Hello everyone. Yesterday, August 17th, the Juzear Nimbus are officially launched. I already published some first impressions with a small discussion that you can still join here https://www.reddit.com/r/inearfidelity/s/IpzJVx49JD

There are several Juzear models I have had the chance to test, slowly getting to know how the brand works and what they are capable of offering in each product regardless of the price. This Nimbus, starting at a price of 55$, includes a large amount of things in the box aside from in ear monitors with a great build quality, raising the standard that other brands have not yet reached.

What I Liked and What I Did Not Like

• Both the shell and the faceplate give it a very premium finish within the brand.
• The cable is modular, of very good quality and with a screw lock.
• The 3 pairs of nozzles do modify the sound signature enough.
• Bass sounds clean and textured for most genres.
• Mids have body and are well tuned.
• Despite their heavier material, they are quite comfortable in long sessions.
• The accessories surpass the competition for the price.
• The bass is there but in some genres it might lack impact.
• The soundstage is neither large nor small, it stays at an average leaning towards small size.
• The overall resolution is correct but it does not stand out when the recording gets complex.

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II
• Aful Iceborne
• Muse HiFi M3 Ultra

Unboxing and Build

I have to say that the box has been by far one of the hardest boxes to open. It might have been my particular case but I do not understand why the outer cardboard fits the box so tightly with such exact measurements. It did not matter where you pushed or pulled from, I felt I was going to break everything. I am not lying if I say it took me more than 3 minutes to manage to take off the cardboard that wraps the box. That being said and perhaps unnecessary for many, let us talk about the inside. Right after opening the box you find the in ear monitors with the black eartips attached. After that we find the rest of the cable and a carrying case that honestly seemed like one of the best I have seen at these prices without getting into hard cases. In this case it has a light blue color that goes well with the model and a much stiffer or thicker feel than the cases I have been seeing in other models that include this same type of cases like Hidizs does among other brands. Finally a mini plastic case with the other two pairs of nozzles, a cleaning cloth, documentation and the rest of the eartips.

I must point out that aside from the carrying case, the cable also gives a more premium cable feel than what I have been finding in models around 50$. Additionally it has the modular system that I like with a screw thread to prevent the connector from separating by accident, which for me is a 10 out of 10 in this regard.

Regarding the in ear monitor, I also find a different design and style compared to the other Juzear models I have tested and I feel it is more refined. Interestingly it is one of the cheapest I have tested but the appearance and finish seem more premium to me. Metal shell, glass faceplate with a blue color that varies depending on the angle you look at it being lighter or darker, which complicated some photos to be able to highlight them a bit better. The nozzle itself or the part of the design that integrates with the nozzle I would have appreciated if it was slightly more extended towards the ear since I felt it was a bit short. Although it sealed and fit well in my ear, I usually prefer in ear monitors with a more elongated nozzle and then try to find which eartips fit best.

Sound

Regarding tuning, we have a fairly balanced one but you do appreciate a somewhat warm touch all produced by a single dynamic driver. It does not fall into that group of in ear monitors that surprise you with their tuning, nor into that group that feels too boring and safe from the start. It has all ranges quite contained to not go overboard, avoiding long term fatigue but aiming for a minimum of fun.

Bass

The bass itself has power and plenty of control, without there being a lot of quantity. With a sub bass that gives quite a bit of body to the melodies fulfilling its main function. It is not boomy nor is it probably what this Nimbus was looking for, which can take away some fun from the listener but makes everything sound cleaner and makes the hits last what they have to last without ringing longer than they should. This is something I appreciated in faster metal genres that I usually listen to and which for me are the acid test to see if the tuning is designed or not to withstand those fast hits without ending up muddying everything up, and that is something achieved here. Now if you go into genres where bass has to predominate like in Hip Hop or EDM, unless the song is very well produced and has been boosted enough, it might fall a bit short on punch for many people. But in order to benefit other genres they could not overdo the bass to satisfy what does require more pronounced bass.

Mids

The mids for their part I think are in a position that I personally do not dislike. I do feel the vocals a bit close but not so much that they overwhelm me. Female vocals in fact sounded slightly closer and more natural to me than male ones. I believe the transition made from the bass sounds quite clean and lets the instruments covering the midrange keep sounding with enough weight without thinning out too much. I have to say on a general level, not only in the mids, that regarding the 3 pairs of included nozzles, where I enjoyed the listening experience the most overall was with the white rubber nozzles, the stock ones, having the best balance between smoothness and energy.

Treble

With the stock nozzle, the white one, and as I just said in my previous paragraph is where I found the best sound. In the treble that translates to where I noticed the best extension without bothering my ears when turning up the volume a bit. The brightness produced by the treble with this nozzle does not shine excessively, although I understand it could still be too much for some, so in that case I would opt for the black rubber nozzle. I think the treble has plenty of detail and the separation between layers is noticeable. There is a certain stock smoothness, regardless of the nozzle we use, that I understand prevents overall fatigue if you want to use them for more than an hour.

Soundstage

Regarding the soundstage we are talking about a size leaning towards medium. You do not feel locked in a small space, but neither is it that large extension that makes some sounds seem distant. If the songs are recent and well produced, you appreciate much better the space and the instrument separation that I will talk about now. But this Nimbus tuning with the touch of warmth they bring helps to feel everything more immersive and less analytical. But as I say, you cannot expect a massive soundstage in this case.

Instrument Separation

Let us talk about the separation and honestly, in terms of technicalities, this is where I suffer the most when I have a budget single dynamic driver model. This instrument separation is correct as such, but I run into a common problem in these configurations and that is listening to more complex music where managing so many instruments playing at once and maintaining proper cleanliness and separation becomes a real challenge. It is not that the Nimbus cannot pull it off but it is something you notice right away just like in many other models with similar configurations and prices. Without everything collapsing you can still notice the layers of instruments, but depending on the track you can tell it struggles.

Imaging

Lastly the imaging, where I think both the vocals and the instruments are sufficiently precise. With vocals located in the center and instruments well distributed across the width of the space without being very three dimensional. But it is something I expected with this single dynamic driver. Therefore its use beyond music, like in movies or video games, will not be its strong suit.

Comparisons

Comparing these Nimbus with a model I reviewed not too long ago like the Tanchjim OLA II, I think there is a pretty clear difference between the two. The OLA II to me sounds cleaner and lighter, like most Tanchjim models I have tested, and with thinner mids. The Nimbus as such I feel with more weight and warmth or with more body especially when representing bass and mids. So I would prioritize the OLA II if you enjoy musical clarity more and the extra air in the treble, and something better for daily use although less analytical. But with a somewhat more complete accessory package, the Nimbus would be the winner.

Compared to another fairly recent although slightly cheaper model, there is the Pula Arc which is somewhat smoother and more natural. But it is still a more relaxed and perhaps somewhat more boring tuning for most than this Nimbus. So that would give it an advantage for being able to listen to it for more hours. However on the Nimbus the bass has better definition, apart from the fact that you can play around with the nozzles. As I say the white ones should be enough to find the perfect fit, but you can always emphasize everything by playing with the other two and get a result that for my taste is superior to the Arc, apart from better accessories.

You can check my full ranking of all the IEM reviewed so far on my profile. Reddit does not allow me to post the Drive link here.

Conclusion

To conclude this review I have to say that the Nimbus is or seems to be a different path for Juzear in terms of design. To me this makes the brand look a bit more premium since I prefer these types of finishes over the ones on the Fiesta or Defiant. It is true that resin is still more bearable but I like seeing how they tackle switching to other materials and getting results like this, apart from including all this extra material in the box within this price range, like a modular cable with a safety lock and with a feel and thickness superior to others from the competition. The nozzles themselves are not something I entirely love, as I prefer the brand to achieve an optimal fit across all frequencies and choose a single nozzle that simply works for most. But I know that many people prefer to have the freedom to test and stick with the option from the 3 they offer, rather than having a single one imposed on them that they do not entirely find convincing. I think that at the price they are at they serve as a new benchmark for what you can offer the consumer without cutting back on practically anything and getting a very complete package in return.

Purchase Links

Official Store https://hifigo.com/products/juzear-poise-series-nimbus

AliExpress https://www.aliexpress.com/item/1005012898042561.html

AliExpress https://www.aliexpress.com/item/1005012898663425.html

Amazon US https://www.amazon.com/dp/B0H73CL5YC

Amazon JP https://www.amazon.co.jp/dp/B0HBQCY8PY

Amazon AU https://www.amazon.com.au/dp/B0HBQQ9TJ4

Amazon UK https://www.amazon.co.uk/dp/B0H7BJT7VX

Amazon DE https://www.amazon.de/dp/B0HBQXVW46

Disclaimer

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Hello everyone. Today, August 17th, the Juzear Nimbus are officially launched. I already published some first impressions with a small discussion that you can still join here https://www.reddit.com/r/inearfidelity/s/IpzJVx49JD

There are several Juzear models I have had the chance to test, slowly getting to know how the brand works and what they are capable of offering in each product regardless of the price. This Nimbus, starting at a price of 55$, includes a large amount of things in the box aside from in ear monitors with a great build quality, raising the standard that other brands have not yet reached.

What I Liked and What I Did Not Like

• Both the shell and the faceplate give it a very premium finish within the brand.
• The cable is modular, of very good quality and with a screw lock.
• The 3 pairs of nozzles do modify the sound signature enough.
• Bass sounds clean and textured for most genres.
• Mids have body and are well tuned.
• Despite their heavier material, they are quite comfortable in long sessions.
• The accessories surpass the competition for the price.
• The bass is there but in some genres it might lack impact.
• The soundstage is neither large nor small, it stays at an average leaning towards small size.
• The overall resolution is correct but it does not stand out when the recording gets complex.

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II
• Aful Iceborne
• Muse HiFi M3 Ultra

Unboxing and Build

I have to say that the box has been by far one of the hardest boxes to open. It might have been my particular case but I do not understand why the outer cardboard fits the box so tightly with such exact measurements. It did not matter where you pushed or pulled from, I felt I was going to break everything. I am not lying if I say it took me more than 3 minutes to manage to take off the cardboard that wraps the box. That being said and perhaps unnecessary for many, let us talk about the inside. Right after opening the box you find the in ear monitors with the black eartips attached. After that we find the rest of the cable and a carrying case that honestly seemed like one of the best I have seen at these prices without getting into hard cases. In this case it has a light blue color that goes well with the model and a much stiffer or thicker feel than the cases I have been seeing in other models that include this same type of cases like Hidizs does among other brands. Finally a mini plastic case with the other two pairs of nozzles, a cleaning cloth, documentation and the rest of the eartips.

I must point out that aside from the carrying case, the cable also gives a more premium cable feel than what I have been finding in models around 50$. Additionally it has the modular system that I like with a screw thread to prevent the connector from separating by accident, which for me is a 10 out of 10 in this regard.

Regarding the in ear monitor, I also find a different design and style compared to the other Juzear models I have tested and I feel it is more refined. Interestingly it is one of the cheapest I have tested but the appearance and finish seem more premium to me. Metal shell, glass faceplate with a blue color that varies depending on the angle you look at it being lighter or darker, which complicated some photos to be able to highlight them a bit better. The nozzle itself or the part of the design that integrates with the nozzle I would have appreciated if it was slightly more extended towards the ear since I felt it was a bit short. Although it sealed and fit well in my ear, I usually prefer in ear monitors with a more elongated nozzle and then try to find which eartips fit best.

Sound

Regarding tuning, we have a fairly balanced one but you do appreciate a somewhat warm touch all produced by a single dynamic driver. It does not fall into that group of in ear monitors that surprise you with their tuning, nor into that group that feels too boring and safe from the start. It has all ranges quite contained to not go overboard, avoiding long term fatigue but aiming for a minimum of fun.

Bass

The bass itself has power and plenty of control, without there being a lot of quantity. With a sub bass that gives quite a bit of body to the melodies fulfilling its main function. It is not boomy nor is it probably what this Nimbus was looking for, which can take away some fun from the listener but makes everything sound cleaner and makes the hits last what they have to last without ringing longer than they should. This is something I appreciated in faster metal genres that I usually listen to and which for me are the acid test to see if the tuning is designed or not to withstand those fast hits without ending up muddying everything up, and that is something achieved here. Now if you go into genres where bass has to predominate like in Hip Hop or EDM, unless the song is very well produced and has been boosted enough, it might fall a bit short on punch for many people. But in order to benefit other genres they could not overdo the bass to satisfy what does require more pronounced bass.

Mids

The mids for their part I think are in a position that I personally do not dislike. I do feel the vocals a bit close but not so much that they overwhelm me. Female vocals in fact sounded slightly closer and more natural to me than male ones. I believe the transition made from the bass sounds quite clean and lets the instruments covering the midrange keep sounding with enough weight without thinning out too much. I have to say on a general level, not only in the mids, that regarding the 3 pairs of included nozzles, where I enjoyed the listening experience the most overall was with the white rubber nozzles, the stock ones, having the best balance between smoothness and energy.

Treble

With the stock nozzle, the white one, and as I just said in my previous paragraph is where I found the best sound. In the treble that translates to where I noticed the best extension without bothering my ears when turning up the volume a bit. The brightness produced by the treble with this nozzle does not shine excessively, although I understand it could still be too much for some, so in that case I would opt for the black rubber nozzle. I think the treble has plenty of detail and the separation between layers is noticeable. There is a certain stock smoothness, regardless of the nozzle we use, that I understand prevents overall fatigue if you want to use them for more than an hour.

Soundstage

Regarding the soundstage we are talking about a size leaning towards medium. You do not feel locked in a small space, but neither is it that large extension that makes some sounds seem distant. If the songs are recent and well produced, you appreciate much better the space and the instrument separation that I will talk about now. But this Nimbus tuning with the touch of warmth they bring helps to feel everything more immersive and less analytical. But as I say, you cannot expect a massive soundstage in this case.

Instrument Separation

Let us talk about the separation and honestly, in terms of technicalities, this is where I suffer the most when I have a budget single dynamic driver model. This instrument separation is correct as such, but I run into a common problem in these configurations and that is listening to more complex music where managing so many instruments playing at once and maintaining proper cleanliness and separation becomes a real challenge. It is not that the Nimbus cannot pull it off but it is something you notice right away just like in many other models with similar configurations and prices. Without everything collapsing you can still notice the layers of instruments, but depending on the track you can tell it struggles.

Imaging

Lastly the imaging, where I think both the vocals and the instruments are sufficiently precise. With vocals located in the center and instruments well distributed across the width of the space without being very three dimensional. But it is something I expected with this single dynamic driver. Therefore its use beyond music, like in movies or video games, will not be its strong suit.

Comparisons

Comparing these Nimbus with a model I reviewed not too long ago like the Tanchjim OLA II, I think there is a pretty clear difference between the two. The OLA II to me sounds cleaner and lighter, like most Tanchjim models I have tested, and with thinner mids. The Nimbus as such I feel with more weight and warmth or with more body especially when representing bass and mids. So I would prioritize the OLA II if you enjoy musical clarity more and the extra air in the treble, and something better for daily use although less analytical. But with a somewhat more complete accessory package, the Nimbus would be the winner.

Compared to another fairly recent although slightly cheaper model, there is the Pula Arc which is somewhat smoother and more natural. But it is still a more relaxed and perhaps somewhat more boring tuning for most than this Nimbus. So that would give it an advantage for being able to listen to it for more hours. However on the Nimbus the bass has better definition, apart from the fact that you can play around with the nozzles. As I say the white ones should be enough to find the perfect fit, but you can always emphasize everything by playing with the other two and get a result that for my taste is superior to the Arc, apart from better accessories.

You can check my full ranking of all the IEM reviewed so far on my profile. Reddit does not allow me to post the Drive link here.

Conclusion

To conclude this review I have to say that the Nimbus is or seems to be a different path for Juzear in terms of design. To me this makes the brand look a bit more premium since I prefer these types of finishes over the ones on the Fiesta or Defiant. It is true that resin is still more bearable but I like seeing how they tackle switching to other materials and getting results like this, apart from including all this extra material in the box within this price range, like a modular cable with a safety lock and with a feel and thickness superior to others from the competition. The nozzles themselves are not something I entirely love, as I prefer the brand to achieve an optimal fit across all frequencies and choose a single nozzle that simply works for most. But I know that many people prefer to have the freedom to test and stick with the option from the 3 they offer, rather than having a single one imposed on them that they do not entirely find convincing. I think that at the price they are at they serve as a new benchmark for what you can offer the consumer without cutting back on practically anything and getting a very complete package in return.

Purchase Links

Official Store https://hifigo.com/products/juzear-poise-series-nimbus

AliExpress https://www.aliexpress.com/item/1005012898042561.html

AliExpress https://www.aliexpress.com/item/1005012898663425.html

Amazon US https://www.amazon.com/dp/B0H73CL5YC

Amazon JP https://www.amazon.co.jp/dp/B0HBQCY8PY

Amazon AU https://www.amazon.com.au/dp/B0HBQQ9TJ4

Amazon UK https://www.amazon.co.uk/dp/B0H7BJT7VX

Amazon DE https://www.amazon.de/dp/B0HBQXVW46

Disclaimer

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Hello everyone. Today, August 17th, the Juzear Nimbus are officially launched. I already published some first impressions with a small discussion that you can still join here https://www.reddit.com/r/inearfidelity/s/IpzJVx49JD

There are several Juzear models I have had the chance to test, slowly getting to know how the brand works and what they are capable of offering in each product regardless of the price. This Nimbus, starting at a price of 55$, includes a large amount of things in the box aside from in ear monitors with a great build quality, raising the standard that other brands have not yet reached.

What I Liked and What I Did Not Like

• Both the shell and the faceplate give it a very premium finish within the brand.
• The cable is modular, of very good quality and with a screw lock.
• The 3 pairs of nozzles do modify the sound signature enough.
• Bass sounds clean and textured for most genres.
• Mids have body and are well tuned.
• Despite their heavier material, they are quite comfortable in long sessions.
• The accessories surpass the competition for the price.
• The bass is there but in some genres it might lack impact.
• The soundstage is neither large nor small, it stays at an average leaning towards small size.
• The overall resolution is correct but it does not stand out when the recording gets complex.

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II
• Aful Iceborne
• Muse HiFi M3 Ultra

Unboxing and Build

I have to say that the box has been by far one of the hardest boxes to open. It might have been my particular case but I do not understand why the outer cardboard fits the box so tightly with such exact measurements. It did not matter where you pushed or pulled from, I felt I was going to break everything. I am not lying if I say it took me more than 3 minutes to manage to take off the cardboard that wraps the box. That being said and perhaps unnecessary for many, let us talk about the inside. Right after opening the box you find the in ear monitors with the black eartips attached. After that we find the rest of the cable and a carrying case that honestly seemed like one of the best I have seen at these prices without getting into hard cases. In this case it has a light blue color that goes well with the model and a much stiffer or thicker feel than the cases I have been seeing in other models that include this same type of cases like Hidizs does among other brands. Finally a mini plastic case with the other two pairs of nozzles, a cleaning cloth, documentation and the rest of the eartips.

I must point out that aside from the carrying case, the cable also gives a more premium cable feel than what I have been finding in models around 50$. Additionally it has the modular system that I like with a screw thread to prevent the connector from separating by accident, which for me is a 10 out of 10 in this regard.

Regarding the in ear monitor, I also find a different design and style compared to the other Juzear models I have tested and I feel it is more refined. Interestingly it is one of the cheapest I have tested but the appearance and finish seem more premium to me. Metal shell, glass faceplate with a blue color that varies depending on the angle you look at it being lighter or darker, which complicated some photos to be able to highlight them a bit better. The nozzle itself or the part of the design that integrates with the nozzle I would have appreciated if it was slightly more extended towards the ear since I felt it was a bit short. Although it sealed and fit well in my ear, I usually prefer in ear monitors with a more elongated nozzle and then try to find which eartips fit best.

Sound

Regarding tuning, we have a fairly balanced one but you do appreciate a somewhat warm touch all produced by a single dynamic driver. It does not fall into that group of in ear monitors that surprise you with their tuning, nor into that group that feels too boring and safe from the start. It has all ranges quite contained to not go overboard, avoiding long term fatigue but aiming for a minimum of fun.

Bass

The bass itself has power and plenty of control, without there being a lot of quantity. With a sub bass that gives quite a bit of body to the melodies fulfilling its main function. It is not boomy nor is it probably what this Nimbus was looking for, which can take away some fun from the listener but makes everything sound cleaner and makes the hits last what they have to last without ringing longer than they should. This is something I appreciated in faster metal genres that I usually listen to and which for me are the acid test to see if the tuning is designed or not to withstand those fast hits without ending up muddying everything up, and that is something achieved here. Now if you go into genres where bass has to predominate like in Hip Hop or EDM, unless the song is very well produced and has been boosted enough, it might fall a bit short on punch for many people. But in order to benefit other genres they could not overdo the bass to satisfy what does require more pronounced bass.

Mids

The mids for their part I think are in a position that I personally do not dislike. I do feel the vocals a bit close but not so much that they overwhelm me. Female vocals in fact sounded slightly closer and more natural to me than male ones. I believe the transition made from the bass sounds quite clean and lets the instruments covering the midrange keep sounding with enough weight without thinning out too much. I have to say on a general level, not only in the mids, that regarding the 3 pairs of included nozzles, where I enjoyed the listening experience the most overall was with the white rubber nozzles, the stock ones, having the best balance between smoothness and energy.

Treble

With the stock nozzle, the white one, and as I just said in my previous paragraph is where I found the best sound. In the treble that translates to where I noticed the best extension without bothering my ears when turning up the volume a bit. The brightness produced by the treble with this nozzle does not shine excessively, although I understand it could still be too much for some, so in that case I would opt for the black rubber nozzle. I think the treble has plenty of detail and the separation between layers is noticeable. There is a certain stock smoothness, regardless of the nozzle we use, that I understand prevents overall fatigue if you want to use them for more than an hour.

