌ Skip if you want a warm or bass-forward sound, full-bodied male vocals, or an analogue cable in the box.

Disclosure

This review sample was provided directly by EPZ. No payment was received and no influence was exerted over this review. No affiliate links. Impressions are based on around 50 hours across music, gaming and calls.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

$59.99 USD / EUR 52.95 | Wired USB-C | Single 10mm LCP + PU Dynamic Driver | USB-C DSP cable with attachable boom mic and inline mic

> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, gaming breakdown, sound notes and comparisons with the EPZ G20, EPZ G30 and ZiiGaat Arete 2 follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The EPZ G20 Pro is a wired, gaming-first IEM built around a single in-house 10mm LCP + PU dynamic driver and a USB-C cable with on-board DSP. EPZ developed the G20 further with the support of professional esports feedback and it is tuned mainly for gaming cues rather than for an impactful music presentation. The bass is controlled and lean with no bleed, the lower mids are clean and lean, and the upper mids, presence and treble sit forward and come across crisp and clear. That tuning is clearly meant for FPS gaming, where separation and spatial information matter more than slam and rumble. > > It also handles music mostly well for the money. Especially staging, layering, instrument separation and an overall transparent and detailed sound are very good at this price point and above. The leaner low-end and the lighter note weight on male vocals and instruments are part of its sound signature, but on some track material like EDM, hip-hop and rap the instruments and vocals are missing note weight. Thanks to the PEQ possibilities this can be changed via the EQ web interface, which offers an 8-band PEQ to adjust the sound to your liking. An attachable boom mic and an inline mic on a three-position slider, Walkplay DSP with pro and game presets, a USB extension cable and a 3.9g shell round out a versatile USB-C package priced at $59.99 / EUR 52.95.

At a Glance

✓ Best For

• Competitive FPS first, where footsteps, positioning and weapon cues can decide rounds
• Plug-and-play USB-C on PC, phone, Switch or Steam Deck with built-in DSP EQ and a USB-C extension cable
• Players who want a light USB-C set with both a boom mic and an inline mic on one cable with a mute slider
• A light 3.9g set for long sessions without headset fatigue
• Listeners who like a clean, lean, crisp tonality over warmth and low-end impact
• Casual music listeners who want the performance of a competitive gaming IEM

✗ Not Ideal For

• Bass-heads or anyone after big sub-bass rumble and physical slam
• Listeners who want full note weight and body on male vocals and instruments
• Anyone who needs a 3.5mm or 4.4mm analogue cable in the box, this is USB-C only
• Treble-sensitive listeners pushing high volume on bright material

Main Strengths & Weaknesses

Main strength. Separation, layering, spatial information and detail retrieval are excellent and are the key ingredients that matter for FPS gaming. It was relatively easy to estimate distances and wall cues on CS2 worked well for me. A clean, lean presentation with no bass bleed, crisp and clear vocals and treble, a very light and mostly comfortable shell (mind the semi-custom shape) even on long sessions, and the versatility of a USB-C DSP cable with a dual-mic slider and a detachable excellent quality boom mic.

Main weakness. The low-end is lean, with rolled-off sub and mid-bass and reduced slam, so bass-led genres do not have full impact. Lower mids and male vocals could use more texture and note weight for a fully natural tonality. The crisp tuning can be slightly sharp on some tracks, for example on the snares and vocals of Fleetwood Mac's "Sisters of the Moon", or on game sounds at very high volume, and the last bit of imaging precision is held back a little by the slim note body. Worth mentioning that EPZ offers PEQ software where the G20 Pro's sound can be adjusted to your taste, making it more compatible with all different music style and games.

👆 That's the core verdict. Everything below goes deeper into specs, gaming, sound and comparisons.

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How the EPZ G20 Pro and G20 ended up in my ears

After reviewing the EPZ G30 I got curious how the rest of the EPZ gaming line up would sound in comparison. Especially at the price point of around USD 60, where the IEM is not an ultra budget set anymore but neither is it anywhere near the USD 100 or even USD 200 plus tier which is often considered for gaming.

EPZ provided me with both, the G20 Pro and the G20. They share the same shell design and almost the same accessories package, but the G20 Pro is tuned even more towards professional FPS gaming. I am not a professional but more an ambitious FPS gamer for decades, so this piqued my interest.

The differences between both models were not always immediately clear to me and most of the times even very subtle. This review reflects part of my comparison process and I tried to make my findings transparent.

Key Specs

Driver Setup	Single in-house 10mm LCP + PU composite-diaphragm dynamic driver
Impedance	32 Ω
Sensitivity	100 dB ±3 dB
Frequency Response	20 Hz to 20 kHz
Connector	0.78mm 2-pin flush, cable is swappable
Plug	USB-C with built-in DAC and DSP, USB-A extension included
Cable	4-core silver-plated OFC. USB-C 1.2m / 3.9ft plus 1.5m / 4.9ft USB extension. ENC boom mic and inline mic on a 3-position slider
Microphone	Boom mic and inline mic, slider switches boom / inline / mute
EQ / App	Walkplay DSP, custom tuning is saved to the built-in DAC chip and can be used on any other USB-C device. DRG pro-player presets and game presets for CS, Valorant and Delta Force
Shell	DLP 3D-printed resin, seamless body, reduced front-cavity protrusion, pressure-relief vent
Weight	3.9 g per side
Colourways	Orange / Grey
Price	$59.99 USD / EUR 52.95
Where to Buy, not affiliated	epzaudio.com

Accessories & Cable

In the box: the IEMs, an attachable boom mic, a 1.2m USB-C cable, a 1.5m USB extension cable, eartips in S/M/L and an EPZ carry case. Note this is a USB-C-only set. There is no analogue 3.5mm cable included, and for a 3.5mm jack you would need an adapter such as the EPZ TP15 (the boom mic may not work through some 3.5mm connections, while the inline mic still does).

Cable	4-core silver-plated OFC. USB-C main cable 1.2m, plus a 1.5m USB extension so you can reach the back of a PC and keep the working length short. ENC boom mic for cleaner team chat.
Boom Mic	Attachable, ENC. The stronger option for Discord and team comms, especially with keyboard or room noise.
Inline Mic	Built into the same cable, selected by the slider. Handy for calls where the boom is overkill.
Eartips	Basic S/M/L silicone.
Case	EPZ carry case, holds the IEMs, cable and boom mic.

Build Quality, Fit & Comfort

Fit & Comfort. The G20 Pro keeps the semi-custom shape of the G30 and is almost identical to the G20's shell, but the inner side is slightly less curved through the middle, which makes the shell look a little fuller and slightly bigger. In practice comfort is similar to the G30, so for me it is basically fine for long sessions. The very lightweight shells with only 3.9g help and the shells have a pressure-relief vent that keeps build-up down. As with the G30, the semi-custom shape might not suit everyone. If you have smaller ears or you have had trouble with semi-custom shells before, try before you buy, or order directly from EPZ, who offer a no-reason return for a small extra charge through EPZ Care+. That removes most of the risk.

Build & Design. The resin shell is 3D-printed with EPZ's seamless process, so there are no visible seam lines, and mine is the glossy Orange finish (Grey is the other option). The pressure-relief vent is visible on the upper side. The shells feel smooth and lightweight in hand without any sharp edges. The G20 Pro's nozzles are made out of metal and of average length and hold ear tips without issues due to the emphasized nozzle lip.

Cable. The flush 0.78mm 2-pin connector means the cable is swappable, though the value here is the USB-C DSP cable itself rather than rolling to analogue, which is what I did for this review to get further impressions with a 3.5mm termination on different sources. The 3.9 ft long cable is not microphonic, behaves well and is mostly tangle free. The 4.9 ft long extension cable is a thicker, sturdy cable which is much appreciated as I am able to navigate around my desk without the need to leave the set behind me.

Mic Quality

Boom Mic	As on the G30, the boom mic is my preferred choice of the two mics. My voice was clear, well-articulated and there was no audible background noise in gaming voice chat, phone calls or online meetings. I highly recommend this option for any kind of online meetings or in-game chat.
Inline Mic	Speech quality is good and can be used for calls and meetings where the boom mic might be inconvenient. My voice was clear and the controls worked without issues.

> 💼 Personal note - real-world use > > Similarly to the G30, the G20 Pro was my daily driver for two weeks where I used it up to 6 hours in online meetings, phone calls, gaming and music listening without issues or fatigue. I found it more convenient for online meetings and more comfortable than my headset.

Gaming Performance

Game	Impressions
CS2	Excellent footsteps tracking across surface types including sand-covered floors (Dust II), tiles, wooden planks and water sounds (Anubis). Gun shots, footsteps, grenade explosions and bomb ticks all stay cleanly separated even during busy rounds. A/B separation makes locating planted bombs easy. Bass from detonations stayed very controlled with fast decay to avoid covering other sounds. Flashbang ringing did not feel piercing. Very good performance in my opinion in CS2.
Valorant	Spike defuse cues, ability sounds and footsteps are always very well separated. Weapon shots do sound more energetic than in CS2 as they always do. Pin-pointing enemies and tracking ability cues was easy. Fine details stayed audible even in crowded team-fights thanks to the very good separation and controlled bass.
Apex Legends	The contrast between different game cues is very good, footsteps and vocal separation sound accurate and left/right/back/forward spatial information are very easy to locate. Verticality is always a bit harder to identify given Apex Legends' different multi-level design, but horizontal positioning is reliable throughout. Vocals always felt clear and crisp in team comms during mid-fight. Recommended listening volume is mid-level to avoid mild fatigue on longer sessions.

Gaming Summary: Similar as on the G30, spatial information, separation and layering are the G20 Pro's most valuable traits and the most important ones for FPS gaming. The difference to the G30 is that the G30 has more low-end impact and a more controlled treble, which gives the G30 a more even and fuller sound where cinematic sound effects have more impact and FPS gaming is more fatigue-free. The G20 sounded a little bit more energetic up top even if the differences are minimal. The G20 Pro sounded similarly resolving and maybe a smidge better separated.

Imaging is very good but slightly held back by the lean lower mids. Fatigue is usually not an issue after several hours of combined music and gaming when I kept the volume to around medium (for music) to high (in gaming). The tuning mostly avoids piercing peaks and the low-end never becomes boomy. The G20 Pro is a very good fit for competitive FPS in my opinion.

Long-Session Comfort

My gaming and music sessions were usually around 5 hours or more, where the G20 Pro remained comfortable with no pressure build-up and no listening fatigue. The shells are very comfortable and light-weight for me and I forget that I am even wearing IEMs.

Treble has elevated energy but can get peaky with poorly recorded material. On CS2 flashbangs, gun shots and high-frequency ability cues never reached a piercing level at normal or higher gaming volumes. Only Apex Legends at higher listening volumes started to feel mildly tiring and keeping the volume at a mid level resolved this for me. Otherwise, I used the possibility to adjust the sound via EQ, which makes the set a versatile option like its other siblings the G30 and G20.

Frequency Response Measurements

Method. For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows.

In the graph, green is the EPZ G30, orange the EPZ G20, purple the EPZ G20 Pro, red the ZiiGaat Arete 2 with the bass switch on and yellow the Arete 2 with the bass switch off.

I measured all sets on my own coupler connected with an EPZ 3.5mm cable and with the included DSP USB-C cable. Both measurements were aligning, meaning that the USB-C DSP added no additional tuning but purely replayed the hardware tuning.

The G20 Pro and G20 look fairly similar and in some parts exactly the same, like on their low-end, until the presence region where the G20 Pro is now less emphasized, and the same applies to the treble with a different emphasis which results in a slightly less sharp treble but more air up top. In detail the G20 Pro down slopes from 5k onwards whereas the G20 dips less until 7kHz to reach its peak at around 9kHz. The Pro version has less energy throughout and just has more treble energy at around 10k-12kHz. The emphasis on details and perceived "air" changed slightly vs the G20, which results in a good but not as sharp treble response and a different emphasis on details and air.

The differences are more subtle and to be honest sometimes it was not so clear where the differences lie, which required extensive listening back and forth throughout my library and different gaming scenarios.

Sound Impressions

Overall Character

The G20 Pro is a gaming-first set, and you hear that in the tuning. It is built to let you take advantage of game cues, the footsteps, the positional information, the weapon sounds, rather than for a full-bodied music replay. The bass is kept very controlled, has only a slight elevation and is never emphasized or taking over.

The lower mids are clean and lean, and the upper mids and presence region are pushed slightly forward. The treble follows the same idea and comes across clear and crisp and a bit less sharp than on the G20 while still sounding refined. It is a lean, clarity-led tonality rather than a warm one.

Bass

Bass impact is compact and free of bloom, with zero bass bleed. Sub and mid-bass are always well controlled and are pretty lean. Both are rolled off on the G20 Pro, so there is a slight loss of note weight on some instruments.

On 50 Cent's "Just A Lil Bit" the low-end is actually one of the highlights of the track, with reasonable impact and a very fast decay. The track stays clean and clear throughout and vocals and instruments never smear. 50 Cent's vocals are on the leaner side. For bass-led genres like EDM the quantity and slam are the limiting factor rather than the quality, and I would not choose the G20 Pro specifically for these tracks in my library.

For gaming this is a whole different story. A controlled bass is mandatory in my opinion to have clean mids and treble, to avoid covering details or muddying the separation, layering and imaging. The fast bass decay does not cover up any details on the G20 Pro, which makes it easy to hear even details in a busy situation. From a gaming perspective the G20 Pro's low-end tuning is to my ears well done. For my personal taste I used EPZ's PEQ software to adjust the bass to my liking, which brought enough low-end to make my library enjoyable. Mids and treble stayed fairly clean even on higher EQed bass levels.

Midrange & Vocals

The lower mids could carry more texture and note weight for vocals and instruments. They are lean by design with the gaming purpose in mind, which is what lets the upper mids and treble sit forward and uncoloured. Vocals are clear and crisp, and depending on the game or track they can come across slightly sharp but have good transients which helps with layering and imaging. The leaner mids work in favour of female vocals, giving them a clear, bright touch with emphasis on the s, t and sh sounds.

On Kaleida's "Fake" the female vocal is very clear, clean and slightly crisp without turning harsh or shouty, at least on mid volume, and the echo and layered backing vocals are pushed forward and are easy to follow. The sub-bass under it stays very controlled, though for EDM it could use more depth and rumble, and the mid-bass is tight and compact where some slam would help to drive the beat.

Male vocals are where the lean tuning is obvious. They could use more texture and weight for a fully distinct tonality.

Treble

Treble is crystal clear on the G20 Pro and is a result of the elevated presence and lower-treble region peaking at almost 3kHz and 9kHz, peaking significantly over a pulled-back low-end with around 5-7dB. Vocal and instrument detail is easy to hear, and the set leans bright rather than smooth. On Fleetwood Mac's "Sisters of the Moon" snares have bite and can turn overly sharp on high volume, which was not ideal for me on this track. The G20 Pro also has very good transients, and that speed is a different matter. In games it is an asset, because short and sharp cues come through quickly and stay easy to pick out.

The elevated treble is doing a very good job in some games where treble is not that much emphasized, like in CS2. Other games like Valorant carry much more treble energy where the G20 Pro's treble might get spikey, at least on higher volume. This can be changed by using the DSP EQ where even different game profiles are available.

Staging & Imaging

Separation and spatial information are the G20 Pro's main traits, which is essentially the main thing to look for when gaming, where footstep tracking, weapon reloads and detail retrieval matter. Footsteps on CS2 were easy to spot and its imaging gave almost an ideal idea of where sounds are coming from.

The same traits serve music well. On The Doors' "Riders on the Storm" clarity is excellent and instruments are cleanly separated and easy to place, whether they sit close or further back on the stage. The Fender Rhodes keys are clearly audible on the left, positioned slightly in the back and well nuanced, while the percussions are more subtle but clearly audible.

Jim Morrison's vocal comes across a little thin and brittle for my taste, which is the music trade-off for a tuning that wins in games. Because of the slimmer low-end and mids, imaging could be a touch more exact, since the full body of instruments, and possibly in-game positioning in some games, can be affected by the leaner note weight.

EQ Software

Most IEMs at this price point come with no EQ software, which makes this part of the package worth a section of its own.

The G20 Pro's USB-C cable carries a built-in DAC and DSP, configured in Walkplay either on PC or iPhone via the web interface at peq.szwalkplay.com. You can adjust the sound on a PC or your phone, save a custom tuning to the chip on the cable, and keep that profile when you move to another USB-C device. EPZ ships DRG pro-player presets and dedicated game presets for CS2, Valorant and Delta Force, plus separate profiles for music and everyday use.

It is a great feature if you do not want to install software and want to experiment with different EQ profiles, either with your own settings or shared online settings from other users. You can as well change the mic volume offset to your liking if you do not want to use the ones in your OS. On Android phones you can install the Walkplay app on your phone as well. When using the app the first time it is worth noting that you need to apply or try a setting first before you can manually EQ. Otherwise the sliders are locked, which was confusing in the beginning.

Platform	Browser-based at peq.szwalkplay.com, works on PC and iPhone without installing anything. Android also has a dedicated Walkplay APK.
Presets	DRG pro-player presets and game presets for CS, Valorant and Delta Force, plus music and daily profiles. Mic volume offset can be adjusted independently of your OS settings.
Notes	I used several game presets and own EQ values for a different gaming and music experience, which makes this set versatile.

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📖 DETAILED COMPARISON · EPZ G20 Pro vs EPZ G20 vs EPZ G30 vs ZiiGaat Arete 2

Comparison Setup

Sources were my iPhone 17 Pro Max and my Windows PC, using the G20 Pro's own USB-C DSP cable, which is what most buyers probably will use. I listened on the Divinus Velvet wide bore eartips in size L. The G20 Pro needs no extra amp or DAC, since the DAC sits in the cable. Nevertheless, I used an extra 3.5mm terminated cable from EPZ to check how it performs with my other source gear like the Questyle Sigma Pro. I spent around 50 hours in total, split across music, gaming and calls.

