Hello everyone! I had this model in the backlog waiting to find the right moment to review it, with expectations after enjoying the Kunten to some extent, their previous release. That model gave people a lot to talk about on forums because it sounded pretty good, due to its proper tuning and its low price. Then we found out about the silent revision where due to excess demand during the new year they ran out of certain components and had to improvise on the fly by putting in red internal cables and other small modifications slightly altering the final result. A little soap opera that I happened to be a part of. Now they are trying to turn the page with this GK Streak that integrates a hybrid system. I have been using it daily for days both at home and on the street and I will tell you if they have managed to settle the foundations of their sound, if for me they are the logical evolution after the Kunten or a step to the side or backwards...

What I like and what I do not like

• Low frequency response with a noticeable impact.
• Detail retrieval that exceeds its price.
• Improvement over the Kunten in terms of general cleanliness of the mix and high frequencies.
• If they included the cable and eartips upgrade the extra content is up to par.
• Intimate soundstage that makes complex tracks sound a bit tight.
• Voices are very sunken in the mix and the percussion tends to cover them.
• There are air bubbles around the nozzle area.

Specifications

• Drivers KUN Dynamic Driver + Independent Micro-Planar Tweeter
• Impedance 32Ω
• Sensitivity 111dB
• Frequency 20Hz–40kHz
• Connector 0.78mm 2-pin
• Cable Gold-plated detachable, 3.5mm

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.
• NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.
• Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

Let us talk about the content inside, which looking at the box design I already know from the outside what I will find. They include the earphones, a very basic transparent cable and some average silicone eartips. Luckily the brand includes, at least to those of us who received the modified Kunten, a cable and improved eartips upgrade that makes the package gain points, I do not know if they include this improvement to any user whether they have been a user of the GK Kunten or not. Regarding that upgrade it is a sturdy silver-plated eight-core black cable and liquid silicone eartips that slightly remind of the TRN-T due to their grooves, but in any case both things improve in appearance and quality compared to what we find by default in the box with the most basic quality that we see in so many KZ models to name one of the brands that follow this repetitive and basic box and accessories design pattern.

The internal body of the iem is made of transparent resin that allows seeing the KUN driver and the micro planar without problems but the outer faceplate is solid opaque metal. I chose the black color for the faceplate although they also sell it in a silver tone. The black cable is a success because it does not retain strange shapes when taking it out of the pocket. The somewhat shameful thing is that as seen in one of my photos, my unit has some air bubbles in the resin showing that they still have room for improvement in factory assembly or quality controls...

Sound

Going into its sound and looking at its graph it is clear that they boosted the low end with enthusiasm. The low frequencies dominate the mix but their wild speed is incredibly surprising. When a drum kit starts the kick drum attack is so direct that you feel the physical impact in your ear. The sub bass decay provides a very pleasant reverberation filling the background with agility. Connecting them to the FiiO K9 the control is absolute ensuring that this punchiness does not muddy the other frequencies, I know many people do not have a desktop dac and only use dongles but it is something I recommend trying and investing in at some point if you are going to take this hobby long term. It is a highly addictive profile for electronic genres but I must also say that with acoustic tracks you notice there is too much weight and some sounds sound thick taking away realism.

The mid frequency range gets the worst part or so I think after some tests with various musical styles. The vocals have a fundamentally clean tone but suffer from an obvious spatial delay that sends them to the back. Male vocals in the lower mids enjoy a roughness that gives them authority while female vocals in the upper mids feel warmer. The biggest problem appears when the song adds multiple simultaneous layers because the drums and bass sweep right over the singers. I used the Dunu S&S trying to push the vocals forward thanks to their straighter tube and although I managed to rescue them a bit the sunken central profile was still there. A leading vocality was not intended I think for this model, which can be a great disadvantage for many or something more irrelevant for others...

In the high frequencies they decided to roll off the response to avoid fatigue. The highs smooth out very early allowing you to turn up the volume without the brightness bothering you after a few hours. The addition of the micro planar helps to have more extended highs than starting from a single DD, which is a smart and well implemented addition. I used the Tangzu Tang Sancai Wide Bore eartips to open the upper area even more relying on their wide diameter and I achieved some positional improvement since although the highs for my taste have improved compared to the Kunten the extension is still not excessive and with this type of eartips you achieve a bit of improvement in this aspect.

Soundstage instrumental separation and imaging

The soundstage of the GK Streak is somewhat intimate, reducing everything to a small acoustic ball quite tight around your head. It lacks the depth and lateral width required for large productions to breathe causing the presentation to sound compressed. Pairing them with the Questyle M15i I tried to take advantage of its musical character to expand the spatial environment but the solid resin shell imposes a physical limit impossible to jump over. It is an extremely frontal experience that puts you right into the action.

Curiously the instrumental separation handles this lack of space surprisingly well. The agile attack of the DD working together with the micro planar ensures that the powerful bass lines do not end up mixing muddily with the guitars at a moderate volume level. The sonic collapse only happens in moments of extreme saturation where simply not a single instrument more fits, luckily I am talking about specific styles or songs but not in the majority of content I tested including also movies.

The instrument positioning performs at a high level helping to compensate for the spatial shortcomings. The detail retrieval makes it easy for you to locate the position of every sound around you. Noticing how the backing vocals bounce from one ear to another with precision helps and gives a push to that high frequency improvement brought by the micro planar driver.

Comparisons

I am going to focus the comparison this time on a single model comparing the GK Streak against the GK Kunten. As we know the brand was overwhelmed by the amount of orders and they had to improvise using red internal cables altering the assembly which caused slight resonance changes. I ended up with one of those alternative batch units and although it was still a fabulous earphone I did notice that minimal alteration in the high frequencies. Even comparing the Streak with that Kunten unit from the alternative batch the overall technical improvement is noticeable as soon as you switch from one to the other. The original Kunten used a single dynamic driver that offered a pretty decent resolution for its price range but logically falls a bit behind when comparing it with a recent dual system of the Streak. Thanks to the addition of the micro planar the Streak brings out a much more obvious clarity taking a step forward and resolving that treble control that in the Kunten suffered from being somewhat artificial although pleasant but with a separate driver of the micro planar type gives a result that elevates the quality and control of these frequencies even if they sound safer. On the other hand the low frequency speed of the Streak leaves the somewhat rubbery bass of the Kunten a step behind...

Both suffer from the same soundstage narrowness. The Kunten already sweat to position the instruments in more complex tracks and the Streak fails with that same space limitation. Where the Kunten stands out is in the naturalness of some timbres in the mids since the Streak has buried the vocals a lot to prioritize the punch. In the end I am not entirely sure which one to keep since the Kunten beyond the meme it has sown on the internet remains one of the best recommendations I would give to someone who wants to enter the IEM world for the first time without spending almost any money, but the Streak comes improving or changing aspects that might make you opt for this new model instead.

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)

Final conclusions

In summary the GK Streak is a direct proposal to inject adrenaline to listeners looking for punchy and fast responding bass. If you listen to urban beats or electronic music you are going to be amazed by the physical impact of its low frequencies. Look for something else if you are a purist and demand forward vocals or detailed highs because you will get a huge disappointment in the first minute. The encapsulated bubbles show that they have pending tasks in their factory with quality controls no matter how cheap the model is, but the great extra cable as well as the eartips balance the scales to some extent. They are highly recommended if you completely accept their sound profile and the price range you are moving in.