Soundstage

Regarding the soundstage we are talking about a size leaning towards medium. You do not feel locked in a small space, but neither is it that large extension that makes some sounds seem distant. If the songs are recent and well produced, you appreciate much better the space and the instrument separation that I will talk about now. But this Nimbus tuning with the touch of warmth they bring helps to feel everything more immersive and less analytical. But as I say, you cannot expect a massive soundstage in this case.

Instrument Separation

Let us talk about the separation and honestly, in terms of technicalities, this is where I suffer the most when I have a budget single dynamic driver model. This instrument separation is correct as such, but I run into a common problem in these configurations and that is listening to more complex music where managing so many instruments playing at once and maintaining proper cleanliness and separation becomes a real challenge. It is not that the Nimbus cannot pull it off but it is something you notice right away just like in many other models with similar configurations and prices. Without everything collapsing you can still notice the layers of instruments, but depending on the track you can tell it struggles.

Imaging

Lastly the imaging, where I think both the vocals and the instruments are sufficiently precise. With vocals located in the center and instruments well distributed across the width of the space without being very three dimensional. But it is something I expected with this single dynamic driver. Therefore its use beyond music, like in movies or video games, will not be its strong suit.

Comparisons

Comparing these Nimbus with a model I reviewed not too long ago like the Tanchjim OLA II, I think there is a pretty clear difference between the two. The OLA II to me sounds cleaner and lighter, like most Tanchjim models I have tested, and with thinner mids. The Nimbus as such I feel with more weight and warmth or with more body especially when representing bass and mids. So I would prioritize the OLA II if you enjoy musical clarity more and the extra air in the treble, and something better for daily use although less analytical. But with a somewhat more complete accessory package, the Nimbus would be the winner.

Compared to another fairly recent although slightly cheaper model, there is the Pula Arc which is somewhat smoother and more natural. But it is still a more relaxed and perhaps somewhat more boring tuning for most than this Nimbus. So that would give it an advantage for being able to listen to it for more hours. However on the Nimbus the bass has better definition, apart from the fact that you can play around with the nozzles. As I say the white ones should be enough to find the perfect fit, but you can always emphasize everything by playing with the other two and get a result that for my taste is superior to the Arc, apart from better accessories.

You can check my full ranking of all the IEM reviewed so far on my profile. Reddit does not allow me to post the Drive link here.

Conclusion

To conclude this review I have to say that the Nimbus is or seems to be a different path for Juzear in terms of design. To me this makes the brand look a bit more premium since I prefer these types of finishes over the ones on the Fiesta or Defiant. It is true that resin is still more bearable but I like seeing how they tackle switching to other materials and getting results like this, apart from including all this extra material in the box within this price range, like a modular cable with a safety lock and with a feel and thickness superior to others from the competition. The nozzles themselves are not something I entirely love, as I prefer the brand to achieve an optimal fit across all frequencies and choose a single nozzle that simply works for most. But I know that many people prefer to have the freedom to test and stick with the option from the 3 they offer, rather than having a single one imposed on them that they do not entirely find convincing. I think that at the price they are at they serve as a new benchmark for what you can offer the consumer without cutting back on practically anything and getting a very complete package in return.

Purchase Links

Official Store https://hifigo.com/products/juzear-poise-series-nimbus

AliExpress https://www.aliexpress.com/item/1005012898042561.html

AliExpress https://www.aliexpress.com/item/1005012898663425.html

Amazon US https://www.amazon.com/dp/B0H73CL5YC

Amazon JP https://www.amazon.co.jp/dp/B0HBQCY8PY

Amazon AU https://www.amazon.com.au/dp/B0HBQQ9TJ4

Amazon UK https://www.amazon.co.uk/dp/B0H7BJT7VX

Amazon DE https://www.amazon.de/dp/B0HBQXVW46

Disclaimer

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Hello everyone. Today, August 17th, the Juzear Nimbus are officially launched. I already published some first impressions with a small discussion that you can still join here https://www.reddit.com/r/inearfidelity/s/IpzJVx49JD

There are several Juzear models I have had the chance to test, slowly getting to know how the brand works and what they are capable of offering in each product regardless of the price. This Nimbus, starting at a price of 55$, includes a large amount of things in the box aside from in ear monitors with a great build quality, raising the standard that other brands have not yet reached.

What I Liked and What I Did Not Like

• Both the shell and the faceplate give it a very premium finish within the brand.
• The cable is modular, of very good quality and with a screw lock.
• The 3 pairs of nozzles do modify the sound signature enough.
• Bass sounds clean and textured for most genres.
• Mids have body and are well tuned.
• Despite their heavier material, they are quite comfortable in long sessions.
• The accessories surpass the competition for the price.
• The bass is there but in some genres it might lack impact.
• The soundstage is neither large nor small, it stays at an average leaning towards small size.
• The overall resolution is correct but it does not stand out when the recording gets complex.

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II
• Aful Iceborne
• Muse HiFi M3 Ultra

Unboxing and Build

I have to say that the box has been by far one of the hardest boxes to open. It might have been my particular case but I do not understand why the outer cardboard fits the box so tightly with such exact measurements. It did not matter where you pushed or pulled from, I felt I was going to break everything. I am not lying if I say it took me more than 3 minutes to manage to take off the cardboard that wraps the box. That being said and perhaps unnecessary for many, let us talk about the inside. Right after opening the box you find the in ear monitors with the black eartips attached. After that we find the rest of the cable and a carrying case that honestly seemed like one of the best I have seen at these prices without getting into hard cases. In this case it has a light blue color that goes well with the model and a much stiffer or thicker feel than the cases I have been seeing in other models that include this same type of cases like Hidizs does among other brands. Finally a mini plastic case with the other two pairs of nozzles, a cleaning cloth, documentation and the rest of the eartips.

I must point out that aside from the carrying case, the cable also gives a more premium cable feel than what I have been finding in models around 50$. Additionally it has the modular system that I like with a screw thread to prevent the connector from separating by accident, which for me is a 10 out of 10 in this regard.

Regarding the in ear monitor, I also find a different design and style compared to the other Juzear models I have tested and I feel it is more refined. Interestingly it is one of the cheapest I have tested but the appearance and finish seem more premium to me. Metal shell, glass faceplate with a blue color that varies depending on the angle you look at it being lighter or darker, which complicated some photos to be able to highlight them a bit better. The nozzle itself or the part of the design that integrates with the nozzle I would have appreciated if it was slightly more extended towards the ear since I felt it was a bit short. Although it sealed and fit well in my ear, I usually prefer in ear monitors with a more elongated nozzle and then try to find which eartips fit best.

Sound

Regarding tuning, we have a fairly balanced one but you do appreciate a somewhat warm touch all produced by a single dynamic driver. It does not fall into that group of in ear monitors that surprise you with their tuning, nor into that group that feels too boring and safe from the start. It has all ranges quite contained to not go overboard, avoiding long term fatigue but aiming for a minimum of fun.

Bass

The bass itself has power and plenty of control, without there being a lot of quantity. With a sub bass that gives quite a bit of body to the melodies fulfilling its main function. It is not boomy nor is it probably what this Nimbus was looking for, which can take away some fun from the listener but makes everything sound cleaner and makes the hits last what they have to last without ringing longer than they should. This is something I appreciated in faster metal genres that I usually listen to and which for me are the acid test to see if the tuning is designed or not to withstand those fast hits without ending up muddying everything up, and that is something achieved here. Now if you go into genres where bass has to predominate like in Hip Hop or EDM, unless the song is very well produced and has been boosted enough, it might fall a bit short on punch for many people. But in order to benefit other genres they could not overdo the bass to satisfy what does require more pronounced bass.

Mids

The mids for their part I think are in a position that I personally do not dislike. I do feel the vocals a bit close but not so much that they overwhelm me. Female vocals in fact sounded slightly closer and more natural to me than male ones. I believe the transition made from the bass sounds quite clean and lets the instruments covering the midrange keep sounding with enough weight without thinning out too much. I have to say on a general level, not only in the mids, that regarding the 3 pairs of included nozzles, where I enjoyed the listening experience the most overall was with the white rubber nozzles, the stock ones, having the best balance between smoothness and energy.

Treble

With the stock nozzle, the white one, and as I just said in my previous paragraph is where I found the best sound. In the treble that translates to where I noticed the best extension without bothering my ears when turning up the volume a bit. The brightness produced by the treble with this nozzle does not shine excessively, although I understand it could still be too much for some, so in that case I would opt for the black rubber nozzle. I think the treble has plenty of detail and the separation between layers is noticeable. There is a certain stock smoothness, regardless of the nozzle we use, that I understand prevents overall fatigue if you want to use them for more than an hour.

Soundstage

Regarding the soundstage we are talking about a size leaning towards medium. You do not feel locked in a small space, but neither is it that large extension that makes some sounds seem distant. If the songs are recent and well produced, you appreciate much better the space and the instrument separation that I will talk about now. But this Nimbus tuning with the touch of warmth they bring helps to feel everything more immersive and less analytical. But as I say, you cannot expect a massive soundstage in this case.

Instrument Separation

Let us talk about the separation and honestly, in terms of technicalities, this is where I suffer the most when I have a budget single dynamic driver model. This instrument separation is correct as such, but I run into a common problem in these configurations and that is listening to more complex music where managing so many instruments playing at once and maintaining proper cleanliness and separation becomes a real challenge. It is not that the Nimbus cannot pull it off but it is something you notice right away just like in many other models with similar configurations and prices. Without everything collapsing you can still notice the layers of instruments, but depending on the track you can tell it struggles.

Imaging

Lastly the imaging, where I think both the vocals and the instruments are sufficiently precise. With vocals located in the center and instruments well distributed across the width of the space without being very three dimensional. But it is something I expected with this single dynamic driver. Therefore its use beyond music, like in movies or video games, will not be its strong suit.

Comparisons

Comparing these Nimbus with a model I reviewed not too long ago like the Tanchjim OLA II, I think there is a pretty clear difference between the two. The OLA II to me sounds cleaner and lighter, like most Tanchjim models I have tested, and with thinner mids. The Nimbus as such I feel with more weight and warmth or with more body especially when representing bass and mids. So I would prioritize the OLA II if you enjoy musical clarity more and the extra air in the treble, and something better for daily use although less analytical. But with a somewhat more complete accessory package, the Nimbus would be the winner.

Compared to another fairly recent although slightly cheaper model, there is the Pula Arc which is somewhat smoother and more natural. But it is still a more relaxed and perhaps somewhat more boring tuning for most than this Nimbus. So that would give it an advantage for being able to listen to it for more hours. However on the Nimbus the bass has better definition, apart from the fact that you can play around with the nozzles. As I say the white ones should be enough to find the perfect fit, but you can always emphasize everything by playing with the other two and get a result that for my taste is superior to the Arc, apart from better accessories.

You can check my full ranking of all the IEM reviewed so far on my profile. Reddit does not allow me to post the Drive link here.

Conclusion

To conclude this review I have to say that the Nimbus is or seems to be a different path for Juzear in terms of design. To me this makes the brand look a bit more premium since I prefer these types of finishes over the ones on the Fiesta or Defiant. It is true that resin is still more bearable but I like seeing how they tackle switching to other materials and getting results like this, apart from including all this extra material in the box within this price range, like a modular cable with a safety lock and with a feel and thickness superior to others from the competition. The nozzles themselves are not something I entirely love, as I prefer the brand to achieve an optimal fit across all frequencies and choose a single nozzle that simply works for most. But I know that many people prefer to have the freedom to test and stick with the option from the 3 they offer, rather than having a single one imposed on them that they do not entirely find convincing. I think that at the price they are at they serve as a new benchmark for what you can offer the consumer without cutting back on practically anything and getting a very complete package in return.

Purchase Links

Official Store https://hifigo.com/products/juzear-poise-series-nimbus

AliExpress https://www.aliexpress.com/item/1005012898042561.html

AliExpress https://www.aliexpress.com/item/1005012898663425.html

Amazon US https://www.amazon.com/dp/B0H73CL5YC

Amazon JP https://www.amazon.co.jp/dp/B0HBQCY8PY

Amazon AU https://www.amazon.com.au/dp/B0HBQQ9TJ4

Amazon UK https://www.amazon.co.uk/dp/B0H7BJT7VX

Amazon DE https://www.amazon.de/dp/B0HBQXVW46

Disclaimer

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

I received this Muse Hifi M3 Ultra at the same time as the Aful Iceborne and that is why I am reviewing them one after the other. With the recent experience of the Iceborne I now find myself with this other dongle that I sincerely was especially eager to try with my IEMs and see what a dongle with these unusual characteristics can contribute, even more so within the 100 dollar range. I expected something that would differentiate itself from the rest of the dongles tested so far and luckily for me that has been the case. The sound, without going into details but as an introduction, improves in terms of warmth and organicity and softens annoying peaks in certain models making them more enjoyable here, so it will be one more dongle in my collection that will help me get more out of IEMs that without EQ needed something to tame them.

What I liked / What I did not like

• Warm and characteristic sound with no background noise at all.
• Plenty of power for such a small device.
• Aluminum construction and eye-catching design.
• Wide stage and organic presentation.
• Physical volume control with memory.
• Although I love the design, the tubes are unprotected.
• It can be a bit more uncomfortable to carry in the pocket than other dongle DACs.
• There are no buttons to control playback.

Specifications

DAC: ES9028Q2M

Amplification: ES9603Q + dual JAN6418

USB: SA9137L

Support: PCM 32 bit / 384 kHz and native DSD256

Outputs: 3.5 mm and 4.4 mm balanced

Power: 460 mW (3.5 mm) / 480 mW (4.4 mm) at 32 Ω

THD+N: 0.0004 % (3.5 mm) / 0.0003 % (4.4 mm)

SNR: 120 dB / 121 dB

Weight: approx. 55 g

Dimensions: 65 × 46.5 × 16 mm

Unboxing and build

As I could expect, the presentation once you open the box, which by the way opens by sliding to the side and not upwards, includes just the essentials, the DAC and the corresponding cable besides the basic manual. You can always hope that some brand includes a protective case as standard which is usually sold separately, although in this model I have no knowledge that one exists yet.

It is something that time may confirm but it would be welcome to a certain extent to protect the 2 tubes that come uncovered and that you can touch but that make you think that after an accidental drop they could break. I cross my fingers that it does not fall and much less that they break. The two tubes are JAN6418. I am no expert on this but it is clear that together with the rest of the circuitry they do a different job from a conventional dongle of the ones we all have, but I will talk about that below. The body is aluminum although at first before receiving the product it gave me a feeling like cheap plastic and not at all, it is hard and resistant and with only a weight of 55 grams. It is a bit more voluminous than other dongles, that also has to be said, but it can fit in the pocket the same as the rest.

I have had them on long walks and in the end I did not feel that I was carrying an uncomfortable brick in my pants even though it was connected to the smartphone where I use Apple Music. Apart from that, far from heating up after more than an hour and a half that I walked, it felt quite lukewarm to the touch so it seems that it manages heat quite well, despite the sensation that the tubes give when they light up with an orange color on the side that transmits heat visually, that is not something that really happens.

Sound

I had the idea that this DAC was not going to be something neutral or anything similar to others of my current models like the Questyle M15i, NiceHCK Octave or the more recent Tanchjim Space II. This M3 Ultra adds an extra layer of body or density to the music, which is especially noticeable in the lower midrange and in most vocals. This gives a somewhat more organic and colored sound, something that by the way I wanted to move away from since I got into seeking total neutrality some time ago but I think it is necessary to have models like this and others that seek to contribute something different to the tracks you already know and to others still to discover.

Bass

I have not felt that the bass increases as such when using this M3 Ultra but rather the body of that bass or the density. More than in the subbass I would say it happens more in the midbass with that extra body that fills that zone a bit more without bothering. I may have noticed the definition a bit more distorted than with some of my other DACs, but as I say, not to the level of dirtying the sound but of giving it a more organic or realistic touch and not so perfect. In any case, the transition from bass to mids still feels smooth.

Mids

I think that pair of tubes has quite a bit to say in this range. I have noticed it especially in the vocals with a more striking presence in tracks that I already had more than listened to and where I could notice the difference more easily. To fine tune a bit more I would say that the lower mids are denser than the upper mids which sound much softer helping in this way that tracks that were brighter in this range sound better to my taste and tolerate higher volume better. I think this DAC prioritizes sounding musical, sacrificing slightly a bit of the resolution that the Questyle M15i has me used to, which I consider without a doubt my best dongle of all the ones I have. But not everything is resolution and what one gives me the other does not and they can complement each other quite well.

Treble

I have not felt that the M3 Ultra emphasizes the treble or worsens the extension of the same. As I commented with my usual tracks that I already know I still feel that extension and distant and subtle detail, but yes a bit more controlled without getting to sound dark or muted which was also my concern when I was using it the first minutes and felt that it did not have the energy that it had in my other models. It would be in an intermediate point between very energetic and dark allowing prolonged listening and that will surely benefit many IEMs that perhaps lacked a bit more control in treble with their stock EQ.

Test with some IEMs

I decided to try this M3 Ultra with 3 of my IEMs that I know well how they sound and where they overdo or where they lack to see how they behaved here. Starting with the Mysticraft Myth, I immediately noticed that extra body in the bass without them increasing but yes improving their density the same as the vocals that now sounded more present. The stage of the Myth is already excellent in itself and according to its price but with this DAC the enveloping sensation improved especially in some tracks curiously from older recordings although possibly remastered like the song Stand! by Jackson 5 that jumped in my library when I activated shuffle mode and impressed me how it sounded here with this specific combination of IEM and DAC.

Another model that I wanted to try and that already has a very special treatment in mids and in the vocals are the Ziigaat Arcanis, which also on certain occasions have sounded a bit bright in the treble of some musical tracks, and the M3 Ultra has fixed them completely if I compare them with the FiiO KA15 where they became a bit annoying at times. Now the treble was smoothed as happens in general with all the IEMs I have connected here, but above all the body and organicity that the vocals acquired took the Arcanis to a new level that I think improved the overall experience of this specific model, with which I think it has been the most benefited of the 3 IEMs that I tried.

Lastly and exclusively with the M3 Ultra connected to the mini PC at home, I tried the Binary 1900, which is a fairly balanced IEM in general without standing out in specific frequencies although also prioritizing musicality before excessive detail. The M3 Ultra once again added to the 1900 an extra layer of warmth to the sound in general but without unbalancing its original tuning that is already very well tuned in itself. The vocals as in the Arcanis also gained a bit more organicity and presence although not as much as in those.

Technical aspects

Speaking a bit above about how I have felt the soundstage, separation and imaging in this M3 Ultra, the width is more than I expected and the depth not as much as I have noticed in the M15i but in the end this is contributed more by the IEM itself that you connect than by the DAC itself, which does not take away that in a certain way it can be enhanced for better or for worse and here it does not worsen at all. It is possible that the tubes help in their way so that the instruments have a bit more space around them, it is something that can be felt in specific songs if you stop to listen after trying other dongles and then come to these. But the holographic sensation I would dare to say that it improves in general IEMs where they felt a bit flatter in width and depth.

Of course, I had to try more complex tracks, in quantity of instruments, speed, etc, to check that indeed some layers of instruments get a bit closer between them when the melody gets complicated, something that my desktop DAC the FiiO K9 manages wonderfully and here being a dongle even with these unique characteristics manages with a bit more complication making the music a bit flatter in those specific moments that I comment.

I was able to use it for a while from the smartphone itself watching a movie and the localization of the sounds the same as with music remained quite coherent without disorienting me about where the sounds around me were coming from, although it is clear that the focus of the M3 Ultra is clearly on music but it does not clash at all if you want to use it in other areas.

Comparison

I will compare it directly with the Aful Iceborne for having it very recently and being a model of similar price and launched practically at the same time or of that I have knowledge. Starting from the fact that the Iceborne gives the sensation of an elongated brick that simulates a black ice block, it is still smaller and a bit thinner still than the M3 Ultra. Perhaps in the photo that I have included where both are seen face to face it is not appreciated but I have checked it myself and it wins in all measurements being more compact. Where does it not win against the M3 Ultra? Well surely in construction material since a resin DAC although it can surely resist hits and falls does not give you the same peace of mind as one of aluminum although as I commented, the tubes of the M3 Ultra are uncovered no matter how surrounded by aluminum they are so time will tell how each one resists not only to hits but to involuntary scrapes and scratches on pants, tables, etc.

I have not felt that either of the 2 heats up especially after use for hours although perhaps the M3 Ultra manages heat better, whether due to its internal construction or that of the aluminum case itself. Regarding how they modify the sound of the IEMs it could be summarized in that the Iceborne gets closer to that neutrality that I had been pursuing for some time in the dongles that I wanted to have without coloring or modifying the songs too much as I know them, while the M3 Ultra does add whether for good or not so good a layer of warmth and body to the music that why not say it, is something that can be appealing or there are those who may prefer it in general for their day to day with greater control of treble that the Iceborne shows closer to how they are originally.

It should also be noted that in terms of power the M3 Ultra has 480 mW unlike the Iceborne that stays at 300 mW so you are going to have less margin to amplify more demanding headphones on the Iceborne, apart from that the Iceborne does not have multimedia buttons like the M3 Ultra but neither does it have physical volume control which the M3 Ultra does.

I do not consider that I should put one ahead of the other since neither of the two seem bad dongle DACs to me. Perhaps for what each one contributes the Iceborne should cost a bit less than what it costs, due to construction material, technology and simplicity at the level of possibilities for that total lack of buttons.