Music Track Comparison

Tracks used: Kaleida "Fake" (female vocals, echo, mid-bass) · The Doors "Riders on the Storm" (instrument separation, male vocals, staging) · 50 Cent "Just A Lil Bit" (male vocals, mid and sub-bass)

Track	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Kaleida "Fake"	Clear, clean, slightly crisp female vocal. Echo and backing pushed forward. Controlled but light sub-bass, tight compact mid-bass. Slimmer than on the G30.	Very similar experience to the G20 Pro with a slight deviation in the treble region. Slightly brighter and a smidge more forward vocals.	Sharp, well-articulated female vocal with a clear echo. Clean mid-bass without bloom and decent low-end impact.	Fuller, rounder vocals with more bass warmth and impact. Echo slightly less clear and defined.
The Doors "Riders on the Storm"	Excellent clarity and separation, easy placement. Male vocal a little thin and brittle.	Even more forward vocals than on the G20 Pro. Same experience with vocals due to the slim low-end and similar separation and clarity. Slightly more treble brilliance and sharpness.	Clear instrument separation, vocal slightly lean but well-articulated. Good staging and spatial information.	Bigger, fuller instrument body with more weight to vocals and slightly less defined separation.
50 Cent "Just A Lil Bit"	Reasonable low-end impact with a fast decay. Clean throughout, no bleed, leaner vocals than on the G30.	Reasonable low-end impact with a fast and clean decay. Slightly too lean vocals as on the Pro.	Good sub-bass rumble and controlled mid-bass with clear, lean male vocals without bass bleed.	Heavier low-end punch and rumble, especially with the bass switch on. Vocals sound bigger and fuller.

Full Head-to-Head Comparison

	EPZ G20 Pro	EPZ G20	EPZ G30	ZiiGaat Arete 2
Price	$59.99 / EUR 52.95	$49.99 / EUR 44.95	~USD 82 / EUR 71	~USD 279 / EUR 241
Driver	Single 10mm LCP + PU DD	Single 10mm silicone + PU DD	1DD + 1BA hybrid	1DD + 4BA hybrid with bass switch
Sound Signature	Lean, crisp, clarity-led, gaming-first	Lean, crisp, clarity-led, a touch more energetic up top	Neutral to slightly energetic, mild V-shape, clean	Fuller, warmer, relaxed, bigger bass slam
Bass	Controlled and lean, rolled-off sub and mid-bass, compact	Lean and controlled, rolled-off sub and mid-bass, compact	Good impact, controlled mid-bass, decent sub-bass rumble	Bigger slam and rumble, switch adds ~2-3 dB sub-bass
Mids	Lean and clean, lighter note weight on male vocals and instruments	Lean and clean, lighter note weight, vocals a touch more forward	Slightly lean, clear separation, sharper vocal articulation	Fuller, rounder, more body for instruments and vocals
Treble	Forward, crisp and clear, can edge sharp at high volume	Forward and crisp with a bit more brilliance and sharpness	Well-extended, detailed, slight edge at very high volume	Slightly rolled off, non-fatiguing even at high volume
Separation / Layering	Excellent with fast transients	Slightly behind the Pro, which cuts back the 5kHz region better and leaves more room for details	Excellent and feels slightly better in layering and separation than on the G20 Pro	Good, less clear than on all EPZ sets
Spatial / Imaging	Excellent cue clarity, slim note body may limit fine precision	Spatial cues very well rendered, slim note body may limit fine precision	Excellent, best FPS spatial cues of the four	Good and relaxed, more cinematic feel
Fatigue at High Volume	Can get slightly sharp on high volume	Similar to the Pro with a tad more energy up top	Slight edge at very high volume but overall good fatigue control	Non-fatiguing even at loud volumes
FPS Gaming	Excellent overall performance, layering, separation, imaging and clarity are very good	Very good fit for FPS. Can get spicy on high volume with sharp transients	Excellent with the best accuracy to my ears, not as sharp as G20 Pro or G20	Good, better for treble-sensitive gamers, separation could be better, slight masking due to bass impact
Music	Capable, clarity-first, leaner presentation and slightly deficient in note weight	Capable, clarity-first, leaner	Very good all-rounder for gaming and music	Richer and more cinematic, scales very well, compatible as well with bassy genres
Mic	Boom and inline on one USB-C cable, 3-position slider	Boom mic on the USB-C cable, inline mic on the 3.5mm cable	Boom and inline (USB-C)	No mic
Cable	USB-C DSP 1.2m, boom and inline, 1.5m extension included, no analogue in box	USB-C DSP 1.8m and 3.5mm 1.2m, boom mic, USB-A adapter	USB-C with two mics, long, no interchangeable termination	Soft, pliable, interchangeable termination, no mic
Best pick if...	You want the lightest competitive EPZ gaming set with clean cues, two mics and DSP	You want a light and budget friendly gaming IEM with very good accessories and an analogue cable in the box	You want a hybrid with a touch more body and treble air	You want warmth, bass and comfort at a much higher budget with the best build

Comparison Notes

The EPZ gaming series ladder

EPZ has developed a special IEM series dedicated to casual listening, casual and competitive gaming. The "G" series currently includes the G10, G20, G20 Pro and G30, starting from around USD 42 for the G10 and USD 80 for the G30. I have already reviewed the EPZ G30 here.

All of the sets offer a gaming suitable accessories package like a cable extension (on the G20 Pro), a USB-A adapter and a detachable boom mic (G20 to G30). The G30, G20 Pro and G20 have very similar shaped semi-custom shells available in different colours.

EPZ G20 Pro vs EPZ G20, $49.99 / EUR 44.95

The G20 and the G20 Pro share the same shell and have many tonal similarities, like the slim and tight low-end response, clean mids and almost identical upper mids, until the presence region where the G20 has more energy in some frequencies. The emphasis on details and perceived "air" changed slightly, which results in a good but not as sharp treble response on the Pro.

The G20 has overall the more energetic sound signature, which can be a good thing for listeners and gamers who prefer this kind of exciting presentation.

The G20 Pro is to me the more consistently developed gaming IEM as it is precise but slightly more controlled than the G20, which is not only for music an asset but also in games where sharper weapon sounds can be piercing and fatiguing over time.

What the G20 brings is an additional 3.5mm cable which is great for convenience in case your phone is not equipped with USB-C. Something I would like to see on the other models too, or in a future release with interchangeable termination even.

EPZ G20 Pro vs EPZ G30, ~USD 82 / EUR 71

The G30 is the other natural sibling comparison, and a differently developed gaming set when compared to the G20 Pro. Both are EPZ gaming IEMs with a USB-C DSP cable and a boom plus inline mic, so the practical package is similar. The key difference is the driver configuration. The G30 adds a balanced armature to its dynamic for a 1DD + 1BA hybrid, where the G20 Pro runs a single 10mm LCP + PU dynamic. In tonality both are clear and clean, but the G30 has less energy up top and its ear gain region is more controlled. EPZ added around 2dB more low-end impact, which makes a noticeable difference especially for music, where the G30 is more compatible with different music genres and poorer recorded tracks.

In FPS the G30 makes for more relaxed gaming while still being excellent with spatial cues, as its bass response is always controlled and only slightly more elevated than the G20 Pro's. To my ears the G30 also separates and layers slightly better than the G20 Pro. I think this comes from its slightly more emphasized low end, which gives game cues and music instruments more substance and makes them easier to tell apart.

The G30 has a little more body and refinement, while the G20 Pro is the leaner, even more clarity-focused of the two, lighter at 3.9g against 4.4g, and around twenty dollars cheaper. Both are excellent for FPS cues. If you want the most affordable and lightest EPZ gaming set with a crisp, lean tuning, the G20 Pro makes sense. If you want the extra body of the hybrid, the G30 is the step up in music replay and cinematic low-end impact.

EPZ G20 Pro vs ZiiGaat Arete 2, ~USD 279 / EUR 241

The Arete 2 with the bass switch off already has a slightly fuller, warmer sound than the G20 Pro and all other EPZ sets in this line up. Switching the bass switch on adds another 2-3 dB of sub-bass for a noticeably more impactful low end. That fuller presentation gives instruments and vocals more body and weight. The same track sounds bigger and rounder on the Arete 2.

The G20 Pro sounds brighter and more energetic by comparison, which works in its favour for separation in games. The space between instruments feels easier to perceive. Vocal articulation is sharper on the G20 Pro while the Arete 2 produces a more rounded, relaxed presentation. The Arete 2 is also more volume-scalable and stays non-fatiguing at high levels, while the G20 Pro can get edgy on some tracks at high volume.

In FPS games the G20 Pro's spatial cues are clearer and more defined. The Arete 2 is the better pick for treble-sensitive gamers or anyone who wants a more cinematic and immersive feel and prioritises music.

Conclusion

• EPZ G20 - a clean and lean sound, good imaging and detail retrieval suitable for gaming, FPS and casual listeners. It comes with a 3.5mm and a USB-C cable and a boom mic.
• EPZ G20 Pro - best for FPS players who want clean separation, clear cues and a light USB-C set with a great attachable boom mic and inline mic on a budget, and who like a lean, crisp tonality.
• EPZ G30 - best if you want a hybrid with a little more body, and do not mind paying slightly more.
• ZiiGaat Arete 2 - best for a warmer, fuller, more relaxed sound with bass (and bass switch) and comfort for treble-sensitive listeners, at a much higher price and without a mic.

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Final Verdict

The EPZ G20 Pro is clearly a gaming-first single-DD IEM that trades warmth and slam for separation, clarity and clean positional cues. That trade pays off where it counts in FPS gaming. The USB-C DSP cable with cable extension, the excellent dual boom and inline mic, and the very light shell make it a practical, flexible package at $59.99. For music it is capable rather than rich, with a lean low-end and lighter note weight on male vocals, so it suits clarity-first listeners more than bass-heads. For FPS gaming and casual listening the G20 Pro is a clear recommendation.

✅ Recommended if you play FPS and want clear positional cues, separation and a proper mic in a light USB-C set, and you like a clean, crisp tonality.

❌ Skip if you want a warm or bass-forward sound, full-bodied male vocals, or an analogue cable in the box.

Disclosure

This review sample was provided directly by EPZ. No payment was received and no influence was exerted over this review. No affiliate links. Impressions are based on around 50 hours across music, gaming and calls.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

Hey everyone,

Artpical recently released the Raphael, a single-DD set priced at around $149.

I liked some of their previous designs, but shied away from buying one as they were priced from above $400 up to around $1,500, and their frequency-response graphs weren't really to my liking.

The Raphael is much more reasonably priced, and I liked the design, so I ordered one myself (paid full price) in the black/gold colourway, which to me looks more like grey/gold.

The shell is made of transparent resin and shows a kind of wing-like design inside. Yeah, it can come across as kitschy as well ;-)

Fit & comfort

Fit and comfort are good for my mid-sized ears after around two hours of listening, although the fairly large shells might be challenging for smaller ears.

So far, I haven't experienced any pressure build-up or discomfort.

Unboxing experience

The unboxing experience is good. It comes with a nice cable which, unfortunately, is a little stubborn/stiff in handling.

Three connectors are included for the interchangeable plug: USB-C, 3.5mm and 4.4mm.

The carrying case is nice, and there are two different sets of tips included: one wide-bore set and one more conventional bore.

Listening experience

I used the included short wide bore tips for listening and my Questyle Sigma Pro as source.
The Raphael sounds fairly balanced overall to me.

Bass is elevated but moderate, with enough impact for most genres I've tried so far. It sounds controlled and pretty tight rather than particularly bass-heavy.

Vocals are slightly forward and clear, but not shouty.

Treble is nicely elevated with good detail retrieval. It's slightly on the brighter side, but tastefully done so far. I haven't found it piercing or overly sharp, even at the medium-to-higher listening volumes I tend to use.

For you graph sniffers, I've also included my own measurement. Channel matching looks pretty good, too.

Short summary

• Good unboxing experience, although the cable isn't ideal in handling
• Good fit and comfort for my mid-sized ears
• Balanced overall tuning with moderately elevated bass and slightly forward vocals and treble
• Seems versatile across many genres
• Probably not one for bass-heads

Let me know if you have an eye on this set, too or even bought it and how your impressions are.

Hey everyone,

Artpical recently released the Raphael, a single-DD set priced at around $149.

I liked some of their previous designs, but shied away from buying one as they were priced from above $400 up to around $1,500, and their frequency-response graphs weren't really to my liking.

The Raphael is much more reasonably priced, and I liked the design, so I ordered one myself (paid full price) in the black/gold colourway, which to me looks more like grey/gold.

The shell is made of transparent resin and shows a kind of wing-like design inside. Yeah, it can come across as kitschy as well ;-)

Fit & comfort

Fit and comfort are good for my mid-sized ears after around two hours of listening, although the fairly large shells might be challenging for smaller ears.

So far, I haven't experienced any pressure build-up or discomfort.

Unboxing experience

The unboxing experience is good. It comes with a nice cable which, unfortunately, is a little stubborn/stiff in handling.

Three connectors are included for the interchangeable plug: USB-C, 3.5mm and 4.4mm.

The carrying case is nice, and there are two different sets of tips included: one wide-bore set and one more conventional bore.

Listening experience

I used the included short wide bore tips for listening and my Questyle Sigma Pro as source.
The Raphael sounds fairly balanced overall to me.

Bass is elevated but moderate, with enough impact for most genres I've tried so far. It sounds controlled and pretty tight rather than particularly bass-heavy.

Vocals are slightly forward and clear, but not shouty.

Treble is nicely elevated with good detail retrieval. It's slightly on the brighter side, but tastefully done so far. I haven't found it piercing or overly sharp, even at the medium-to-higher listening volumes I tend to use.

For you graph sniffers, I've also included my own measurement. Channel matching looks pretty good, too.

Short summary

• Good unboxing experience, although the cable isn't ideal in handling
• Good fit and comfort for my mid-sized ears
• Balanced overall tuning with moderately elevated bass and slightly forward vocals and treble
• Seems versatile across many genres
• Probably not one for bass-heads

Let me know if you have an eye on this set, too or even bought it and how your impressions are.

Hey everyone,

Artpical recently released the Raphael, a single-DD set priced at around $149.

I liked some of their previous designs, but shied away from buying one as they were priced from above $400 up to around $1,500, and their frequency-response graphs weren't really to my liking.

The Raphael is much more reasonably priced, and I liked the design, so I ordered one myself (paid full price) in the black/gold colourway, which to me looks more like grey/gold.

The shell is made of transparent resin and shows a kind of wing-like design inside. Yeah, it can come across as kitschy as well ;-)

Fit & comfort

Fit and comfort are good for my mid-sized ears after around two hours of listening, although the fairly large shells might be challenging for smaller ears.

So far, I haven't experienced any pressure build-up or discomfort.

Unboxing experience

The unboxing experience is good. It comes with a nice cable which, unfortunately, is a little stubborn/stiff in handling.

Three connectors are included for the interchangeable plug: USB-C, 3.5mm and 4.4mm.

The carrying case is nice, and there are two different sets of tips included: one wide-bore set and one more conventional bore.

Listening experience

I used the included short wide bore tips for listening and my Questyle Sigma Pro as source.
The Raphael sounds fairly balanced overall to me.

Bass is elevated but moderate, with enough impact for most genres I've tried so far. It sounds controlled and pretty tight rather than particularly bass-heavy.

Vocals are slightly forward and clear, but not shouty.

Treble is nicely elevated with good detail retrieval. It's slightly on the brighter side, but tastefully done so far. I haven't found it piercing or overly sharp, even at the medium-to-higher listening volumes I tend to use.

For you graph sniffers, I've also included my own measurement. Channel matching looks pretty good, too.

Short summary

• Good unboxing experience, although the cable isn't ideal in handling
• Good fit and comfort for my mid-sized ears
• Balanced overall tuning with moderately elevated bass and slightly forward vocals and treble
• Seems versatile across many genres
• Probably not one for bass-heads

Let me know if you have an eye on this set, too or even bought it and how your impressions are.

Hey everyone,

Artpical recently released the Raphael, a single-DD set priced at around $149.

I liked some of their previous designs, but shied away from buying one as they were priced from above $400 up to around $1,500, and their frequency-response graphs weren't really to my liking.

The Raphael is much more reasonably priced, and I liked the design, so I ordered one myself (paid full price) in the black/gold colourway, which to me looks more like grey/gold.

The shell is made of transparent resin and shows a kind of wing-like design inside. Yeah, it can come across as kitschy as well ;-)

Fit & comfort

Fit and comfort are good for my mid-sized ears after around two hours of listening, although the fairly large shells might be challenging for smaller ears.

So far, I haven't experienced any pressure build-up or discomfort.

Unboxing experience

The unboxing experience is good. It comes with a nice cable which, unfortunately, is a little stubborn/stiff in handling.

Three connectors are included for the interchangeable plug: USB-C, 3.5mm and 4.4mm.

The carrying case is nice, and there are two different sets of tips included: one wide-bore set and one more conventional bore.

Listening experience

I used the included short wide bore tips for listening and my Questyle Sigma Pro as source.
The Raphael sounds fairly balanced overall to me.

Bass is elevated but moderate, with enough impact for most genres I've tried so far. It sounds controlled and pretty tight rather than particularly bass-heavy.

Vocals are slightly forward and clear, but not shouty.

Treble is nicely elevated with good detail retrieval. It's slightly on the brighter side, but tastefully done so far. I haven't found it piercing or overly sharp, even at the medium-to-higher listening volumes I tend to use.

For you graph sniffers, I've also included my own measurement. Channel matching looks pretty good, too.

Short summary

• Good unboxing experience, although the cable isn't ideal in handling
• Good fit and comfort for my mid-sized ears
• Balanced overall tuning with moderately elevated bass and slightly forward vocals and treble
• Seems versatile across many genres
• Probably not one for bass-heads

Let me know if you have an eye on this set, too or even bought it and how your impressions are.