Purchase link: https://gkaudiolab.com/products/gk-streak/

Disclaimer: The GK brand offered me a good discount for this unit in addition to including the cable improvements and the extra eartips but the model despite the discount was paid for by me. 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! I had this model in the backlog waiting to find the right moment to review it, with expectations after enjoying the Kunten to some extent, their previous release. That model gave people a lot to talk about on forums because it sounded pretty good, due to its proper tuning and its low price. Then we found out about the silent revision where due to excess demand during the new year they ran out of certain components and had to improvise on the fly by putting in red internal cables and other small modifications slightly altering the final result. A little soap opera that I happened to be a part of. Now they are trying to turn the page with this GK Streak that integrates a hybrid system. I have been using it daily for days both at home and on the street and I will tell you if they have managed to settle the foundations of their sound, if for me they are the logical evolution after the Kunten or a step to the side or backwards...

What I like and what I do not like

• Low frequency response with a noticeable impact.
• Detail retrieval that exceeds its price.
• Improvement over the Kunten in terms of general cleanliness of the mix and high frequencies.
• If they included the cable and eartips upgrade the extra content is up to par.
• Intimate soundstage that makes complex tracks sound a bit tight.
• Voices are very sunken in the mix and the percussion tends to cover them.
• There are air bubbles around the nozzle area.

Specifications

• Drivers KUN Dynamic Driver + Independent Micro-Planar Tweeter
• Impedance 32Ω
• Sensitivity 111dB
• Frequency 20Hz–40kHz
• Connector 0.78mm 2-pin
• Cable Gold-plated detachable, 3.5mm

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.
• NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.
• Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

Let us talk about the content inside, which looking at the box design I already know from the outside what I will find. They include the earphones, a very basic transparent cable and some average silicone eartips. Luckily the brand includes, at least to those of us who received the modified Kunten, a cable and improved eartips upgrade that makes the package gain points, I do not know if they include this improvement to any user whether they have been a user of the GK Kunten or not. Regarding that upgrade it is a sturdy silver-plated eight-core black cable and liquid silicone eartips that slightly remind of the TRN-T due to their grooves, but in any case both things improve in appearance and quality compared to what we find by default in the box with the most basic quality that we see in so many KZ models to name one of the brands that follow this repetitive and basic box and accessories design pattern.

The internal body of the iem is made of transparent resin that allows seeing the KUN driver and the micro planar without problems but the outer faceplate is solid opaque metal. I chose the black color for the faceplate although they also sell it in a silver tone. The black cable is a success because it does not retain strange shapes when taking it out of the pocket. The somewhat shameful thing is that as seen in one of my photos, my unit has some air bubbles in the resin showing that they still have room for improvement in factory assembly or quality controls...

Sound

Going into its sound and looking at its graph it is clear that they boosted the low end with enthusiasm. The low frequencies dominate the mix but their wild speed is incredibly surprising. When a drum kit starts the kick drum attack is so direct that you feel the physical impact in your ear. The sub bass decay provides a very pleasant reverberation filling the background with agility. Connecting them to the FiiO K9 the control is absolute ensuring that this punchiness does not muddy the other frequencies, I know many people do not have a desktop dac and only use dongles but it is something I recommend trying and investing in at some point if you are going to take this hobby long term. It is a highly addictive profile for electronic genres but I must also say that with acoustic tracks you notice there is too much weight and some sounds sound thick taking away realism.

The mid frequency range gets the worst part or so I think after some tests with various musical styles. The vocals have a fundamentally clean tone but suffer from an obvious spatial delay that sends them to the back. Male vocals in the lower mids enjoy a roughness that gives them authority while female vocals in the upper mids feel warmer. The biggest problem appears when the song adds multiple simultaneous layers because the drums and bass sweep right over the singers. I used the Dunu S&S trying to push the vocals forward thanks to their straighter tube and although I managed to rescue them a bit the sunken central profile was still there. A leading vocality was not intended I think for this model, which can be a great disadvantage for many or something more irrelevant for others...

In the high frequencies they decided to roll off the response to avoid fatigue. The highs smooth out very early allowing you to turn up the volume without the brightness bothering you after a few hours. The addition of the micro planar helps to have more extended highs than starting from a single DD, which is a smart and well implemented addition. I used the Tangzu Tang Sancai Wide Bore eartips to open the upper area even more relying on their wide diameter and I achieved some positional improvement since although the highs for my taste have improved compared to the Kunten the extension is still not excessive and with this type of eartips you achieve a bit of improvement in this aspect.

Soundstage instrumental separation and imaging

The soundstage of the GK Streak is somewhat intimate, reducing everything to a small acoustic ball quite tight around your head. It lacks the depth and lateral width required for large productions to breathe causing the presentation to sound compressed. Pairing them with the Questyle M15i I tried to take advantage of its musical character to expand the spatial environment but the solid resin shell imposes a physical limit impossible to jump over. It is an extremely frontal experience that puts you right into the action.

Curiously the instrumental separation handles this lack of space surprisingly well. The agile attack of the DD working together with the micro planar ensures that the powerful bass lines do not end up mixing muddily with the guitars at a moderate volume level. The sonic collapse only happens in moments of extreme saturation where simply not a single instrument more fits, luckily I am talking about specific styles or songs but not in the majority of content I tested including also movies.

The instrument positioning performs at a high level helping to compensate for the spatial shortcomings. The detail retrieval makes it easy for you to locate the position of every sound around you. Noticing how the backing vocals bounce from one ear to another with precision helps and gives a push to that high frequency improvement brought by the micro planar driver.

Comparisons

I am going to focus the comparison this time on a single model comparing the GK Streak against the GK Kunten. As we know the brand was overwhelmed by the amount of orders and they had to improvise using red internal cables altering the assembly which caused slight resonance changes. I ended up with one of those alternative batch units and although it was still a fabulous earphone I did notice that minimal alteration in the high frequencies. Even comparing the Streak with that Kunten unit from the alternative batch the overall technical improvement is noticeable as soon as you switch from one to the other. The original Kunten used a single dynamic driver that offered a pretty decent resolution for its price range but logically falls a bit behind when comparing it with a recent dual system of the Streak. Thanks to the addition of the micro planar the Streak brings out a much more obvious clarity taking a step forward and resolving that treble control that in the Kunten suffered from being somewhat artificial although pleasant but with a separate driver of the micro planar type gives a result that elevates the quality and control of these frequencies even if they sound safer. On the other hand the low frequency speed of the Streak leaves the somewhat rubbery bass of the Kunten a step behind...

Both suffer from the same soundstage narrowness. The Kunten already sweat to position the instruments in more complex tracks and the Streak fails with that same space limitation. Where the Kunten stands out is in the naturalness of some timbres in the mids since the Streak has buried the vocals a lot to prioritize the punch. In the end I am not entirely sure which one to keep since the Kunten beyond the meme it has sown on the internet remains one of the best recommendations I would give to someone who wants to enter the IEM world for the first time without spending almost any money, but the Streak comes improving or changing aspects that might make you opt for this new model instead.