Ranking

You can check my full ranking of all the IEM reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here)

Conclusion

To conclude I must say that the Muse Hifi M3 Ultra is a more or less economical way, that each one will value but yes a quite accessible way to get closer to tube sound in portable format, which I recommend without a doubt and at the moment I write this review they are at a price of 109.99$ but this same August 17 some Back to school campaign discounts are coming where the model will drop 12% staying at 96.79$ a price that sincerely is much more attractive and even more if you can combine it with some extra coupon or extra discount, so stay tuned to these discounts if you are interested in the model and want to get it at an even more competitive price.

Purchase Link: https://hifigo.com/products/muse-hifi-m3-ultra

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

I received this Muse Hifi M3 Ultra at the same time as the Aful Iceborne and that is why I am reviewing them one after the other. With the recent experience of the Iceborne I now find myself with this other dongle that I sincerely was especially eager to try with my IEMs and see what a dongle with these unusual characteristics can contribute, even more so within the 100 dollar range. I expected something that would differentiate itself from the rest of the dongles tested so far and luckily for me that has been the case. The sound, without going into details but as an introduction, improves in terms of warmth and organicity and softens annoying peaks in certain models making them more enjoyable here, so it will be one more dongle in my collection that will help me get more out of IEMs that without EQ needed something to tame them.

What I liked / What I did not like

• Warm and characteristic sound with no background noise at all.
• Plenty of power for such a small device.
• Aluminum construction and eye-catching design.
• Wide stage and organic presentation.
• Physical volume control with memory.
• Although I love the design, the tubes are unprotected.
• It can be a bit more uncomfortable to carry in the pocket than other dongle DACs.
• There are no buttons to control playback.

Specifications

DAC: ES9028Q2M

Amplification: ES9603Q + dual JAN6418

USB: SA9137L

Support: PCM 32 bit / 384 kHz and native DSD256

Outputs: 3.5 mm and 4.4 mm balanced

Power: 460 mW (3.5 mm) / 480 mW (4.4 mm) at 32 Ω

THD+N: 0.0004 % (3.5 mm) / 0.0003 % (4.4 mm)

SNR: 120 dB / 121 dB

Weight: approx. 55 g

Dimensions: 65 × 46.5 × 16 mm

Unboxing and build

As I could expect, the presentation once you open the box, which by the way opens by sliding to the side and not upwards, includes just the essentials, the DAC and the corresponding cable besides the basic manual. You can always hope that some brand includes a protective case as standard which is usually sold separately, although in this model I have no knowledge that one exists yet.

It is something that time may confirm but it would be welcome to a certain extent to protect the 2 tubes that come uncovered and that you can touch but that make you think that after an accidental drop they could break. I cross my fingers that it does not fall and much less that they break. The two tubes are JAN6418. I am no expert on this but it is clear that together with the rest of the circuitry they do a different job from a conventional dongle of the ones we all have, but I will talk about that below. The body is aluminum although at first before receiving the product it gave me a feeling like cheap plastic and not at all, it is hard and resistant and with only a weight of 55 grams. It is a bit more voluminous than other dongles, that also has to be said, but it can fit in the pocket the same as the rest.

I have had them on long walks and in the end I did not feel that I was carrying an uncomfortable brick in my pants even though it was connected to the smartphone where I use Apple Music. Apart from that, far from heating up after more than an hour and a half that I walked, it felt quite lukewarm to the touch so it seems that it manages heat quite well, despite the sensation that the tubes give when they light up with an orange color on the side that transmits heat visually, that is not something that really happens.

Sound

I had the idea that this DAC was not going to be something neutral or anything similar to others of my current models like the Questyle M15i, NiceHCK Octave or the more recent Tanchjim Space II. This M3 Ultra adds an extra layer of body or density to the music, which is especially noticeable in the lower midrange and in most vocals. This gives a somewhat more organic and colored sound, something that by the way I wanted to move away from since I got into seeking total neutrality some time ago but I think it is necessary to have models like this and others that seek to contribute something different to the tracks you already know and to others still to discover.

Bass

I have not felt that the bass increases as such when using this M3 Ultra but rather the body of that bass or the density. More than in the subbass I would say it happens more in the midbass with that extra body that fills that zone a bit more without bothering. I may have noticed the definition a bit more distorted than with some of my other DACs, but as I say, not to the level of dirtying the sound but of giving it a more organic or realistic touch and not so perfect. In any case, the transition from bass to mids still feels smooth.

Mids

I think that pair of tubes has quite a bit to say in this range. I have noticed it especially in the vocals with a more striking presence in tracks that I already had more than listened to and where I could notice the difference more easily. To fine tune a bit more I would say that the lower mids are denser than the upper mids which sound much softer helping in this way that tracks that were brighter in this range sound better to my taste and tolerate higher volume better. I think this DAC prioritizes sounding musical, sacrificing slightly a bit of the resolution that the Questyle M15i has me used to, which I consider without a doubt my best dongle of all the ones I have. But not everything is resolution and what one gives me the other does not and they can complement each other quite well.

Treble

I have not felt that the M3 Ultra emphasizes the treble or worsens the extension of the same. As I commented with my usual tracks that I already know I still feel that extension and distant and subtle detail, but yes a bit more controlled without getting to sound dark or muted which was also my concern when I was using it the first minutes and felt that it did not have the energy that it had in my other models. It would be in an intermediate point between very energetic and dark allowing prolonged listening and that will surely benefit many IEMs that perhaps lacked a bit more control in treble with their stock EQ.

Test with some IEMs

I decided to try this M3 Ultra with 3 of my IEMs that I know well how they sound and where they overdo or where they lack to see how they behaved here. Starting with the Mysticraft Myth, I immediately noticed that extra body in the bass without them increasing but yes improving their density the same as the vocals that now sounded more present. The stage of the Myth is already excellent in itself and according to its price but with this DAC the enveloping sensation improved especially in some tracks curiously from older recordings although possibly remastered like the song Stand! by Jackson 5 that jumped in my library when I activated shuffle mode and impressed me how it sounded here with this specific combination of IEM and DAC.

Another model that I wanted to try and that already has a very special treatment in mids and in the vocals are the Ziigaat Arcanis, which also on certain occasions have sounded a bit bright in the treble of some musical tracks, and the M3 Ultra has fixed them completely if I compare them with the FiiO KA15 where they became a bit annoying at times. Now the treble was smoothed as happens in general with all the IEMs I have connected here, but above all the body and organicity that the vocals acquired took the Arcanis to a new level that I think improved the overall experience of this specific model, with which I think it has been the most benefited of the 3 IEMs that I tried.

Lastly and exclusively with the M3 Ultra connected to the mini PC at home, I tried the Binary 1900, which is a fairly balanced IEM in general without standing out in specific frequencies although also prioritizing musicality before excessive detail. The M3 Ultra once again added to the 1900 an extra layer of warmth to the sound in general but without unbalancing its original tuning that is already very well tuned in itself. The vocals as in the Arcanis also gained a bit more organicity and presence although not as much as in those.

Technical aspects

Speaking a bit above about how I have felt the soundstage, separation and imaging in this M3 Ultra, the width is more than I expected and the depth not as much as I have noticed in the M15i but in the end this is contributed more by the IEM itself that you connect than by the DAC itself, which does not take away that in a certain way it can be enhanced for better or for worse and here it does not worsen at all. It is possible that the tubes help in their way so that the instruments have a bit more space around them, it is something that can be felt in specific songs if you stop to listen after trying other dongles and then come to these. But the holographic sensation I would dare to say that it improves in general IEMs where they felt a bit flatter in width and depth.

Of course, I had to try more complex tracks, in quantity of instruments, speed, etc, to check that indeed some layers of instruments get a bit closer between them when the melody gets complicated, something that my desktop DAC the FiiO K9 manages wonderfully and here being a dongle even with these unique characteristics manages with a bit more complication making the music a bit flatter in those specific moments that I comment.

I was able to use it for a while from the smartphone itself watching a movie and the localization of the sounds the same as with music remained quite coherent without disorienting me about where the sounds around me were coming from, although it is clear that the focus of the M3 Ultra is clearly on music but it does not clash at all if you want to use it in other areas.

Comparison

I will compare it directly with the Aful Iceborne for having it very recently and being a model of similar price and launched practically at the same time or of that I have knowledge. Starting from the fact that the Iceborne gives the sensation of an elongated brick that simulates a black ice block, it is still smaller and a bit thinner still than the M3 Ultra. Perhaps in the photo that I have included where both are seen face to face it is not appreciated but I have checked it myself and it wins in all measurements being more compact. Where does it not win against the M3 Ultra? Well surely in construction material since a resin DAC although it can surely resist hits and falls does not give you the same peace of mind as one of aluminum although as I commented, the tubes of the M3 Ultra are uncovered no matter how surrounded by aluminum they are so time will tell how each one resists not only to hits but to involuntary scrapes and scratches on pants, tables, etc.

I have not felt that either of the 2 heats up especially after use for hours although perhaps the M3 Ultra manages heat better, whether due to its internal construction or that of the aluminum case itself. Regarding how they modify the sound of the IEMs it could be summarized in that the Iceborne gets closer to that neutrality that I had been pursuing for some time in the dongles that I wanted to have without coloring or modifying the songs too much as I know them, while the M3 Ultra does add whether for good or not so good a layer of warmth and body to the music that why not say it, is something that can be appealing or there are those who may prefer it in general for their day to day with greater control of treble that the Iceborne shows closer to how they are originally.

It should also be noted that in terms of power the M3 Ultra has 480 mW unlike the Iceborne that stays at 300 mW so you are going to have less margin to amplify more demanding headphones on the Iceborne, apart from that the Iceborne does not have multimedia buttons like the M3 Ultra but neither does it have physical volume control which the M3 Ultra does.

I do not consider that I should put one ahead of the other since neither of the two seem bad dongle DACs to me. Perhaps for what each one contributes the Iceborne should cost a bit less than what it costs, due to construction material, technology and simplicity at the level of possibilities for that total lack of buttons.

Ranking

You can check my full ranking of all the IEM reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here)

Conclusion

To conclude I must say that the Muse Hifi M3 Ultra is a more or less economical way, that each one will value but yes a quite accessible way to get closer to tube sound in portable format, which I recommend without a doubt and at the moment I write this review they are at a price of 109.99$ but this same August 17 some Back to school campaign discounts are coming where the model will drop 12% staying at 96.79$ a price that sincerely is much more attractive and even more if you can combine it with some extra coupon or extra discount, so stay tuned to these discounts if you are interested in the model and want to get it at an even more competitive price.

Purchase Link: https://hifigo.com/products/muse-hifi-m3-ultra

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

I received this Muse Hifi M3 Ultra at the same time as the Aful Iceborne and that is why I am reviewing them one after the other. With the recent experience of the Iceborne I now find myself with this other dongle that I sincerely was especially eager to try with my IEMs and see what a dongle with these unusual characteristics can contribute, even more so within the 100 dollar range. I expected something that would differentiate itself from the rest of the dongles tested so far and luckily for me that has been the case. The sound, without going into details but as an introduction, improves in terms of warmth and organicity and softens annoying peaks in certain models making them more enjoyable here, so it will be one more dongle in my collection that will help me get more out of IEMs that without EQ needed something to tame them.

What I liked / What I did not like

• Warm and characteristic sound with no background noise at all.
• Plenty of power for such a small device.
• Aluminum construction and eye-catching design.
• Wide stage and organic presentation.
• Physical volume control with memory.
• Although I love the design, the tubes are unprotected.
• It can be a bit more uncomfortable to carry in the pocket than other dongle DACs.
• There are no buttons to control playback.

Specifications

DAC: ES9028Q2M

Amplification: ES9603Q + dual JAN6418

USB: SA9137L

Support: PCM 32 bit / 384 kHz and native DSD256

Outputs: 3.5 mm and 4.4 mm balanced

Power: 460 mW (3.5 mm) / 480 mW (4.4 mm) at 32 Ω

THD+N: 0.0004 % (3.5 mm) / 0.0003 % (4.4 mm)

SNR: 120 dB / 121 dB

Weight: approx. 55 g

Dimensions: 65 × 46.5 × 16 mm

Unboxing and build

As I could expect, the presentation once you open the box, which by the way opens by sliding to the side and not upwards, includes just the essentials, the DAC and the corresponding cable besides the basic manual. You can always hope that some brand includes a protective case as standard which is usually sold separately, although in this model I have no knowledge that one exists yet.

It is something that time may confirm but it would be welcome to a certain extent to protect the 2 tubes that come uncovered and that you can touch but that make you think that after an accidental drop they could break. I cross my fingers that it does not fall and much less that they break. The two tubes are JAN6418. I am no expert on this but it is clear that together with the rest of the circuitry they do a different job from a conventional dongle of the ones we all have, but I will talk about that below. The body is aluminum although at first before receiving the product it gave me a feeling like cheap plastic and not at all, it is hard and resistant and with only a weight of 55 grams. It is a bit more voluminous than other dongles, that also has to be said, but it can fit in the pocket the same as the rest.

I have had them on long walks and in the end I did not feel that I was carrying an uncomfortable brick in my pants even though it was connected to the smartphone where I use Apple Music. Apart from that, far from heating up after more than an hour and a half that I walked, it felt quite lukewarm to the touch so it seems that it manages heat quite well, despite the sensation that the tubes give when they light up with an orange color on the side that transmits heat visually, that is not something that really happens.

Sound

I had the idea that this DAC was not going to be something neutral or anything similar to others of my current models like the Questyle M15i, NiceHCK Octave or the more recent Tanchjim Space II. This M3 Ultra adds an extra layer of body or density to the music, which is especially noticeable in the lower midrange and in most vocals. This gives a somewhat more organic and colored sound, something that by the way I wanted to move away from since I got into seeking total neutrality some time ago but I think it is necessary to have models like this and others that seek to contribute something different to the tracks you already know and to others still to discover.

Bass

I have not felt that the bass increases as such when using this M3 Ultra but rather the body of that bass or the density. More than in the subbass I would say it happens more in the midbass with that extra body that fills that zone a bit more without bothering. I may have noticed the definition a bit more distorted than with some of my other DACs, but as I say, not to the level of dirtying the sound but of giving it a more organic or realistic touch and not so perfect. In any case, the transition from bass to mids still feels smooth.

Mids

I think that pair of tubes has quite a bit to say in this range. I have noticed it especially in the vocals with a more striking presence in tracks that I already had more than listened to and where I could notice the difference more easily. To fine tune a bit more I would say that the lower mids are denser than the upper mids which sound much softer helping in this way that tracks that were brighter in this range sound better to my taste and tolerate higher volume better. I think this DAC prioritizes sounding musical, sacrificing slightly a bit of the resolution that the Questyle M15i has me used to, which I consider without a doubt my best dongle of all the ones I have. But not everything is resolution and what one gives me the other does not and they can complement each other quite well.

Treble

I have not felt that the M3 Ultra emphasizes the treble or worsens the extension of the same. As I commented with my usual tracks that I already know I still feel that extension and distant and subtle detail, but yes a bit more controlled without getting to sound dark or muted which was also my concern when I was using it the first minutes and felt that it did not have the energy that it had in my other models. It would be in an intermediate point between very energetic and dark allowing prolonged listening and that will surely benefit many IEMs that perhaps lacked a bit more control in treble with their stock EQ.

Test with some IEMs

I decided to try this M3 Ultra with 3 of my IEMs that I know well how they sound and where they overdo or where they lack to see how they behaved here. Starting with the Mysticraft Myth, I immediately noticed that extra body in the bass without them increasing but yes improving their density the same as the vocals that now sounded more present. The stage of the Myth is already excellent in itself and according to its price but with this DAC the enveloping sensation improved especially in some tracks curiously from older recordings although possibly remastered like the song Stand! by Jackson 5 that jumped in my library when I activated shuffle mode and impressed me how it sounded here with this specific combination of IEM and DAC.

Another model that I wanted to try and that already has a very special treatment in mids and in the vocals are the Ziigaat Arcanis, which also on certain occasions have sounded a bit bright in the treble of some musical tracks, and the M3 Ultra has fixed them completely if I compare them with the FiiO KA15 where they became a bit annoying at times. Now the treble was smoothed as happens in general with all the IEMs I have connected here, but above all the body and organicity that the vocals acquired took the Arcanis to a new level that I think improved the overall experience of this specific model, with which I think it has been the most benefited of the 3 IEMs that I tried.

Lastly and exclusively with the M3 Ultra connected to the mini PC at home, I tried the Binary 1900, which is a fairly balanced IEM in general without standing out in specific frequencies although also prioritizing musicality before excessive detail. The M3 Ultra once again added to the 1900 an extra layer of warmth to the sound in general but without unbalancing its original tuning that is already very well tuned in itself. The vocals as in the Arcanis also gained a bit more organicity and presence although not as much as in those.

Technical aspects

Speaking a bit above about how I have felt the soundstage, separation and imaging in this M3 Ultra, the width is more than I expected and the depth not as much as I have noticed in the M15i but in the end this is contributed more by the IEM itself that you connect than by the DAC itself, which does not take away that in a certain way it can be enhanced for better or for worse and here it does not worsen at all. It is possible that the tubes help in their way so that the instruments have a bit more space around them, it is something that can be felt in specific songs if you stop to listen after trying other dongles and then come to these. But the holographic sensation I would dare to say that it improves in general IEMs where they felt a bit flatter in width and depth.

Of course, I had to try more complex tracks, in quantity of instruments, speed, etc, to check that indeed some layers of instruments get a bit closer between them when the melody gets complicated, something that my desktop DAC the FiiO K9 manages wonderfully and here being a dongle even with these unique characteristics manages with a bit more complication making the music a bit flatter in those specific moments that I comment.

I was able to use it for a while from the smartphone itself watching a movie and the localization of the sounds the same as with music remained quite coherent without disorienting me about where the sounds around me were coming from, although it is clear that the focus of the M3 Ultra is clearly on music but it does not clash at all if you want to use it in other areas.

Comparison

I will compare it directly with the Aful Iceborne for having it very recently and being a model of similar price and launched practically at the same time or of that I have knowledge. Starting from the fact that the Iceborne gives the sensation of an elongated brick that simulates a black ice block, it is still smaller and a bit thinner still than the M3 Ultra. Perhaps in the photo that I have included where both are seen face to face it is not appreciated but I have checked it myself and it wins in all measurements being more compact. Where does it not win against the M3 Ultra? Well surely in construction material since a resin DAC although it can surely resist hits and falls does not give you the same peace of mind as one of aluminum although as I commented, the tubes of the M3 Ultra are uncovered no matter how surrounded by aluminum they are so time will tell how each one resists not only to hits but to involuntary scrapes and scratches on pants, tables, etc.

I have not felt that either of the 2 heats up especially after use for hours although perhaps the M3 Ultra manages heat better, whether due to its internal construction or that of the aluminum case itself. Regarding how they modify the sound of the IEMs it could be summarized in that the Iceborne gets closer to that neutrality that I had been pursuing for some time in the dongles that I wanted to have without coloring or modifying the songs too much as I know them, while the M3 Ultra does add whether for good or not so good a layer of warmth and body to the music that why not say it, is something that can be appealing or there are those who may prefer it in general for their day to day with greater control of treble that the Iceborne shows closer to how they are originally.

It should also be noted that in terms of power the M3 Ultra has 480 mW unlike the Iceborne that stays at 300 mW so you are going to have less margin to amplify more demanding headphones on the Iceborne, apart from that the Iceborne does not have multimedia buttons like the M3 Ultra but neither does it have physical volume control which the M3 Ultra does.

I do not consider that I should put one ahead of the other since neither of the two seem bad dongle DACs to me. Perhaps for what each one contributes the Iceborne should cost a bit less than what it costs, due to construction material, technology and simplicity at the level of possibilities for that total lack of buttons.

Ranking

You can check my full ranking of all the IEM reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here)

Conclusion

To conclude I must say that the Muse Hifi M3 Ultra is a more or less economical way, that each one will value but yes a quite accessible way to get closer to tube sound in portable format, which I recommend without a doubt and at the moment I write this review they are at a price of 109.99$ but this same August 17 some Back to school campaign discounts are coming where the model will drop 12% staying at 96.79$ a price that sincerely is much more attractive and even more if you can combine it with some extra coupon or extra discount, so stay tuned to these discounts if you are interested in the model and want to get it at an even more competitive price.

Purchase Link: https://hifigo.com/products/muse-hifi-m3-ultra

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

I received this Muse Hifi M3 Ultra at the same time as the Aful Iceborne and that is why I am reviewing them one after the other. With the recent experience of the Iceborne I now find myself with this other dongle that I sincerely was especially eager to try with my IEMs and see what a dongle with these unusual characteristics can contribute, even more so within the 100 dollar range. I expected something that would differentiate itself from the rest of the dongles tested so far and luckily for me that has been the case. The sound, without going into details but as an introduction, improves in terms of warmth and organicity and softens annoying peaks in certain models making them more enjoyable here, so it will be one more dongle in my collection that will help me get more out of IEMs that without EQ needed something to tame them.

What I liked / What I did not like

• Warm and characteristic sound with no background noise at all.
• Plenty of power for such a small device.
• Aluminum construction and eye-catching design.
• Wide stage and organic presentation.
• Physical volume control with memory.
• Although I love the design, the tubes are unprotected.
• It can be a bit more uncomfortable to carry in the pocket than other dongle DACs.
• There are no buttons to control playback.

Specifications

DAC: ES9028Q2M

Amplification: ES9603Q + dual JAN6418

USB: SA9137L

Support: PCM 32 bit / 384 kHz and native DSD256

Outputs: 3.5 mm and 4.4 mm balanced

Power: 460 mW (3.5 mm) / 480 mW (4.4 mm) at 32 Ω

THD+N: 0.0004 % (3.5 mm) / 0.0003 % (4.4 mm)

SNR: 120 dB / 121 dB

Weight: approx. 55 g

Dimensions: 65 × 46.5 × 16 mm

Unboxing and build

As I could expect, the presentation once you open the box, which by the way opens by sliding to the side and not upwards, includes just the essentials, the DAC and the corresponding cable besides the basic manual. You can always hope that some brand includes a protective case as standard which is usually sold separately, although in this model I have no knowledge that one exists yet.