Tanchjim Ola II Review - a tastefully done V-shape with EQ versatility

From $56.99 to $59.99 / EUR 49.70 to EUR 52.31 | Wired, sold as 3.5mm / 4.4mm / USB-C DSP, reviewed as USB-C DSP and 4.4mm | 1DD + 1BA Coaxial Hybrid | recessed 0.78mm 2-pin

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> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, the measurements, sound breakdown, the USB-C EQ section and comparisons follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> Tanchjim's latest Ola update is a more energetic and exciting V-shaped listen than the original, and the driver has changed from a single dynamic driver to one dynamic driver plus one balanced armature. The mid-bass hits with punch and stays well defined. The mids are slightly carved out in the usual V-shaped way, which leaves vocals thinner but forward, next to an energetic treble that already sounds exciting at moderate levels. At higher volume both the vocals and the treble get a little spicy. The Ola II pairs well with EDM, pop and hip-hop, or any genre that wants an impactful mid-bass slam with decent vocal and treble energy and good detail retrieval. The Tanchjim EQ software makes it a versatile set on top.

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At a Glance

✓ Suits You If

• You are coming from a similar signature like the Tanchjim Bunny and want an exciting V-shaped listen rather than something relaxed or warm-neutral
• You like a punchy mid-bass, lean vocals and an energetic treble
• You like the flexibility of a USB-C PEQ to retune the set yourself
• You want a mic cable for calls and gaming (3.5mm and USB-C versions)
• You listen at lower to mid volume

✗ Skip It If

• You specifically want a warm leaning or neutral tuning
• You want the most natural, uncoloured vocal presentation, especially on male vocals. The Nora does this better and the Delci adds extra texture to male vocals.
• You want sub-bass rumble more than mid-bass slam. The 4U, Bunny, Delci and Gate lean that way, or use the EQ software
• You want a set that scales well with volume
• You will not use EQ and the stock V-shape is not your preference

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Main Strengths & Weaknesses

Main strength. The Ola II's main strength is its exciting and energetic presentation. The low end is noticeably extended and the emphasis sits on an impactful, bold mid-bass that works across genres but especially with EDM, pop, hip-hop, rap and rock, with caveats. Even with the bass emphasis, vocals stay clear and crisp, which suits female voices well. The treble comes across as engaging and well extended with good detail retrieval. Instruments in the upper registers sound clean, and the layering and detail are easy to follow and to my ears above the price point. One big plus is the possibility to EQ the Ola II via the Android app directly on your phone or under Windows. Either with your own settings or simply by using the available presets. That makes the Ola II a more versatile set.

Main weakness. The fun, engaging sound tempts you to turn it up, and that is where the treble can get too sharp for treble-sensitive listeners. Snares, cymbals and crashes in particular can come across as overly sharp, though they will probably be enjoyable if you want that extra spice. At mid volume the Ola II works well for me, even on longer sessions. The carved-out upper mids leave male vocals and instruments slightly short on texture, and the upper midrange and presence region can read as too energetic depending on the track.

👆 That's the core verdict. Everything below goes deeper into specs, measurements, sound and comparisons.

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How the Ola II ended up in my ears

The original Ola was always the outlier in Tanchjim's line-up for me. Almost flat bass, a steeper ear gain and a set which is built more for vocal lovers first and everyone else second. So, when the Ola II appeared with a coaxial 1DD plus 1BA setup and a visibly lifted low end, I was curious whether it would get closer to the family sound of the Bunny, the 4U and the Nora, or carry on with the original Ola sound.

My sample arrived as the USB-C DSP version, the only cable in the box, so my first sessions ran straight off the phone. And honestly, when I first listened to it, the treble was not ideal for me. It took a few evenings before the Ola II and I found an understanding, and that change is part of this review.

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Key Specs

Spec	Detail
Driver Setup	Coaxial hybrid. 1× 10mm DMT5 dual-magnetic, dual-cavity dynamic driver + 1× PURE Hi ultra-high-frequency balanced armature (BA sits in the nozzle)
Impedance	30 Ω ±10%
Sensitivity	121 dB/Vrms
Frequency Response	8 Hz to 48 kHz
THD	0.03% @ 1 kHz, 94 dB
Versions / Terminations	3.5mm single-ended, 4.4mm balanced, USB-C DSP. The 3.5mm and USB-C versions carry an inline MEMS mic with a single-button remote. My sample was the USB-C DSP version, which is the only cable that came in the box.
Connector	Recessed 0.78mm 2-pin, cable is swappable
Cable	LITZ silver-plated twisted-pair braided, smokey grey
Shell	CNC-machined aluminium alloy faceplate over a transparent PC inner cavity. Air-pressure relief vent and a Helmholtz resonator rear cavity. Waterproof and dustproof nozzle filters
Nozzle	6.3mm at the lip, 5.3mm without the lip, own measurement
Colourways	One colourway only. Silver-grey aluminium faceplates over a dark transparent body that looks like faintly darker grey depending on the light.
Price	From $56.99/EUR49.70 to $59.99/EUR52.31 for example at HiFiGo
Where to Buy, not affiliated	Tanchjim product page: https://tanchjim.com/en/products/earphones/iem/ola-ii · HiFiGo: https://hifigo.com/products/tanchjim-ola-2

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Accessories & Cable

The unboxing experience is rather basic but sufficient. In the box you get: the Ola II, one cable in your chosen termination, six pairs of silicone eartips (three narrow bore and three wide bore), a grey velour storage pouch and paperwork.

Item	Notes
Cable	LITZ silver-plated twisted-pair braid, soft and light. The 3.5mm and USB-C cables include an inline MEMS mic and a single-button remote. 4.4mm balanced version comes without a mic.
Eartips	Six pairs of silicone, three narrow bore and three wide bore. I stopped using the wide bore tips on this set, since narrow bore tips control the treble better for my ears. I used narrow bore eartips in size M (Spinfit W1 for deeper fit) and L (Nicehck C04 Liquid Silicone) throughout.
Case	Grey velour drawstring pouch. Soft, pocketable, not crush-proof.
Other	Paperwork and manual.

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Build Quality, Fit & Comfort

Fit & Comfort

The Ola II is a small and light IEM, but not a tiny one. The faceplate shape is around two-thirds rounded with one edgier corner, and that corner is the part that can press against smaller ears even though the shell itself is not big. In my mid-sized ears it fits well and stays secure and comfortable on long sessions of six hours and more. The shells are pressure vented and the nozzle is angled, which helps the ergonomics.

The nozzle is the part to pay attention to. It measures around 6.3mm at the lip on my unit, which is on the wider side, so some aftermarket tips will not go on. If you have smaller ear canals, that width is worth considering before buying. I got a good seal straight away and had no pressure build-up on any session. Tip choice also changes the treble noticeably on this set, which I come back to in the Treble section.

Ola II design is similar to the original Ola. The faceplate is made of CNC-machined aluminium with an embedded square shape while the shell is made of transparent PC. The set feels light in hands, there are no obvious seams or other sharp edges other than the edge on the faceplate.

The 2-pin connector is slightly recessed.

In my opinion the shell quality is adequate for a USD60 set but not outstanding.

The Tanchjim 4U has the better build as it comes in a full metal shell and faceplate at a similar price point with a conventional "Bunny"-style shape which fits great.

Cable

My sample came with the USB-C DSP cable only. It is smokey grey (to me it looks like a grey brown), soft and well behaved. It does not tangle much and stays where you put it. The channel indicators are clearly marked in red and blue near the 2-pin connectors, which went into the shells without any fuss. For further listening on my Questyle I used a 4.4mm cable borrowed from the Tanchjim Nora, and I thought the Nora cable was a better visual match for the Ola II faceplate than the stock one.

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Mic Quality

The USB-C version comes with an inline mic, which I used for calls and meetings. My voice came across as slightly too quiet, but otherwise the quality was decent indoors under normal conditions.

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Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows

The Tanchjim Ola II has an impactful mid-bass and a noticeable sub-bass, where the mid-bass is the more elevated of the two. While having an emphasised mid-bass with a gradual down slope, the mids are slightly pulled back past 500Hz so the vocals stay clear of the bass. Especially female vocals benefit from this tuning as they come across as clean and clear while male vocals lose a bit of texture. The ear-gain is peaking at around 3k, gliding downwards at around 3.5kHz already which avoids shout in the vocals. There is a distinct peak at around 8/9kHz and again the last one at around 16/17kHz which aligns with my hearing that there is a good amount of treble energy for resolution, separation and "air" without sounding too spicy.

My overall impression that the Ola II is an engaging set for me aligns well with the graph. The low-end peaks at around 60Hz@81dB while the ear gain peak is at 3kHz with 83dB. Meaning that in balanced tunings a similar peak of low-end and ear gain can be desirable.

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Long-Session Comfort

The best listening volume on the Ola II for me was around mid volume, because the vocals and treble can get too spicy above that. On longer sessions a non-fatiguing listen matters to me, since I am slightly treble sensitive. With the right tips and a deep insertion the Ola II worked best for me on long sessions and stayed enjoyable that way.

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Sound Impressions

Overall Character

The Ola II sounds energetic and exciting, with elevated sub-bass, mid-bass and treble that works well with EDM, hip-hop, rap, R&B and rock. Vocals come across as clear and crisp. It makes the usual V-shaped trade, with the mids noticeably scooped to keep the bass from bleeding into them. The upper mids and the presence region sound slightly thinned out as a result, which suits female vocals, while male vocals come across as slightly too lean. Technically it is convincing, with good instrument separation, layering, staging and imaging.

Bass

The low end is noticeably elevated. The sub-bass has decent rumble with a slightly longer decay, which can occasionally get lost in very bass-heavy tracks but stays controlled otherwise. On A$AP Rocky's "F**kin' Problems" the sub-bass slightly covers the rest of the track with a touch too long decay. The Ola II leans more towards the mid-bass, which hits well and with good impact and suits a range of genres. I found it very enjoyable across my hip-hop, rap and EDM library. On Kaleida's "Think", known from the John Wick soundtrack, the mid-bass has real impact and sounds great together with the clear vocals as it transports the dense atmosphere very well.

Similar on Deadmau5' "Quezacotl". Synthesizers are clear and crisp and well accompanied by the thick mid-bass. Very enjoyable.

Midrange & Vocals

Vocals sit forward and slightly lean despite the elevated mid-bass thickness, which suits female voices well but leaves something to be desired on male vocals. They come through lean and clear even when the bass is emphasised, which makes the Ola II a good set for female vocal-focused tracks, well articulated and forward with a slight "s" emphasis but without the sibilance issues that more forward sets often have. At higher volume they carry a slight edge that you will either enjoy or find too sharp. On Kaleida's "Long Noon", Christina Wood's vocals are very clear with a touch of added brightness. Similarly on "Fake", where her vocals echo with transparency and are nicely contrasted by the impactful mid-bass.

Treble

The treble is extended, airy and crisp, and it makes for an exciting listen. On The Doors' "Riders on the Storm" the rain and the keyboard's imitation of it come through clearly and with good extension. My first impression was that the treble was not ideal for me. After a few days of listening it settled and I came to appreciate it, and that shift is worth being honest about, because a first listen in a shop or a first hour out of the box will not tell you where you land in my opinion.

The slight thinness up top has its advantages in clarity, but it is not fully natural and it can turn incisive on some material. Two things bring that out: poor recordings, and higher volume. At moderate levels the energy is well implemented for a V-shaped set. There is a smidge more treble here than I personally want, since I am slightly treble sensitive. But the way it is done is clean rather than harsh like I find on the Truthear Gate, which is why I still rate it. If you are not treble sensitive, I think you will enjoy it. Narrow bore tips with a deep, sealed fit are the lever if you want to take the edge off, and they also give the best bass impact.

Staging & Imaging

Staging and imaging are good for the price. The stage is easy to imagine, with instruments clearly separated and layered. I would not call it especially wide, though. The arrangement is well separated but plays on a smaller stage, with everything closer together.

"Riders on the Storm" by The Doors is a track which is great for testing the sound stage, imaging and layering. Not only does the track carry vocals and instruments but the atmospheric rain and thunder effects. The electric piano at the beginning is clearly audible in my left ear, while the bass and cymbals can be heard without issues. I can tell the separation and instruments have their distinct positions but everything feels like being in a smaller room or stage, not far from each other.

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EQ Software (USB-C version only) - the versatility highlight

With the USB-C DSP cable Tanchjim offers a convenient way for Android and Windows users to change the sound of the Ola II. iPhone users need to do the EQing on either platform and can save the changes onto the DSP, where they can then be used on an iPhone. It is limited to an 8-band PEQ, but it is enough to substantially change the sound to your liking.

Your personal EQ can be saved to the Ola II itself, so you don't need to run the software while listening to music to take advantage of your settings. On top of that Tanchjim offers presets for gaming, and there are other official presets available if you don't want to make the adjustments yourself. That worked very well for me and I was able to adjust the treble and the bass to my liking.

For example, I lifted the 50Hz slider to a ridiculous +10dB to test the Ola II dynamic driver. The result was a huge rumble which the driver took without distortion. Then I unplugged the set from my PC and connected it to my iPhone to listen to the changed bass response. My hip-hop library now sounded extremely bassy and on bass-head level, with only a couple of clicks. The EQ software makes a versatile set out of the Ola II and is definitely a standout feature in this price bracket, as most manufacturers don't offer it, or you need to buy a portable DAC amp that is compatible with EQ software.

Platform	Features	Notes
Tanchjim app, Android	8-band PEQ with adjustable frequency, gain and Q, sound-mode presets like gaming and different official presets, community-shared tuning profiles	The USB-C version runs a DSP-Master with 32-bit / 384 kHz PCM decoding and a 24-bit / 48 kHz mic ADC. Changes are saved on the USB-C DSP and can be used on iOS.
Windows	Same 8-band PEQ, profiles saved to the set. Offers the same EQ presets and tunings as on the app.	Tanchjim offers their Windows app as a download on: https://tanchjim.com/en/services. Changes are saved on the USB-C DSP and can be used on iOS.
iOS	Not supported due to iOS limitations but applied EQ settings in Windows or Android are saved on the DSP and can be listened to on iOS.	The Ola II is not detected by the app on iPhone, so the PEQ cannot be set from iOS but must be set first in Windows or on Android.

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DETAILED COMPARISON

Comparison Setup

The Ola II arrived as the USB-C DSP version, so I listened to it straight off the iPhone 17 Pro Max, the Hiby R4 Evangelion edition and a Windows PC. To hear it from other sources I swapped the stock USB-C cable for a 4.4mm balanced cable borrowed from the Tanchjim Nora and ran it from the Questyle Sigma Pro, the Fiio K13r2r and the Hiby R4. Streaming came from Qobuz and Spotify at the highest available quality. I used narrow bore eartips in size M (Spinfit W1) and L (Nicehck C04 Liquid Silicone) throughout. The Ola II is easy to drive at 30 Ω and 121 dB/Vrms. My review is based on more than 30 hours of listening.

Competitor Comparison

Specs

IEM	Price	Drivers	Imp. / Sens.
Tanchjim Ola II	$56.99-$59.99 / EUR 49.70-52.31	1DD + 1BA coaxial hybrid	30Ω / 121 dB/Vrms
Tanchjim Bunny	~$20	1× 10mm dual-chamber DD, DMT4 Ultra, Ti-coated PET	30Ω / 123 dB/Vrms
Tanchjim 4U	$59.99 / EUR 52.31	1× dual-chamber DD, DMT4 Ultra LCP, 4-level bass filter	32Ω / 122 dB/Vrms
Tanchjim Nora	$109.99 / EUR 95.92	1× dual-magnetic dual-cavity DD, DMT5, DLC dome	16Ω / 125 dB/Vrms
Kefine Delci	~$59 / EUR 51.45	1× 10mm dual-cavity DD, DLC + PU	28Ω / 108 dB ±3 dB
Truthear Gate	$21.99	1× 10mm DD, carbon LCP + ultra-thin PU	28Ω / 122 dB/Vrms

Sound signature

IEM	Sound Signature
Tanchjim Ola II	V-shaped, mid-bass emphasis, vocals and treble pushed forward
Tanchjim Bunny	V-shaped, sub-bass leaning, vocals and treble pushed forward
Tanchjim 4U	Switch dependent. V-shaped through to vocal and treble focused, with neutral bass impact
Tanchjim Nora	Mid-bass and vocal focused set with a natural tonality
Kefine Delci	Bassy, full and relaxed tonality with recessed vocals and treble
Truthear Gate	V-shaped dynamic signature with leaner tonality

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The Tanchjim Ladder

The Tanchjim releases I am using here for comparisons are basically variations in the low-end emphasis, ear gain and 8/9k treble, upper treble around 16/17k, and they share some similarities in their tonality. The exception here is the original Ola (not graphed here) which has an almost neutral bass response, giving the stage to vocals and treble. The other Tanchjim IEMs, the 4U, the Bunny, the Nora and the Ola II, have a lifted bass response which gives them more or less a V-shaped sound signature with different emphasis case by case. The 4U is the most versatile set in this round up with its switches. I have not graphed them as they mostly change the low end, ranging from studio-like neutral bass up to the Atmosphere setting which has the most elevated bass and which I like the most.

With the Ola II, Tanchjim now uses one dynamic driver plus one balanced armature, whereas all the other Tanchjim sets in this comparison are based on a single dynamic driver.

Tanchjim Bunny - the "bread and butter" V-shaped budget option, around $20

Next to the Ola II my 3.5mm version of the Bunny sounds a smidge fuller in the sub-bass whereas the Ola II has more mid-bass impact. Due to less elevated mid-bass and sharper ear-gain, vocals pop slightly more than on Ola II. Treble is for a USD20 set well implemented with good detail retrieval but feels slightly less extended than on Ola II which highlights details more obviously and separates instruments better. If you like the emphasis on the sub-bass and care more about forward vocals, the Bunny may be the better choice. The trade-off is that the vocal texture is partly missing, especially on male vocals, and the note weight on instruments is weaker on Bunny than on Ola II.