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)

Final conclusions

In summary the GK Streak is a direct proposal to inject adrenaline to listeners looking for punchy and fast responding bass. If you listen to urban beats or electronic music you are going to be amazed by the physical impact of its low frequencies. Look for something else if you are a purist and demand forward vocals or detailed highs because you will get a huge disappointment in the first minute. The encapsulated bubbles show that they have pending tasks in their factory with quality controls no matter how cheap the model is, but the great extra cable as well as the eartips balance the scales to some extent. They are highly recommended if you completely accept their sound profile and the price range you are moving in.

Purchase link: https://gkaudiolab.com/products/gk-streak/

Disclaimer: The GK brand offered me a good discount for this unit in addition to including the cable improvements and the extra eartips but the model despite the discount was paid for by me. 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! I had this model in the backlog waiting to find the right moment to review it, with expectations after enjoying the Kunten to some extent, their previous release. That model gave people a lot to talk about on forums because it sounded pretty good, due to its proper tuning and its low price. Then we found out about the silent revision where due to excess demand during the new year they ran out of certain components and had to improvise on the fly by putting in red internal cables and other small modifications slightly altering the final result. A little soap opera that I happened to be a part of. Now they are trying to turn the page with this GK Streak that integrates a hybrid system. I have been using it daily for days both at home and on the street and I will tell you if they have managed to settle the foundations of their sound, if for me they are the logical evolution after the Kunten or a step to the side or backwards...

What I like and what I do not like

• Low frequency response with a noticeable impact.
• Detail retrieval that exceeds its price.
• Improvement over the Kunten in terms of general cleanliness of the mix and high frequencies.
• If they included the cable and eartips upgrade the extra content is up to par.
• Intimate soundstage that makes complex tracks sound a bit tight.
• Voices are very sunken in the mix and the percussion tends to cover them.
• There are air bubbles around the nozzle area.

Specifications

• Drivers KUN Dynamic Driver + Independent Micro-Planar Tweeter
• Impedance 32Ω
• Sensitivity 111dB
• Frequency 20Hz–40kHz
• Connector 0.78mm 2-pin
• Cable Gold-plated detachable, 3.5mm

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.
• NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.
• Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

Let us talk about the content inside, which looking at the box design I already know from the outside what I will find. They include the earphones, a very basic transparent cable and some average silicone eartips. Luckily the brand includes, at least to those of us who received the modified Kunten, a cable and improved eartips upgrade that makes the package gain points, I do not know if they include this improvement to any user whether they have been a user of the GK Kunten or not. Regarding that upgrade it is a sturdy silver-plated eight-core black cable and liquid silicone eartips that slightly remind of the TRN-T due to their grooves, but in any case both things improve in appearance and quality compared to what we find by default in the box with the most basic quality that we see in so many KZ models to name one of the brands that follow this repetitive and basic box and accessories design pattern.

The internal body of the iem is made of transparent resin that allows seeing the KUN driver and the micro planar without problems but the outer faceplate is solid opaque metal. I chose the black color for the faceplate although they also sell it in a silver tone. The black cable is a success because it does not retain strange shapes when taking it out of the pocket. The somewhat shameful thing is that as seen in one of my photos, my unit has some air bubbles in the resin showing that they still have room for improvement in factory assembly or quality controls...

Sound

Going into its sound and looking at its graph it is clear that they boosted the low end with enthusiasm. The low frequencies dominate the mix but their wild speed is incredibly surprising. When a drum kit starts the kick drum attack is so direct that you feel the physical impact in your ear. The sub bass decay provides a very pleasant reverberation filling the background with agility. Connecting them to the FiiO K9 the control is absolute ensuring that this punchiness does not muddy the other frequencies, I know many people do not have a desktop dac and only use dongles but it is something I recommend trying and investing in at some point if you are going to take this hobby long term. It is a highly addictive profile for electronic genres but I must also say that with acoustic tracks you notice there is too much weight and some sounds sound thick taking away realism.

The mid frequency range gets the worst part or so I think after some tests with various musical styles. The vocals have a fundamentally clean tone but suffer from an obvious spatial delay that sends them to the back. Male vocals in the lower mids enjoy a roughness that gives them authority while female vocals in the upper mids feel warmer. The biggest problem appears when the song adds multiple simultaneous layers because the drums and bass sweep right over the singers. I used the Dunu S&S trying to push the vocals forward thanks to their straighter tube and although I managed to rescue them a bit the sunken central profile was still there. A leading vocality was not intended I think for this model, which can be a great disadvantage for many or something more irrelevant for others...

In the high frequencies they decided to roll off the response to avoid fatigue. The highs smooth out very early allowing you to turn up the volume without the brightness bothering you after a few hours. The addition of the micro planar helps to have more extended highs than starting from a single DD, which is a smart and well implemented addition. I used the Tangzu Tang Sancai Wide Bore eartips to open the upper area even more relying on their wide diameter and I achieved some positional improvement since although the highs for my taste have improved compared to the Kunten the extension is still not excessive and with this type of eartips you achieve a bit of improvement in this aspect.

Soundstage instrumental separation and imaging

The soundstage of the GK Streak is somewhat intimate, reducing everything to a small acoustic ball quite tight around your head. It lacks the depth and lateral width required for large productions to breathe causing the presentation to sound compressed. Pairing them with the Questyle M15i I tried to take advantage of its musical character to expand the spatial environment but the solid resin shell imposes a physical limit impossible to jump over. It is an extremely frontal experience that puts you right into the action.

Curiously the instrumental separation handles this lack of space surprisingly well. The agile attack of the DD working together with the micro planar ensures that the powerful bass lines do not end up mixing muddily with the guitars at a moderate volume level. The sonic collapse only happens in moments of extreme saturation where simply not a single instrument more fits, luckily I am talking about specific styles or songs but not in the majority of content I tested including also movies.

The instrument positioning performs at a high level helping to compensate for the spatial shortcomings. The detail retrieval makes it easy for you to locate the position of every sound around you. Noticing how the backing vocals bounce from one ear to another with precision helps and gives a push to that high frequency improvement brought by the micro planar driver.

Comparisons

I am going to focus the comparison this time on a single model comparing the GK Streak against the GK Kunten. As we know the brand was overwhelmed by the amount of orders and they had to improvise using red internal cables altering the assembly which caused slight resonance changes. I ended up with one of those alternative batch units and although it was still a fabulous earphone I did notice that minimal alteration in the high frequencies. Even comparing the Streak with that Kunten unit from the alternative batch the overall technical improvement is noticeable as soon as you switch from one to the other. The original Kunten used a single dynamic driver that offered a pretty decent resolution for its price range but logically falls a bit behind when comparing it with a recent dual system of the Streak. Thanks to the addition of the micro planar the Streak brings out a much more obvious clarity taking a step forward and resolving that treble control that in the Kunten suffered from being somewhat artificial although pleasant but with a separate driver of the micro planar type gives a result that elevates the quality and control of these frequencies even if they sound safer. On the other hand the low frequency speed of the Streak leaves the somewhat rubbery bass of the Kunten a step behind...

Both suffer from the same soundstage narrowness. The Kunten already sweat to position the instruments in more complex tracks and the Streak fails with that same space limitation. Where the Kunten stands out is in the naturalness of some timbres in the mids since the Streak has buried the vocals a lot to prioritize the punch. In the end I am not entirely sure which one to keep since the Kunten beyond the meme it has sown on the internet remains one of the best recommendations I would give to someone who wants to enter the IEM world for the first time without spending almost any money, but the Streak comes improving or changing aspects that might make you opt for this new model instead.