It is something that time may confirm but it would be welcome to a certain extent to protect the 2 tubes that come uncovered and that you can touch but that make you think that after an accidental drop they could break. I cross my fingers that it does not fall and much less that they break. The two tubes are JAN6418. I am no expert on this but it is clear that together with the rest of the circuitry they do a different job from a conventional dongle of the ones we all have, but I will talk about that below. The body is aluminum although at first before receiving the product it gave me a feeling like cheap plastic and not at all, it is hard and resistant and with only a weight of 55 grams. It is a bit more voluminous than other dongles, that also has to be said, but it can fit in the pocket the same as the rest.

I have had them on long walks and in the end I did not feel that I was carrying an uncomfortable brick in my pants even though it was connected to the smartphone where I use Apple Music. Apart from that, far from heating up after more than an hour and a half that I walked, it felt quite lukewarm to the touch so it seems that it manages heat quite well, despite the sensation that the tubes give when they light up with an orange color on the side that transmits heat visually, that is not something that really happens.

Sound

I had the idea that this DAC was not going to be something neutral or anything similar to others of my current models like the Questyle M15i, NiceHCK Octave or the more recent Tanchjim Space II. This M3 Ultra adds an extra layer of body or density to the music, which is especially noticeable in the lower midrange and in most vocals. This gives a somewhat more organic and colored sound, something that by the way I wanted to move away from since I got into seeking total neutrality some time ago but I think it is necessary to have models like this and others that seek to contribute something different to the tracks you already know and to others still to discover.

Bass

I have not felt that the bass increases as such when using this M3 Ultra but rather the body of that bass or the density. More than in the subbass I would say it happens more in the midbass with that extra body that fills that zone a bit more without bothering. I may have noticed the definition a bit more distorted than with some of my other DACs, but as I say, not to the level of dirtying the sound but of giving it a more organic or realistic touch and not so perfect. In any case, the transition from bass to mids still feels smooth.

Mids

I think that pair of tubes has quite a bit to say in this range. I have noticed it especially in the vocals with a more striking presence in tracks that I already had more than listened to and where I could notice the difference more easily. To fine tune a bit more I would say that the lower mids are denser than the upper mids which sound much softer helping in this way that tracks that were brighter in this range sound better to my taste and tolerate higher volume better. I think this DAC prioritizes sounding musical, sacrificing slightly a bit of the resolution that the Questyle M15i has me used to, which I consider without a doubt my best dongle of all the ones I have. But not everything is resolution and what one gives me the other does not and they can complement each other quite well.

Treble

I have not felt that the M3 Ultra emphasizes the treble or worsens the extension of the same. As I commented with my usual tracks that I already know I still feel that extension and distant and subtle detail, but yes a bit more controlled without getting to sound dark or muted which was also my concern when I was using it the first minutes and felt that it did not have the energy that it had in my other models. It would be in an intermediate point between very energetic and dark allowing prolonged listening and that will surely benefit many IEMs that perhaps lacked a bit more control in treble with their stock EQ.

Test with some IEMs

I decided to try this M3 Ultra with 3 of my IEMs that I know well how they sound and where they overdo or where they lack to see how they behaved here. Starting with the Mysticraft Myth, I immediately noticed that extra body in the bass without them increasing but yes improving their density the same as the vocals that now sounded more present. The stage of the Myth is already excellent in itself and according to its price but with this DAC the enveloping sensation improved especially in some tracks curiously from older recordings although possibly remastered like the song Stand! by Jackson 5 that jumped in my library when I activated shuffle mode and impressed me how it sounded here with this specific combination of IEM and DAC.

Another model that I wanted to try and that already has a very special treatment in mids and in the vocals are the Ziigaat Arcanis, which also on certain occasions have sounded a bit bright in the treble of some musical tracks, and the M3 Ultra has fixed them completely if I compare them with the FiiO KA15 where they became a bit annoying at times. Now the treble was smoothed as happens in general with all the IEMs I have connected here, but above all the body and organicity that the vocals acquired took the Arcanis to a new level that I think improved the overall experience of this specific model, with which I think it has been the most benefited of the 3 IEMs that I tried.

Lastly and exclusively with the M3 Ultra connected to the mini PC at home, I tried the Binary 1900, which is a fairly balanced IEM in general without standing out in specific frequencies although also prioritizing musicality before excessive detail. The M3 Ultra once again added to the 1900 an extra layer of warmth to the sound in general but without unbalancing its original tuning that is already very well tuned in itself. The vocals as in the Arcanis also gained a bit more organicity and presence although not as much as in those.

Technical aspects

Speaking a bit above about how I have felt the soundstage, separation and imaging in this M3 Ultra, the width is more than I expected and the depth not as much as I have noticed in the M15i but in the end this is contributed more by the IEM itself that you connect than by the DAC itself, which does not take away that in a certain way it can be enhanced for better or for worse and here it does not worsen at all. It is possible that the tubes help in their way so that the instruments have a bit more space around them, it is something that can be felt in specific songs if you stop to listen after trying other dongles and then come to these. But the holographic sensation I would dare to say that it improves in general IEMs where they felt a bit flatter in width and depth.

Of course, I had to try more complex tracks, in quantity of instruments, speed, etc, to check that indeed some layers of instruments get a bit closer between them when the melody gets complicated, something that my desktop DAC the FiiO K9 manages wonderfully and here being a dongle even with these unique characteristics manages with a bit more complication making the music a bit flatter in those specific moments that I comment.

I was able to use it for a while from the smartphone itself watching a movie and the localization of the sounds the same as with music remained quite coherent without disorienting me about where the sounds around me were coming from, although it is clear that the focus of the M3 Ultra is clearly on music but it does not clash at all if you want to use it in other areas.

Comparison

I will compare it directly with the Aful Iceborne for having it very recently and being a model of similar price and launched practically at the same time or of that I have knowledge. Starting from the fact that the Iceborne gives the sensation of an elongated brick that simulates a black ice block, it is still smaller and a bit thinner still than the M3 Ultra. Perhaps in the photo that I have included where both are seen face to face it is not appreciated but I have checked it myself and it wins in all measurements being more compact. Where does it not win against the M3 Ultra? Well surely in construction material since a resin DAC although it can surely resist hits and falls does not give you the same peace of mind as one of aluminum although as I commented, the tubes of the M3 Ultra are uncovered no matter how surrounded by aluminum they are so time will tell how each one resists not only to hits but to involuntary scrapes and scratches on pants, tables, etc.

I have not felt that either of the 2 heats up especially after use for hours although perhaps the M3 Ultra manages heat better, whether due to its internal construction or that of the aluminum case itself. Regarding how they modify the sound of the IEMs it could be summarized in that the Iceborne gets closer to that neutrality that I had been pursuing for some time in the dongles that I wanted to have without coloring or modifying the songs too much as I know them, while the M3 Ultra does add whether for good or not so good a layer of warmth and body to the music that why not say it, is something that can be appealing or there are those who may prefer it in general for their day to day with greater control of treble that the Iceborne shows closer to how they are originally.

It should also be noted that in terms of power the M3 Ultra has 480 mW unlike the Iceborne that stays at 300 mW so you are going to have less margin to amplify more demanding headphones on the Iceborne, apart from that the Iceborne does not have multimedia buttons like the M3 Ultra but neither does it have physical volume control which the M3 Ultra does.

I do not consider that I should put one ahead of the other since neither of the two seem bad dongle DACs to me. Perhaps for what each one contributes the Iceborne should cost a bit less than what it costs, due to construction material, technology and simplicity at the level of possibilities for that total lack of buttons.

Ranking

You can check my full ranking of all the IEM reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here)

Conclusion

To conclude I must say that the Muse Hifi M3 Ultra is a more or less economical way, that each one will value but yes a quite accessible way to get closer to tube sound in portable format, which I recommend without a doubt and at the moment I write this review they are at a price of 109.99$ but this same August 17 some Back to school campaign discounts are coming where the model will drop 12% staying at 96.79$ a price that sincerely is much more attractive and even more if you can combine it with some extra coupon or extra discount, so stay tuned to these discounts if you are interested in the model and want to get it at an even more competitive price.

Purchase Link: https://hifigo.com/products/muse-hifi-m3-ultra

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The release of this portable DAC from Aful did not go unnoticed by me, and I was eager to try it since I had never owned one from the brand, let alone made of resin, which is quite uncommon for a dongle DAC. With a design that is curious to say the least, both in shape and colors, I wanted to see firsthand what Aful could offer in this regard, as I only know a few IEMs from them that I have owned over the years. I have been testing it over the last few days with 3 IEM models from my collection, and I am sharing my personal thoughts on what it offers, both good and not so good, as always from my perspective and with my complete honesty...

What I liked/What I didn't like

The complete absence of background noise even with sensitive IEMs.

The resin chassis that never gets warm.

It weighs nothing!

The transparency without artificial coloration.

The included USB-C cable is the best stock cable I have had on a dongle.

The feeling of solidity despite being resin.

How it lets each IEM show its own personality without adding extra layers.

The absolute lack of volume controls, gain, or media buttons.

The limited power with high impedance headphones.

The design seems inspired to match a specific Aful model.

Specifications

DAC: Dual Cirrus Logic CS43198

Outputs: 3.5 mm single-ended and 4.4 mm balanced

Max power: 140 mW @ 16 Ω (3.5 mm) / 300 mW @ 16 Ω (4.4 mm)

Output level: 2 Vrms (3.5 mm) / 4 Vrms (4.4 mm)

THD+N: <0.00037 %

SNR: 125 dB (3.5 mm) / 130 dB (4.4 mm)

Noise floor: 1 μV (3.5 mm) / 1.5 μV (4.4 mm)

Support: PCM up to 32 bit/768 kHz and native DSD256

Dimensions: 54 × 14 × 22 mm

Weight with cable: 25.7 g

USB: Type-C, USB 2.0

Unboxing and build quality

The presentation is quite simple, but I cannot expect much more given it is a product where, beyond the dongle itself and the cable, you cannot aim to offer anything else. They come in foam with the corresponding cutouts as you can see in my photos, along with the quality control seal and the user manual.

As for the DAC, I find it exciting to handle one with a feel similar to 3D resin IEMs, something that might convey a bit more fragility, but it certainly does not feel like it will break easily, unlike some IEMs. It has a rather peculiar shape that, depending on how you look at it, might resemble a rectangular block of black ice, something I love and gives it a distinctive touch compared to other dongles on the market. As for colors, there is a clear direct nod to the Aful 

Performer 5+2, which I owned and reviewed when it launched back in the day, but I no longer have today, and it would have looked great in photos... I think Aful could have released different shells referencing their iconic models here. In fact, I tested it, among others, with the Aful Explorer, and while they do not match as well as with the Performer 5+2, 

I do not dislike the combination. But well, in the end we are talking about aesthetics, which remains secondary since most of the time it will be in your pocket and ears.

Regarding the dongle's features, it has outputs for 3.5mm and 4.4mm, which I think is a great choice and a requirement among the ones in my collection. I always use the 4.4mm balanced output, but I admit that from time to time I receive IEMs that only have a 3.5mm connection, and to use their original cable I end up needing that port, which is why I appreciate dongle DACs that include both to get by in any situation.

I do not know the reason why this DAC lacks a desktop mode or extra amplification, even though it has not fallen short in volume for me, but it is something I am used to seeing in models at similar or different price points. There are no volume or play/pause buttons either. 

The only thing I can think of is that they wanted to aim for simplicity in design so that it actually resembles a block of ice even in feel, with nothing sticking out, limiting itself to amplifying and delivering the necessary power to make your headphones sound the way they should, leaving the rest of the job to the phone/DAP to control playback or adjust volume...

Sound

Regarding sound, I think it does not alter the character of the IEMs, something I appreciate more and more, especially with models where my ears are already adapted to their sound and, depending on where I plug them in, I notice some differences that make them not sound quite how I like them. In this case, everything remains quite faithful to what I expect from the models I tested it with, barely softening the highs or adding extra warmth that I might not need.

Speaking a bit more about frequencies and the models I used, which you can see in the photos, with the Explorer I noticed the bass was more controlled and better textured than on other more colored sources, with a fairly clean sub-bass and a mid-bass with more impact than what I noticed, for example, on the FiiO KA15. On the Binary EP321, I got the feeling that the bass, despite remaining restrained, was slightly faster than what my ears remembered on other DACs I usually use, and somewhat more controlled.

As for the midrange, I just want to highlight the great transparency perceived across any of the 3 models I used, without any veil or unnecessary coloration, which I really hate when listening to music on certain sources. Testing the Explorer and focusing on the mids, I found them relaxed and natural, unlike the Thieaudio Monarch MKIV, where, being used to their sound on the NiceHCK Octave, here specifically on the Iceborne I noticed extra separation and definition that brought them a bit closer to the kind of sound I get from my desktop DAC, the FiiO K9, though in any case without becoming forcibly analytical.

The treble, on the other hand, sounds clean and extended but not aggressive, although that will largely depend on the IEM you use. On the Iceborne, that feeling of extra energy is not going to be intensified, meaning models that already push close to the limit will not cross the line here. In fact, I love the treble on the EP321 with the MEMS driver, which is quite extended and controlled, and as I was saying, on the Iceborne it does not get out of hand or feel artificially forced, maintaining and subtly improving extension and detail.

For the 3 IEM models I have been discussing, I never ran short on volume using the 4.4mm balanced output, even with the Monarchs, which require quite a bit of power to shine, but I assume that with more demanding headphones it might be somewhat more limited due to not having a separate gain button or desktop mode, which I do have on other DACs and has saved me on more than one occasion...

To wrap up with some of the technicalities when using IEMs on the Iceborne, I think the soundstage does not particularly stand out compared to a desktop unit, but it does not compress it either. While on the MKIV and EP321 it remained as I remember it from my daily listening, on the Explorer I did notice a slightly more intimate soundstage compared to my previous tests, though I am talking about very subtle details, not a night-and-day difference.

Of course, this dongle does not choke the IEMs when recordings get denser, and I think the Dual Cirrus Logic CS43198 it packs has plenty of capability to keep layers separated from each other without placing any obstacles in front of the IEM you are using, leaving it up to the IEM itself and its internal configuration to handle whatever comes its way.

As an extra curiosity that I have not mentioned but that you will be able to appreciate in the different photos, the Iceborne has an internal LED that changes color depending on the audio quality you are listening to. Using it on Apple Music with lossless audio, I was able to verify how the LED changed from blue to red according to the quality of the different audio tracks I tested, something that is not groundbreaking, but as an extra detail, I always appreciate it.

Conclusion

This Iceborne from Aful is aimed at anyone looking for a dongle with an eye-catching design and material that stands out from the norm, without altering the sound signature of IEMs or adding any unnecessary coloration. Highlighting that it barely gets warm during use and weighs practically nothing...

Its main limitation is clearly the lack of physical buttons to control content and an extra amplification mode, which, depending on the headphones you use if they are very demanding, you might need. For most IEMs, or perhaps all of them, the amplification capability will be more than sufficient. Balancing the good and the bad within its price range, it is an interesting option if you appreciate a different, wearable design and build, with a clean behavior that respects the sound over other extra features that you may or may not care about depending on your preferences...

Purchase Link: HiFiGo

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The release of this portable DAC from Aful did not go unnoticed by me, and I was eager to try it since I had never owned one from the brand, let alone made of resin, which is quite uncommon for a dongle DAC. With a design that is curious to say the least, both in shape and colors, I wanted to see firsthand what Aful could offer in this regard, as I only know a few IEMs from them that I have owned over the years. I have been testing it over the last few days with 3 IEM models from my collection, and I am sharing my personal thoughts on what it offers, both good and not so good, as always from my perspective and with my complete honesty...

What I liked/What I didn't like

The complete absence of background noise even with sensitive IEMs.

The resin chassis that never gets warm.

It weighs nothing!

The transparency without artificial coloration.

The included USB-C cable is the best stock cable I have had on a dongle.

The feeling of solidity despite being resin.

How it lets each IEM show its own personality without adding extra layers.

The absolute lack of volume controls, gain, or media buttons.

The limited power with high impedance headphones.

The design seems inspired to match a specific Aful model.

Specifications

DAC: Dual Cirrus Logic CS43198

Outputs: 3.5 mm single-ended and 4.4 mm balanced

Max power: 140 mW @ 16 Ω (3.5 mm) / 300 mW @ 16 Ω (4.4 mm)

Output level: 2 Vrms (3.5 mm) / 4 Vrms (4.4 mm)

THD+N: <0.00037 %

SNR: 125 dB (3.5 mm) / 130 dB (4.4 mm)

Noise floor: 1 μV (3.5 mm) / 1.5 μV (4.4 mm)

Support: PCM up to 32 bit/768 kHz and native DSD256

Dimensions: 54 × 14 × 22 mm

Weight with cable: 25.7 g

USB: Type-C, USB 2.0

Unboxing and build quality

The presentation is quite simple, but I cannot expect much more given it is a product where, beyond the dongle itself and the cable, you cannot aim to offer anything else. They come in foam with the corresponding cutouts as you can see in my photos, along with the quality control seal and the user manual.

As for the DAC, I find it exciting to handle one with a feel similar to 3D resin IEMs, something that might convey a bit more fragility, but it certainly does not feel like it will break easily, unlike some IEMs. It has a rather peculiar shape that, depending on how you look at it, might resemble a rectangular block of black ice, something I love and gives it a distinctive touch compared to other dongles on the market. As for colors, there is a clear direct nod to the Aful 

Performer 5+2, which I owned and reviewed when it launched back in the day, but I no longer have today, and it would have looked great in photos... I think Aful could have released different shells referencing their iconic models here. In fact, I tested it, among others, with the Aful Explorer, and while they do not match as well as with the Performer 5+2, 

I do not dislike the combination. But well, in the end we are talking about aesthetics, which remains secondary since most of the time it will be in your pocket and ears.

Regarding the dongle's features, it has outputs for 3.5mm and 4.4mm, which I think is a great choice and a requirement among the ones in my collection. I always use the 4.4mm balanced output, but I admit that from time to time I receive IEMs that only have a 3.5mm connection, and to use their original cable I end up needing that port, which is why I appreciate dongle DACs that include both to get by in any situation.

I do not know the reason why this DAC lacks a desktop mode or extra amplification, even though it has not fallen short in volume for me, but it is something I am used to seeing in models at similar or different price points. There are no volume or play/pause buttons either. 

The only thing I can think of is that they wanted to aim for simplicity in design so that it actually resembles a block of ice even in feel, with nothing sticking out, limiting itself to amplifying and delivering the necessary power to make your headphones sound the way they should, leaving the rest of the job to the phone/DAP to control playback or adjust volume...

Sound

Regarding sound, I think it does not alter the character of the IEMs, something I appreciate more and more, especially with models where my ears are already adapted to their sound and, depending on where I plug them in, I notice some differences that make them not sound quite how I like them. In this case, everything remains quite faithful to what I expect from the models I tested it with, barely softening the highs or adding extra warmth that I might not need.

Speaking a bit more about frequencies and the models I used, which you can see in the photos, with the Explorer I noticed the bass was more controlled and better textured than on other more colored sources, with a fairly clean sub-bass and a mid-bass with more impact than what I noticed, for example, on the FiiO KA15. On the Binary EP321, I got the feeling that the bass, despite remaining restrained, was slightly faster than what my ears remembered on other DACs I usually use, and somewhat more controlled.

As for the midrange, I just want to highlight the great transparency perceived across any of the 3 models I used, without any veil or unnecessary coloration, which I really hate when listening to music on certain sources. Testing the Explorer and focusing on the mids, I found them relaxed and natural, unlike the Thieaudio Monarch MKIV, where, being used to their sound on the NiceHCK Octave, here specifically on the Iceborne I noticed extra separation and definition that brought them a bit closer to the kind of sound I get from my desktop DAC, the FiiO K9, though in any case without becoming forcibly analytical.

The treble, on the other hand, sounds clean and extended but not aggressive, although that will largely depend on the IEM you use. On the Iceborne, that feeling of extra energy is not going to be intensified, meaning models that already push close to the limit will not cross the line here. In fact, I love the treble on the EP321 with the MEMS driver, which is quite extended and controlled, and as I was saying, on the Iceborne it does not get out of hand or feel artificially forced, maintaining and subtly improving extension and detail.

For the 3 IEM models I have been discussing, I never ran short on volume using the 4.4mm balanced output, even with the Monarchs, which require quite a bit of power to shine, but I assume that with more demanding headphones it might be somewhat more limited due to not having a separate gain button or desktop mode, which I do have on other DACs and has saved me on more than one occasion...

To wrap up with some of the technicalities when using IEMs on the Iceborne, I think the soundstage does not particularly stand out compared to a desktop unit, but it does not compress it either. While on the MKIV and EP321 it remained as I remember it from my daily listening, on the Explorer I did notice a slightly more intimate soundstage compared to my previous tests, though I am talking about very subtle details, not a night-and-day difference.

Of course, this dongle does not choke the IEMs when recordings get denser, and I think the Dual Cirrus Logic CS43198 it packs has plenty of capability to keep layers separated from each other without placing any obstacles in front of the IEM you are using, leaving it up to the IEM itself and its internal configuration to handle whatever comes its way.

As an extra curiosity that I have not mentioned but that you will be able to appreciate in the different photos, the Iceborne has an internal LED that changes color depending on the audio quality you are listening to. Using it on Apple Music with lossless audio, I was able to verify how the LED changed from blue to red according to the quality of the different audio tracks I tested, something that is not groundbreaking, but as an extra detail, I always appreciate it.