The Ola II is in my opinion worth the upgrade if you want more mid-bass slam, more texture in the vocals while having a more refined treble with better technicalities.

Tanchjim 4U - versatile and energetic, $59.99

The 4U offers four tunings and is the most versatile set in this line-up hardware-wise. The tunings mainly differ in low-end impact, and the Atmosphere setting gives me the most enjoyable and most emphasised low end, which aligns well with the clear vocals and treble above it. In that setting it has more rumble than the Ola II, while the 4U's mid-bass is slightly tighter, with even more vocal energy than on the Bunny but with slightly less treble energy. The Ola II and the 4U essentially trade sub-bass rumble for mid-bass slam and Ola II offers a touch smoother vocals combined with more extended and refined treble. In terms of sub-bass variation, the 4U remains the more versatile set.

Tanchjim Nora - the vocal expert, $109.99

Tanchjim's Nora has the most elevated vocals in this whole round up. Nora comes across as vocal forward without the shout, has a good treble resolution without sounding spicy due to its rolled off treble past 10kHz. The bass is more subtle when compared to the other Tanchjim sets but still noticeable, not neutral, without dominating. It has a more natural bass impact and is especially nice for listeners who prefer bass as an integral part of the music replay without sounding anaemic. If the vocals feel too direct and you want as well more low-end energy, the Ola II might be a good compromise as its bass sounds more energetic and offers even more treble energy and details. If vocals are your priority, Nora is clearly the one to choose as its vocals are clearer, more refined and forward.

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Other Rivals

Kefine Delci - bassy and relaxed, around $59

The Kefine Delci has a completely different sound but sits in this USD60 price bracket with small metal shells.

Delci has subdued vocals and treble. Its tonality is relaxed, bassy leaning and it scales the best with volume for engagement. It is a good option for very treble sensitive listeners with compromises in vocal replay, detail retrieval and treble energy but it makes it a good fit for long and non-fatiguing listening sessions and has more texture for male vocals.

If you feel this set doesn't give you enough excitement, sparkle and/or clear vocals, the Ola II is a good option as it offers good bass response without sounding muddy while having more energy for vocals and better extended treble.

Truthear Gate, $21.99

Truthear Gate is a V-shaped set with emphasised sub-bass, slimmer mid-bass with an energetic vocal replay and good treble extension. A good option if you prefer a very energetic sound. The downside on this set imo is the tendency to come across as fatiguing and slightly too lean in its overall presentation where instrument and vocal texture are missing. The treble can be piercing on higher volume to my ears and even more so than on the Ola II.

The Ola II is a clear upgrade if the Gate sounds too sharp and forward and you want a more balanced sound while keeping the benefits of an engaging presentation. Ola II is a good compromise in terms of excitement without being overly sharp or fatiguing.

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Conclusion

• Ola II represents a good middle-ground between engaging sound and balance
• Tanchjim Bunny is an excellent choice if budget matters most
• Tanchjim 4U is a versatile set and a good option if sub-bass and a forward sound matter
• Tanchjim Nora is the best set in this comparison for forward, well implemented vocals
• Kefine Delci is the most relaxed and bassiest set with significant low-end impact
• Truthear Gate is the most energetic set

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Final Verdict

For listeners who like an engaging and tastefully V-shaped signature, the Ola II delivers, with a good mid-bass punch, slightly forward vocals and an energetic treble.

The Ola II returns to the Tanchjim family with an engaging presentation, where mid-bass slams and vocals and treble sound exciting without going into fatigue on a moderate listening level.

Treble sensitive listeners, treble and bass lovers have the option to EQ the Ola II to their liking with the USB-C DSP option either on Android or Windows platform which can then be used on iOS.

✅ Tanchjim Ola II can be recommended if you

• Want an engaging V-shaped listen with mid-bass slam rather than sub-bass rumble
• Like clear, forward female vocals and an extended, energetic treble
• Want EQ capabilities and tuning versatility

❌ Consider other options if

• You want a sub-bass focused or a neutral set
• Male vocals and note weight matter most to you
• You are very treble sensitive and will not use the EQ

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Disclosure: This review sample was sent in by Tanchjim. No payment was received and Tanchjim had no influence over the review. I do not use any affiliate links or receive kick-backs. Impressions are based on more than 30 hours of listening with the stock USB-C DSP cable and the Tanchjim Nora 4.4mm cable.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

Tanchjim Ola II Review - a tastefully done V-shape with EQ versatility

From $56.99 to $59.99 / EUR 49.70 to EUR 52.31 | Wired, sold as 3.5mm / 4.4mm / USB-C DSP, reviewed as USB-C DSP and 4.4mm | 1DD + 1BA Coaxial Hybrid | recessed 0.78mm 2-pin

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> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, the measurements, sound breakdown, the USB-C EQ section and comparisons follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> Tanchjim's latest Ola update is a more energetic and exciting V-shaped listen than the original, and the driver has changed from a single dynamic driver to one dynamic driver plus one balanced armature. The mid-bass hits with punch and stays well defined. The mids are slightly carved out in the usual V-shaped way, which leaves vocals thinner but forward, next to an energetic treble that already sounds exciting at moderate levels. At higher volume both the vocals and the treble get a little spicy. The Ola II pairs well with EDM, pop and hip-hop, or any genre that wants an impactful mid-bass slam with decent vocal and treble energy and good detail retrieval. The Tanchjim EQ software makes it a versatile set on top.

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At a Glance

✓ Suits You If

• You are coming from a similar signature like the Tanchjim Bunny and want an exciting V-shaped listen rather than something relaxed or warm-neutral
• You like a punchy mid-bass, lean vocals and an energetic treble
• You like the flexibility of a USB-C PEQ to retune the set yourself
• You want a mic cable for calls and gaming (3.5mm and USB-C versions)
• You listen at lower to mid volume

✗ Skip It If

• You specifically want a warm leaning or neutral tuning
• You want the most natural, uncoloured vocal presentation, especially on male vocals. The Nora does this better and the Delci adds extra texture to male vocals.
• You want sub-bass rumble more than mid-bass slam. The 4U, Bunny, Delci and Gate lean that way, or use the EQ software
• You want a set that scales well with volume
• You will not use EQ and the stock V-shape is not your preference

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Main Strengths & Weaknesses

Main strength. The Ola II's main strength is its exciting and energetic presentation. The low end is noticeably extended and the emphasis sits on an impactful, bold mid-bass that works across genres but especially with EDM, pop, hip-hop, rap and rock, with caveats. Even with the bass emphasis, vocals stay clear and crisp, which suits female voices well. The treble comes across as engaging and well extended with good detail retrieval. Instruments in the upper registers sound clean, and the layering and detail are easy to follow and to my ears above the price point. One big plus is the possibility to EQ the Ola II via the Android app directly on your phone or under Windows. Either with your own settings or simply by using the available presets. That makes the Ola II a more versatile set.

Main weakness. The fun, engaging sound tempts you to turn it up, and that is where the treble can get too sharp for treble-sensitive listeners. Snares, cymbals and crashes in particular can come across as overly sharp, though they will probably be enjoyable if you want that extra spice. At mid volume the Ola II works well for me, even on longer sessions. The carved-out upper mids leave male vocals and instruments slightly short on texture, and the upper midrange and presence region can read as too energetic depending on the track.

👆 That's the core verdict. Everything below goes deeper into specs, measurements, sound and comparisons.

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How the Ola II ended up in my ears

The original Ola was always the outlier in Tanchjim's line-up for me. Almost flat bass, a steeper ear gain and a set which is built more for vocal lovers first and everyone else second. So, when the Ola II appeared with a coaxial 1DD plus 1BA setup and a visibly lifted low end, I was curious whether it would get closer to the family sound of the Bunny, the 4U and the Nora, or carry on with the original Ola sound.

My sample arrived as the USB-C DSP version, the only cable in the box, so my first sessions ran straight off the phone. And honestly, when I first listened to it, the treble was not ideal for me. It took a few evenings before the Ola II and I found an understanding, and that change is part of this review.

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Key Specs

Spec	Detail
Driver Setup	Coaxial hybrid. 1× 10mm DMT5 dual-magnetic, dual-cavity dynamic driver + 1× PURE Hi ultra-high-frequency balanced armature (BA sits in the nozzle)
Impedance	30 Ω ±10%
Sensitivity	121 dB/Vrms
Frequency Response	8 Hz to 48 kHz
THD	0.03% @ 1 kHz, 94 dB
Versions / Terminations	3.5mm single-ended, 4.4mm balanced, USB-C DSP. The 3.5mm and USB-C versions carry an inline MEMS mic with a single-button remote. My sample was the USB-C DSP version, which is the only cable that came in the box.
Connector	Recessed 0.78mm 2-pin, cable is swappable
Cable	LITZ silver-plated twisted-pair braided, smokey grey
Shell	CNC-machined aluminium alloy faceplate over a transparent PC inner cavity. Air-pressure relief vent and a Helmholtz resonator rear cavity. Waterproof and dustproof nozzle filters
Nozzle	6.3mm at the lip, 5.3mm without the lip, own measurement
Colourways	One colourway only. Silver-grey aluminium faceplates over a dark transparent body that looks like faintly darker grey depending on the light.
Price	From $56.99/EUR49.70 to $59.99/EUR52.31 for example at HiFiGo
Where to Buy, not affiliated	Tanchjim product page: https://tanchjim.com/en/products/earphones/iem/ola-ii · HiFiGo: https://hifigo.com/products/tanchjim-ola-2

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Accessories & Cable

The unboxing experience is rather basic but sufficient. In the box you get: the Ola II, one cable in your chosen termination, six pairs of silicone eartips (three narrow bore and three wide bore), a grey velour storage pouch and paperwork.

Item	Notes
Cable	LITZ silver-plated twisted-pair braid, soft and light. The 3.5mm and USB-C cables include an inline MEMS mic and a single-button remote. 4.4mm balanced version comes without a mic.
Eartips	Six pairs of silicone, three narrow bore and three wide bore. I stopped using the wide bore tips on this set, since narrow bore tips control the treble better for my ears. I used narrow bore eartips in size M (Spinfit W1 for deeper fit) and L (Nicehck C04 Liquid Silicone) throughout.
Case	Grey velour drawstring pouch. Soft, pocketable, not crush-proof.
Other	Paperwork and manual.

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Build Quality, Fit & Comfort

Fit & Comfort

The Ola II is a small and light IEM, but not a tiny one. The faceplate shape is around two-thirds rounded with one edgier corner, and that corner is the part that can press against smaller ears even though the shell itself is not big. In my mid-sized ears it fits well and stays secure and comfortable on long sessions of six hours and more. The shells are pressure vented and the nozzle is angled, which helps the ergonomics.

The nozzle is the part to pay attention to. It measures around 6.3mm at the lip on my unit, which is on the wider side, so some aftermarket tips will not go on. If you have smaller ear canals, that width is worth considering before buying. I got a good seal straight away and had no pressure build-up on any session. Tip choice also changes the treble noticeably on this set, which I come back to in the Treble section.

Ola II design is similar to the original Ola. The faceplate is made of CNC-machined aluminium with an embedded square shape while the shell is made of transparent PC. The set feels light in hands, there are no obvious seams or other sharp edges other than the edge on the faceplate.

The 2-pin connector is slightly recessed.

In my opinion the shell quality is adequate for a USD60 set but not outstanding.

The Tanchjim 4U has the better build as it comes in a full metal shell and faceplate at a similar price point with a conventional "Bunny"-style shape which fits great.

Cable

My sample came with the USB-C DSP cable only. It is smokey grey (to me it looks like a grey brown), soft and well behaved. It does not tangle much and stays where you put it. The channel indicators are clearly marked in red and blue near the 2-pin connectors, which went into the shells without any fuss. For further listening on my Questyle I used a 4.4mm cable borrowed from the Tanchjim Nora, and I thought the Nora cable was a better visual match for the Ola II faceplate than the stock one.

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Mic Quality

The USB-C version comes with an inline mic, which I used for calls and meetings. My voice came across as slightly too quiet, but otherwise the quality was decent indoors under normal conditions.

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Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows

The Tanchjim Ola II has an impactful mid-bass and a noticeable sub-bass, where the mid-bass is the more elevated of the two. While having an emphasised mid-bass with a gradual down slope, the mids are slightly pulled back past 500Hz so the vocals stay clear of the bass. Especially female vocals benefit from this tuning as they come across as clean and clear while male vocals lose a bit of texture. The ear-gain is peaking at around 3k, gliding downwards at around 3.5kHz already which avoids shout in the vocals. There is a distinct peak at around 8/9kHz and again the last one at around 16/17kHz which aligns with my hearing that there is a good amount of treble energy for resolution, separation and "air" without sounding too spicy.

My overall impression that the Ola II is an engaging set for me aligns well with the graph. The low-end peaks at around 60Hz@81dB while the ear gain peak is at 3kHz with 83dB. Meaning that in balanced tunings a similar peak of low-end and ear gain can be desirable.

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Long-Session Comfort

The best listening volume on the Ola II for me was around mid volume, because the vocals and treble can get too spicy above that. On longer sessions a non-fatiguing listen matters to me, since I am slightly treble sensitive. With the right tips and a deep insertion the Ola II worked best for me on long sessions and stayed enjoyable that way.

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Sound Impressions

Overall Character

The Ola II sounds energetic and exciting, with elevated sub-bass, mid-bass and treble that works well with EDM, hip-hop, rap, R&B and rock. Vocals come across as clear and crisp. It makes the usual V-shaped trade, with the mids noticeably scooped to keep the bass from bleeding into them. The upper mids and the presence region sound slightly thinned out as a result, which suits female vocals, while male vocals come across as slightly too lean. Technically it is convincing, with good instrument separation, layering, staging and imaging.

Bass

The low end is noticeably elevated. The sub-bass has decent rumble with a slightly longer decay, which can occasionally get lost in very bass-heavy tracks but stays controlled otherwise. On A$AP Rocky's "F**kin' Problems" the sub-bass slightly covers the rest of the track with a touch too long decay. The Ola II leans more towards the mid-bass, which hits well and with good impact and suits a range of genres. I found it very enjoyable across my hip-hop, rap and EDM library. On Kaleida's "Think", known from the John Wick soundtrack, the mid-bass has real impact and sounds great together with the clear vocals as it transports the dense atmosphere very well.

Similar on Deadmau5' "Quezacotl". Synthesizers are clear and crisp and well accompanied by the thick mid-bass. Very enjoyable.

Midrange & Vocals

Vocals sit forward and slightly lean despite the elevated mid-bass thickness, which suits female voices well but leaves something to be desired on male vocals. They come through lean and clear even when the bass is emphasised, which makes the Ola II a good set for female vocal-focused tracks, well articulated and forward with a slight "s" emphasis but without the sibilance issues that more forward sets often have. At higher volume they carry a slight edge that you will either enjoy or find too sharp. On Kaleida's "Long Noon", Christina Wood's vocals are very clear with a touch of added brightness. Similarly on "Fake", where her vocals echo with transparency and are nicely contrasted by the impactful mid-bass.

Treble

The treble is extended, airy and crisp, and it makes for an exciting listen. On The Doors' "Riders on the Storm" the rain and the keyboard's imitation of it come through clearly and with good extension. My first impression was that the treble was not ideal for me. After a few days of listening it settled and I came to appreciate it, and that shift is worth being honest about, because a first listen in a shop or a first hour out of the box will not tell you where you land in my opinion.

The slight thinness up top has its advantages in clarity, but it is not fully natural and it can turn incisive on some material. Two things bring that out: poor recordings, and higher volume. At moderate levels the energy is well implemented for a V-shaped set. There is a smidge more treble here than I personally want, since I am slightly treble sensitive. But the way it is done is clean rather than harsh like I find on the Truthear Gate, which is why I still rate it. If you are not treble sensitive, I think you will enjoy it. Narrow bore tips with a deep, sealed fit are the lever if you want to take the edge off, and they also give the best bass impact.

Staging & Imaging

Staging and imaging are good for the price. The stage is easy to imagine, with instruments clearly separated and layered. I would not call it especially wide, though. The arrangement is well separated but plays on a smaller stage, with everything closer together.

"Riders on the Storm" by The Doors is a track which is great for testing the sound stage, imaging and layering. Not only does the track carry vocals and instruments but the atmospheric rain and thunder effects. The electric piano at the beginning is clearly audible in my left ear, while the bass and cymbals can be heard without issues. I can tell the separation and instruments have their distinct positions but everything feels like being in a smaller room or stage, not far from each other.

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EQ Software (USB-C version only) - the versatility highlight

With the USB-C DSP cable Tanchjim offers a convenient way for Android and Windows users to change the sound of the Ola II. iPhone users need to do the EQing on either platform and can save the changes onto the DSP, where they can then be used on an iPhone. It is limited to an 8-band PEQ, but it is enough to substantially change the sound to your liking.

Your personal EQ can be saved to the Ola II itself, so you don't need to run the software while listening to music to take advantage of your settings. On top of that Tanchjim offers presets for gaming, and there are other official presets available if you don't want to make the adjustments yourself. That worked very well for me and I was able to adjust the treble and the bass to my liking.

For example, I lifted the 50Hz slider to a ridiculous +10dB to test the Ola II dynamic driver. The result was a huge rumble which the driver took without distortion. Then I unplugged the set from my PC and connected it to my iPhone to listen to the changed bass response. My hip-hop library now sounded extremely bassy and on bass-head level, with only a couple of clicks. The EQ software makes a versatile set out of the Ola II and is definitely a standout feature in this price bracket, as most manufacturers don't offer it, or you need to buy a portable DAC amp that is compatible with EQ software.