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)

Final conclusions

In summary the GK Streak is a direct proposal to inject adrenaline to listeners looking for punchy and fast responding bass. If you listen to urban beats or electronic music you are going to be amazed by the physical impact of its low frequencies. Look for something else if you are a purist and demand forward vocals or detailed highs because you will get a huge disappointment in the first minute. The encapsulated bubbles show that they have pending tasks in their factory with quality controls no matter how cheap the model is, but the great extra cable as well as the eartips balance the scales to some extent. They are highly recommended if you completely accept their sound profile and the price range you are moving in.

Purchase link: https://gkaudiolab.com/products/gk-streak/

Disclaimer: The GK brand offered me a good discount for this unit in addition to including the cable improvements and the extra eartips but the model despite the discount was paid for by me. 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. This is going to be my second model from the CCA brand. I already had the chance to review the Xyrra a few months ago right around their launch period and now I have the opportunity to do so with another entry model that is superior to that Xyrra. Right off the bat without even listening to them I can perceive that the care put into them is different regarding both the unboxing experience and the final product itself along with its accessories.

I have been giving them heavy use over the last few days to see what this model is really capable of and my conclusions are pretty interesting for anyone moving in this under 30 dollar range.

What I like and What I do not like

The presentation and accessories are way above the usual for under 30 dollars.

The sound profile is neutral and clean.

As happens with metallic or mirror finish models fingerprints get marked with the slightest use.

The low frequencies have a fast, dry and controlled punch that absolutely does not muddy the rest of the track.

Soundstage depth is lacking when compared to other models that offer greater 3D immersion.

Specifications

Driver. Single 10mm dynamic with dual magnetic circuit and LCP diaphragm.

Impedance. 33 ohms for easy driving from almost any source.

Sensitivity. 108 dB per mW.

Frequency response. 20 Hz to 40 kHz.

Chassis. Forged zinc alloy with polished mirror finish.

Cable. Silver plated oxygen free copper with a 0.75mm 2 pin connector and 3.5mm plug.

My Sources

FiiO K9. My main desktop equipment connected to the PC for critical cleanliness and power tests.

FiiO KA15. Portable DAC dongle for daily use when leaving home thanks to its integrated equalizer and multimedia buttons.

NiceHCK Octave. Ideal for seeking a more direct and faster power delivery without the extra digital processing of the KA15.

Questyle M15i. Reference portable amplifier and DAC to search for a more organic and musical texture when I am around the house.

Unboxing and Build

The box of these CCA Phoenix stands out right away due to its size but also because of how it opens. It opens from the sides as if it were a luxury product and includes a 3D welcome card that, let us be honest, helped me decorate some of my photos, an experience we rarely see in practically any brand at these prices. Upon opening it we already see the two iems made of zinc alloy that feel cold, heavy and very resistant. The design is much more fluid and elegant than their predecessors with refined edges that do not poke or bother the ear.

For this model they have included a four core braided cable in white and silver that gives a premium touch, plus multimedia controls that can be a quick solution for many. The faux leather case with magnetic closure is of magnificent quality, although the interior space is a bit tight if you decide to change the cable for a thicker one and as I said in the previous review of the Roseselsa CJ20 it is the case that Hidizs has been using with several of their models, perhaps not the best option for resin iems but yes for one like these Phoenix that can better tolerate pressure or bumps in the pocket. The stock silicone eartips are, as usual with the brand and on tighter budgets, merely functional but do not expect the best seal or getting the best sound. They are dark grey and feel somewhat stiff. I recommend changing them right after taking the earphones out of the box to be able to enjoy the true build and sound quality they offer.

Sound

Bass

Talking about the low frequencies, the focus is on the mid bass rather than the sub bass. As I have been able to verify, the LCP driver makes the impact extremely fast and dry, with excellent recovery that avoids any annoying effect in the music. It is not an earphone for those looking for extreme punch or rattling hits, but rather to appreciate a bass with texture, neutrality and control. The extension towards the lowest frequencies is enough to give body, but a slight roll off is noticeable in the deepest notes. Despite its lean nature, in styles like rock or pop the energy performs well enough to make the music sound alive. After some testing with the NiceHCK Octave, I noticed that the more direct power delivery this dongle offers me compared to the other two helped the bass feel even more incisive and defined.

Mids

In the mid frequencies, the presentation is a bit cleaner and more forward than usual, creating a huge sense of space between the notes. The lower mids lack that annoying bleed from the bass, allowing male vocals to sound clear, although perhaps with a bit less weight than I expected based on my personal tastes. The vocals maintain a natural tone with a touch of brightness and sit in an ideal position, creating a presentation that is very easy to listen to for hours. To give them that touch of body they lack out of the box, I have tried several options from my eartip list. The Penon Liqueur Orange are a winning choice here, they are on a roll and are solving a lot of problems for me across several models I am reviewing, as they provide that necessary warmth in the lower mids without sacrificing cleanliness. The Softears Ultra Clear also works wonders if what you are looking for is maintaining transparency while radically improving the seal compared to the stock ones.

Treble

Moving to the high frequencies, we find a surprisingly mature and open tuning for a CCA. The treble has a decent elevation that provides the necessary clarity for cymbals and percussion to have sparkle. It is so well controlled that there is no trace of sibilance or those annoying metallic sounds usually found in cheap models. The extension in the upper treble adds a very pleasant sense of openness and air without becoming shrill. It is a treble that will let you turn up the volume without fear. If you still feel like you are missing a tiny bit of smoothness, the regular Tangzu Tang Sancai are a recommended option to round out the upper area and leave a better balanced response.

Soundstage

In this technical aspect, the Phoenix offer a massive presence in both width and height, giving you quite an expansive space on the sides. However, the depth is perhaps a bit more constrained than what I found in other similarly priced alternatives, since the music is presented somewhat flat in front of you. It is a competent presentation for daily use, but the lack of three dimensional immersion gives away that we are dealing with a budget earphone no matter how much its finish belongs to a much higher tier.

Instrumental Separation

Thanks to the fast response of the material chosen for the dynamic driver, the note attacks are clean and the transitions feel quite agile. This prevents the instruments from piling up, allowing you to identify the different layers of the music where complex nuances are revealed that I honestly did not expect inside this model. Even on fairly dense tracks, the Phoenix manage to keep a small reserved space for each element without the mix turning into a ball of noise, so they easily pass in this department.

Imaging

Regarding positioning, you can locate where sounds are coming from quite easily, but it lacks that extreme pinpoint accuracy that other purely analytical earphones have. The focus of this model is clearly musicality and representing the whole picture effortlessly. They work well for watching multimedia content or listening to varied playlists, but they fall short if what you are looking for is a tool to professionally analyze studio recordings, something I sincerely doubt you are looking for in this price range so it would not be a problem anyway.

Comparisons

CCA Xyrra

The leap in maturity compared to the Xyrra which is the previous CCA model I started with is more than evident. The Xyrra opt for a tuning excessively dominated by the bass, looking to impress through brute force, which makes them attractive for specific genres. However, that same energy can work against them in other genres because they lose a lot of detail along the way and muddy the rest of the frequencies. The Phoenix present a much more controlled and balanced tuning. If you are looking to appreciate all instruments with cleanliness and separation, the Phoenix is the clear choice, but if you prefer an aggressive punch and do not mind losing resolution, the Xyrra adapts better to that perhaps more fun profile that cares less about detail.