Conclusion

This Iceborne from Aful is aimed at anyone looking for a dongle with an eye-catching design and material that stands out from the norm, without altering the sound signature of IEMs or adding any unnecessary coloration. Highlighting that it barely gets warm during use and weighs practically nothing...

Its main limitation is clearly the lack of physical buttons to control content and an extra amplification mode, which, depending on the headphones you use if they are very demanding, you might need. For most IEMs, or perhaps all of them, the amplification capability will be more than sufficient. Balancing the good and the bad within its price range, it is an interesting option if you appreciate a different, wearable design and build, with a clean behavior that respects the sound over other extra features that you may or may not care about depending on your preferences...

Purchase Link: HiFiGo

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The release of this portable DAC from Aful did not go unnoticed by me, and I was eager to try it since I had never owned one from the brand, let alone made of resin, which is quite uncommon for a dongle DAC. With a design that is curious to say the least, both in shape and colors, I wanted to see firsthand what Aful could offer in this regard, as I only know a few IEMs from them that I have owned over the years. I have been testing it over the last few days with 3 IEM models from my collection, and I am sharing my personal thoughts on what it offers, both good and not so good, as always from my perspective and with my complete honesty...

What I liked/What I didn't like

The complete absence of background noise even with sensitive IEMs.

The resin chassis that never gets warm.

It weighs nothing!

The transparency without artificial coloration.

The included USB-C cable is the best stock cable I have had on a dongle.

The feeling of solidity despite being resin.

How it lets each IEM show its own personality without adding extra layers.

The absolute lack of volume controls, gain, or media buttons.

The limited power with high impedance headphones.

The design seems inspired to match a specific Aful model.

Specifications

DAC: Dual Cirrus Logic CS43198

Outputs: 3.5 mm single-ended and 4.4 mm balanced

Max power: 140 mW @ 16 Ω (3.5 mm) / 300 mW @ 16 Ω (4.4 mm)

Output level: 2 Vrms (3.5 mm) / 4 Vrms (4.4 mm)

THD+N: <0.00037 %

SNR: 125 dB (3.5 mm) / 130 dB (4.4 mm)

Noise floor: 1 μV (3.5 mm) / 1.5 μV (4.4 mm)

Support: PCM up to 32 bit/768 kHz and native DSD256

Dimensions: 54 × 14 × 22 mm

Weight with cable: 25.7 g

USB: Type-C, USB 2.0

Unboxing and build quality

The presentation is quite simple, but I cannot expect much more given it is a product where, beyond the dongle itself and the cable, you cannot aim to offer anything else. They come in foam with the corresponding cutouts as you can see in my photos, along with the quality control seal and the user manual.

As for the DAC, I find it exciting to handle one with a feel similar to 3D resin IEMs, something that might convey a bit more fragility, but it certainly does not feel like it will break easily, unlike some IEMs. It has a rather peculiar shape that, depending on how you look at it, might resemble a rectangular block of black ice, something I love and gives it a distinctive touch compared to other dongles on the market. As for colors, there is a clear direct nod to the Aful 

Performer 5+2, which I owned and reviewed when it launched back in the day, but I no longer have today, and it would have looked great in photos... I think Aful could have released different shells referencing their iconic models here. In fact, I tested it, among others, with the Aful Explorer, and while they do not match as well as with the Performer 5+2, 

I do not dislike the combination. But well, in the end we are talking about aesthetics, which remains secondary since most of the time it will be in your pocket and ears.

Regarding the dongle's features, it has outputs for 3.5mm and 4.4mm, which I think is a great choice and a requirement among the ones in my collection. I always use the 4.4mm balanced output, but I admit that from time to time I receive IEMs that only have a 3.5mm connection, and to use their original cable I end up needing that port, which is why I appreciate dongle DACs that include both to get by in any situation.

I do not know the reason why this DAC lacks a desktop mode or extra amplification, even though it has not fallen short in volume for me, but it is something I am used to seeing in models at similar or different price points. There are no volume or play/pause buttons either. 

The only thing I can think of is that they wanted to aim for simplicity in design so that it actually resembles a block of ice even in feel, with nothing sticking out, limiting itself to amplifying and delivering the necessary power to make your headphones sound the way they should, leaving the rest of the job to the phone/DAP to control playback or adjust volume...

Sound

Regarding sound, I think it does not alter the character of the IEMs, something I appreciate more and more, especially with models where my ears are already adapted to their sound and, depending on where I plug them in, I notice some differences that make them not sound quite how I like them. In this case, everything remains quite faithful to what I expect from the models I tested it with, barely softening the highs or adding extra warmth that I might not need.

Speaking a bit more about frequencies and the models I used, which you can see in the photos, with the Explorer I noticed the bass was more controlled and better textured than on other more colored sources, with a fairly clean sub-bass and a mid-bass with more impact than what I noticed, for example, on the FiiO KA15. On the Binary EP321, I got the feeling that the bass, despite remaining restrained, was slightly faster than what my ears remembered on other DACs I usually use, and somewhat more controlled.

As for the midrange, I just want to highlight the great transparency perceived across any of the 3 models I used, without any veil or unnecessary coloration, which I really hate when listening to music on certain sources. Testing the Explorer and focusing on the mids, I found them relaxed and natural, unlike the Thieaudio Monarch MKIV, where, being used to their sound on the NiceHCK Octave, here specifically on the Iceborne I noticed extra separation and definition that brought them a bit closer to the kind of sound I get from my desktop DAC, the FiiO K9, though in any case without becoming forcibly analytical.

The treble, on the other hand, sounds clean and extended but not aggressive, although that will largely depend on the IEM you use. On the Iceborne, that feeling of extra energy is not going to be intensified, meaning models that already push close to the limit will not cross the line here. In fact, I love the treble on the EP321 with the MEMS driver, which is quite extended and controlled, and as I was saying, on the Iceborne it does not get out of hand or feel artificially forced, maintaining and subtly improving extension and detail.

For the 3 IEM models I have been discussing, I never ran short on volume using the 4.4mm balanced output, even with the Monarchs, which require quite a bit of power to shine, but I assume that with more demanding headphones it might be somewhat more limited due to not having a separate gain button or desktop mode, which I do have on other DACs and has saved me on more than one occasion...

To wrap up with some of the technicalities when using IEMs on the Iceborne, I think the soundstage does not particularly stand out compared to a desktop unit, but it does not compress it either. While on the MKIV and EP321 it remained as I remember it from my daily listening, on the Explorer I did notice a slightly more intimate soundstage compared to my previous tests, though I am talking about very subtle details, not a night-and-day difference.

Of course, this dongle does not choke the IEMs when recordings get denser, and I think the Dual Cirrus Logic CS43198 it packs has plenty of capability to keep layers separated from each other without placing any obstacles in front of the IEM you are using, leaving it up to the IEM itself and its internal configuration to handle whatever comes its way.

As an extra curiosity that I have not mentioned but that you will be able to appreciate in the different photos, the Iceborne has an internal LED that changes color depending on the audio quality you are listening to. Using it on Apple Music with lossless audio, I was able to verify how the LED changed from blue to red according to the quality of the different audio tracks I tested, something that is not groundbreaking, but as an extra detail, I always appreciate it.

Conclusion

This Iceborne from Aful is aimed at anyone looking for a dongle with an eye-catching design and material that stands out from the norm, without altering the sound signature of IEMs or adding any unnecessary coloration. Highlighting that it barely gets warm during use and weighs practically nothing...

Its main limitation is clearly the lack of physical buttons to control content and an extra amplification mode, which, depending on the headphones you use if they are very demanding, you might need. For most IEMs, or perhaps all of them, the amplification capability will be more than sufficient. Balancing the good and the bad within its price range, it is an interesting option if you appreciate a different, wearable design and build, with a clean behavior that respects the sound over other extra features that you may or may not care about depending on your preferences...

Purchase Link: HiFiGo

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The release of this portable DAC from Aful did not go unnoticed by me, and I was eager to try it since I had never owned one from the brand, let alone made of resin, which is quite uncommon for a dongle DAC. With a design that is curious to say the least, both in shape and colors, I wanted to see firsthand what Aful could offer in this regard, as I only know a few IEMs from them that I have owned over the years. I have been testing it over the last few days with 3 IEM models from my collection, and I am sharing my personal thoughts on what it offers, both good and not so good, as always from my perspective and with my complete honesty...

What I liked/What I didn't like

The complete absence of background noise even with sensitive IEMs.

The resin chassis that never gets warm.

It weighs nothing!

The transparency without artificial coloration.

The included USB-C cable is the best stock cable I have had on a dongle.

The feeling of solidity despite being resin.

How it lets each IEM show its own personality without adding extra layers.

The absolute lack of volume controls, gain, or media buttons.

The limited power with high impedance headphones.

The design seems inspired to match a specific Aful model.

Specifications

DAC: Dual Cirrus Logic CS43198

Outputs: 3.5 mm single-ended and 4.4 mm balanced

Max power: 140 mW @ 16 Ω (3.5 mm) / 300 mW @ 16 Ω (4.4 mm)

Output level: 2 Vrms (3.5 mm) / 4 Vrms (4.4 mm)

THD+N: <0.00037 %

SNR: 125 dB (3.5 mm) / 130 dB (4.4 mm)

Noise floor: 1 μV (3.5 mm) / 1.5 μV (4.4 mm)

Support: PCM up to 32 bit/768 kHz and native DSD256

Dimensions: 54 × 14 × 22 mm

Weight with cable: 25.7 g

USB: Type-C, USB 2.0

Unboxing and build quality

The presentation is quite simple, but I cannot expect much more given it is a product where, beyond the dongle itself and the cable, you cannot aim to offer anything else. They come in foam with the corresponding cutouts as you can see in my photos, along with the quality control seal and the user manual.

As for the DAC, I find it exciting to handle one with a feel similar to 3D resin IEMs, something that might convey a bit more fragility, but it certainly does not feel like it will break easily, unlike some IEMs. It has a rather peculiar shape that, depending on how you look at it, might resemble a rectangular block of black ice, something I love and gives it a distinctive touch compared to other dongles on the market. As for colors, there is a clear direct nod to the Aful 

Performer 5+2, which I owned and reviewed when it launched back in the day, but I no longer have today, and it would have looked great in photos... I think Aful could have released different shells referencing their iconic models here. In fact, I tested it, among others, with the Aful Explorer, and while they do not match as well as with the Performer 5+2, 

I do not dislike the combination. But well, in the end we are talking about aesthetics, which remains secondary since most of the time it will be in your pocket and ears.

Regarding the dongle's features, it has outputs for 3.5mm and 4.4mm, which I think is a great choice and a requirement among the ones in my collection. I always use the 4.4mm balanced output, but I admit that from time to time I receive IEMs that only have a 3.5mm connection, and to use their original cable I end up needing that port, which is why I appreciate dongle DACs that include both to get by in any situation.

I do not know the reason why this DAC lacks a desktop mode or extra amplification, even though it has not fallen short in volume for me, but it is something I am used to seeing in models at similar or different price points. There are no volume or play/pause buttons either. 

The only thing I can think of is that they wanted to aim for simplicity in design so that it actually resembles a block of ice even in feel, with nothing sticking out, limiting itself to amplifying and delivering the necessary power to make your headphones sound the way they should, leaving the rest of the job to the phone/DAP to control playback or adjust volume...

Sound

Regarding sound, I think it does not alter the character of the IEMs, something I appreciate more and more, especially with models where my ears are already adapted to their sound and, depending on where I plug them in, I notice some differences that make them not sound quite how I like them. In this case, everything remains quite faithful to what I expect from the models I tested it with, barely softening the highs or adding extra warmth that I might not need.

Speaking a bit more about frequencies and the models I used, which you can see in the photos, with the Explorer I noticed the bass was more controlled and better textured than on other more colored sources, with a fairly clean sub-bass and a mid-bass with more impact than what I noticed, for example, on the FiiO KA15. On the Binary EP321, I got the feeling that the bass, despite remaining restrained, was slightly faster than what my ears remembered on other DACs I usually use, and somewhat more controlled.

As for the midrange, I just want to highlight the great transparency perceived across any of the 3 models I used, without any veil or unnecessary coloration, which I really hate when listening to music on certain sources. Testing the Explorer and focusing on the mids, I found them relaxed and natural, unlike the Thieaudio Monarch MKIV, where, being used to their sound on the NiceHCK Octave, here specifically on the Iceborne I noticed extra separation and definition that brought them a bit closer to the kind of sound I get from my desktop DAC, the FiiO K9, though in any case without becoming forcibly analytical.

The treble, on the other hand, sounds clean and extended but not aggressive, although that will largely depend on the IEM you use. On the Iceborne, that feeling of extra energy is not going to be intensified, meaning models that already push close to the limit will not cross the line here. In fact, I love the treble on the EP321 with the MEMS driver, which is quite extended and controlled, and as I was saying, on the Iceborne it does not get out of hand or feel artificially forced, maintaining and subtly improving extension and detail.

For the 3 IEM models I have been discussing, I never ran short on volume using the 4.4mm balanced output, even with the Monarchs, which require quite a bit of power to shine, but I assume that with more demanding headphones it might be somewhat more limited due to not having a separate gain button or desktop mode, which I do have on other DACs and has saved me on more than one occasion...

To wrap up with some of the technicalities when using IEMs on the Iceborne, I think the soundstage does not particularly stand out compared to a desktop unit, but it does not compress it either. While on the MKIV and EP321 it remained as I remember it from my daily listening, on the Explorer I did notice a slightly more intimate soundstage compared to my previous tests, though I am talking about very subtle details, not a night-and-day difference.

Of course, this dongle does not choke the IEMs when recordings get denser, and I think the Dual Cirrus Logic CS43198 it packs has plenty of capability to keep layers separated from each other without placing any obstacles in front of the IEM you are using, leaving it up to the IEM itself and its internal configuration to handle whatever comes its way.

As an extra curiosity that I have not mentioned but that you will be able to appreciate in the different photos, the Iceborne has an internal LED that changes color depending on the audio quality you are listening to. Using it on Apple Music with lossless audio, I was able to verify how the LED changed from blue to red according to the quality of the different audio tracks I tested, something that is not groundbreaking, but as an extra detail, I always appreciate it.

Conclusion

This Iceborne from Aful is aimed at anyone looking for a dongle with an eye-catching design and material that stands out from the norm, without altering the sound signature of IEMs or adding any unnecessary coloration. Highlighting that it barely gets warm during use and weighs practically nothing...

Its main limitation is clearly the lack of physical buttons to control content and an extra amplification mode, which, depending on the headphones you use if they are very demanding, you might need. For most IEMs, or perhaps all of them, the amplification capability will be more than sufficient. Balancing the good and the bad within its price range, it is an interesting option if you appreciate a different, wearable design and build, with a clean behavior that respects the sound over other extra features that you may or may not care about depending on your preferences...

Purchase Link: HiFiGo

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Hey everyone! I have had the upcoming Juzear Nimbus here for a few days now and I will be preparing my review for them soon. Giving you some quick specs, they range between $50 and $60 depending on the cable configuration you choose, they feature a laser glass faceplate that changes depending on how the light hits it, and they feel a bit heavier than your average resin IEMs, though that is not a drawback at all once they are in your ears.

They use a single 10mm MACCD DD and have a warm and balanced tuning that I found quite pleasant in the short time I have tested them, pending a deep listening session soon. But I was really surprised by all the contents in the box. Aside from the generous set of eartips typical of Juzear and a very nice feeling carrying pouch, you get 3 pairs of interchangeable nozzles, with the white ones being balanced, the red ones boosting the treble, and the black ones pushing the bass.

As I mentioned, the cheapest $50 option is the one I have, and it comes with a 3.5mm and 4.4mm modular cable, but for a bit more there is a Type-C alternative with an integrated CX31993 DAC and a microphone.

Seeing all this, a couple of questions or thoughts came to mind...

First, regarding the nozzles. It is true that the red ones add a bit of extra air and the black ones, for example, add a bit more density to certain musical genres that require that extra bass, but how many of you actually bother to change nozzles depending on what you are going to listen to? Or do you usually just pick a specific nozzle and stick with it forever for everything you listen to?

On the other hand, regarding the cable, which by the way looks to be of a much higher quality than I expected to find, but...within this budget, is a 4.4mm balanced option really necessary, or is a Type-C version with a DAC and microphone more than enough and more practical for day to day use?

Let me know what you think about the contents of this model and if everything is necessary or if there are things that might just be overkill, and look out for the full review later on when I have it finished!

Hello to the whole community, I have been testing Kefine's recent release these past few days. Although I received them some time ago, I haven't been able to get them until now. I must say these are the third I've tried from the brand after the Klean SV and later the Arnar. Curiously, these Loric are the most affordable model of the three, but I was sure that the Loric release had something different to offer and I will try to reflect that as always in the review…

What I liked / What I didn't like

Pros:

• Deep bass with a physical sensation.
• Very good integration between the sub-bass and mid-bass.
• Natural mids, especially with female vocals.
• Very convincing timbre for 1 DD.
• Smooth and very low-fatigue treble.
• They are above average for this price range.
• Micro-detail is presented in a relaxed but natural way.

Cons:

• The soundstage is quite compact and somewhat static.
• The 3D sensation is limited.
• It probably falls short in the upper treble regarding the sense of air.

Specifications

• Configuration: 1 Dynamic Driver of 10 mm
• Diaphragm: PU + Titanium Composite
• Structure: Dual-magnet + Dual-chamber
• Impedance: 20 Ω
• Sensitivity: 107 ± 3 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2-Pin
• Cable: 160-strand silver-plated copper cable
• Weight: 6 g per side
• Build: Transparent resin with zinc alloy faceplate

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and Build

The box is compact, well-organized, and feels much more carefully designed than what is usually found in this price range. It's not a luxurious experience, but it doesn't give the impression of a neglected product either.

The contents include the IEMs, a detachable cable, several sets of eartips, and a small carrying case. The cable is above the usual average. It has a good feel, barely generates any microphonics, and is flexible enough to use both at a desk and on the go without becoming a nuisance.

The shells weigh only 6g per side and have a truly compact size, which is very noticeable after several hours of use. In my case, I achieved a good seal from the very first listening session without noticing any pressure points or fatigue when finishing...

The transparent finish reveals part of the internal structure and pairs quite well with the metallic faceplate. The shape of the faceplate is truly curious, just like the other two models I've had from the brand, which gives it a distinctive touch without falling into overly flashy designs.

Sound

The tuning of this Loric is somewhat warm, with a mid-range that remains quite clean and above all natural coming from the single DD it houses. I wouldn't consider it V-shaped since it has more mids than I expected, leaning more towards a neutral signature with a slight U-shape or something similar…

Bass 

This Kefine model has something that made it feel somewhat different from the Klean SV and also the Arnar, and it is undoubtedly that extra focus on the sub-bass, bringing a more physical sensation than I could have expected after having already tested those other two models. You can appreciate without it being exaggerated, obviously the physical sensation and air movement in the punches and rumbles of certain sounds. It is something that becomes pleasant and hits a sweet spot that doesn't become invasive but is remarkable for a single DD.

The transition between the sub-bass and mid-bass is well done, as I also don't feel the mid-bass is overly exaggerated , rather, it complements the sub-bass well in percussion and instruments like bass guitars. I haven't felt it to be the fastest bass I've tested from a single DD within its price tier, and that somehow affects certain tracks I've tested with somewhat more saturated instrumental mixes, causing the bass to lose some definition but as I mentioned, only in specific tracks.

Mids 

As I said at the beginning of the sound section, the mids sound quite natural, without taking the spotlight but without being pushed too far back in the mix either. The vocals have quite a bit of space , male vocals have body and resonate with more prominence than female vocals, which sounded clear to me but somewhat softer. However, the advantage of this is that in none of the tracks I listened to during a couple of sessions did I find them annoying or sibilant, even with very high-pitched vocals.

Instruments like acoustic guitars and pianos, among others that fall into this range, sounded quite realistic to me. Although, just like with the bass in more complex tracks, I didn't feel some of the finer details were as defined as in other hybrid models at the same or slightly higher prices. This makes the instruments feel somewhat more glued together and not as separated when the song specifically calls for the opposite due to heavy instrumentation.

Treble 

As for the treble, I also feel it is relaxed. They don't aim for maximum detail or go overboard with brightness, something I don't know if it's a trend, but it's becoming common in the latest releases I review. However, both in this one and in previous cases, you can use them for long listening sessions thanks to how well-controlled they are.

I think the lower treble area is where they have the most energy, and you feel more presence in the cymbals and sharper guitar sounds, unlike the upper treble area, where this tuning remains somewhat more contained to achieve a safer but less detailed listen.

Therefore, if we judge by the airiest part, we are not going to feel an excessively expanded sound or one with maximum detail for the price. By this, I don't mean to describe it as a very dark or closed sound because that is not the case, but I must point it out especially for treble-heads or those who tolerate certain treble peaks that aren't present here and might find it falling a bit short for their taste. Still, if you value the overall tuning experience, I think it is adequately musical over being technical.

Recommended Eartips

I used the stock eartips for about half an hour before looking for something that would open up that treble area I mentioned a bit more, and obviously, I ended up finding a better solution in wide-bore tips from different brands…

• TRI Clarion: I noticed how the separation between instrument layers improves.
• Divinus Velvet Wide: The transition between bass and mids improves slightly, and the soundstage opens up a bit more.
• Tangzu Tang Sancai Wide: They remove some of the warmth and slightly improve the vocals.

Soundstage

If we talk about soundstage, the scene is not extremely wide , I would say it rather tries to somehow stay closer to your ears at an average distance.

I wouldn't describe it as a small stage, but a somewhat compact and static one. Despite having the instruments well-defined, there isn't that sense of movement around you or 3D expansion that I do perceive in other models.