Platform	Features	Notes
Tanchjim app, Android	8-band PEQ with adjustable frequency, gain and Q, sound-mode presets like gaming and different official presets, community-shared tuning profiles	The USB-C version runs a DSP-Master with 32-bit / 384 kHz PCM decoding and a 24-bit / 48 kHz mic ADC. Changes are saved on the USB-C DSP and can be used on iOS.
Windows	Same 8-band PEQ, profiles saved to the set. Offers the same EQ presets and tunings as on the app.	Tanchjim offers their Windows app as a download on: https://tanchjim.com/en/services. Changes are saved on the USB-C DSP and can be used on iOS.
iOS	Not supported due to iOS limitations but applied EQ settings in Windows or Android are saved on the DSP and can be listened to on iOS.	The Ola II is not detected by the app on iPhone, so the PEQ cannot be set from iOS but must be set first in Windows or on Android.

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DETAILED COMPARISON

Comparison Setup

The Ola II arrived as the USB-C DSP version, so I listened to it straight off the iPhone 17 Pro Max, the Hiby R4 Evangelion edition and a Windows PC. To hear it from other sources I swapped the stock USB-C cable for a 4.4mm balanced cable borrowed from the Tanchjim Nora and ran it from the Questyle Sigma Pro, the Fiio K13r2r and the Hiby R4. Streaming came from Qobuz and Spotify at the highest available quality. I used narrow bore eartips in size M (Spinfit W1) and L (Nicehck C04 Liquid Silicone) throughout. The Ola II is easy to drive at 30 Ω and 121 dB/Vrms. My review is based on more than 30 hours of listening.

Competitor Comparison

Specs

IEM	Price	Drivers	Imp. / Sens.
Tanchjim Ola II	$56.99-$59.99 / EUR 49.70-52.31	1DD + 1BA coaxial hybrid	30Ω / 121 dB/Vrms
Tanchjim Bunny	~$20	1× 10mm dual-chamber DD, DMT4 Ultra, Ti-coated PET	30Ω / 123 dB/Vrms
Tanchjim 4U	$59.99 / EUR 52.31	1× dual-chamber DD, DMT4 Ultra LCP, 4-level bass filter	32Ω / 122 dB/Vrms
Tanchjim Nora	$109.99 / EUR 95.92	1× dual-magnetic dual-cavity DD, DMT5, DLC dome	16Ω / 125 dB/Vrms
Kefine Delci	~$59 / EUR 51.45	1× 10mm dual-cavity DD, DLC + PU	28Ω / 108 dB ±3 dB
Truthear Gate	$21.99	1× 10mm DD, carbon LCP + ultra-thin PU	28Ω / 122 dB/Vrms

Sound signature

IEM	Sound Signature
Tanchjim Ola II	V-shaped, mid-bass emphasis, vocals and treble pushed forward
Tanchjim Bunny	V-shaped, sub-bass leaning, vocals and treble pushed forward
Tanchjim 4U	Switch dependent. V-shaped through to vocal and treble focused, with neutral bass impact
Tanchjim Nora	Mid-bass and vocal focused set with a natural tonality
Kefine Delci	Bassy, full and relaxed tonality with recessed vocals and treble
Truthear Gate	V-shaped dynamic signature with leaner tonality

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The Tanchjim Ladder

The Tanchjim releases I am using here for comparisons are basically variations in the low-end emphasis, ear gain and 8/9k treble, upper treble around 16/17k, and they share some similarities in their tonality. The exception here is the original Ola (not graphed here) which has an almost neutral bass response, giving the stage to vocals and treble. The other Tanchjim IEMs, the 4U, the Bunny, the Nora and the Ola II, have a lifted bass response which gives them more or less a V-shaped sound signature with different emphasis case by case. The 4U is the most versatile set in this round up with its switches. I have not graphed them as they mostly change the low end, ranging from studio-like neutral bass up to the Atmosphere setting which has the most elevated bass and which I like the most.

With the Ola II, Tanchjim now uses one dynamic driver plus one balanced armature, whereas all the other Tanchjim sets in this comparison are based on a single dynamic driver.

Tanchjim Bunny - the "bread and butter" V-shaped budget option, around $20

Next to the Ola II my 3.5mm version of the Bunny sounds a smidge fuller in the sub-bass whereas the Ola II has more mid-bass impact. Due to less elevated mid-bass and sharper ear-gain, vocals pop slightly more than on Ola II. Treble is for a USD20 set well implemented with good detail retrieval but feels slightly less extended than on Ola II which highlights details more obviously and separates instruments better. If you like the emphasis on the sub-bass and care more about forward vocals, the Bunny may be the better choice. The trade-off is that the vocal texture is partly missing, especially on male vocals, and the note weight on instruments is weaker on Bunny than on Ola II.

The Ola II is in my opinion worth the upgrade if you want more mid-bass slam, more texture in the vocals while having a more refined treble with better technicalities.

Tanchjim 4U - versatile and energetic, $59.99

The 4U offers four tunings and is the most versatile set in this line-up hardware-wise. The tunings mainly differ in low-end impact, and the Atmosphere setting gives me the most enjoyable and most emphasised low end, which aligns well with the clear vocals and treble above it. In that setting it has more rumble than the Ola II, while the 4U's mid-bass is slightly tighter, with even more vocal energy than on the Bunny but with slightly less treble energy. The Ola II and the 4U essentially trade sub-bass rumble for mid-bass slam and Ola II offers a touch smoother vocals combined with more extended and refined treble. In terms of sub-bass variation, the 4U remains the more versatile set.

Tanchjim Nora - the vocal expert, $109.99

Tanchjim's Nora has the most elevated vocals in this whole round up. Nora comes across as vocal forward without the shout, has a good treble resolution without sounding spicy due to its rolled off treble past 10kHz. The bass is more subtle when compared to the other Tanchjim sets but still noticeable, not neutral, without dominating. It has a more natural bass impact and is especially nice for listeners who prefer bass as an integral part of the music replay without sounding anaemic. If the vocals feel too direct and you want as well more low-end energy, the Ola II might be a good compromise as its bass sounds more energetic and offers even more treble energy and details. If vocals are your priority, Nora is clearly the one to choose as its vocals are clearer, more refined and forward.

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Other Rivals

Kefine Delci - bassy and relaxed, around $59

The Kefine Delci has a completely different sound but sits in this USD60 price bracket with small metal shells.

Delci has subdued vocals and treble. Its tonality is relaxed, bassy leaning and it scales the best with volume for engagement. It is a good option for very treble sensitive listeners with compromises in vocal replay, detail retrieval and treble energy but it makes it a good fit for long and non-fatiguing listening sessions and has more texture for male vocals.

If you feel this set doesn't give you enough excitement, sparkle and/or clear vocals, the Ola II is a good option as it offers good bass response without sounding muddy while having more energy for vocals and better extended treble.

Truthear Gate, $21.99

Truthear Gate is a V-shaped set with emphasised sub-bass, slimmer mid-bass with an energetic vocal replay and good treble extension. A good option if you prefer a very energetic sound. The downside on this set imo is the tendency to come across as fatiguing and slightly too lean in its overall presentation where instrument and vocal texture are missing. The treble can be piercing on higher volume to my ears and even more so than on the Ola II.

The Ola II is a clear upgrade if the Gate sounds too sharp and forward and you want a more balanced sound while keeping the benefits of an engaging presentation. Ola II is a good compromise in terms of excitement without being overly sharp or fatiguing.

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Conclusion

• Ola II represents a good middle-ground between engaging sound and balance
• Tanchjim Bunny is an excellent choice if budget matters most
• Tanchjim 4U is a versatile set and a good option if sub-bass and a forward sound matter
• Tanchjim Nora is the best set in this comparison for forward, well implemented vocals
• Kefine Delci is the most relaxed and bassiest set with significant low-end impact
• Truthear Gate is the most energetic set

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Final Verdict

For listeners who like an engaging and tastefully V-shaped signature, the Ola II delivers, with a good mid-bass punch, slightly forward vocals and an energetic treble.

The Ola II returns to the Tanchjim family with an engaging presentation, where mid-bass slams and vocals and treble sound exciting without going into fatigue on a moderate listening level.

Treble sensitive listeners, treble and bass lovers have the option to EQ the Ola II to their liking with the USB-C DSP option either on Android or Windows platform which can then be used on iOS.

✅ Tanchjim Ola II can be recommended if you

• Want an engaging V-shaped listen with mid-bass slam rather than sub-bass rumble
• Like clear, forward female vocals and an extended, energetic treble
• Want EQ capabilities and tuning versatility

❌ Consider other options if

• You want a sub-bass focused or a neutral set
• Male vocals and note weight matter most to you
• You are very treble sensitive and will not use the EQ

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Disclosure: This review sample was sent in by Tanchjim. No payment was received and Tanchjim had no influence over the review. I do not use any affiliate links or receive kick-backs. Impressions are based on more than 30 hours of listening with the stock USB-C DSP cable and the Tanchjim Nora 4.4mm cable.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

Tanchjim Ola II Review - a tastefully done V-shape with EQ versatility

From $56.99 to $59.99 / EUR 49.70 to EUR 52.31 | Wired, sold as 3.5mm / 4.4mm / USB-C DSP, reviewed as USB-C DSP and 4.4mm | 1DD + 1BA Coaxial Hybrid | recessed 0.78mm 2-pin

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> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, the measurements, sound breakdown, the USB-C EQ section and comparisons follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> Tanchjim's latest Ola update is a more energetic and exciting V-shaped listen than the original, and the driver has changed from a single dynamic driver to one dynamic driver plus one balanced armature. The mid-bass hits with punch and stays well defined. The mids are slightly carved out in the usual V-shaped way, which leaves vocals thinner but forward, next to an energetic treble that already sounds exciting at moderate levels. At higher volume both the vocals and the treble get a little spicy. The Ola II pairs well with EDM, pop and hip-hop, or any genre that wants an impactful mid-bass slam with decent vocal and treble energy and good detail retrieval. The Tanchjim EQ software makes it a versatile set on top.

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At a Glance

✓ Suits You If

• You are coming from a similar signature like the Tanchjim Bunny and want an exciting V-shaped listen rather than something relaxed or warm-neutral
• You like a punchy mid-bass, lean vocals and an energetic treble
• You like the flexibility of a USB-C PEQ to retune the set yourself
• You want a mic cable for calls and gaming (3.5mm and USB-C versions)
• You listen at lower to mid volume

✗ Skip It If

• You specifically want a warm leaning or neutral tuning
• You want the most natural, uncoloured vocal presentation, especially on male vocals. The Nora does this better and the Delci adds extra texture to male vocals.
• You want sub-bass rumble more than mid-bass slam. The 4U, Bunny, Delci and Gate lean that way, or use the EQ software
• You want a set that scales well with volume
• You will not use EQ and the stock V-shape is not your preference

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Main Strengths & Weaknesses

Main strength. The Ola II's main strength is its exciting and energetic presentation. The low end is noticeably extended and the emphasis sits on an impactful, bold mid-bass that works across genres but especially with EDM, pop, hip-hop, rap and rock, with caveats. Even with the bass emphasis, vocals stay clear and crisp, which suits female voices well. The treble comes across as engaging and well extended with good detail retrieval. Instruments in the upper registers sound clean, and the layering and detail are easy to follow and to my ears above the price point. One big plus is the possibility to EQ the Ola II via the Android app directly on your phone or under Windows. Either with your own settings or simply by using the available presets. That makes the Ola II a more versatile set.

Main weakness. The fun, engaging sound tempts you to turn it up, and that is where the treble can get too sharp for treble-sensitive listeners. Snares, cymbals and crashes in particular can come across as overly sharp, though they will probably be enjoyable if you want that extra spice. At mid volume the Ola II works well for me, even on longer sessions. The carved-out upper mids leave male vocals and instruments slightly short on texture, and the upper midrange and presence region can read as too energetic depending on the track.

👆 That's the core verdict. Everything below goes deeper into specs, measurements, sound and comparisons.

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How the Ola II ended up in my ears

The original Ola was always the outlier in Tanchjim's line-up for me. Almost flat bass, a steeper ear gain and a set which is built more for vocal lovers first and everyone else second. So, when the Ola II appeared with a coaxial 1DD plus 1BA setup and a visibly lifted low end, I was curious whether it would get closer to the family sound of the Bunny, the 4U and the Nora, or carry on with the original Ola sound.

My sample arrived as the USB-C DSP version, the only cable in the box, so my first sessions ran straight off the phone. And honestly, when I first listened to it, the treble was not ideal for me. It took a few evenings before the Ola II and I found an understanding, and that change is part of this review.

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Key Specs

Spec	Detail
Driver Setup	Coaxial hybrid. 1× 10mm DMT5 dual-magnetic, dual-cavity dynamic driver + 1× PURE Hi ultra-high-frequency balanced armature (BA sits in the nozzle)
Impedance	30 Ω ±10%
Sensitivity	121 dB/Vrms
Frequency Response	8 Hz to 48 kHz
THD	0.03% @ 1 kHz, 94 dB
Versions / Terminations	3.5mm single-ended, 4.4mm balanced, USB-C DSP. The 3.5mm and USB-C versions carry an inline MEMS mic with a single-button remote. My sample was the USB-C DSP version, which is the only cable that came in the box.
Connector	Recessed 0.78mm 2-pin, cable is swappable
Cable	LITZ silver-plated twisted-pair braided, smokey grey
Shell	CNC-machined aluminium alloy faceplate over a transparent PC inner cavity. Air-pressure relief vent and a Helmholtz resonator rear cavity. Waterproof and dustproof nozzle filters
Nozzle	6.3mm at the lip, 5.3mm without the lip, own measurement
Colourways	One colourway only. Silver-grey aluminium faceplates over a dark transparent body that looks like faintly darker grey depending on the light.
Price	From $56.99/EUR49.70 to $59.99/EUR52.31 for example at HiFiGo
Where to Buy, not affiliated	Tanchjim product page: https://tanchjim.com/en/products/earphones/iem/ola-ii · HiFiGo: https://hifigo.com/products/tanchjim-ola-2

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Accessories & Cable

The unboxing experience is rather basic but sufficient. In the box you get: the Ola II, one cable in your chosen termination, six pairs of silicone eartips (three narrow bore and three wide bore), a grey velour storage pouch and paperwork.

Item	Notes
Cable	LITZ silver-plated twisted-pair braid, soft and light. The 3.5mm and USB-C cables include an inline MEMS mic and a single-button remote. 4.4mm balanced version comes without a mic.
Eartips	Six pairs of silicone, three narrow bore and three wide bore. I stopped using the wide bore tips on this set, since narrow bore tips control the treble better for my ears. I used narrow bore eartips in size M (Spinfit W1 for deeper fit) and L (Nicehck C04 Liquid Silicone) throughout.
Case	Grey velour drawstring pouch. Soft, pocketable, not crush-proof.
Other	Paperwork and manual.

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Build Quality, Fit & Comfort

Fit & Comfort

The Ola II is a small and light IEM, but not a tiny one. The faceplate shape is around two-thirds rounded with one edgier corner, and that corner is the part that can press against smaller ears even though the shell itself is not big. In my mid-sized ears it fits well and stays secure and comfortable on long sessions of six hours and more. The shells are pressure vented and the nozzle is angled, which helps the ergonomics.

The nozzle is the part to pay attention to. It measures around 6.3mm at the lip on my unit, which is on the wider side, so some aftermarket tips will not go on. If you have smaller ear canals, that width is worth considering before buying. I got a good seal straight away and had no pressure build-up on any session. Tip choice also changes the treble noticeably on this set, which I come back to in the Treble section.

Ola II design is similar to the original Ola. The faceplate is made of CNC-machined aluminium with an embedded square shape while the shell is made of transparent PC. The set feels light in hands, there are no obvious seams or other sharp edges other than the edge on the faceplate.

The 2-pin connector is slightly recessed.

In my opinion the shell quality is adequate for a USD60 set but not outstanding.

The Tanchjim 4U has the better build as it comes in a full metal shell and faceplate at a similar price point with a conventional "Bunny"-style shape which fits great.

Cable

My sample came with the USB-C DSP cable only. It is smokey grey (to me it looks like a grey brown), soft and well behaved. It does not tangle much and stays where you put it. The channel indicators are clearly marked in red and blue near the 2-pin connectors, which went into the shells without any fuss. For further listening on my Questyle I used a 4.4mm cable borrowed from the Tanchjim Nora, and I thought the Nora cable was a better visual match for the Ola II faceplate than the stock one.

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Mic Quality

The USB-C version comes with an inline mic, which I used for calls and meetings. My voice came across as slightly too quiet, but otherwise the quality was decent indoors under normal conditions.

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Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows

The Tanchjim Ola II has an impactful mid-bass and a noticeable sub-bass, where the mid-bass is the more elevated of the two. While having an emphasised mid-bass with a gradual down slope, the mids are slightly pulled back past 500Hz so the vocals stay clear of the bass. Especially female vocals benefit from this tuning as they come across as clean and clear while male vocals lose a bit of texture. The ear-gain is peaking at around 3k, gliding downwards at around 3.5kHz already which avoids shout in the vocals. There is a distinct peak at around 8/9kHz and again the last one at around 16/17kHz which aligns with my hearing that there is a good amount of treble energy for resolution, separation and "air" without sounding too spicy.

My overall impression that the Ola II is an engaging set for me aligns well with the graph. The low-end peaks at around 60Hz@81dB while the ear gain peak is at 3kHz with 83dB. Meaning that in balanced tunings a similar peak of low-end and ear gain can be desirable.

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Long-Session Comfort

The best listening volume on the Ola II for me was around mid volume, because the vocals and treble can get too spicy above that. On longer sessions a non-fatiguing listen matters to me, since I am slightly treble sensitive. With the right tips and a deep insertion the Ola II worked best for me on long sessions and stayed enjoyable that way.