Twistura Delta

Against the Twistura Delta, things are quite tight regarding personal preferences. The Delta are gorgeous, they are a fairly recent release from the brand at a similar price to these Phoenix and offer very forward mids that make vocals stand out, giving them a more special touch that the Phoenix cannot match. On the downside, the Delta lack authority when it comes to bass, sounding somewhat thin and soulless in some musical styles. The Phoenix offer a much more complete and all rounder response, adapting better to a varied music library thanks to their greater balance at the extremes.

TANGZU Wan'er S.G II

If we put them next to the TANGZU Wan'er S.G II, we see two very different approaches. The Wan'er have a warm and relaxed tuning that is very safe, offering a comfortable listen for absolutely everyone. The weak point of the Wan'er is that their plastic build feels quite cheap in the hand and technically they stay a step behind in detail, although they do include the Tang Sancai I was talking about earlier and a fairly decent cable. The Phoenix offer a vastly superior metallic build and higher technical resolution, although to achieve that cleanliness they sacrifice a bit of that warmth that makes the Wan'er so popular, even so the Wan'er have never been to my liking regarding tuning and hence my position in the ranking.

Final Thoughts

The CCA Phoenix is an earphone that turns out to be a well rounded product standing out easily in its price range. It relies on comfort, neutrality with interesting nuances and an impeccable build with a remarkable unboxing experience for under 30 dollars. You get bass but not trying to impress excessively, rather with a musical coherence and instrumental cleanliness that is rewarding for what you pay. They climb to an interesting spot in my ranking leaving behind cheaper models but also more expensive ones.

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

Disclaimer. This unit was sent by CCA 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. This is going to be my second model from the CCA brand. I already had the chance to review the Xyrra a few months ago right around their launch period and now I have the opportunity to do so with another entry model that is superior to that Xyrra. Right off the bat without even listening to them I can perceive that the care put into them is different regarding both the unboxing experience and the final product itself along with its accessories.

I have been giving them heavy use over the last few days to see what this model is really capable of and my conclusions are pretty interesting for anyone moving in this under 30 dollar range.

What I like and What I do not like

The presentation and accessories are way above the usual for under 30 dollars.

The sound profile is neutral and clean.

As happens with metallic or mirror finish models fingerprints get marked with the slightest use.

The low frequencies have a fast, dry and controlled punch that absolutely does not muddy the rest of the track.

Soundstage depth is lacking when compared to other models that offer greater 3D immersion.

Specifications

Driver. Single 10mm dynamic with dual magnetic circuit and LCP diaphragm.

Impedance. 33 ohms for easy driving from almost any source.

Sensitivity. 108 dB per mW.

Frequency response. 20 Hz to 40 kHz.

Chassis. Forged zinc alloy with polished mirror finish.

Cable. Silver plated oxygen free copper with a 0.75mm 2 pin connector and 3.5mm plug.

My Sources

FiiO K9. My main desktop equipment connected to the PC for critical cleanliness and power tests.

FiiO KA15. Portable DAC dongle for daily use when leaving home thanks to its integrated equalizer and multimedia buttons.

NiceHCK Octave. Ideal for seeking a more direct and faster power delivery without the extra digital processing of the KA15.

Questyle M15i. Reference portable amplifier and DAC to search for a more organic and musical texture when I am around the house.

Unboxing and Build

The box of these CCA Phoenix stands out right away due to its size but also because of how it opens. It opens from the sides as if it were a luxury product and includes a 3D welcome card that, let us be honest, helped me decorate some of my photos, an experience we rarely see in practically any brand at these prices. Upon opening it we already see the two iems made of zinc alloy that feel cold, heavy and very resistant. The design is much more fluid and elegant than their predecessors with refined edges that do not poke or bother the ear.

For this model they have included a four core braided cable in white and silver that gives a premium touch, plus multimedia controls that can be a quick solution for many. The faux leather case with magnetic closure is of magnificent quality, although the interior space is a bit tight if you decide to change the cable for a thicker one and as I said in the previous review of the Roseselsa CJ20 it is the case that Hidizs has been using with several of their models, perhaps not the best option for resin iems but yes for one like these Phoenix that can better tolerate pressure or bumps in the pocket. The stock silicone eartips are, as usual with the brand and on tighter budgets, merely functional but do not expect the best seal or getting the best sound. They are dark grey and feel somewhat stiff. I recommend changing them right after taking the earphones out of the box to be able to enjoy the true build and sound quality they offer.

Sound

Bass

Talking about the low frequencies, the focus is on the mid bass rather than the sub bass. As I have been able to verify, the LCP driver makes the impact extremely fast and dry, with excellent recovery that avoids any annoying effect in the music. It is not an earphone for those looking for extreme punch or rattling hits, but rather to appreciate a bass with texture, neutrality and control. The extension towards the lowest frequencies is enough to give body, but a slight roll off is noticeable in the deepest notes. Despite its lean nature, in styles like rock or pop the energy performs well enough to make the music sound alive. After some testing with the NiceHCK Octave, I noticed that the more direct power delivery this dongle offers me compared to the other two helped the bass feel even more incisive and defined.

Mids

In the mid frequencies, the presentation is a bit cleaner and more forward than usual, creating a huge sense of space between the notes. The lower mids lack that annoying bleed from the bass, allowing male vocals to sound clear, although perhaps with a bit less weight than I expected based on my personal tastes. The vocals maintain a natural tone with a touch of brightness and sit in an ideal position, creating a presentation that is very easy to listen to for hours. To give them that touch of body they lack out of the box, I have tried several options from my eartip list. The Penon Liqueur Orange are a winning choice here, they are on a roll and are solving a lot of problems for me across several models I am reviewing, as they provide that necessary warmth in the lower mids without sacrificing cleanliness. The Softears Ultra Clear also works wonders if what you are looking for is maintaining transparency while radically improving the seal compared to the stock ones.

Treble

Moving to the high frequencies, we find a surprisingly mature and open tuning for a CCA. The treble has a decent elevation that provides the necessary clarity for cymbals and percussion to have sparkle. It is so well controlled that there is no trace of sibilance or those annoying metallic sounds usually found in cheap models. The extension in the upper treble adds a very pleasant sense of openness and air without becoming shrill. It is a treble that will let you turn up the volume without fear. If you still feel like you are missing a tiny bit of smoothness, the regular Tangzu Tang Sancai are a recommended option to round out the upper area and leave a better balanced response.

Soundstage

In this technical aspect, the Phoenix offer a massive presence in both width and height, giving you quite an expansive space on the sides. However, the depth is perhaps a bit more constrained than what I found in other similarly priced alternatives, since the music is presented somewhat flat in front of you. It is a competent presentation for daily use, but the lack of three dimensional immersion gives away that we are dealing with a budget earphone no matter how much its finish belongs to a much higher tier.

Instrumental Separation

Thanks to the fast response of the material chosen for the dynamic driver, the note attacks are clean and the transitions feel quite agile. This prevents the instruments from piling up, allowing you to identify the different layers of the music where complex nuances are revealed that I honestly did not expect inside this model. Even on fairly dense tracks, the Phoenix manage to keep a small reserved space for each element without the mix turning into a ball of noise, so they easily pass in this department.