It's possible that keeping the soundstage less expansive was intentional because it somewhat benefits the vocals by leaving them in a fairly centered space, achieving greater prominence than perhaps other instruments that are placed further away.

Instrumental Separation

When it comes to simpler tracks, it's really easy to follow the instruments or vocals without any effort, especially with the naturalness that a DD can provide.

It is when a more elaborate or crowded track plays especially in fast and heavy metal tracks, as usually happens with a lot of double kick drums and several distorted guitars that some definition is lost, holding them back for this type of genre in my opinion.

What I can't ignore is that, for its price, it doesn't fall behind most of the models I've already reviewed, and it actually improves upon some models that manage the bass-to-treble transition much worse by muddying the mix. Here, instead, it maintains a clearer separation in undemanding tracks.

Imaging

When it comes to locating vocals, instruments, and other sounds, they don't do a bad job. Even in the heavier and punchier rock or metal tracks I just mentioned, I think they hold their ground quite well in the genres I've tested them with, maintaining good placement of the different elements.

The positional accuracy, as I say, is good. What isn't as good is that compact scene that doesn't allow you to distinguish the depth between elements as much, leaving everything at a fairly similar distance. This is something that doesn't bother you as much if you use them to listen to music, but it can be an obvious drawback for gaming or movies/series.

Comparisons

Kefine Klean SV: The most important difference isn't just in the amount of bass, but in the way both present the music. The Klean SV has a more balanced and transparent approach: the mids are more forward, the vocals have more presence, and the overall sense of clarity is superior. With acoustic guitars, vocal jazz, or recordings where vocal texture is important, the Klean SV transmits more information and a cleaner instrumental separation. The Loric, on the other hand, provides a deeper sub-bass and a more relaxed presentation. It doesn't offer the same sense of resolution or air, but it is less demanding with compressed recordings and more comfortable for long sessions. I would say the Klean SV works better when I want to pay attention to the mix, while the Loric invites me more to simply enjoy the music without constantly analyzing it.

ooopusX Op.22: The leap in philosophy is even more evident here. The Op.22 clearly bets on a more technical and energetic presentation. It has a faster and more defined bass, a more open mid-range, and treble with greater extension, which translates into a clearly superior sense of detail. In complex tracks, especially progressive rock, modern metal, or multi-layered electronic music, the Op.22 separates instruments better and maintains a more organized scene when the mix gets complicated. The Loric doesn't reach that level of precision or micro-detail, but it responds with a very natural coherence thanks to its single dynamic driver. The transitions between bass, mids, and treble are perceived as more fluid and organic, and it also tolerates long listening sessions better because the upper area is much smoother. If the Op.22 seems to me like the option for those looking for resolution and a sense of immediacy, the Loric fits better with those who prioritize listening comfort and a more relaxed experience.

Ziigaat Rumba: The difference in category is noticeable both in the technical department and in the ambition of the tuning. The Rumba offers a larger presentation in every sense: the soundstage is wider, instrumental separation is more precise, and the stereo imaging places vocals and instruments much more clearly within the scene. In addition, it has a more vivid dynamic response, with faster attacks and a sense of contrast between frequencies that makes the music more exciting and three-dimensional. The Loric, by comparison, sounds more intimate and contained. Its bass has good weight, but it lacks the same texture and the ability to recover small nuances in the low end. There is also a clear difference in treble resolution and the ability to maintain cleanliness when the mix becomes very dense. However, the Loric has a major practical advantage: it is much easier to drive, less sensitive to source quality, and much more forgiving with normal streaming recordings. The Rumba is clearly superior if I'm looking for a more immersive and technical experience, while the Loric still makes perfect sense as a budget option for daily use and prolonged listening without fatigue.

You can check my full ranking of all the IEMs reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here).

Conclusion

The Kefine Loric seems to me like a very coherent proposal within the current budget range. Its greatest virtue is offering a balanced, comfortable set that is easy to enjoy with practically any source and any musical genre.

What ended up convincing me the most was the combination of a physical yet well-integrated bass, particularly expressive mids with female vocals, and an extremely gentle upper range. This mix makes the Loric work surprisingly well for long sessions, something I value much more than other proposals that try to force detail through treble that goes completely overboard and ends up being annoying or sounding very metallic…

Its main limitation lies in the spatial and technical department. The soundstage is compact, the presentation is intimate, and it doesn't offer the 3D sensation or extreme resolution that I do find in clearly more ambitious models. Even so, within its price range, it seems like a particularly interesting option for anyone who wants an affordable, well-built, very comfortable single DD with a mature, musical, and surprisingly coherent tuning for what it costs.

Purchase Links:

• Linsoul 
• HiFiGo 
• Aliexpress

Disclaimer: This unit was sent by Kefine for review. My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Hello to the whole community, I have been testing Kefine's recent release these past few days. Although I received them some time ago, I haven't been able to get them until now. I must say these are the third I've tried from the brand after the Klean SV and later the Arnar. Curiously, these Loric are the most affordable model of the three, but I was sure that the Loric release had something different to offer and I will try to reflect that as always in the review…

What I liked / What I didn't like

Pros:

• Deep bass with a physical sensation.
• Very good integration between the sub-bass and mid-bass.
• Natural mids, especially with female vocals.
• Very convincing timbre for 1 DD.
• Smooth and very low-fatigue treble.
• They are above average for this price range.
• Micro-detail is presented in a relaxed but natural way.

Cons:

• The soundstage is quite compact and somewhat static.
• The 3D sensation is limited.
• It probably falls short in the upper treble regarding the sense of air.

Specifications

• Configuration: 1 Dynamic Driver of 10 mm
• Diaphragm: PU + Titanium Composite
• Structure: Dual-magnet + Dual-chamber
• Impedance: 20 Ω
• Sensitivity: 107 ± 3 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2-Pin
• Cable: 160-strand silver-plated copper cable
• Weight: 6 g per side
• Build: Transparent resin with zinc alloy faceplate

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and Build

The box is compact, well-organized, and feels much more carefully designed than what is usually found in this price range. It's not a luxurious experience, but it doesn't give the impression of a neglected product either.

The contents include the IEMs, a detachable cable, several sets of eartips, and a small carrying case. The cable is above the usual average. It has a good feel, barely generates any microphonics, and is flexible enough to use both at a desk and on the go without becoming a nuisance.

The shells weigh only 6g per side and have a truly compact size, which is very noticeable after several hours of use. In my case, I achieved a good seal from the very first listening session without noticing any pressure points or fatigue when finishing...

The transparent finish reveals part of the internal structure and pairs quite well with the metallic faceplate. The shape of the faceplate is truly curious, just like the other two models I've had from the brand, which gives it a distinctive touch without falling into overly flashy designs.

Sound

The tuning of this Loric is somewhat warm, with a mid-range that remains quite clean and above all natural coming from the single DD it houses. I wouldn't consider it V-shaped since it has more mids than I expected, leaning more towards a neutral signature with a slight U-shape or something similar…

Bass 

This Kefine model has something that made it feel somewhat different from the Klean SV and also the Arnar, and it is undoubtedly that extra focus on the sub-bass, bringing a more physical sensation than I could have expected after having already tested those other two models. You can appreciate without it being exaggerated, obviously the physical sensation and air movement in the punches and rumbles of certain sounds. It is something that becomes pleasant and hits a sweet spot that doesn't become invasive but is remarkable for a single DD.

The transition between the sub-bass and mid-bass is well done, as I also don't feel the mid-bass is overly exaggerated , rather, it complements the sub-bass well in percussion and instruments like bass guitars. I haven't felt it to be the fastest bass I've tested from a single DD within its price tier, and that somehow affects certain tracks I've tested with somewhat more saturated instrumental mixes, causing the bass to lose some definition but as I mentioned, only in specific tracks.

Mids 

As I said at the beginning of the sound section, the mids sound quite natural, without taking the spotlight but without being pushed too far back in the mix either. The vocals have quite a bit of space , male vocals have body and resonate with more prominence than female vocals, which sounded clear to me but somewhat softer. However, the advantage of this is that in none of the tracks I listened to during a couple of sessions did I find them annoying or sibilant, even with very high-pitched vocals.

Instruments like acoustic guitars and pianos, among others that fall into this range, sounded quite realistic to me. Although, just like with the bass in more complex tracks, I didn't feel some of the finer details were as defined as in other hybrid models at the same or slightly higher prices. This makes the instruments feel somewhat more glued together and not as separated when the song specifically calls for the opposite due to heavy instrumentation.

Treble 

As for the treble, I also feel it is relaxed. They don't aim for maximum detail or go overboard with brightness, something I don't know if it's a trend, but it's becoming common in the latest releases I review. However, both in this one and in previous cases, you can use them for long listening sessions thanks to how well-controlled they are.

I think the lower treble area is where they have the most energy, and you feel more presence in the cymbals and sharper guitar sounds, unlike the upper treble area, where this tuning remains somewhat more contained to achieve a safer but less detailed listen.

Therefore, if we judge by the airiest part, we are not going to feel an excessively expanded sound or one with maximum detail for the price. By this, I don't mean to describe it as a very dark or closed sound because that is not the case, but I must point it out especially for treble-heads or those who tolerate certain treble peaks that aren't present here and might find it falling a bit short for their taste. Still, if you value the overall tuning experience, I think it is adequately musical over being technical.

Recommended Eartips

I used the stock eartips for about half an hour before looking for something that would open up that treble area I mentioned a bit more, and obviously, I ended up finding a better solution in wide-bore tips from different brands…

• TRI Clarion: I noticed how the separation between instrument layers improves.
• Divinus Velvet Wide: The transition between bass and mids improves slightly, and the soundstage opens up a bit more.
• Tangzu Tang Sancai Wide: They remove some of the warmth and slightly improve the vocals.

Soundstage

If we talk about soundstage, the scene is not extremely wide , I would say it rather tries to somehow stay closer to your ears at an average distance.

I wouldn't describe it as a small stage, but a somewhat compact and static one. Despite having the instruments well-defined, there isn't that sense of movement around you or 3D expansion that I do perceive in other models.

It's possible that keeping the soundstage less expansive was intentional because it somewhat benefits the vocals by leaving them in a fairly centered space, achieving greater prominence than perhaps other instruments that are placed further away.

Instrumental Separation

When it comes to simpler tracks, it's really easy to follow the instruments or vocals without any effort, especially with the naturalness that a DD can provide.

It is when a more elaborate or crowded track plays especially in fast and heavy metal tracks, as usually happens with a lot of double kick drums and several distorted guitars that some definition is lost, holding them back for this type of genre in my opinion.

What I can't ignore is that, for its price, it doesn't fall behind most of the models I've already reviewed, and it actually improves upon some models that manage the bass-to-treble transition much worse by muddying the mix. Here, instead, it maintains a clearer separation in undemanding tracks.

Imaging

When it comes to locating vocals, instruments, and other sounds, they don't do a bad job. Even in the heavier and punchier rock or metal tracks I just mentioned, I think they hold their ground quite well in the genres I've tested them with, maintaining good placement of the different elements.

The positional accuracy, as I say, is good. What isn't as good is that compact scene that doesn't allow you to distinguish the depth between elements as much, leaving everything at a fairly similar distance. This is something that doesn't bother you as much if you use them to listen to music, but it can be an obvious drawback for gaming or movies/series.

Comparisons

Kefine Klean SV: The most important difference isn't just in the amount of bass, but in the way both present the music. The Klean SV has a more balanced and transparent approach: the mids are more forward, the vocals have more presence, and the overall sense of clarity is superior. With acoustic guitars, vocal jazz, or recordings where vocal texture is important, the Klean SV transmits more information and a cleaner instrumental separation. The Loric, on the other hand, provides a deeper sub-bass and a more relaxed presentation. It doesn't offer the same sense of resolution or air, but it is less demanding with compressed recordings and more comfortable for long sessions. I would say the Klean SV works better when I want to pay attention to the mix, while the Loric invites me more to simply enjoy the music without constantly analyzing it.

ooopusX Op.22: The leap in philosophy is even more evident here. The Op.22 clearly bets on a more technical and energetic presentation. It has a faster and more defined bass, a more open mid-range, and treble with greater extension, which translates into a clearly superior sense of detail. In complex tracks, especially progressive rock, modern metal, or multi-layered electronic music, the Op.22 separates instruments better and maintains a more organized scene when the mix gets complicated. The Loric doesn't reach that level of precision or micro-detail, but it responds with a very natural coherence thanks to its single dynamic driver. The transitions between bass, mids, and treble are perceived as more fluid and organic, and it also tolerates long listening sessions better because the upper area is much smoother. If the Op.22 seems to me like the option for those looking for resolution and a sense of immediacy, the Loric fits better with those who prioritize listening comfort and a more relaxed experience.

Ziigaat Rumba: The difference in category is noticeable both in the technical department and in the ambition of the tuning. The Rumba offers a larger presentation in every sense: the soundstage is wider, instrumental separation is more precise, and the stereo imaging places vocals and instruments much more clearly within the scene. In addition, it has a more vivid dynamic response, with faster attacks and a sense of contrast between frequencies that makes the music more exciting and three-dimensional. The Loric, by comparison, sounds more intimate and contained. Its bass has good weight, but it lacks the same texture and the ability to recover small nuances in the low end. There is also a clear difference in treble resolution and the ability to maintain cleanliness when the mix becomes very dense. However, the Loric has a major practical advantage: it is much easier to drive, less sensitive to source quality, and much more forgiving with normal streaming recordings. The Rumba is clearly superior if I'm looking for a more immersive and technical experience, while the Loric still makes perfect sense as a budget option for daily use and prolonged listening without fatigue.

You can check my full ranking of all the IEMs reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here).

Conclusion

The Kefine Loric seems to me like a very coherent proposal within the current budget range. Its greatest virtue is offering a balanced, comfortable set that is easy to enjoy with practically any source and any musical genre.

What ended up convincing me the most was the combination of a physical yet well-integrated bass, particularly expressive mids with female vocals, and an extremely gentle upper range. This mix makes the Loric work surprisingly well for long sessions, something I value much more than other proposals that try to force detail through treble that goes completely overboard and ends up being annoying or sounding very metallic…

Its main limitation lies in the spatial and technical department. The soundstage is compact, the presentation is intimate, and it doesn't offer the 3D sensation or extreme resolution that I do find in clearly more ambitious models. Even so, within its price range, it seems like a particularly interesting option for anyone who wants an affordable, well-built, very comfortable single DD with a mature, musical, and surprisingly coherent tuning for what it costs.

Purchase Links:

• Linsoul 
• HiFiGo 
• Aliexpress

Disclaimer: This unit was sent by Kefine for review. My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Hello to the whole community, I have been testing Kefine's recent release these past few days. Although I received them some time ago, I haven't been able to get them until now. I must say these are the third I've tried from the brand after the Klean SV and later the Arnar. Curiously, these Loric are the most affordable model of the three, but I was sure that the Loric release had something different to offer and I will try to reflect that as always in the review…

What I liked / What I didn't like

Pros:

• Deep bass with a physical sensation.
• Very good integration between the sub-bass and mid-bass.
• Natural mids, especially with female vocals.
• Very convincing timbre for 1 DD.
• Smooth and very low-fatigue treble.
• They are above average for this price range.
• Micro-detail is presented in a relaxed but natural way.

Cons:

• The soundstage is quite compact and somewhat static.
• The 3D sensation is limited.
• It probably falls short in the upper treble regarding the sense of air.

Specifications

• Configuration: 1 Dynamic Driver of 10 mm
• Diaphragm: PU + Titanium Composite
• Structure: Dual-magnet + Dual-chamber
• Impedance: 20 Ω
• Sensitivity: 107 ± 3 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2-Pin
• Cable: 160-strand silver-plated copper cable
• Weight: 6 g per side
• Build: Transparent resin with zinc alloy faceplate

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and Build

The box is compact, well-organized, and feels much more carefully designed than what is usually found in this price range. It's not a luxurious experience, but it doesn't give the impression of a neglected product either.

The contents include the IEMs, a detachable cable, several sets of eartips, and a small carrying case. The cable is above the usual average. It has a good feel, barely generates any microphonics, and is flexible enough to use both at a desk and on the go without becoming a nuisance.

The shells weigh only 6g per side and have a truly compact size, which is very noticeable after several hours of use. In my case, I achieved a good seal from the very first listening session without noticing any pressure points or fatigue when finishing...

The transparent finish reveals part of the internal structure and pairs quite well with the metallic faceplate. The shape of the faceplate is truly curious, just like the other two models I've had from the brand, which gives it a distinctive touch without falling into overly flashy designs.

Sound

The tuning of this Loric is somewhat warm, with a mid-range that remains quite clean and above all natural coming from the single DD it houses. I wouldn't consider it V-shaped since it has more mids than I expected, leaning more towards a neutral signature with a slight U-shape or something similar…

Bass 

This Kefine model has something that made it feel somewhat different from the Klean SV and also the Arnar, and it is undoubtedly that extra focus on the sub-bass, bringing a more physical sensation than I could have expected after having already tested those other two models. You can appreciate without it being exaggerated, obviously the physical sensation and air movement in the punches and rumbles of certain sounds. It is something that becomes pleasant and hits a sweet spot that doesn't become invasive but is remarkable for a single DD.

The transition between the sub-bass and mid-bass is well done, as I also don't feel the mid-bass is overly exaggerated , rather, it complements the sub-bass well in percussion and instruments like bass guitars. I haven't felt it to be the fastest bass I've tested from a single DD within its price tier, and that somehow affects certain tracks I've tested with somewhat more saturated instrumental mixes, causing the bass to lose some definition but as I mentioned, only in specific tracks.

Mids 

As I said at the beginning of the sound section, the mids sound quite natural, without taking the spotlight but without being pushed too far back in the mix either. The vocals have quite a bit of space , male vocals have body and resonate with more prominence than female vocals, which sounded clear to me but somewhat softer. However, the advantage of this is that in none of the tracks I listened to during a couple of sessions did I find them annoying or sibilant, even with very high-pitched vocals.

Instruments like acoustic guitars and pianos, among others that fall into this range, sounded quite realistic to me. Although, just like with the bass in more complex tracks, I didn't feel some of the finer details were as defined as in other hybrid models at the same or slightly higher prices. This makes the instruments feel somewhat more glued together and not as separated when the song specifically calls for the opposite due to heavy instrumentation.

Treble 

As for the treble, I also feel it is relaxed. They don't aim for maximum detail or go overboard with brightness, something I don't know if it's a trend, but it's becoming common in the latest releases I review. However, both in this one and in previous cases, you can use them for long listening sessions thanks to how well-controlled they are.

I think the lower treble area is where they have the most energy, and you feel more presence in the cymbals and sharper guitar sounds, unlike the upper treble area, where this tuning remains somewhat more contained to achieve a safer but less detailed listen.

Therefore, if we judge by the airiest part, we are not going to feel an excessively expanded sound or one with maximum detail for the price. By this, I don't mean to describe it as a very dark or closed sound because that is not the case, but I must point it out especially for treble-heads or those who tolerate certain treble peaks that aren't present here and might find it falling a bit short for their taste. Still, if you value the overall tuning experience, I think it is adequately musical over being technical.

Recommended Eartips

I used the stock eartips for about half an hour before looking for something that would open up that treble area I mentioned a bit more, and obviously, I ended up finding a better solution in wide-bore tips from different brands…

• TRI Clarion: I noticed how the separation between instrument layers improves.
• Divinus Velvet Wide: The transition between bass and mids improves slightly, and the soundstage opens up a bit more.
• Tangzu Tang Sancai Wide: They remove some of the warmth and slightly improve the vocals.

Soundstage

If we talk about soundstage, the scene is not extremely wide , I would say it rather tries to somehow stay closer to your ears at an average distance.

I wouldn't describe it as a small stage, but a somewhat compact and static one. Despite having the instruments well-defined, there isn't that sense of movement around you or 3D expansion that I do perceive in other models.

It's possible that keeping the soundstage less expansive was intentional because it somewhat benefits the vocals by leaving them in a fairly centered space, achieving greater prominence than perhaps other instruments that are placed further away.

Instrumental Separation

When it comes to simpler tracks, it's really easy to follow the instruments or vocals without any effort, especially with the naturalness that a DD can provide.

It is when a more elaborate or crowded track plays especially in fast and heavy metal tracks, as usually happens with a lot of double kick drums and several distorted guitars that some definition is lost, holding them back for this type of genre in my opinion.

What I can't ignore is that, for its price, it doesn't fall behind most of the models I've already reviewed, and it actually improves upon some models that manage the bass-to-treble transition much worse by muddying the mix. Here, instead, it maintains a clearer separation in undemanding tracks.

Imaging

When it comes to locating vocals, instruments, and other sounds, they don't do a bad job. Even in the heavier and punchier rock or metal tracks I just mentioned, I think they hold their ground quite well in the genres I've tested them with, maintaining good placement of the different elements.

The positional accuracy, as I say, is good. What isn't as good is that compact scene that doesn't allow you to distinguish the depth between elements as much, leaving everything at a fairly similar distance. This is something that doesn't bother you as much if you use them to listen to music, but it can be an obvious drawback for gaming or movies/series.