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Sound Impressions

Overall Character

The Ola II sounds energetic and exciting, with elevated sub-bass, mid-bass and treble that works well with EDM, hip-hop, rap, R&B and rock. Vocals come across as clear and crisp. It makes the usual V-shaped trade, with the mids noticeably scooped to keep the bass from bleeding into them. The upper mids and the presence region sound slightly thinned out as a result, which suits female vocals, while male vocals come across as slightly too lean. Technically it is convincing, with good instrument separation, layering, staging and imaging.

Bass

The low end is noticeably elevated. The sub-bass has decent rumble with a slightly longer decay, which can occasionally get lost in very bass-heavy tracks but stays controlled otherwise. On A$AP Rocky's "F**kin' Problems" the sub-bass slightly covers the rest of the track with a touch too long decay. The Ola II leans more towards the mid-bass, which hits well and with good impact and suits a range of genres. I found it very enjoyable across my hip-hop, rap and EDM library. On Kaleida's "Think", known from the John Wick soundtrack, the mid-bass has real impact and sounds great together with the clear vocals as it transports the dense atmosphere very well.

Similar on Deadmau5' "Quezacotl". Synthesizers are clear and crisp and well accompanied by the thick mid-bass. Very enjoyable.

Midrange & Vocals

Vocals sit forward and slightly lean despite the elevated mid-bass thickness, which suits female voices well but leaves something to be desired on male vocals. They come through lean and clear even when the bass is emphasised, which makes the Ola II a good set for female vocal-focused tracks, well articulated and forward with a slight "s" emphasis but without the sibilance issues that more forward sets often have. At higher volume they carry a slight edge that you will either enjoy or find too sharp. On Kaleida's "Long Noon", Christina Wood's vocals are very clear with a touch of added brightness. Similarly on "Fake", where her vocals echo with transparency and are nicely contrasted by the impactful mid-bass.

Treble

The treble is extended, airy and crisp, and it makes for an exciting listen. On The Doors' "Riders on the Storm" the rain and the keyboard's imitation of it come through clearly and with good extension. My first impression was that the treble was not ideal for me. After a few days of listening it settled and I came to appreciate it, and that shift is worth being honest about, because a first listen in a shop or a first hour out of the box will not tell you where you land in my opinion.

The slight thinness up top has its advantages in clarity, but it is not fully natural and it can turn incisive on some material. Two things bring that out: poor recordings, and higher volume. At moderate levels the energy is well implemented for a V-shaped set. There is a smidge more treble here than I personally want, since I am slightly treble sensitive. But the way it is done is clean rather than harsh like I find on the Truthear Gate, which is why I still rate it. If you are not treble sensitive, I think you will enjoy it. Narrow bore tips with a deep, sealed fit are the lever if you want to take the edge off, and they also give the best bass impact.

Staging & Imaging

Staging and imaging are good for the price. The stage is easy to imagine, with instruments clearly separated and layered. I would not call it especially wide, though. The arrangement is well separated but plays on a smaller stage, with everything closer together.

"Riders on the Storm" by The Doors is a track which is great for testing the sound stage, imaging and layering. Not only does the track carry vocals and instruments but the atmospheric rain and thunder effects. The electric piano at the beginning is clearly audible in my left ear, while the bass and cymbals can be heard without issues. I can tell the separation and instruments have their distinct positions but everything feels like being in a smaller room or stage, not far from each other.

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EQ Software (USB-C version only) - the versatility highlight

With the USB-C DSP cable Tanchjim offers a convenient way for Android and Windows users to change the sound of the Ola II. iPhone users need to do the EQing on either platform and can save the changes onto the DSP, where they can then be used on an iPhone. It is limited to an 8-band PEQ, but it is enough to substantially change the sound to your liking.

Your personal EQ can be saved to the Ola II itself, so you don't need to run the software while listening to music to take advantage of your settings. On top of that Tanchjim offers presets for gaming, and there are other official presets available if you don't want to make the adjustments yourself. That worked very well for me and I was able to adjust the treble and the bass to my liking.

For example, I lifted the 50Hz slider to a ridiculous +10dB to test the Ola II dynamic driver. The result was a huge rumble which the driver took without distortion. Then I unplugged the set from my PC and connected it to my iPhone to listen to the changed bass response. My hip-hop library now sounded extremely bassy and on bass-head level, with only a couple of clicks. The EQ software makes a versatile set out of the Ola II and is definitely a standout feature in this price bracket, as most manufacturers don't offer it, or you need to buy a portable DAC amp that is compatible with EQ software.

Platform	Features	Notes
Tanchjim app, Android	8-band PEQ with adjustable frequency, gain and Q, sound-mode presets like gaming and different official presets, community-shared tuning profiles	The USB-C version runs a DSP-Master with 32-bit / 384 kHz PCM decoding and a 24-bit / 48 kHz mic ADC. Changes are saved on the USB-C DSP and can be used on iOS.
Windows	Same 8-band PEQ, profiles saved to the set. Offers the same EQ presets and tunings as on the app.	Tanchjim offers their Windows app as a download on: https://tanchjim.com/en/services. Changes are saved on the USB-C DSP and can be used on iOS.
iOS	Not supported due to iOS limitations but applied EQ settings in Windows or Android are saved on the DSP and can be listened to on iOS.	The Ola II is not detected by the app on iPhone, so the PEQ cannot be set from iOS but must be set first in Windows or on Android.

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DETAILED COMPARISON

Comparison Setup

The Ola II arrived as the USB-C DSP version, so I listened to it straight off the iPhone 17 Pro Max, the Hiby R4 Evangelion edition and a Windows PC. To hear it from other sources I swapped the stock USB-C cable for a 4.4mm balanced cable borrowed from the Tanchjim Nora and ran it from the Questyle Sigma Pro, the Fiio K13r2r and the Hiby R4. Streaming came from Qobuz and Spotify at the highest available quality. I used narrow bore eartips in size M (Spinfit W1) and L (Nicehck C04 Liquid Silicone) throughout. The Ola II is easy to drive at 30 Ω and 121 dB/Vrms. My review is based on more than 30 hours of listening.

Competitor Comparison

Specs

IEM	Price	Drivers	Imp. / Sens.
Tanchjim Ola II	$56.99-$59.99 / EUR 49.70-52.31	1DD + 1BA coaxial hybrid	30Ω / 121 dB/Vrms
Tanchjim Bunny	~$20	1× 10mm dual-chamber DD, DMT4 Ultra, Ti-coated PET	30Ω / 123 dB/Vrms
Tanchjim 4U	$59.99 / EUR 52.31	1× dual-chamber DD, DMT4 Ultra LCP, 4-level bass filter	32Ω / 122 dB/Vrms
Tanchjim Nora	$109.99 / EUR 95.92	1× dual-magnetic dual-cavity DD, DMT5, DLC dome	16Ω / 125 dB/Vrms
Kefine Delci	~$59 / EUR 51.45	1× 10mm dual-cavity DD, DLC + PU	28Ω / 108 dB ±3 dB
Truthear Gate	$21.99	1× 10mm DD, carbon LCP + ultra-thin PU	28Ω / 122 dB/Vrms

Sound signature

IEM	Sound Signature
Tanchjim Ola II	V-shaped, mid-bass emphasis, vocals and treble pushed forward
Tanchjim Bunny	V-shaped, sub-bass leaning, vocals and treble pushed forward
Tanchjim 4U	Switch dependent. V-shaped through to vocal and treble focused, with neutral bass impact
Tanchjim Nora	Mid-bass and vocal focused set with a natural tonality
Kefine Delci	Bassy, full and relaxed tonality with recessed vocals and treble
Truthear Gate	V-shaped dynamic signature with leaner tonality

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The Tanchjim Ladder

The Tanchjim releases I am using here for comparisons are basically variations in the low-end emphasis, ear gain and 8/9k treble, upper treble around 16/17k, and they share some similarities in their tonality. The exception here is the original Ola (not graphed here) which has an almost neutral bass response, giving the stage to vocals and treble. The other Tanchjim IEMs, the 4U, the Bunny, the Nora and the Ola II, have a lifted bass response which gives them more or less a V-shaped sound signature with different emphasis case by case. The 4U is the most versatile set in this round up with its switches. I have not graphed them as they mostly change the low end, ranging from studio-like neutral bass up to the Atmosphere setting which has the most elevated bass and which I like the most.

With the Ola II, Tanchjim now uses one dynamic driver plus one balanced armature, whereas all the other Tanchjim sets in this comparison are based on a single dynamic driver.

Tanchjim Bunny - the "bread and butter" V-shaped budget option, around $20

Next to the Ola II my 3.5mm version of the Bunny sounds a smidge fuller in the sub-bass whereas the Ola II has more mid-bass impact. Due to less elevated mid-bass and sharper ear-gain, vocals pop slightly more than on Ola II. Treble is for a USD20 set well implemented with good detail retrieval but feels slightly less extended than on Ola II which highlights details more obviously and separates instruments better. If you like the emphasis on the sub-bass and care more about forward vocals, the Bunny may be the better choice. The trade-off is that the vocal texture is partly missing, especially on male vocals, and the note weight on instruments is weaker on Bunny than on Ola II.

The Ola II is in my opinion worth the upgrade if you want more mid-bass slam, more texture in the vocals while having a more refined treble with better technicalities.

Tanchjim 4U - versatile and energetic, $59.99

The 4U offers four tunings and is the most versatile set in this line-up hardware-wise. The tunings mainly differ in low-end impact, and the Atmosphere setting gives me the most enjoyable and most emphasised low end, which aligns well with the clear vocals and treble above it. In that setting it has more rumble than the Ola II, while the 4U's mid-bass is slightly tighter, with even more vocal energy than on the Bunny but with slightly less treble energy. The Ola II and the 4U essentially trade sub-bass rumble for mid-bass slam and Ola II offers a touch smoother vocals combined with more extended and refined treble. In terms of sub-bass variation, the 4U remains the more versatile set.

Tanchjim Nora - the vocal expert, $109.99

Tanchjim's Nora has the most elevated vocals in this whole round up. Nora comes across as vocal forward without the shout, has a good treble resolution without sounding spicy due to its rolled off treble past 10kHz. The bass is more subtle when compared to the other Tanchjim sets but still noticeable, not neutral, without dominating. It has a more natural bass impact and is especially nice for listeners who prefer bass as an integral part of the music replay without sounding anaemic. If the vocals feel too direct and you want as well more low-end energy, the Ola II might be a good compromise as its bass sounds more energetic and offers even more treble energy and details. If vocals are your priority, Nora is clearly the one to choose as its vocals are clearer, more refined and forward.

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Other Rivals

Kefine Delci - bassy and relaxed, around $59

The Kefine Delci has a completely different sound but sits in this USD60 price bracket with small metal shells.

Delci has subdued vocals and treble. Its tonality is relaxed, bassy leaning and it scales the best with volume for engagement. It is a good option for very treble sensitive listeners with compromises in vocal replay, detail retrieval and treble energy but it makes it a good fit for long and non-fatiguing listening sessions and has more texture for male vocals.

If you feel this set doesn't give you enough excitement, sparkle and/or clear vocals, the Ola II is a good option as it offers good bass response without sounding muddy while having more energy for vocals and better extended treble.

Truthear Gate, $21.99

Truthear Gate is a V-shaped set with emphasised sub-bass, slimmer mid-bass with an energetic vocal replay and good treble extension. A good option if you prefer a very energetic sound. The downside on this set imo is the tendency to come across as fatiguing and slightly too lean in its overall presentation where instrument and vocal texture are missing. The treble can be piercing on higher volume to my ears and even more so than on the Ola II.

The Ola II is a clear upgrade if the Gate sounds too sharp and forward and you want a more balanced sound while keeping the benefits of an engaging presentation. Ola II is a good compromise in terms of excitement without being overly sharp or fatiguing.

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Conclusion

• Ola II represents a good middle-ground between engaging sound and balance
• Tanchjim Bunny is an excellent choice if budget matters most
• Tanchjim 4U is a versatile set and a good option if sub-bass and a forward sound matter
• Tanchjim Nora is the best set in this comparison for forward, well implemented vocals
• Kefine Delci is the most relaxed and bassiest set with significant low-end impact
• Truthear Gate is the most energetic set

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Final Verdict

For listeners who like an engaging and tastefully V-shaped signature, the Ola II delivers, with a good mid-bass punch, slightly forward vocals and an energetic treble.

The Ola II returns to the Tanchjim family with an engaging presentation, where mid-bass slams and vocals and treble sound exciting without going into fatigue on a moderate listening level.

Treble sensitive listeners, treble and bass lovers have the option to EQ the Ola II to their liking with the USB-C DSP option either on Android or Windows platform which can then be used on iOS.

✅ Tanchjim Ola II can be recommended if you

• Want an engaging V-shaped listen with mid-bass slam rather than sub-bass rumble
• Like clear, forward female vocals and an extended, energetic treble
• Want EQ capabilities and tuning versatility

❌ Consider other options if

• You want a sub-bass focused or a neutral set
• Male vocals and note weight matter most to you
• You are very treble sensitive and will not use the EQ

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Disclosure: This review sample was sent in by Tanchjim. No payment was received and Tanchjim had no influence over the review. I do not use any affiliate links or receive kick-backs. Impressions are based on more than 30 hours of listening with the stock USB-C DSP cable and the Tanchjim Nora 4.4mm cable.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

Tanchjim Ola II Review - a tastefully done V-shape with EQ versatility

From $56.99 to $59.99 / EUR 49.70 to EUR 52.31 | Wired, sold as 3.5mm / 4.4mm / USB-C DSP, reviewed as USB-C DSP and 4.4mm | 1DD + 1BA Coaxial Hybrid | recessed 0.78mm 2-pin

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> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Main Strengths & Weaknesses for the gist. Full specs, the measurements, sound breakdown, the USB-C EQ section and comparisons follow below for those who want the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> Tanchjim's latest Ola update is a more energetic and exciting V-shaped listen than the original, and the driver has changed from a single dynamic driver to one dynamic driver plus one balanced armature. The mid-bass hits with punch and stays well defined. The mids are slightly carved out in the usual V-shaped way, which leaves vocals thinner but forward, next to an energetic treble that already sounds exciting at moderate levels. At higher volume both the vocals and the treble get a little spicy. The Ola II pairs well with EDM, pop and hip-hop, or any genre that wants an impactful mid-bass slam with decent vocal and treble energy and good detail retrieval. The Tanchjim EQ software makes it a versatile set on top.

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At a Glance

✓ Suits You If

• You are coming from a similar signature like the Tanchjim Bunny and want an exciting V-shaped listen rather than something relaxed or warm-neutral
• You like a punchy mid-bass, lean vocals and an energetic treble
• You like the flexibility of a USB-C PEQ to retune the set yourself
• You want a mic cable for calls and gaming (3.5mm and USB-C versions)
• You listen at lower to mid volume

✗ Skip It If

• You specifically want a warm leaning or neutral tuning
• You want the most natural, uncoloured vocal presentation, especially on male vocals. The Nora does this better and the Delci adds extra texture to male vocals.
• You want sub-bass rumble more than mid-bass slam. The 4U, Bunny, Delci and Gate lean that way, or use the EQ software
• You want a set that scales well with volume
• You will not use EQ and the stock V-shape is not your preference

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Main Strengths & Weaknesses

Main strength. The Ola II's main strength is its exciting and energetic presentation. The low end is noticeably extended and the emphasis sits on an impactful, bold mid-bass that works across genres but especially with EDM, pop, hip-hop, rap and rock, with caveats. Even with the bass emphasis, vocals stay clear and crisp, which suits female voices well. The treble comes across as engaging and well extended with good detail retrieval. Instruments in the upper registers sound clean, and the layering and detail are easy to follow and to my ears above the price point. One big plus is the possibility to EQ the Ola II via the Android app directly on your phone or under Windows. Either with your own settings or simply by using the available presets. That makes the Ola II a more versatile set.

Main weakness. The fun, engaging sound tempts you to turn it up, and that is where the treble can get too sharp for treble-sensitive listeners. Snares, cymbals and crashes in particular can come across as overly sharp, though they will probably be enjoyable if you want that extra spice. At mid volume the Ola II works well for me, even on longer sessions. The carved-out upper mids leave male vocals and instruments slightly short on texture, and the upper midrange and presence region can read as too energetic depending on the track.

👆 That's the core verdict. Everything below goes deeper into specs, measurements, sound and comparisons.

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How the Ola II ended up in my ears

The original Ola was always the outlier in Tanchjim's line-up for me. Almost flat bass, a steeper ear gain and a set which is built more for vocal lovers first and everyone else second. So, when the Ola II appeared with a coaxial 1DD plus 1BA setup and a visibly lifted low end, I was curious whether it would get closer to the family sound of the Bunny, the 4U and the Nora, or carry on with the original Ola sound.

My sample arrived as the USB-C DSP version, the only cable in the box, so my first sessions ran straight off the phone. And honestly, when I first listened to it, the treble was not ideal for me. It took a few evenings before the Ola II and I found an understanding, and that change is part of this review.

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Key Specs

Spec	Detail
Driver Setup	Coaxial hybrid. 1× 10mm DMT5 dual-magnetic, dual-cavity dynamic driver + 1× PURE Hi ultra-high-frequency balanced armature (BA sits in the nozzle)
Impedance	30 Ω ±10%
Sensitivity	121 dB/Vrms
Frequency Response	8 Hz to 48 kHz
THD	0.03% @ 1 kHz, 94 dB
Versions / Terminations	3.5mm single-ended, 4.4mm balanced, USB-C DSP. The 3.5mm and USB-C versions carry an inline MEMS mic with a single-button remote. My sample was the USB-C DSP version, which is the only cable that came in the box.
Connector	Recessed 0.78mm 2-pin, cable is swappable
Cable	LITZ silver-plated twisted-pair braided, smokey grey
Shell	CNC-machined aluminium alloy faceplate over a transparent PC inner cavity. Air-pressure relief vent and a Helmholtz resonator rear cavity. Waterproof and dustproof nozzle filters
Nozzle	6.3mm at the lip, 5.3mm without the lip, own measurement
Colourways	One colourway only. Silver-grey aluminium faceplates over a dark transparent body that looks like faintly darker grey depending on the light.
Price	From $56.99/EUR49.70 to $59.99/EUR52.31 for example at HiFiGo
Where to Buy, not affiliated	Tanchjim product page: https://tanchjim.com/en/products/earphones/iem/ola-ii · HiFiGo: https://hifigo.com/products/tanchjim-ola-2

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Accessories & Cable

The unboxing experience is rather basic but sufficient. In the box you get: the Ola II, one cable in your chosen termination, six pairs of silicone eartips (three narrow bore and three wide bore), a grey velour storage pouch and paperwork.