Imaging

Regarding positioning, you can locate where sounds are coming from quite easily, but it lacks that extreme pinpoint accuracy that other purely analytical earphones have. The focus of this model is clearly musicality and representing the whole picture effortlessly. They work well for watching multimedia content or listening to varied playlists, but they fall short if what you are looking for is a tool to professionally analyze studio recordings, something I sincerely doubt you are looking for in this price range so it would not be a problem anyway.

Comparisons

CCA Xyrra

The leap in maturity compared to the Xyrra which is the previous CCA model I started with is more than evident. The Xyrra opt for a tuning excessively dominated by the bass, looking to impress through brute force, which makes them attractive for specific genres. However, that same energy can work against them in other genres because they lose a lot of detail along the way and muddy the rest of the frequencies. The Phoenix present a much more controlled and balanced tuning. If you are looking to appreciate all instruments with cleanliness and separation, the Phoenix is the clear choice, but if you prefer an aggressive punch and do not mind losing resolution, the Xyrra adapts better to that perhaps more fun profile that cares less about detail.

Twistura Delta

Against the Twistura Delta, things are quite tight regarding personal preferences. The Delta are gorgeous, they are a fairly recent release from the brand at a similar price to these Phoenix and offer very forward mids that make vocals stand out, giving them a more special touch that the Phoenix cannot match. On the downside, the Delta lack authority when it comes to bass, sounding somewhat thin and soulless in some musical styles. The Phoenix offer a much more complete and all rounder response, adapting better to a varied music library thanks to their greater balance at the extremes.

TANGZU Wan'er S.G II

If we put them next to the TANGZU Wan'er S.G II, we see two very different approaches. The Wan'er have a warm and relaxed tuning that is very safe, offering a comfortable listen for absolutely everyone. The weak point of the Wan'er is that their plastic build feels quite cheap in the hand and technically they stay a step behind in detail, although they do include the Tang Sancai I was talking about earlier and a fairly decent cable. The Phoenix offer a vastly superior metallic build and higher technical resolution, although to achieve that cleanliness they sacrifice a bit of that warmth that makes the Wan'er so popular, even so the Wan'er have never been to my liking regarding tuning and hence my position in the ranking.

Final Thoughts

The CCA Phoenix is an earphone that turns out to be a well rounded product standing out easily in its price range. It relies on comfort, neutrality with interesting nuances and an impeccable build with a remarkable unboxing experience for under 30 dollars. You get bass but not trying to impress excessively, rather with a musical coherence and instrumental cleanliness that is rewarding for what you pay. They climb to an interesting spot in my ranking leaving behind cheaper models but also more expensive ones.

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

Disclaimer. This unit was sent by CCA 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. This is going to be my second model from the CCA brand. I already had the chance to review the Xyrra a few months ago right around their launch period and now I have the opportunity to do so with another entry model that is superior to that Xyrra. Right off the bat without even listening to them I can perceive that the care put into them is different regarding both the unboxing experience and the final product itself along with its accessories.

I have been giving them heavy use over the last few days to see what this model is really capable of and my conclusions are pretty interesting for anyone moving in this under 30 dollar range.

What I like and What I do not like

The presentation and accessories are way above the usual for under 30 dollars.

The sound profile is neutral and clean.

As happens with metallic or mirror finish models fingerprints get marked with the slightest use.

The low frequencies have a fast, dry and controlled punch that absolutely does not muddy the rest of the track.

Soundstage depth is lacking when compared to other models that offer greater 3D immersion.

Specifications

Driver. Single 10mm dynamic with dual magnetic circuit and LCP diaphragm.

Impedance. 33 ohms for easy driving from almost any source.

Sensitivity. 108 dB per mW.

Frequency response. 20 Hz to 40 kHz.

Chassis. Forged zinc alloy with polished mirror finish.

Cable. Silver plated oxygen free copper with a 0.75mm 2 pin connector and 3.5mm plug.

My Sources

FiiO K9. My main desktop equipment connected to the PC for critical cleanliness and power tests.

FiiO KA15. Portable DAC dongle for daily use when leaving home thanks to its integrated equalizer and multimedia buttons.

NiceHCK Octave. Ideal for seeking a more direct and faster power delivery without the extra digital processing of the KA15.

Questyle M15i. Reference portable amplifier and DAC to search for a more organic and musical texture when I am around the house.

Unboxing and Build

The box of these CCA Phoenix stands out right away due to its size but also because of how it opens. It opens from the sides as if it were a luxury product and includes a 3D welcome card that, let us be honest, helped me decorate some of my photos, an experience we rarely see in practically any brand at these prices. Upon opening it we already see the two iems made of zinc alloy that feel cold, heavy and very resistant. The design is much more fluid and elegant than their predecessors with refined edges that do not poke or bother the ear.

For this model they have included a four core braided cable in white and silver that gives a premium touch, plus multimedia controls that can be a quick solution for many. The faux leather case with magnetic closure is of magnificent quality, although the interior space is a bit tight if you decide to change the cable for a thicker one and as I said in the previous review of the Roseselsa CJ20 it is the case that Hidizs has been using with several of their models, perhaps not the best option for resin iems but yes for one like these Phoenix that can better tolerate pressure or bumps in the pocket. The stock silicone eartips are, as usual with the brand and on tighter budgets, merely functional but do not expect the best seal or getting the best sound. They are dark grey and feel somewhat stiff. I recommend changing them right after taking the earphones out of the box to be able to enjoy the true build and sound quality they offer.

Sound

Bass

Talking about the low frequencies, the focus is on the mid bass rather than the sub bass. As I have been able to verify, the LCP driver makes the impact extremely fast and dry, with excellent recovery that avoids any annoying effect in the music. It is not an earphone for those looking for extreme punch or rattling hits, but rather to appreciate a bass with texture, neutrality and control. The extension towards the lowest frequencies is enough to give body, but a slight roll off is noticeable in the deepest notes. Despite its lean nature, in styles like rock or pop the energy performs well enough to make the music sound alive. After some testing with the NiceHCK Octave, I noticed that the more direct power delivery this dongle offers me compared to the other two helped the bass feel even more incisive and defined.

Mids

In the mid frequencies, the presentation is a bit cleaner and more forward than usual, creating a huge sense of space between the notes. The lower mids lack that annoying bleed from the bass, allowing male vocals to sound clear, although perhaps with a bit less weight than I expected based on my personal tastes. The vocals maintain a natural tone with a touch of brightness and sit in an ideal position, creating a presentation that is very easy to listen to for hours. To give them that touch of body they lack out of the box, I have tried several options from my eartip list. The Penon Liqueur Orange are a winning choice here, they are on a roll and are solving a lot of problems for me across several models I am reviewing, as they provide that necessary warmth in the lower mids without sacrificing cleanliness. The Softears Ultra Clear also works wonders if what you are looking for is maintaining transparency while radically improving the seal compared to the stock ones.

Treble

Moving to the high frequencies, we find a surprisingly mature and open tuning for a CCA. The treble has a decent elevation that provides the necessary clarity for cymbals and percussion to have sparkle. It is so well controlled that there is no trace of sibilance or those annoying metallic sounds usually found in cheap models. The extension in the upper treble adds a very pleasant sense of openness and air without becoming shrill. It is a treble that will let you turn up the volume without fear. If you still feel like you are missing a tiny bit of smoothness, the regular Tangzu Tang Sancai are a recommended option to round out the upper area and leave a better balanced response.