Comparisons

Kefine Klean SV: The most important difference isn't just in the amount of bass, but in the way both present the music. The Klean SV has a more balanced and transparent approach: the mids are more forward, the vocals have more presence, and the overall sense of clarity is superior. With acoustic guitars, vocal jazz, or recordings where vocal texture is important, the Klean SV transmits more information and a cleaner instrumental separation. The Loric, on the other hand, provides a deeper sub-bass and a more relaxed presentation. It doesn't offer the same sense of resolution or air, but it is less demanding with compressed recordings and more comfortable for long sessions. I would say the Klean SV works better when I want to pay attention to the mix, while the Loric invites me more to simply enjoy the music without constantly analyzing it.

ooopusX Op.22: The leap in philosophy is even more evident here. The Op.22 clearly bets on a more technical and energetic presentation. It has a faster and more defined bass, a more open mid-range, and treble with greater extension, which translates into a clearly superior sense of detail. In complex tracks, especially progressive rock, modern metal, or multi-layered electronic music, the Op.22 separates instruments better and maintains a more organized scene when the mix gets complicated. The Loric doesn't reach that level of precision or micro-detail, but it responds with a very natural coherence thanks to its single dynamic driver. The transitions between bass, mids, and treble are perceived as more fluid and organic, and it also tolerates long listening sessions better because the upper area is much smoother. If the Op.22 seems to me like the option for those looking for resolution and a sense of immediacy, the Loric fits better with those who prioritize listening comfort and a more relaxed experience.

Ziigaat Rumba: The difference in category is noticeable both in the technical department and in the ambition of the tuning. The Rumba offers a larger presentation in every sense: the soundstage is wider, instrumental separation is more precise, and the stereo imaging places vocals and instruments much more clearly within the scene. In addition, it has a more vivid dynamic response, with faster attacks and a sense of contrast between frequencies that makes the music more exciting and three-dimensional. The Loric, by comparison, sounds more intimate and contained. Its bass has good weight, but it lacks the same texture and the ability to recover small nuances in the low end. There is also a clear difference in treble resolution and the ability to maintain cleanliness when the mix becomes very dense. However, the Loric has a major practical advantage: it is much easier to drive, less sensitive to source quality, and much more forgiving with normal streaming recordings. The Rumba is clearly superior if I'm looking for a more immersive and technical experience, while the Loric still makes perfect sense as a budget option for daily use and prolonged listening without fatigue.

You can check my full ranking of all the IEMs reviewed so far on my profile (Reddit doesn't allow me to post the Drive link here).

Conclusion

The Kefine Loric seems to me like a very coherent proposal within the current budget range. Its greatest virtue is offering a balanced, comfortable set that is easy to enjoy with practically any source and any musical genre.

What ended up convincing me the most was the combination of a physical yet well-integrated bass, particularly expressive mids with female vocals, and an extremely gentle upper range. This mix makes the Loric work surprisingly well for long sessions, something I value much more than other proposals that try to force detail through treble that goes completely overboard and ends up being annoying or sounding very metallic…

Its main limitation lies in the spatial and technical department. The soundstage is compact, the presentation is intimate, and it doesn't offer the 3D sensation or extreme resolution that I do find in clearly more ambitious models. Even so, within its price range, it seems like a particularly interesting option for anyone who wants an affordable, well-built, very comfortable single DD with a mature, musical, and surprisingly coherent tuning for what it costs.

Purchase Links:

• Linsoul 
• HiFiGo 
• Aliexpress

Disclaimer: This unit was sent by Kefine for review. My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The Zhulinniao brand, which operates internationally under the BirdDance name, contacted me to introduce the JingHong Z3 model (around 35 $ - 45 $). Starting from my lack of knowledge about the brand, I accepted trying the product, which, considering its price and characteristics, seemed at least interesting. With a metal shell, 2DD of 10 mm and 6 mm, the first of them with a bamboo fiber diaphragm, which was undoubtedly the main attraction and something that, at least as far as I remember, I had not had the chance to try until now…

What I liked / What I didn’t like

Metal construction with a good finish.
Complete accessory package: several eartips with different profiles, case, decent cable…
Natural and intimate vocals with good presence.
Controlled bass with good texture.
Comfortable during long listening sessions.
Easy to drive from any device.
Treble extension somewhat limited with a lack of air in some tracks.
Soundstage not so wide or 3D.
Requires tip rolling to find the best sound.
Passive isolation could be improved.

Specifications

• Drivers: 2 DD (10 mm dual magnetic / dual chamber with bamboo fiber and silk diaphragm + 6 mm PU+PEEK)
• Impedance: 32 Ω
• Sensitivity: 125 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2 pin
• Cable: 106 core silver plated copper (3.5 mm versions with/without microphone and Type C with DAC + microphone)
• Shell: CNC zinc alloy, over ear design

My Sources

• FiiO K9
• FiiO KA15
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and build

Talking about the unboxing, as always at the beginning I have to highlight the presentation of this model, since both the way it is presented and what it includes are above what is expected. You can see the images: a multitude of eartips that influence the sound quite a lot, a kind of hard case that is usually seen in iems closer to 80 $ than 40 $, and a cable that honestly does not attract attention but also does not look out of place in this price range in which the whole package moves.

Regarding the iems themselves, they are fully metallic and CNC machined, available in silver or black, which was my choice, and in a 3.5 mm format, which I chose, although they also have a Type C version. A 4.4 mm balanced version is missed, which is the one I already use as standard in all the models in my collection. They weigh about 10 g and are of a more than correct size, so they fit well in my medium sized ear and probably would not cause problems in a smaller one either.

Isolation may not be the best, but it surely requires the necessary venting for the 2DD inside, so more cannot really be expected. Even so, almost no outside noise leaked in while using them on the street during my usual dog walks.

Sound

These JingHong Z3 have a somewhat warm and quite accessible tuning, with special emphasis on the lower mids and mids, giving a lot of prominence to the vocals, which sound quite pleasant, while avoiding both a more analytical profile and one that seeks to create the surprise effect produced by other models with stronger bass impact or greater treble extension. It is also worth highlighting that, despite their 32 Ω impedance, they are driven quite well by any DAC in terms of volume and overall behaviour, having been tested with several of my sources without changing their sound or making them more congested or sibilant.

Bass

The bass of this model is not particularly striking or impressive, but, always focusing on the price range we are dealing with, it can boast good punch and texture while maintaining good control and an impact that does not rumble excessively or make the sound too muddy, so this bamboo fiber material seems to me a good implementation for the main DD.

The extension into the sub bass is present, but it is not something remarkable in this model, since you will not feel that deep rumble that more basshead oriented listeners may appreciate. Even so, I have tried genres such as hip hop and some more modern pop tracks, and you can feel the DD’s impact without feeling that the bass bleeds where it should not or makes the music sound slow or excessively muddy. That does not mean, of course, that in other genres such as EDM, among others, a little more depth in this frequency range is not missed…

Mids

I consider the mids to be the strong point of these iems, or at least that has been my perception after a few hours of listening. The vocals are slightly forward, sounding natural and intimate. The singers feel a little closer than I usually like, but perhaps that has made me pay more attention to them and appreciate some nuances that usually go unnoticed by me in many songs I already knew. In fact, in other models close to the price of these that I have already reviewed, the vocals had that artificial veil that took away clarity, which fortunately is better resolved here, giving a little more definition in that aspect.

The same happens with string instruments such as guitars and others that move in this range, where more body and clarity can be perceived thanks to the tuning and internal configuration given to this model. As expected, with a bass that is not excessive and not too slow or boomy, the transition into the mids is quite clean, with hardly any mid bass invasion. In denser songs, vocals and instruments remain quite orderly, although it is true that the resolution does not hold up in the same way as in hybrid models that combine DD with BA or other types of drivers. However, leaving aside the limitations and configuration, the tuning in the mids always favours musicality over detail, making them more enjoyable in the long term than other alternatives.

Treble

The treble, finally, is smooth and controlled. There is enough detail, but the extension is limited. There is no extra air that opens up the recording a little or a lot as happens in brighter sets. The advantage, however, is that after several hours I was still listening to them without noticing fatigue or annoying sibilance. In genres where these frequencies stand out, such as some rock or classical recordings, they feel a little more closed in, but with most music they work very well. The interaction with the mids is coherent, just like the bass to mid transition, so zero complaints in that aspect.

Therefore, I could say that this range is not the most outstanding one either, just as happens with the bass, since you will not be able to analyse the micro details of the music, nor will you get that airy and extended treble that, if you have tried much more expensive models, you have probably already adopted as part of your preferences and expectations. In return, you will be able to use these JinHong Z3 for longer than you might have expected, and sometimes that can be enough for most people.

Recommended eartips

The stock eartips offer three clear and differentiated sound profiles that do affect the listening experience (balanced, clearer or translucent, and the bamboo ones, which open up the spectrum a little more). The balanced ones seemed to me the best compensated of the three, although this will depend on each person’s personal preferences…

To increase the sense of bass a little, I resorted to the now familiar Penon Liqueur Orange, whose more adhesive material improved isolation and gave a little more weight to the mid bass without making the melody muddy.

The Azla Sedna Earfit Origin also helped me achieve a better seal in my ears than the stock ones, and these eartips are among my favourites in terms of comfort, while also providing a little more overall definition. There is really no need to spend much, with two or three options that usually work for you and are comfortable, it is easy to find the balance you are looking for.

Soundstage

The soundstage is not excessively large nor particularly holographic. It feels rather frontal and somewhat intimate, while the height is decent, probably thanks to the placement of the secondary 6 mm driver. In songs that are not overloaded with vocals and instruments, it is noticeable that the instruments have space, but when the mix is more crowded with details and layers, everything comes together a little more. Related to the warm and mid centric tuning, the result feels more inside your head than beyond it. For the price it is respectable and it does not feel claustrophobic either, but if you love spaciousness, here you will notice something more restrained.

Instrument separation

If we talk about instrument separation, this iem organises the layers in a correct way…In tracks with few instruments, as with the soundstage, it is easy to follow each one individually. When the density increases, as in more orchestral tracks, the order is maintained, although some air between the layers is lost. It still maintains respectable separation, but it is not going to stand out with this type of music that requires handling several simultaneous tracks or layers of sound…

Imaging

Finally, the imaging. Since the vocals, as I mentioned, are somewhat forward, everything feels a little more intimate than in other models, while keeping the vocals and some instruments quite centred, close, and stable. Obviously, if we move to other content such as movies or videogames, it can feel a little limited, because that intimacy that makes vocals more enjoyable takes away some of the envelopment and distribution of sounds in the 3D plane that is so appreciated in this type of content that is not purely musical.

Comparisons

I have chosen budget models that are probably much better known by everyone than these JinHong Z3 themselves.

Truthear Gate

The Z3 offers clearly superior construction, although obviously they cost twice as much, but you also get a more generous accessory package. I consider the Gate a more analytical iem with greater treble extension, but the Z3 wins by sounding more natural in the vocals and offering a much more rounded overall result. If you prioritise comfort or warmer musicality, I would choose the Z3, if, on the other hand, you are looking for more detail and air, the Gate is a better and cheaper option regardless of the accessories included with each one.

Tangzu Wan’er S.G II

The JingHong Z3 has more body in the bass, despite the fact that, as I said, it is not one of its strongest points, and it also treats vocals better. The Wan’er S.G II feels lighter and more open in the treble, with a slightly wider soundstage. The Z3 remains warmer and has a construction that still wins between the two, even though the Wan’er is somewhat cheaper and does not do badly in terms of accessories, including the Tangzu Tang Sancai as stock tips. But, in short, if you listen to a lot of vocal focused music or styles close to pop, I think the Z3 is more pleasant in the long run, whereas the Wan’er may appeal more to those looking for a brighter and airier profile.

KZ Taurus

This is another 2DD iem, but I think the Z3 feels more refined and controlled overall. The Taurus may be more fun in terms of bass, but the Z3 has better texture, more natural vocals, and, once again, superior construction, as with the rest of the compared models, so that extra price is justified in exchange for greater durability. The Taurus can be more aggressive in general with any genre you listen to, whereas the Z3 remains more balanced and comfortable for hours. If you prioritize a more fun listening experience, the KZ Taurus will give you a better overall experience, but for those looking for something more mature and intimate, these Z3 would be my choice between the two proposals…

Ranking

You can check my full ranking of all the iems reviewed so far on my profile (Reddit doesn’t allow me to post the Drive link here).

Conclusion

The BirdDance JingHong Z3 makes sense for anyone looking for an affordable iem with metal construction, natural vocals, bass with controlled impact, and a generous accessory package. It is a brand that still needs to become known, and undoubtedly calling itself BirdDance seems necessary for the international market, while the model names should probably sound a little more international as well, because although it is something completely secondary, I know that it somehow affects consumers depending on their geographical area.

Within its price range of around 35 $ to 45 $, I would place it among the most premium feeling models in that range, because although it is not so unusual nowadays to find models that move away from plastic and resin, it is not something that many brands choose to do, usually reserving it for more expensive products, and that is something worth appreciating here.

Due to its design, construction, and choice of drivers, it is not going to be the most technical or open set you can try, but it can certainly become a daily set without any problem if you are not too dependent on detail or maximum resolution.

Purchase Link: 

AMAZON

ALIEXPRESS

Disclaimer

This unit was sent by Zhulinniao Audio / BirdDance for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The Zhulinniao brand, which operates internationally under the BirdDance name, contacted me to introduce the JingHong Z3 model (around 35 $ - 45 $). Starting from my lack of knowledge about the brand, I accepted trying the product, which, considering its price and characteristics, seemed at least interesting. With a metal shell, 2DD of 10 mm and 6 mm, the first of them with a bamboo fiber diaphragm, which was undoubtedly the main attraction and something that, at least as far as I remember, I had not had the chance to try until now…

What I liked / What I didn’t like

Metal construction with a good finish.
Complete accessory package: several eartips with different profiles, case, decent cable…
Natural and intimate vocals with good presence.
Controlled bass with good texture.
Comfortable during long listening sessions.
Easy to drive from any device.
Treble extension somewhat limited with a lack of air in some tracks.
Soundstage not so wide or 3D.
Requires tip rolling to find the best sound.
Passive isolation could be improved.

Specifications

• Drivers: 2 DD (10 mm dual magnetic / dual chamber with bamboo fiber and silk diaphragm + 6 mm PU+PEEK)
• Impedance: 32 Ω
• Sensitivity: 125 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2 pin
• Cable: 106 core silver plated copper (3.5 mm versions with/without microphone and Type C with DAC + microphone)
• Shell: CNC zinc alloy, over ear design

My Sources

• FiiO K9
• FiiO KA15
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and build

Talking about the unboxing, as always at the beginning I have to highlight the presentation of this model, since both the way it is presented and what it includes are above what is expected. You can see the images: a multitude of eartips that influence the sound quite a lot, a kind of hard case that is usually seen in iems closer to 80 $ than 40 $, and a cable that honestly does not attract attention but also does not look out of place in this price range in which the whole package moves.

Regarding the iems themselves, they are fully metallic and CNC machined, available in silver or black, which was my choice, and in a 3.5 mm format, which I chose, although they also have a Type C version. A 4.4 mm balanced version is missed, which is the one I already use as standard in all the models in my collection. They weigh about 10 g and are of a more than correct size, so they fit well in my medium sized ear and probably would not cause problems in a smaller one either.

Isolation may not be the best, but it surely requires the necessary venting for the 2DD inside, so more cannot really be expected. Even so, almost no outside noise leaked in while using them on the street during my usual dog walks.

Sound

These JingHong Z3 have a somewhat warm and quite accessible tuning, with special emphasis on the lower mids and mids, giving a lot of prominence to the vocals, which sound quite pleasant, while avoiding both a more analytical profile and one that seeks to create the surprise effect produced by other models with stronger bass impact or greater treble extension. It is also worth highlighting that, despite their 32 Ω impedance, they are driven quite well by any DAC in terms of volume and overall behaviour, having been tested with several of my sources without changing their sound or making them more congested or sibilant.

Bass

The bass of this model is not particularly striking or impressive, but, always focusing on the price range we are dealing with, it can boast good punch and texture while maintaining good control and an impact that does not rumble excessively or make the sound too muddy, so this bamboo fiber material seems to me a good implementation for the main DD.

The extension into the sub bass is present, but it is not something remarkable in this model, since you will not feel that deep rumble that more basshead oriented listeners may appreciate. Even so, I have tried genres such as hip hop and some more modern pop tracks, and you can feel the DD’s impact without feeling that the bass bleeds where it should not or makes the music sound slow or excessively muddy. That does not mean, of course, that in other genres such as EDM, among others, a little more depth in this frequency range is not missed…

Mids

I consider the mids to be the strong point of these iems, or at least that has been my perception after a few hours of listening. The vocals are slightly forward, sounding natural and intimate. The singers feel a little closer than I usually like, but perhaps that has made me pay more attention to them and appreciate some nuances that usually go unnoticed by me in many songs I already knew. In fact, in other models close to the price of these that I have already reviewed, the vocals had that artificial veil that took away clarity, which fortunately is better resolved here, giving a little more definition in that aspect.

The same happens with string instruments such as guitars and others that move in this range, where more body and clarity can be perceived thanks to the tuning and internal configuration given to this model. As expected, with a bass that is not excessive and not too slow or boomy, the transition into the mids is quite clean, with hardly any mid bass invasion. In denser songs, vocals and instruments remain quite orderly, although it is true that the resolution does not hold up in the same way as in hybrid models that combine DD with BA or other types of drivers. However, leaving aside the limitations and configuration, the tuning in the mids always favours musicality over detail, making them more enjoyable in the long term than other alternatives.

Treble

The treble, finally, is smooth and controlled. There is enough detail, but the extension is limited. There is no extra air that opens up the recording a little or a lot as happens in brighter sets. The advantage, however, is that after several hours I was still listening to them without noticing fatigue or annoying sibilance. In genres where these frequencies stand out, such as some rock or classical recordings, they feel a little more closed in, but with most music they work very well. The interaction with the mids is coherent, just like the bass to mid transition, so zero complaints in that aspect.

Therefore, I could say that this range is not the most outstanding one either, just as happens with the bass, since you will not be able to analyse the micro details of the music, nor will you get that airy and extended treble that, if you have tried much more expensive models, you have probably already adopted as part of your preferences and expectations. In return, you will be able to use these JinHong Z3 for longer than you might have expected, and sometimes that can be enough for most people.

Recommended eartips

The stock eartips offer three clear and differentiated sound profiles that do affect the listening experience (balanced, clearer or translucent, and the bamboo ones, which open up the spectrum a little more). The balanced ones seemed to me the best compensated of the three, although this will depend on each person’s personal preferences…

To increase the sense of bass a little, I resorted to the now familiar Penon Liqueur Orange, whose more adhesive material improved isolation and gave a little more weight to the mid bass without making the melody muddy.

The Azla Sedna Earfit Origin also helped me achieve a better seal in my ears than the stock ones, and these eartips are among my favourites in terms of comfort, while also providing a little more overall definition. There is really no need to spend much, with two or three options that usually work for you and are comfortable, it is easy to find the balance you are looking for.

Soundstage

The soundstage is not excessively large nor particularly holographic. It feels rather frontal and somewhat intimate, while the height is decent, probably thanks to the placement of the secondary 6 mm driver. In songs that are not overloaded with vocals and instruments, it is noticeable that the instruments have space, but when the mix is more crowded with details and layers, everything comes together a little more. Related to the warm and mid centric tuning, the result feels more inside your head than beyond it. For the price it is respectable and it does not feel claustrophobic either, but if you love spaciousness, here you will notice something more restrained.

Instrument separation

If we talk about instrument separation, this iem organises the layers in a correct way…In tracks with few instruments, as with the soundstage, it is easy to follow each one individually. When the density increases, as in more orchestral tracks, the order is maintained, although some air between the layers is lost. It still maintains respectable separation, but it is not going to stand out with this type of music that requires handling several simultaneous tracks or layers of sound…

Imaging

Finally, the imaging. Since the vocals, as I mentioned, are somewhat forward, everything feels a little more intimate than in other models, while keeping the vocals and some instruments quite centred, close, and stable. Obviously, if we move to other content such as movies or videogames, it can feel a little limited, because that intimacy that makes vocals more enjoyable takes away some of the envelopment and distribution of sounds in the 3D plane that is so appreciated in this type of content that is not purely musical.

Comparisons

I have chosen budget models that are probably much better known by everyone than these JinHong Z3 themselves.

Truthear Gate

The Z3 offers clearly superior construction, although obviously they cost twice as much, but you also get a more generous accessory package. I consider the Gate a more analytical iem with greater treble extension, but the Z3 wins by sounding more natural in the vocals and offering a much more rounded overall result. If you prioritise comfort or warmer musicality, I would choose the Z3, if, on the other hand, you are looking for more detail and air, the Gate is a better and cheaper option regardless of the accessories included with each one.

Tangzu Wan’er S.G II

The JingHong Z3 has more body in the bass, despite the fact that, as I said, it is not one of its strongest points, and it also treats vocals better. The Wan’er S.G II feels lighter and more open in the treble, with a slightly wider soundstage. The Z3 remains warmer and has a construction that still wins between the two, even though the Wan’er is somewhat cheaper and does not do badly in terms of accessories, including the Tangzu Tang Sancai as stock tips. But, in short, if you listen to a lot of vocal focused music or styles close to pop, I think the Z3 is more pleasant in the long run, whereas the Wan’er may appeal more to those looking for a brighter and airier profile.

KZ Taurus

This is another 2DD iem, but I think the Z3 feels more refined and controlled overall. The Taurus may be more fun in terms of bass, but the Z3 has better texture, more natural vocals, and, once again, superior construction, as with the rest of the compared models, so that extra price is justified in exchange for greater durability. The Taurus can be more aggressive in general with any genre you listen to, whereas the Z3 remains more balanced and comfortable for hours. If you prioritize a more fun listening experience, the KZ Taurus will give you a better overall experience, but for those looking for something more mature and intimate, these Z3 would be my choice between the two proposals…

Ranking

You can check my full ranking of all the iems reviewed so far on my profile (Reddit doesn’t allow me to post the Drive link here).

Conclusion

The BirdDance JingHong Z3 makes sense for anyone looking for an affordable iem with metal construction, natural vocals, bass with controlled impact, and a generous accessory package. It is a brand that still needs to become known, and undoubtedly calling itself BirdDance seems necessary for the international market, while the model names should probably sound a little more international as well, because although it is something completely secondary, I know that it somehow affects consumers depending on their geographical area.