Item	Notes
Cable	LITZ silver-plated twisted-pair braid, soft and light. The 3.5mm and USB-C cables include an inline MEMS mic and a single-button remote. 4.4mm balanced version comes without a mic.
Eartips	Six pairs of silicone, three narrow bore and three wide bore. I stopped using the wide bore tips on this set, since narrow bore tips control the treble better for my ears. I used narrow bore eartips in size M (Spinfit W1 for deeper fit) and L (Nicehck C04 Liquid Silicone) throughout.
Case	Grey velour drawstring pouch. Soft, pocketable, not crush-proof.
Other	Paperwork and manual.

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Build Quality, Fit & Comfort

Fit & Comfort

The Ola II is a small and light IEM, but not a tiny one. The faceplate shape is around two-thirds rounded with one edgier corner, and that corner is the part that can press against smaller ears even though the shell itself is not big. In my mid-sized ears it fits well and stays secure and comfortable on long sessions of six hours and more. The shells are pressure vented and the nozzle is angled, which helps the ergonomics.

The nozzle is the part to pay attention to. It measures around 6.3mm at the lip on my unit, which is on the wider side, so some aftermarket tips will not go on. If you have smaller ear canals, that width is worth considering before buying. I got a good seal straight away and had no pressure build-up on any session. Tip choice also changes the treble noticeably on this set, which I come back to in the Treble section.

Ola II design is similar to the original Ola. The faceplate is made of CNC-machined aluminium with an embedded square shape while the shell is made of transparent PC. The set feels light in hands, there are no obvious seams or other sharp edges other than the edge on the faceplate.

The 2-pin connector is slightly recessed.

In my opinion the shell quality is adequate for a USD60 set but not outstanding.

The Tanchjim 4U has the better build as it comes in a full metal shell and faceplate at a similar price point with a conventional "Bunny"-style shape which fits great.

Cable

My sample came with the USB-C DSP cable only. It is smokey grey (to me it looks like a grey brown), soft and well behaved. It does not tangle much and stays where you put it. The channel indicators are clearly marked in red and blue near the 2-pin connectors, which went into the shells without any fuss. For further listening on my Questyle I used a 4.4mm cable borrowed from the Tanchjim Nora, and I thought the Nora cable was a better visual match for the Ola II faceplate than the stock one.

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Mic Quality

The USB-C version comes with an inline mic, which I used for calls and meetings. My voice came across as slightly too quiet, but otherwise the quality was decent indoors under normal conditions.

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Frequency Response Measurements

Method

For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.

What the graph shows

The Tanchjim Ola II has an impactful mid-bass and a noticeable sub-bass, where the mid-bass is the more elevated of the two. While having an emphasised mid-bass with a gradual down slope, the mids are slightly pulled back past 500Hz so the vocals stay clear of the bass. Especially female vocals benefit from this tuning as they come across as clean and clear while male vocals lose a bit of texture. The ear-gain is peaking at around 3k, gliding downwards at around 3.5kHz already which avoids shout in the vocals. There is a distinct peak at around 8/9kHz and again the last one at around 16/17kHz which aligns with my hearing that there is a good amount of treble energy for resolution, separation and "air" without sounding too spicy.

My overall impression that the Ola II is an engaging set for me aligns well with the graph. The low-end peaks at around 60Hz@81dB while the ear gain peak is at 3kHz with 83dB. Meaning that in balanced tunings a similar peak of low-end and ear gain can be desirable.

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Long-Session Comfort

The best listening volume on the Ola II for me was around mid volume, because the vocals and treble can get too spicy above that. On longer sessions a non-fatiguing listen matters to me, since I am slightly treble sensitive. With the right tips and a deep insertion the Ola II worked best for me on long sessions and stayed enjoyable that way.

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Sound Impressions

Overall Character

The Ola II sounds energetic and exciting, with elevated sub-bass, mid-bass and treble that works well with EDM, hip-hop, rap, R&B and rock. Vocals come across as clear and crisp. It makes the usual V-shaped trade, with the mids noticeably scooped to keep the bass from bleeding into them. The upper mids and the presence region sound slightly thinned out as a result, which suits female vocals, while male vocals come across as slightly too lean. Technically it is convincing, with good instrument separation, layering, staging and imaging.

Bass

The low end is noticeably elevated. The sub-bass has decent rumble with a slightly longer decay, which can occasionally get lost in very bass-heavy tracks but stays controlled otherwise. On A$AP Rocky's "F**kin' Problems" the sub-bass slightly covers the rest of the track with a touch too long decay. The Ola II leans more towards the mid-bass, which hits well and with good impact and suits a range of genres. I found it very enjoyable across my hip-hop, rap and EDM library. On Kaleida's "Think", known from the John Wick soundtrack, the mid-bass has real impact and sounds great together with the clear vocals as it transports the dense atmosphere very well.

Similar on Deadmau5' "Quezacotl". Synthesizers are clear and crisp and well accompanied by the thick mid-bass. Very enjoyable.

Midrange & Vocals

Vocals sit forward and slightly lean despite the elevated mid-bass thickness, which suits female voices well but leaves something to be desired on male vocals. They come through lean and clear even when the bass is emphasised, which makes the Ola II a good set for female vocal-focused tracks, well articulated and forward with a slight "s" emphasis but without the sibilance issues that more forward sets often have. At higher volume they carry a slight edge that you will either enjoy or find too sharp. On Kaleida's "Long Noon", Christina Wood's vocals are very clear with a touch of added brightness. Similarly on "Fake", where her vocals echo with transparency and are nicely contrasted by the impactful mid-bass.

Treble

The treble is extended, airy and crisp, and it makes for an exciting listen. On The Doors' "Riders on the Storm" the rain and the keyboard's imitation of it come through clearly and with good extension. My first impression was that the treble was not ideal for me. After a few days of listening it settled and I came to appreciate it, and that shift is worth being honest about, because a first listen in a shop or a first hour out of the box will not tell you where you land in my opinion.

The slight thinness up top has its advantages in clarity, but it is not fully natural and it can turn incisive on some material. Two things bring that out: poor recordings, and higher volume. At moderate levels the energy is well implemented for a V-shaped set. There is a smidge more treble here than I personally want, since I am slightly treble sensitive. But the way it is done is clean rather than harsh like I find on the Truthear Gate, which is why I still rate it. If you are not treble sensitive, I think you will enjoy it. Narrow bore tips with a deep, sealed fit are the lever if you want to take the edge off, and they also give the best bass impact.

Staging & Imaging

Staging and imaging are good for the price. The stage is easy to imagine, with instruments clearly separated and layered. I would not call it especially wide, though. The arrangement is well separated but plays on a smaller stage, with everything closer together.

"Riders on the Storm" by The Doors is a track which is great for testing the sound stage, imaging and layering. Not only does the track carry vocals and instruments but the atmospheric rain and thunder effects. The electric piano at the beginning is clearly audible in my left ear, while the bass and cymbals can be heard without issues. I can tell the separation and instruments have their distinct positions but everything feels like being in a smaller room or stage, not far from each other.

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EQ Software (USB-C version only) - the versatility highlight

With the USB-C DSP cable Tanchjim offers a convenient way for Android and Windows users to change the sound of the Ola II. iPhone users need to do the EQing on either platform and can save the changes onto the DSP, where they can then be used on an iPhone. It is limited to an 8-band PEQ, but it is enough to substantially change the sound to your liking.

Your personal EQ can be saved to the Ola II itself, so you don't need to run the software while listening to music to take advantage of your settings. On top of that Tanchjim offers presets for gaming, and there are other official presets available if you don't want to make the adjustments yourself. That worked very well for me and I was able to adjust the treble and the bass to my liking.

For example, I lifted the 50Hz slider to a ridiculous +10dB to test the Ola II dynamic driver. The result was a huge rumble which the driver took without distortion. Then I unplugged the set from my PC and connected it to my iPhone to listen to the changed bass response. My hip-hop library now sounded extremely bassy and on bass-head level, with only a couple of clicks. The EQ software makes a versatile set out of the Ola II and is definitely a standout feature in this price bracket, as most manufacturers don't offer it, or you need to buy a portable DAC amp that is compatible with EQ software.

Platform	Features	Notes
Tanchjim app, Android	8-band PEQ with adjustable frequency, gain and Q, sound-mode presets like gaming and different official presets, community-shared tuning profiles	The USB-C version runs a DSP-Master with 32-bit / 384 kHz PCM decoding and a 24-bit / 48 kHz mic ADC. Changes are saved on the USB-C DSP and can be used on iOS.
Windows	Same 8-band PEQ, profiles saved to the set. Offers the same EQ presets and tunings as on the app.	Tanchjim offers their Windows app as a download on: https://tanchjim.com/en/services. Changes are saved on the USB-C DSP and can be used on iOS.
iOS	Not supported due to iOS limitations but applied EQ settings in Windows or Android are saved on the DSP and can be listened to on iOS.	The Ola II is not detected by the app on iPhone, so the PEQ cannot be set from iOS but must be set first in Windows or on Android.

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DETAILED COMPARISON

Comparison Setup

The Ola II arrived as the USB-C DSP version, so I listened to it straight off the iPhone 17 Pro Max, the Hiby R4 Evangelion edition and a Windows PC. To hear it from other sources I swapped the stock USB-C cable for a 4.4mm balanced cable borrowed from the Tanchjim Nora and ran it from the Questyle Sigma Pro, the Fiio K13r2r and the Hiby R4. Streaming came from Qobuz and Spotify at the highest available quality. I used narrow bore eartips in size M (Spinfit W1) and L (Nicehck C04 Liquid Silicone) throughout. The Ola II is easy to drive at 30 Ω and 121 dB/Vrms. My review is based on more than 30 hours of listening.

Competitor Comparison

Specs

IEM	Price	Drivers	Imp. / Sens.
Tanchjim Ola II	$56.99-$59.99 / EUR 49.70-52.31	1DD + 1BA coaxial hybrid	30Ω / 121 dB/Vrms
Tanchjim Bunny	~$20	1× 10mm dual-chamber DD, DMT4 Ultra, Ti-coated PET	30Ω / 123 dB/Vrms
Tanchjim 4U	$59.99 / EUR 52.31	1× dual-chamber DD, DMT4 Ultra LCP, 4-level bass filter	32Ω / 122 dB/Vrms
Tanchjim Nora	$109.99 / EUR 95.92	1× dual-magnetic dual-cavity DD, DMT5, DLC dome	16Ω / 125 dB/Vrms
Kefine Delci	~$59 / EUR 51.45	1× 10mm dual-cavity DD, DLC + PU	28Ω / 108 dB ±3 dB
Truthear Gate	$21.99	1× 10mm DD, carbon LCP + ultra-thin PU	28Ω / 122 dB/Vrms

Sound signature

IEM	Sound Signature
Tanchjim Ola II	V-shaped, mid-bass emphasis, vocals and treble pushed forward
Tanchjim Bunny	V-shaped, sub-bass leaning, vocals and treble pushed forward
Tanchjim 4U	Switch dependent. V-shaped through to vocal and treble focused, with neutral bass impact
Tanchjim Nora	Mid-bass and vocal focused set with a natural tonality
Kefine Delci	Bassy, full and relaxed tonality with recessed vocals and treble
Truthear Gate	V-shaped dynamic signature with leaner tonality

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The Tanchjim Ladder

The Tanchjim releases I am using here for comparisons are basically variations in the low-end emphasis, ear gain and 8/9k treble, upper treble around 16/17k, and they share some similarities in their tonality. The exception here is the original Ola (not graphed here) which has an almost neutral bass response, giving the stage to vocals and treble. The other Tanchjim IEMs, the 4U, the Bunny, the Nora and the Ola II, have a lifted bass response which gives them more or less a V-shaped sound signature with different emphasis case by case. The 4U is the most versatile set in this round up with its switches. I have not graphed them as they mostly change the low end, ranging from studio-like neutral bass up to the Atmosphere setting which has the most elevated bass and which I like the most.

With the Ola II, Tanchjim now uses one dynamic driver plus one balanced armature, whereas all the other Tanchjim sets in this comparison are based on a single dynamic driver.

Tanchjim Bunny - the "bread and butter" V-shaped budget option, around $20

Next to the Ola II my 3.5mm version of the Bunny sounds a smidge fuller in the sub-bass whereas the Ola II has more mid-bass impact. Due to less elevated mid-bass and sharper ear-gain, vocals pop slightly more than on Ola II. Treble is for a USD20 set well implemented with good detail retrieval but feels slightly less extended than on Ola II which highlights details more obviously and separates instruments better. If you like the emphasis on the sub-bass and care more about forward vocals, the Bunny may be the better choice. The trade-off is that the vocal texture is partly missing, especially on male vocals, and the note weight on instruments is weaker on Bunny than on Ola II.

The Ola II is in my opinion worth the upgrade if you want more mid-bass slam, more texture in the vocals while having a more refined treble with better technicalities.

Tanchjim 4U - versatile and energetic, $59.99

The 4U offers four tunings and is the most versatile set in this line-up hardware-wise. The tunings mainly differ in low-end impact, and the Atmosphere setting gives me the most enjoyable and most emphasised low end, which aligns well with the clear vocals and treble above it. In that setting it has more rumble than the Ola II, while the 4U's mid-bass is slightly tighter, with even more vocal energy than on the Bunny but with slightly less treble energy. The Ola II and the 4U essentially trade sub-bass rumble for mid-bass slam and Ola II offers a touch smoother vocals combined with more extended and refined treble. In terms of sub-bass variation, the 4U remains the more versatile set.

Tanchjim Nora - the vocal expert, $109.99

Tanchjim's Nora has the most elevated vocals in this whole round up. Nora comes across as vocal forward without the shout, has a good treble resolution without sounding spicy due to its rolled off treble past 10kHz. The bass is more subtle when compared to the other Tanchjim sets but still noticeable, not neutral, without dominating. It has a more natural bass impact and is especially nice for listeners who prefer bass as an integral part of the music replay without sounding anaemic. If the vocals feel too direct and you want as well more low-end energy, the Ola II might be a good compromise as its bass sounds more energetic and offers even more treble energy and details. If vocals are your priority, Nora is clearly the one to choose as its vocals are clearer, more refined and forward.

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Other Rivals

Kefine Delci - bassy and relaxed, around $59

The Kefine Delci has a completely different sound but sits in this USD60 price bracket with small metal shells.

Delci has subdued vocals and treble. Its tonality is relaxed, bassy leaning and it scales the best with volume for engagement. It is a good option for very treble sensitive listeners with compromises in vocal replay, detail retrieval and treble energy but it makes it a good fit for long and non-fatiguing listening sessions and has more texture for male vocals.

If you feel this set doesn't give you enough excitement, sparkle and/or clear vocals, the Ola II is a good option as it offers good bass response without sounding muddy while having more energy for vocals and better extended treble.

Truthear Gate, $21.99

Truthear Gate is a V-shaped set with emphasised sub-bass, slimmer mid-bass with an energetic vocal replay and good treble extension. A good option if you prefer a very energetic sound. The downside on this set imo is the tendency to come across as fatiguing and slightly too lean in its overall presentation where instrument and vocal texture are missing. The treble can be piercing on higher volume to my ears and even more so than on the Ola II.

The Ola II is a clear upgrade if the Gate sounds too sharp and forward and you want a more balanced sound while keeping the benefits of an engaging presentation. Ola II is a good compromise in terms of excitement without being overly sharp or fatiguing.

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Conclusion

• Ola II represents a good middle-ground between engaging sound and balance
• Tanchjim Bunny is an excellent choice if budget matters most
• Tanchjim 4U is a versatile set and a good option if sub-bass and a forward sound matter
• Tanchjim Nora is the best set in this comparison for forward, well implemented vocals
• Kefine Delci is the most relaxed and bassiest set with significant low-end impact
• Truthear Gate is the most energetic set

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Final Verdict

For listeners who like an engaging and tastefully V-shaped signature, the Ola II delivers, with a good mid-bass punch, slightly forward vocals and an energetic treble.

The Ola II returns to the Tanchjim family with an engaging presentation, where mid-bass slams and vocals and treble sound exciting without going into fatigue on a moderate listening level.

Treble sensitive listeners, treble and bass lovers have the option to EQ the Ola II to their liking with the USB-C DSP option either on Android or Windows platform which can then be used on iOS.

✅ Tanchjim Ola II can be recommended if you

• Want an engaging V-shaped listen with mid-bass slam rather than sub-bass rumble
• Like clear, forward female vocals and an extended, energetic treble
• Want EQ capabilities and tuning versatility

❌ Consider other options if

• You want a sub-bass focused or a neutral set
• Male vocals and note weight matter most to you
• You are very treble sensitive and will not use the EQ

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Disclosure: This review sample was sent in by Tanchjim. No payment was received and Tanchjim had no influence over the review. I do not use any affiliate links or receive kick-backs. Impressions are based on more than 30 hours of listening with the stock USB-C DSP cable and the Tanchjim Nora 4.4mm cable.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.

A tastefully judged U-shape that punches well above its price

$20 USD / around EUR 17.50 | Wired | Single 10mm PET dynamic driver | 3.5mm or USB-C | 0.78mm 2-pin | 1.2m cable

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> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Full specs, sound breakdown and comparisons with the Truthear Gate, NICEHCK Tears and Tangzu Red Lion follow below for anyone who wants the detail.