Soundstage

In this technical aspect, the Phoenix offer a massive presence in both width and height, giving you quite an expansive space on the sides. However, the depth is perhaps a bit more constrained than what I found in other similarly priced alternatives, since the music is presented somewhat flat in front of you. It is a competent presentation for daily use, but the lack of three dimensional immersion gives away that we are dealing with a budget earphone no matter how much its finish belongs to a much higher tier.

Instrumental Separation

Thanks to the fast response of the material chosen for the dynamic driver, the note attacks are clean and the transitions feel quite agile. This prevents the instruments from piling up, allowing you to identify the different layers of the music where complex nuances are revealed that I honestly did not expect inside this model. Even on fairly dense tracks, the Phoenix manage to keep a small reserved space for each element without the mix turning into a ball of noise, so they easily pass in this department.

Imaging

Regarding positioning, you can locate where sounds are coming from quite easily, but it lacks that extreme pinpoint accuracy that other purely analytical earphones have. The focus of this model is clearly musicality and representing the whole picture effortlessly. They work well for watching multimedia content or listening to varied playlists, but they fall short if what you are looking for is a tool to professionally analyze studio recordings, something I sincerely doubt you are looking for in this price range so it would not be a problem anyway.

Comparisons

CCA Xyrra

The leap in maturity compared to the Xyrra which is the previous CCA model I started with is more than evident. The Xyrra opt for a tuning excessively dominated by the bass, looking to impress through brute force, which makes them attractive for specific genres. However, that same energy can work against them in other genres because they lose a lot of detail along the way and muddy the rest of the frequencies. The Phoenix present a much more controlled and balanced tuning. If you are looking to appreciate all instruments with cleanliness and separation, the Phoenix is the clear choice, but if you prefer an aggressive punch and do not mind losing resolution, the Xyrra adapts better to that perhaps more fun profile that cares less about detail.

Twistura Delta

Against the Twistura Delta, things are quite tight regarding personal preferences. The Delta are gorgeous, they are a fairly recent release from the brand at a similar price to these Phoenix and offer very forward mids that make vocals stand out, giving them a more special touch that the Phoenix cannot match. On the downside, the Delta lack authority when it comes to bass, sounding somewhat thin and soulless in some musical styles. The Phoenix offer a much more complete and all rounder response, adapting better to a varied music library thanks to their greater balance at the extremes.

TANGZU Wan'er S.G II

If we put them next to the TANGZU Wan'er S.G II, we see two very different approaches. The Wan'er have a warm and relaxed tuning that is very safe, offering a comfortable listen for absolutely everyone. The weak point of the Wan'er is that their plastic build feels quite cheap in the hand and technically they stay a step behind in detail, although they do include the Tang Sancai I was talking about earlier and a fairly decent cable. The Phoenix offer a vastly superior metallic build and higher technical resolution, although to achieve that cleanliness they sacrifice a bit of that warmth that makes the Wan'er so popular, even so the Wan'er have never been to my liking regarding tuning and hence my position in the ranking.

Final Thoughts

The CCA Phoenix is an earphone that turns out to be a well rounded product standing out easily in its price range. It relies on comfort, neutrality with interesting nuances and an impeccable build with a remarkable unboxing experience for under 30 dollars. You get bass but not trying to impress excessively, rather with a musical coherence and instrumental cleanliness that is rewarding for what you pay. They climb to an interesting spot in my ranking leaving behind cheaper models but also more expensive ones.

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

Disclaimer. This unit was sent by CCA 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.

Greetings to the whole community, this review marks a turning point regarding planar or hybrid planars since I have recently owned and reviewed models like the Simgot ET 142, the Kefine Arnar or some time ago the Hidizs MP143. This Roseselsa CJ20 directly becomes my favorite option of the 4, I have not had the chance to try alternatives like the Timeless II although I did have the Letshuoer Z12 at the time (already discontinued) but focusing on the music I listen to and what I expect from a pure planar IEM, they take the first place and I will tell you in detail the reason for this decision...

What I like / What I don't like

• Its design and size are a total success, combining a very elegant aesthetic with excellent comfort and a top level metallic finish.
• The nozzles are somewhat short, which compromises passive isolation and the fit with the stock eartips, forcing you to try from your own repertoire to achieve a good seal.
• Its speed and the authority of its low frequencies offer an ideal texture to transmit all the energy of the instruments, standing out in genres like rock and metal.
• The included cable is modular and with a secure threaded lock but it has a somewhat annoying tendency to keep the shape of the folds.
• Instrumental separation and spatial precision are one of its biggest strong points, maintaining order even in chaotic musical passages.
• Its raw texture and its lack of exaggerated sub bass make it less recommendable for dense electronic music or highly processed pop.
• I love that it does not try to be an analytical and boring earphone, it has a very dynamic and fun character for day to day use.

Specifications

• Driver Unit: 14.2mm Planar Magnetic Driver
• Impedance: 24Ω ± 10% u/ 1KHz 155mV
• Sensitivity: 102 ± 3dB/Vrms@1kHz
• THD: ≤3%@1kHz@1.0mW
• Frequency Response Range: 20Hz a 20kHz
• Cable Material: 1.2m Graphene Plated OCC Single Crystal Copper Wire
• Interface Type: 3.5mm / 4.4mm Moduled
• Connector Type: 0.78 2 pin
• Single Earbud Weight: 5.4g

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.
• NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.
• Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

As you can see in my photos where I try to show the almost complete experience from the outer box to the lower layers, we have a cardboard cover with the IEM broken down into pieces. Inside the package we find a selection of silicone eartips in different sizes, a cleaning brush and cloth and a carrying case with a finish that imitates black leather where the IEMs fit without a problem with the cable, a case that reminded me of the ones Hidizs includes in several of its models. And of course the modular two pin cable is also included with both 3.5mm and 4.4mm adapters.

The braided cable is made of good quality copper and features an interchangeable modular connector system. By the way, if you look at the photo that I have put together divided into three parts, you can appreciate a curious detail in the first panel. The 3.5mm connector had some wear marks and chipped paint, and the funniest thing is that I took that photo right after opening the package to put the 4.4mm plug. It is a slightly ugly aesthetic detail straight out of the box, although fortunately it has not affected its performance at all. Mind you, to compensate, I must praise that the modular cable connector has a threaded ring. I always like to mention this addition in the models that do include it, as it gives a spectacular extra peace of mind knowing that the cable is not going to split in two after an involuntary pull.

The work on the aluminum shells is impeccable and, just as I show you in the close ups of the housings, the circular grille of the faceplate and the golden details of the pins give it a very premium touch. I have not been able to find any imperfection in the joints. The shape of the shell is ergonomic and sits well in the ear, but the Achilles heel is that the nozzles are somewhat short. In fact, with many eartips, including the stock ones, I failed to create a proper fit in my ears. I had to keep trying from my wide repertoire until I solved the problem. And this is exactly where I highly recommend using a pair of SpinFit CP 100+, which you can see mounted on the shells in the photo next to the FiiO K9. Because the CJ20 has such short nozzles, the articulated axis of these specific eartips manages to penetrate and adapt to the ear canal, improving passive isolation in the process without having to resort to the typical foams, which unfortunately I am not a fan of.