Within its price range of around 35 $ to 45 $, I would place it among the most premium feeling models in that range, because although it is not so unusual nowadays to find models that move away from plastic and resin, it is not something that many brands choose to do, usually reserving it for more expensive products, and that is something worth appreciating here.

Due to its design, construction, and choice of drivers, it is not going to be the most technical or open set you can try, but it can certainly become a daily set without any problem if you are not too dependent on detail or maximum resolution.

Purchase Link: 

AMAZON

ALIEXPRESS

Disclaimer

This unit was sent by Zhulinniao Audio / BirdDance for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The Zhulinniao brand, which operates internationally under the BirdDance name, contacted me to introduce the JingHong Z3 model (around 35 $ - 45 $). Starting from my lack of knowledge about the brand, I accepted trying the product, which, considering its price and characteristics, seemed at least interesting. With a metal shell, 2DD of 10 mm and 6 mm, the first of them with a bamboo fiber diaphragm, which was undoubtedly the main attraction and something that, at least as far as I remember, I had not had the chance to try until now…

What I liked / What I didn’t like

Metal construction with a good finish.
Complete accessory package: several eartips with different profiles, case, decent cable…
Natural and intimate vocals with good presence.
Controlled bass with good texture.
Comfortable during long listening sessions.
Easy to drive from any device.
Treble extension somewhat limited with a lack of air in some tracks.
Soundstage not so wide or 3D.
Requires tip rolling to find the best sound.
Passive isolation could be improved.

Specifications

• Drivers: 2 DD (10 mm dual magnetic / dual chamber with bamboo fiber and silk diaphragm + 6 mm PU+PEEK)
• Impedance: 32 Ω
• Sensitivity: 125 dB
• Frequency response: 20 Hz – 20 kHz
• Connector: 0.78 mm 2 pin
• Cable: 106 core silver plated copper (3.5 mm versions with/without microphone and Type C with DAC + microphone)
• Shell: CNC zinc alloy, over ear design

My Sources

• FiiO K9
• FiiO KA15
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and build

Talking about the unboxing, as always at the beginning I have to highlight the presentation of this model, since both the way it is presented and what it includes are above what is expected. You can see the images: a multitude of eartips that influence the sound quite a lot, a kind of hard case that is usually seen in iems closer to 80 $ than 40 $, and a cable that honestly does not attract attention but also does not look out of place in this price range in which the whole package moves.

Regarding the iems themselves, they are fully metallic and CNC machined, available in silver or black, which was my choice, and in a 3.5 mm format, which I chose, although they also have a Type C version. A 4.4 mm balanced version is missed, which is the one I already use as standard in all the models in my collection. They weigh about 10 g and are of a more than correct size, so they fit well in my medium sized ear and probably would not cause problems in a smaller one either.

Isolation may not be the best, but it surely requires the necessary venting for the 2DD inside, so more cannot really be expected. Even so, almost no outside noise leaked in while using them on the street during my usual dog walks.

Sound

These JingHong Z3 have a somewhat warm and quite accessible tuning, with special emphasis on the lower mids and mids, giving a lot of prominence to the vocals, which sound quite pleasant, while avoiding both a more analytical profile and one that seeks to create the surprise effect produced by other models with stronger bass impact or greater treble extension. It is also worth highlighting that, despite their 32 Ω impedance, they are driven quite well by any DAC in terms of volume and overall behaviour, having been tested with several of my sources without changing their sound or making them more congested or sibilant.

Bass

The bass of this model is not particularly striking or impressive, but, always focusing on the price range we are dealing with, it can boast good punch and texture while maintaining good control and an impact that does not rumble excessively or make the sound too muddy, so this bamboo fiber material seems to me a good implementation for the main DD.

The extension into the sub bass is present, but it is not something remarkable in this model, since you will not feel that deep rumble that more basshead oriented listeners may appreciate. Even so, I have tried genres such as hip hop and some more modern pop tracks, and you can feel the DD’s impact without feeling that the bass bleeds where it should not or makes the music sound slow or excessively muddy. That does not mean, of course, that in other genres such as EDM, among others, a little more depth in this frequency range is not missed…

Mids

I consider the mids to be the strong point of these iems, or at least that has been my perception after a few hours of listening. The vocals are slightly forward, sounding natural and intimate. The singers feel a little closer than I usually like, but perhaps that has made me pay more attention to them and appreciate some nuances that usually go unnoticed by me in many songs I already knew. In fact, in other models close to the price of these that I have already reviewed, the vocals had that artificial veil that took away clarity, which fortunately is better resolved here, giving a little more definition in that aspect.

The same happens with string instruments such as guitars and others that move in this range, where more body and clarity can be perceived thanks to the tuning and internal configuration given to this model. As expected, with a bass that is not excessive and not too slow or boomy, the transition into the mids is quite clean, with hardly any mid bass invasion. In denser songs, vocals and instruments remain quite orderly, although it is true that the resolution does not hold up in the same way as in hybrid models that combine DD with BA or other types of drivers. However, leaving aside the limitations and configuration, the tuning in the mids always favours musicality over detail, making them more enjoyable in the long term than other alternatives.

Treble

The treble, finally, is smooth and controlled. There is enough detail, but the extension is limited. There is no extra air that opens up the recording a little or a lot as happens in brighter sets. The advantage, however, is that after several hours I was still listening to them without noticing fatigue or annoying sibilance. In genres where these frequencies stand out, such as some rock or classical recordings, they feel a little more closed in, but with most music they work very well. The interaction with the mids is coherent, just like the bass to mid transition, so zero complaints in that aspect.

Therefore, I could say that this range is not the most outstanding one either, just as happens with the bass, since you will not be able to analyse the micro details of the music, nor will you get that airy and extended treble that, if you have tried much more expensive models, you have probably already adopted as part of your preferences and expectations. In return, you will be able to use these JinHong Z3 for longer than you might have expected, and sometimes that can be enough for most people.

Recommended eartips

The stock eartips offer three clear and differentiated sound profiles that do affect the listening experience (balanced, clearer or translucent, and the bamboo ones, which open up the spectrum a little more). The balanced ones seemed to me the best compensated of the three, although this will depend on each person’s personal preferences…

To increase the sense of bass a little, I resorted to the now familiar Penon Liqueur Orange, whose more adhesive material improved isolation and gave a little more weight to the mid bass without making the melody muddy.

The Azla Sedna Earfit Origin also helped me achieve a better seal in my ears than the stock ones, and these eartips are among my favourites in terms of comfort, while also providing a little more overall definition. There is really no need to spend much, with two or three options that usually work for you and are comfortable, it is easy to find the balance you are looking for.

Soundstage

The soundstage is not excessively large nor particularly holographic. It feels rather frontal and somewhat intimate, while the height is decent, probably thanks to the placement of the secondary 6 mm driver. In songs that are not overloaded with vocals and instruments, it is noticeable that the instruments have space, but when the mix is more crowded with details and layers, everything comes together a little more. Related to the warm and mid centric tuning, the result feels more inside your head than beyond it. For the price it is respectable and it does not feel claustrophobic either, but if you love spaciousness, here you will notice something more restrained.

Instrument separation

If we talk about instrument separation, this iem organises the layers in a correct way…In tracks with few instruments, as with the soundstage, it is easy to follow each one individually. When the density increases, as in more orchestral tracks, the order is maintained, although some air between the layers is lost. It still maintains respectable separation, but it is not going to stand out with this type of music that requires handling several simultaneous tracks or layers of sound…

Imaging

Finally, the imaging. Since the vocals, as I mentioned, are somewhat forward, everything feels a little more intimate than in other models, while keeping the vocals and some instruments quite centred, close, and stable. Obviously, if we move to other content such as movies or videogames, it can feel a little limited, because that intimacy that makes vocals more enjoyable takes away some of the envelopment and distribution of sounds in the 3D plane that is so appreciated in this type of content that is not purely musical.

Comparisons

I have chosen budget models that are probably much better known by everyone than these JinHong Z3 themselves.

Truthear Gate

The Z3 offers clearly superior construction, although obviously they cost twice as much, but you also get a more generous accessory package. I consider the Gate a more analytical iem with greater treble extension, but the Z3 wins by sounding more natural in the vocals and offering a much more rounded overall result. If you prioritise comfort or warmer musicality, I would choose the Z3, if, on the other hand, you are looking for more detail and air, the Gate is a better and cheaper option regardless of the accessories included with each one.

Tangzu Wan’er S.G II

The JingHong Z3 has more body in the bass, despite the fact that, as I said, it is not one of its strongest points, and it also treats vocals better. The Wan’er S.G II feels lighter and more open in the treble, with a slightly wider soundstage. The Z3 remains warmer and has a construction that still wins between the two, even though the Wan’er is somewhat cheaper and does not do badly in terms of accessories, including the Tangzu Tang Sancai as stock tips. But, in short, if you listen to a lot of vocal focused music or styles close to pop, I think the Z3 is more pleasant in the long run, whereas the Wan’er may appeal more to those looking for a brighter and airier profile.

KZ Taurus

This is another 2DD iem, but I think the Z3 feels more refined and controlled overall. The Taurus may be more fun in terms of bass, but the Z3 has better texture, more natural vocals, and, once again, superior construction, as with the rest of the compared models, so that extra price is justified in exchange for greater durability. The Taurus can be more aggressive in general with any genre you listen to, whereas the Z3 remains more balanced and comfortable for hours. If you prioritize a more fun listening experience, the KZ Taurus will give you a better overall experience, but for those looking for something more mature and intimate, these Z3 would be my choice between the two proposals…

Ranking

You can check my full ranking of all the iems reviewed so far on my profile (Reddit doesn’t allow me to post the Drive link here).

Conclusion

The BirdDance JingHong Z3 makes sense for anyone looking for an affordable iem with metal construction, natural vocals, bass with controlled impact, and a generous accessory package. It is a brand that still needs to become known, and undoubtedly calling itself BirdDance seems necessary for the international market, while the model names should probably sound a little more international as well, because although it is something completely secondary, I know that it somehow affects consumers depending on their geographical area.

Within its price range of around 35 $ to 45 $, I would place it among the most premium feeling models in that range, because although it is not so unusual nowadays to find models that move away from plastic and resin, it is not something that many brands choose to do, usually reserving it for more expensive products, and that is something worth appreciating here.

Due to its design, construction, and choice of drivers, it is not going to be the most technical or open set you can try, but it can certainly become a daily set without any problem if you are not too dependent on detail or maximum resolution.

Purchase Link: 

AMAZON

ALIEXPRESS

Disclaimer

This unit was sent by Zhulinniao Audio / BirdDance for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

The Juzear Defiant was one of the products that stood out to me from the rest of Juzear’s offerings when it came out in partnership with Z Reviews. It features a 1DD / 3BA hybrid design with excellent build quality and a full compliment of accessories geared towards the serious Audiophile.

Sometime after that Juzear released their new product called the Fiesta, a development made in conjunction with Vivir Digital. I reviewed the Fiesta, and I’d be happy if you took some time to read my personal review on my account. Even though they feature identical technical configurations and philosophies, the Fiesta chose a warm and punchy direction for an instant experience compared to the Defiant.

In addition to giving me a chance to examine the Fiesta previously, this review of the Defiant has given me a clearer understanding of how these two models fit into the Juzear lineup. Rather than simply asking which model is best suited for someone looking for this type of audio experience, I have been left with the impression that these two models were specifically designed for users who enjoy music in a distinctly different way. The Fiesta is attempting to get your ear hooked immediately using a far more physical and immersive sonic experience. While the Defiant is offering a cleaner and balanced sonic experience, along with a greater level of separation between instruments, overall, the Defiant feels like a more refined and technically capable model.

Throughout this review I will attempt to highlight all of the differences between these two models through comparison, however, due to the fact that this is primarily a review of the Defiant, I will be focusing most of my comparisons from the perspective of the Defiant.

What I liked and What I didn't like

• Bass has very good texture and great control.
• Mids are clean and natural sounding.
• Vocals are very well defined.
• Treble has very good extension and a sense of air.
• Stage is wider than most in this price class.
• Instrumental separation far better than that of the Fiesta.
• Quality of modular cable is much higher than that of the Fiesta.
• Construction is solid, ergonomics are excellent.
• Punch and physical feel of the bass is lower than that of the Fiesta.
• Lacks the warmth and immediacy of its new brother.
• Requires a little extra volume to reveal full dynamic potential.
• Tuning may not be as impressive at first listen.

Specifications

• Configuration. 1 Dynamic Driver and 3 Balanced Armatures.
• Dynamic driver. 10 mm with LCP diaphragm.
• Balanced Armature. 3 custom units.
• Frequency response. 20 Hz to 20 kHz.
• Sensitivity. 108 dB.
• Impedance. 18 ohms.
• Connector. 2 pin 0.78 mm.
• Termination. Modular cable 3.5 mm and 4.4 mm.

My Sources

• FiiO K9
• NiceHCK Octave
• Questyle M15i
• Tanchjim Space II

Unboxing and construction

The packaging of the Defiant, feels far superior to what I was expecting when I looked at the cost. The packaging itself had a thoughtful design to include a well laid-out interior along with an unboxing process that is similar to many high-end items.

As can be seen, the components were significantly different from the Fiesta. The Fiesta included two separate cables (a 3.5mm one including a mic and a balanced 4.4mm one) whereas the Defiant chose to provide a single 6N SPOCC and SCCW hybrid cable with a modular design, providing easy access to interchange your 3.5mm and 4.4mm termination connectors.

For myself, this cable was one of my favorite aspects of the product. Not only does it look larger in diameter and feel like it provides a level of quality but it's extremely comfortable to wear even given its rugged aesthetic. Also, since there are no need to carry around two separate cables such as would be required with the Fiesta.

The bodies of both share a similar aesthetic as Juzear, using 3D printed resin with a CNC machined aluminum face plate. On the Defiant, the multi-colored mother of pearl reflections produced from the partnership with Z Reviews really stand out in particular (in my Rainbow version), these are far removed from the bright and bold colors present in the Fiesta (which utilized mostly reds, browns/oranges).

There is also a second version of the Defiant available in a simple green color which, while aesthetically pleasing doesn't offer nearly as much visual interest as either the Rainbow colored Defiant or the more vibrant color options of the Fiesta.

Both are extremely ergonomic and while I wouldn't say that there is a difference in how each sits, I did find the Defiant to be slightly more comfortable over longer periods of time. Although I didn't measure them against each other and it appears they utilize the same form factor, this is how I perceived them. The dimensions are compact enough to fit comfortably within most ears. The weight is evenly distributed throughout. And the nozzle makes it incredibly easy to achieve a solid seal. Over multiple hours listening to varying music styles I couldn't help but notice little to no fatigue in my ears, something I always consider paramount when evaluating an iem intended for daily usage.

Sound

What I found particularly interesting about the Defiant is how similarly configured hybrid design as the Fiesta, the sonic representation of the Defiant goes down a distinctly separate route. While the Fiesta aims for impact, warmth, and an immersive experience, the Defiant is focused on purity, isolation and a greater total level of balance.

Bass

While the Defiant produces sufficient low frequency energy for the music to remain substantial and punchy, it remains decidedly more controlled than the Fiesta.

From the opening moments the differences were apparent.
The Fiesta has more abundance in the lower end and generates a stronger tactile response, particularly with EDM, Hip Hop, Modern Pop, and Reggaeton. The Fiesta provides that fun factor that keeps the rhythmic elements constantly present.

On the other hand, the Defiant focuses heavily on control. My favorite aspect was the texture of the Defiant and the way it allows you to distinguish the various bass layers. In addition to being able to identify variations in intensity in bass lines and Alternative Rock, it is easier to recognize small nuances that get masked in the Fiesta due to its increased bass volume.

Additionally, I thought that transitioning into the midrange was excellent. Neither model appears to allow the bass to bleed into the mids nor mask instruments such as guitars etc. However, there is a certain degree to which the Defiant achieves this far better due to its reduced bass volume allowing the mids/vocals in general more room to breath than the Fiesta does.

Consequently, the Defiant is not designed for Bassheads. For those who want a more direct and instant gratification type of sound, it is likely that the Fiesta will continue to provide their preferred type of sound.

Mids

The mids in the Fiesta are pleasingly warm and relatively tolerant of average/over-compressed recordings. Males sound forward and full-bodied which greatly adds to that relaxed and highly enjoyable listening experience.

The Defiant presents good musicality but introduces additional clarity and distance between instruments. Vocals appear to be better defined within the mix and strings sound more precisely outlined.

Female vocals appeared to differ in terms of sound quality between these two models. With the Fiesta, female vocals typically sound slightly softer and blend-in with the remainder of the mix whereas the Defiant gives them a little extra breathing room and definition without becoming harsh or too analytically detailed.

Also noteworthy is its ability with more complex recordings. When multiple guitars, keyboards and vocalists all show up simultaneously during a song, the Fiesta will tend to create a single coherent mass of sound. The Defiant allows you to track each instrument individually much better, making extended listening sessions (in excess of two hours) much less fatiguing based upon my subjective perceptions after testing both units extensively.

Treble

Ultimately, the treble reinforces that impression of greater technical refinement.

In comparison to the treble section in the Fiesta, where smoothing out the treble helps create a warm and non-fatiguing listening experience - it effectively limits your ability to perceive air and micro details.

The Defiant creates a longer treble and cymbal strikes have more sparkle. Reverberation is heard clearer. Soundstages become more open due to a greater sense of height in the treble area.

Most importantly, it did not come across as overly bright to me. After extensive exposure to rock, metal and electronic music - I never experienced fatigue. The Defiant contains more treble data than the Fiesta, however it conveys that information in a fairly controlled manner.

Recommended Eartips

The stock ear tips perform well enough, however, I believe that the Defiant could greatly benefit from several design or material modifications based on your needs.

• Divinus Velvet Wide. Based upon my experience with this product as an addition to enhance a sense of open space and take advantage of the high quality midrange and treble qualities found in the Defiant.
• Penon Liqueur Orange. These may be a viable replacement if you have moved up from the Fiesta and would like additional body/low frequency mass.

Soundstage

I did not find the soundstage of the Defiant to be overly large, however, I do think it provided a wider stage area compared to the Fiesta. The differences are not just about how wide the stage is, but about how much air there is between each layer of the mix.

The Fiesta presents the music in a very compact and intimate manner (which fits nicely with its warm, cozy nature), while the Defiant has a larger stage. It allows more room for the instruments to spread laterally as well as allowing well recorded music to appear more realistic and less cluttered.

I was pleased with the perceived depth, particularly with orchestral pieces and movie scores where I could hear an even farther back placement of vocals and instruments.

Instrumental separation

Both will work on simple music, but when the complexity of the mix increases the Defiant will separate the individual instrument lines much better. As I tested with progressive rock, melodic metal and symphonic music I found it far easier to isolate specific parts without difficulty.

Whereas the Fiesta favors a more unified, musical presentation, the Defiant provides a more detailed representation of each part of the mix.

Imaging

For me, the imaging appeared solid and consistent. The vocalists remained centrally positioned and lateral placed instruments were easily identified.

Additionally I had higher expectations from the Defiant concerning movies over the Fiesta because of its greater detail and openness. While I wouldn't say it's a multimedia focused iem, I do believe it facilitates the spatial identification of sounds and movement through a scene for either movies or video games, though neither would be my primary preference for those applications.

Summary comparison with the Juzear Fiesta

After analyzing both the Juzear Fiesta and Juzear Defiant, I believe the best way to sum up their differences is to look at them as two products that prioritize different things.

If you're looking for a warm, relaxed listening experience with emphasis on the  sub-bass I'd pick the Fiesta. The higher volume of lower frequencies, smaller overall presentation size and the quicker attack time of this speaker are all going to make it easier for you to get a lot out of your favorite modern music, pop, electronic or anything else that relies heavily on sonic oomph.

On the other hand if you're planning on having longer sessions or just want something you can use for a wider variety of music the Defiant is the product I would recommend. While it may have less of an in-your-face type of punch from the beginning, it will give you clearer mids, a lot more air in the upper frequency range, a larger soundstage and by far the best separation of individual elements in the mix along with some great nuance reproduction in recordings.

What's interesting about these two speakers is that Juzear didn't simply turn the Defiant into a more expensive or updated version of the Fiesta. Instead they've taken each design in very different directions. The Fiesta has a much bolder personality that is sure to be fun while the Defiant seems to convey a sense of maturity and balance.

Ranking

You can check my full ranking of all the iems reviewed so far on my profile. Reddit does not allow me to post the Drive link here.

Conclusion

The Juzear Defiant leaves me thinking I am part of that hybrid category where we want to find a middle ground with regards to our technical abilities and musicality without being too extreme. There is enough body to have fun with this product, however, its biggest asset lies in how clean it sounds, how well instrumentally separated everything is, and how much more refined this unit appears compared to other units in this price point when it comes to the presentation.

This unit finds itself at its best by providing that perfect balance. A reproduction that does not offer an over the top, extremely loud and boisterous bass line, nor an extremely bright treble line, but instead offers a clear and coherent reproduction that can be listened to for extended periods of time.

The first and possibly largest drawback is that the Defiant loses a portion of the unbridled enjoyment factor that makes the Fiesta so appealing. If your number one concern is to feel the bass and to have a warm and punchy listening experience, then the Fiesta will continue to be the better choice. In addition, if you prefer to have two separate 3.5mm and 4.4mm cables, then the Fiesta will also remain the better choice. However, if you desire a more balanced sounding hybrid that offers superior technical performance for your varied music library, then I think the Defiant represents a very strong candidate within its respective price point.

Purchase Links

JUZEAR DEFIANT

JUZEAR FIESTA

Disclaimer

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.