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⚡ QUICK READ · Everything you need to know in ~2 minutes

TL;DR

> The Pula Audio Arc is an exciting sounding, tastefully done U-shaped IEM that punches well above its $20 price. The bass is lifted and enjoyable, with a noticeable sub-bass rumble and an emphasised mid-bass, and it stays clean enough that the rest of the track still comes through well. Vocals sit slightly forward and a touch lean, which suits female voices very well. The treble rolls off up top but never sounds dark, landing natural and balanced rather than energetic, and only at very high volume do cymbals and crashes get a little crisp. The light shells disappear in the ear and stay comfortable over long sessions. For $20 this is a lot of set for the money and a clear recommendation.

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At a Glance

✓ Suits You If

• You want an exciting U-shape that still stays fairly balanced
• You enjoy a lifted, rumbly sub-bass and a punchy mid-bass
• You like a set that scales well and comes alive as you turn it up
• You want a light set that disappears in the ear for long sessions
• You are on a tight budget and want a lot of sound for $20

✗ Skip It If

• You want a neutral or reference tuning
• You want thick, heavily textured male vocals
• You are a treble head after air, sparkle and top end extension
• You are a bass head chasing the other extreme
• You want a wide, open soundstage above all else

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Main Strengths & Weaknesses

Main strength. A U-shape that is well judged rather than exaggerated. The bass is lifted with good note weight and works across genres while leaving plenty of space for vocals and instruments. Vocals are clear, slightly forward and well articulated, the treble is natural and balanced rather than pushed, and the light shells with their excellent fit suit long sessions. At $20 the value is hard to argue with.

Main weakness. Male vocals could do with a touch more texture. At very high volume cymbals and crashes can turn a little crisp. The treble rolls off up top, so while it never sounds dark, treble heads chasing air and sparkle should look elsewhere, and the Gate and the Tears both give more energy up there. The bass is well made and noticeably emphasised, satisfying for most listeners, but this is not a bass-head set either. The build is good for a $20 set, but the cable looks and feels cheap and the accessories are very basic.

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Who Is This For?

The Arc makes the most sense if you:

• Listen mostly to EDM, hip-hop, pop and female vocals
• Prefer a lush, musical presentation over an analytical one
• Are shopping at the very budget end and want strong value
• Want the choice between a 3.5mm or a USB-C version with mic
• Have smaller ears, since the light shells and slim nozzles should suit them

There might be more suitable options if you care more about:

• A neutral or reference tuning
• Full bodied, heavily textured male vocals
• Highly energetic treble and outright technicalities
• A wide, spacious soundstage

👆 That's the core verdict. Everything below goes deeper into specs, accessories, sound and comparisons.

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Key Specs

Spec	Detail
Driver Setup	1x 10mm single dynamic driver, one-piece 6μm PET diaphragm, dual-chamber acoustic design
Impedance	32 Ω
Sensitivity	104 dB/mW at 1 kHz
Frequency Response	20 Hz to 20 kHz
THD	Under 0.3%
Voice Coil / Magnet	Copper-clad aluminium voice coil, N52 neodymium dual-magnetic circuit
Cable	1.2m, 0.78mm 2-pin
Termination	3.5mm single-ended (no mic) or USB-C (with mic), sold as separate versions
Shell	Ear-contoured oval resin body with a transparent lower half that shows the dual chamber
Faceplate	CNC-milled brushed aluminium alloy, dual-zone diagonal brush, laser-engraved logo
Nozzle	4.9mm bore, 5.7mm at the lip
Price	$20 USD / around EUR 17.50 at HiFiGo

Where to buy (links for convenience, not affiliated):

• Official Store: https://hifigo.com/products/pula-audio-arc
• AliExpress: https://www.aliexpress.com/item/1005012652328787.html
• AliExpress: https://www.aliexpress.com/item/1005012637621566.html
• Amazon US: https://www.amazon.com/dp/B0H7X6NSVW
• Amazon DE: https://www.amazon.de/dp/B0H7W5K9GH
• Amazon FR: https://www.amazon.fr/dp/B0H7W5K9GH
• Amazon UK: https://www.amazon.co.uk/dp/B0H7W5K9GH
• Amazon AU: https://www.amazon.com.au/dp/B0H7W5K9GH

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Accessories & Cable

In the box you get the IEMs, one cable, three pairs of ear tips and a user manual. The presentation is very basic, which is standard at this price point, but I wish Pula had included at least a simple pouch to protect the IEMs. The Tangzu Red Lion costs only a few dollars more depending on where you order and gives you a better cable, a soft rubber pouch and a wider tip selection, so the Arc does lose out on the unboxing.

Item	Detail
Cable	1.2m, 0.78mm 2-pin, two-wire and unbraided, terminated in a 90 degree angled 3.5mm plug
Eartips	Three pairs of standard bore tips in S, M and L. I listened mostly on size L, both the stock tips and the Divinus Velvet wide bore
Case	None included
Other	User manual and paperwork

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Build Quality, Fit & Comfort

Fit & Comfort. Comfort and fit are excellent and work very well with my medium sized ears. The light shells completely disappear and I can wear them for many hours without fatigue or pressure build-up. With the included stock tips I got a very good seal and solid noise isolation straight away. The nozzles and shells should suit smaller ears too.

Build & Design. The shell uses an ear-contoured oval shape with smooth, rounded edges, and the lower half is transparent so you can see the dual-chamber design inside. The faceplate is brushed aluminium alloy with a diagonal machined pattern and a laser-engraved Pula logo. The 2-pin sockets are flush, sit tight, and the pins push in without any issue. The shells feel very light and better made than the price suggests.

Cable. I used the 3.5mm single-ended version, which has a 90 degree angled plug. Pula also sells a USB-C version with a mic which I haven't tested. You buy one or the other rather than both. The two-wire unbraided cable is slightly memory prone, though it untangles easily, and it is neither too thin nor too thick. It does its job but leaves a cheap impression. The stereo indicators are almost impossible to read, since they are transparent markings on a transparent cable. There is no chin slider either, although I did not miss one, as the IEMs stay securely in place no matter how much I move my head. Better cables exist at this price, but the one Pula includes is fine.

> 💼 Personal note on fit and tip rolling. The Arc's tonality shifts noticeably with insertion depth and tips, so it is worth a few minutes of experimenting. I did most of my listening on size L, using both the stock tips and the Divinus Velvet wide bore. Inserting the set slightly deeper with the stock tips was easy and they stayed in place, and the result was a little more low-end impact with a top end that sounded a touch more controlled. If you want more out of the treble, going down to size M with the Divinus Velvet wide bore is the one to try. The fit stays secure and it pushes the upper mids and treble forward, which gives clearer vocals and a bit more sparkle. That is the setup I would suggest to anyone who finds the stock presentation too relaxed up top.

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Long-Session Comfort

The Arc stays comfortable over long sessions of six hours and more thanks to the light shells, with no pressure build-up. The relaxed top end helps here too, since it stays controlled at normal and higher listening levels rather than nagging at you. Only at very high volume do cymbals, crashes and high pitched sounds turn a little crisp, so I keep the level a touch lower on very bright material.

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Measurements

Method. For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. For reference I included the CrinEar "Reference". The measurements are attached as images.

The Arc follows a mild U-shaped tuning, with elevated sub-bass and mid-bass, a slightly relaxed central midrange, and enough upper-mid and treble energy to keep vocals clear and the presentation balanced. That sets it apart from a darker, low-end dominated L-shape, and equally from a typical V-shape with elevated bass, elevated treble and properly carved out mids.

The bass shelf lifts sub-bass and mid-bass together, then glides slowly into the low midrange, which gives the Arc an almost even sub and mid-bass impact. Through the middle midrange the response dips, and that is what thins the vocals slightly and takes a little body from male voices in particular, though vocals stay clean and clear. Ear gain rises into the 3 kHz region to push vocals slightly forward.

The top end is where the graph explains something my ears took a while to put into words. The Arc rolls off in the upper treble, and on paper that should read as dark. It does not, and the reason is the pair of peaks sitting at around 6 kHz in the mid treble and around 9 kHz in the upper treble. Those two do the work. They give cymbals their bite and carry enough perceived air that the presentation stays open, while the roll-off above them keeps everything from turning bright or fatiguing. Those same peaks are what turn crisp on cymbals and crashes at very high volume. So the treble reads as natural and balanced rather than energetic. It is not veiled and it is not dark, but the extension a treble head wants is not there, and that is a deliberate trade rather than a flaw. This is a well done and tastefully implemented U-shape that sounds naturally warm rather than neutral, balanced leaning, with good vocal articulation and nice detail retrieval.

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Sound Impressions

Overall Character

The Arc leans coloured rather than neutral, and that is the whole appeal. There is real warmth here, coming from an emphasised and mostly well controlled bass, and it carries into natural sounding vocals and a top end that stays balanced rather than pushed. Everything hangs together well for the money and makes for a very good allrounder. Worth knowing that the Arc wants a bit of volume to show what it can do, and the relaxed top end makes it a good option for treble sensitive listeners who still want some excitement.

Bass

Sub-bass is pushed forward and enjoyable across a lot of genres. The rumble is noticeable on EDM and hip-hop with good impact, while the rest of the music stays clear. The mid-bass is punchy and full. Overall the bass has good note weight and still lets the rest of the track, vocals included, come through cleanly. There is a slight warmth to the tonality that makes a lot of tracks, even older or badly recorded ones, sound rhythmic and exciting, without eating into the mids. If I am picky, the mid-bass carries a smidge more energy than is strictly natural and could be tighter, but it suits my taste and my library, where hip-hop and EDM in particular benefit from it.

Bass texture on double bass and bass guitar is good. It never sounds smeary or bloated but stays controlled, with a natural, longer decay. Only on very bass-heavy tracks does the low end start to cover things up. It never buries detail outright, but it does slightly flatten nuance and the perceived space between instruments.

On Nirvana's "The Man Who Sold The World" from MTV Unplugged the lower guitar octaves sound full and well weighted. The bass guitar on Dire Straits' "Sultans of Swing" drives the rhythm with good note weight and sits noticeably at the front of the presentation. On Trick Daddy's "Let's Go" the sub-bass rumble is well controlled with a natural decay, and while it is not bass-head level, it comes through with real impact. The mid-bass slam on EDM tracks like Deadmau5' "Quezacotl" is punchy and satisfying. On "Glass" by Bat For Lashes the drums hit hard at higher volume while Natasha Khan's vocals cut cleanly through them, which is the Arc's volume scaling working exactly as I want it to.

Midrange & Vocals

Vocals are pushed slightly forward and sit a touch on the leaner side, with the occasional emphasis on "s" sounds that never tips into sibilance. That works very well with female vocals, which come across clear and well articulated. Male vocals are a little lighter and could do with a smidge more texture. Either way the vocals are never harsh or aggressive, just pleasantly forward, unless you crank the volume very high on a bad recording.

On "Moon And Moon" by Bat For Lashes the vocals sound well extended and nuanced with a slight sparkle, and they hold up at high volume. On Kaleida's "Fake", Christina Wood's voice comes through very well extended, with even small mouth noises audible. On Ed Sheeran's "Shivers" live, his vocals are enjoyable though they could be a touch more textured, and I am nitpicking there rather than complaining. Guitar strings and other instruments with fundamentals or harmonics in the upper midrange give a more mixed picture. They sound mostly natural, but occasionally want a small bump in texture.

Treble

The Arc's treble is natural leaning and balanced rather than energetic. It rolls off up top, so it does not have the extension or the airiness that a treble head looks for, but it never sounds veiled or dark either. The energy that is there sits lower down, in the mid and upper treble, and that is enough to keep cymbals present, make instruments pop and give the impression of air without the set ever turning bright. Paired with the lifted bass it works, because the top end stays clean and out of the way rather than fighting for attention. It also means the Arc is at its best and most exciting with a bit of volume behind it. Only when I push it really hard do cymbals, crashes and high pitched sounds turn a little crisp.

On Fleetwood Mac's "Brown Eyes" the cymbals, crashes, snares and piano keys sound natural, with enough energy to come through clearly and with good detail. "Sisters of the Moon" is an excellent test for the sharpness of snares and electric guitars, and on the Arc both come through with a slight bite without hurting my ears. As the track lifts at around 1:50 the treble energy climbs, especially on the snares, and it sounds energetic and dynamic without the sharpness some more treble focused sets add. The electric guitar at around 3:40 is crisp and controlled, though like the snares it can get a bit too spicy at very high volume. Next to the Gate or the Tears you notice what is missing up top, but on its own terms the Arc never left me wanting while listening rather than comparing.

Staging & Imaging

Thanks to the treble clarity and the mostly controlled bass, imaging feels solid and well organised, and I can place instruments and vocals in clearly distinct spots. On John Coltrane's fast-paced jazz piece "Mr. P.C." the saxophone sits clearly to the left, separated from the drum kit and walking bass over on the right. Staging is not especially wide, though. Everything plays in a fairly intimate space where instruments are well separated but sit closer together than on a more open set. Details still pop easily, and the Arc keeps that organisation as you push the volume, which is where it sounds most alive.

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📖 DETAILED COMPARISON · Arc vs Truthear Gate vs NICEHCK Tears vs Tangzu Red Lion

Comparison Setup

Sources were the Questyle Sigma Pro as my main, with the Hiby R4 Evangelion edition and the Fiio K13r2r as the other two, streaming from Qobuz and Spotify. I listened on size L throughout, using both the included stock tips and the Divinus Velvet wide bore. The Arc is easy to drive and needs no extra dongle DAC or amp. All impressions here are based on more than 30 hours with the set.

Competitor Comparison

Specs

IEM	Price / Driver / Impedance / Sensitivity
Pula Audio Arc	$20 / 1x 10mm PET DD / 32 Ω / 104 dB/mW
Truthear Gate	Around $20 / 1x 10mm carbon LCP DD / 28 Ω / 122 dB/Vrms
NICEHCK Tears	Around $29 / 1x 10mm dual-magnet dual-chamber DD, open back / 20 Ω / 127 dB/Vrms
Tangzu Wan'er SG 2 Red Lion	Around $23 / 1x 10mm PET DD / 20 Ω / 113.5 dB

Sound signature

IEM	Sound Signature
Pula Audio Arc	Slightly warm leaning, mostly balanced, tastefully judged U-shape. Lifted rumbly sub-bass, full mid-bass, slightly forward and lean vocals, natural treble that rolls off up top without sounding dark. The lushest and most musical set here.
Truthear Gate	V-shaped, with lifted bass and the strongest ear gain and treble energy in this line-up.
NICEHCK Tears	Slightly V-shaped. Its low end, mid and treble energy sit between the Arc and the Gate. Natural like the Arc, but more open and airy, with clearly more treble energy.
Tangzu Red Lion	V-shaped and warm tilted with plenty of sub-bass. Very compatible with hip-hop, rap, RnB and EDM, and good with most pop.

Comparison Notes

Truthear Gate, around $20

The Gate can get sharp up top at higher volume on tracks with electric guitars, snares, cymbals and crashes, and its treble is more forward than the Arc's or anything else here. It has less mid-bass impact than the Arc and an overall leaner, cleaner presentation, so drums sound good but with less weight behind them. Vocals, male and female, are thinner than on the Arc and the most forward of the four. Technicalities are better on the Gate. It suits people who want clearly increased treble energy and a proper V-shape, whereas the Arc achieves a more even balance between bass, vocals and treble and sounds more controlled and warmer to my ears.

NICEHCK Tears, around $29

The Tears has the leanest bass of the four, only slightly emphasised but with very good quality and control. Vocals are pushed forward with more energy than on the Arc or the Red Lion, though less than the Gate. Like the Arc it reads as natural rather than coloured, but it gets there differently. Where the Arc rolls off up top and stays warm, the Tears extends further and gives you real air and openness, which is also why it can get spicy at higher volume. If the Arc's top end leaves you wanting, this is the one to look at.

Tangzu Wan'er SG 2 Red Lion, around $23

The Red Lion has the most sub-bass here and less mid-bass than the Arc, and it can come across as slightly bloated on bass-heavy tracks in a way that pushes into the rest of the mix, vocals included. It is clearly warm tilted with slightly warmed up vocals. Both the Red Lion and the Arc scale well with volume and sound more musical and lush than analytical. Ear gain and treble are at a decent level but do not fully balance out that strong low end in my opinion, so this one is not for treble heads. It also gives you the best package of the four, with a better cable, a pouch and more tips.

Conclusion

• Arc best for balanced, musical listening where a lush presentation and a relaxed top end matter more than outright technicalities
• Gate best for resolution and technicalities, a dynamic V-shape for people who want more treble energy and clarity
• Tears best for a natural set that stays open and airy, with the treble extension the Arc gives up
• Red Lion best for sub-bass rumble on EDM, hip-hop and rap, more fun than technicalities, and the pick for bass heads

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Final Verdict

Of the four sets here, the Arc is the one I keep reaching for when I want to enjoy music rather than analyse it. The Gate resolves more and the Tears sounds more open, but both ask you to accept a leaner, sharper presentation to get there. The Arc gives up a little of that detail and buys warmth, weight and a vocal presentation that stays clear instead of thinning out. That trade lands well at $20. After more than 30 hours with it, the thing that stands out is how well it holds together as you turn it up, which is not something I expect at this price. It is one of the best sets in this bracket right now, and it gets my full recommendation based on my listening and my library.

✅ Recommended if you want an exciting, slightly U-shaped budget set with lifted bass and clear forward vocals, you listen to EDM, hip-hop, pop or female vocals, and you want a very light, comfortable long-session fit for very little money. This is the set.

❌ Skip if you want a neutral or reference tuning, full bodied and heavily textured male vocals, or the air and top end extension a treble head is after. The Arc rolls off up there, so it is not the set for that.

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Disclosure. This review sample was sent in by HiFiGo. No payment was received, HiFiGo had no influence over the review, and there are no affiliate links. Impressions are based on more than 30 hours of listening.

Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.