Sound

Bass

In the bass section, the Roseselsa CJ20 proves that being a pure planar has its definite advantages over those other hybrids I mentioned at the beginning of the review. In my experience, the low end has a very physical punch and a control that prevents the low frequencies from getting where they shouldn't in the rest of the mix. The sub bass has a notable extension, managing to vibrate clearly when the music requires it but recovering with enough speed so as not to leave a trail of dirt behind that would take away the logic of a planar. Being an IEM focused on rock and metal, genres in which I move comfortably, I have run tests with specific and recent tracks like Seven Serpents by Kreator, the bass shows solidity in every double kick pedal hit. The positive thing is that the kick drum sounds dry and defined without losing the necessary impact in thrash metal. The negative thing is that if you are looking for an extra rumble that vibrates inside your ear, you might feel them too controlled or not visceral enough for your personal taste. On the FiiO K9 specifically I have noticed that this low area becomes even more authoritative and defined, proving that this model is designed to enjoy the punch of rock and metal where the double kick drum demands an immediate response without delays, something that unfortunately the dynamic drivers of most models do not manage equally well and even more so at these prices and below...

Mids

The mids are clear and have a presence that I found very pleasant from the first moment. They are not the main characters since this model seeks balance, but the vocals sound with a very realistic and close texture. In the lower mids, male vocals have enough body so as not to sound thin, while in the upper mids, female vocals and wind instruments have a clarity that does not become annoying for anyone at any time, if I want to nitpick I can say that it might slightly lack some weight in this frequency range to better feel the weight of some instruments and voices but I cannot put it as a con but rather as a simple observation. With my tests among my 3 usual dongles I must say that the FiiO KA15 has been where the mids become somewhat richer, helping the listening to be more relaxed and pleasant. Upon getting this IEM I went straight to a recent album that I have already listened to quite a bit and started to analyze the sound in Giants On The Run, that typical fast and frantic power metal track that opens the Giants and Monsters album by Helloween from this 2026, the lower mids provide fantastic support to the vocal harmonies of Kiske and Hansen. You can see in one of my photos using them alongside the FiiO KA15. The plus point is the naturalness with which the electric guitars are presented, galloping at full speed with a very authentic roar that does not sound processed. In tracks like this where you have a lot of drums, many guitars playing different melodies apart from another one with the rhythmic bases you feel how the model can tame the complexity and separate the elements clearly.

Treble

Regarding the treble, being a model that does not allow changing nozzles like the others I will compare below, they could fall into the error of offering fatiguing treble but luckily the tuning in this range without being the most detailed has just the right amount to make the listening enjoyable and even raise the volume to medium, medium high without that auditory fatigue that ruins so many long listening sessions. The high frequencies are energetic and bring a lot of air to the mix, which helps the sound not to feel enclosed or suffocating. The lower treble has the necessary power so that cymbals and synthesizers have definition, while the highest and airiest treble stays within a safe limit to avoid annoying sibilance that I said they could have fallen into and luckily that is not the case. In my experience, the planar driver manages energy peaks very well, avoiding those artificial metallic flashes that I hate so much. Listening to them with the NiceHCK Octave, the treble response feels very direct and transparent, ideal for those moments when I want to analyze the quality of the original recording with a higher fidelity than the KA15. Going back to metal, this time trying a track with only female vocals I did tests on the track End Of You by Poppy, Amy Lee and Courtney Laplante, the upper treble shows surprising resolution for this price range. The digital effects and cymbals sound crystalline and with a lot of definition. During the listening of this track and some that followed right after it caught me testing them with the Divinus Velvet, I have to say that the seal was not as perfect as with the CP100+ but they still kept the treble controlled so they are a good option to consider if you feel the sound with the CP100+ is somewhat duller than you would like.

However, not everything can be rock and metal where I already see and especially hear that they move great, when we take the CJ20 out of its comfort zone, things change course a bit. I have tested these earphones with dense electronic music and modern commercial pop from 2026, and in my experience, they are still compatible to enjoy these genres but not like they are for rock and metal. In electronic music, a sub bass with a slower decay and a more exaggerated vibration effect that fills the entire acoustic space is often sought after as I get with models like the Punch Audio Portazo, something that the control and speed of the CJ20 do not fully offer, resulting in a listening experience that can seem somewhat dry or lacking massive impact. If you want to solve this and give it that visceral touch it lacks, although not at the level of the model I mentioned you can try the Penon Liqueur Orange. As I have photographed in my tests with electronic music listening to Bob Moses alongside the Octave, these orange eartips have a super sticky material that vacuum seals the canal and fattens up the low end in a tremendous way, providing that extra weight and decay that these types of tracks cry out for. In pop tracks, the energy they have in the upper mids to make electric guitars shine can be a bit excessive for vocals passed through autotune filters that are already odious in themselves, making them sound too sharp or unnatural here. The CJ20 has a tuning with a very raw and realistic texture, which is a positive thing for analog instruments but can be a bit too revealing with synthetic sounds and modern pop productions of today.

Soundstage, Instrumental Separation and Imaging

The soundstage of the ROSESELSA CJ20 is more than adequate for being a closed design monitor that seeks isolation from the outside. It is a stage that extends slightly beyond your ears in a coherent and logical way. The width is notable and allows the music to breathe, preventing instruments from feeling piled up in the center of the head as happens in much more basic models. In depth it also does a decent job, allowing you to distinguish layers of sound that go from front to back, which helps create a more immersive and realistic experience for the listener looking for depth.

As for instrumental separation, it is easy to place each instrument in its corresponding place without some blatantly covering others. Even in complex musical passages with many elements playing at the same time, the Helloween track from before serves again, the CJ20 manages to maintain composure and present each melodic line individually. It is a vital aspect to enjoy bands with many members where instrumental chaos can ruin the listening if there is no order and here you do not have to worry about that...

The imaging is precise and quite coherent at all times during playback. The ability of this earphone to position sounds in three dimensional space is surprising considering what it costs and against its competitors that I reviewed recently. You can follow the path of a sound effect or the exact location of a string section very easily and without too much effort on your part. There is no feeling of emptiness between positions, but a smooth and logical transition that helps the spatial representation be credible. In my experience, this precision helps a lot to make the listening more entertaining and less monotonous, allowing you to discover small details in recordings that you already knew perfectly well but now take on a very interesting new spatial dimension, something I love and makes me go back to classic tracks in my library.

Comparisons

If we compare it with the Simgot ET 142 the most recent hybrid planar I reviewed days ago. While the CJ20 is a pure planar, the Simgot model adds a piezoelectric driver to the main planar for the highest frequencies. This makes the ET142 have much more extended treble and a brightness that can be excessive for some ears if you do not play with the assortment of included nozzles or personal eartips. The CJ20 on the other hand has a much more punchy low end with greater organic texture than the ET142, which usually opts for a profile more inclined towards extreme technical clarity. The ET 142 feels physically more robust although it is also larger and heavier which must be taken into account, and the CJ20 its lighter metal body offers a more complete listening experience for those who enjoy a sound with more weight in the bass, although Simgot's piezoelectric wins in terms of capturing microdetails in the highest frequencies and justifies its addition to the planar it incorporates.

Putting it up against the Hidizs MP143, we are facing a direct duel of pure planars with no additions. Both share that characteristic speed of planar technology, especially in the decay of the fastest notes. However, the CJ20 offers a timbre that, in my opinion, is more natural and less artificial in the mid frequencies. The MP143 can sound somewhat metallic in certain areas that I have barely noticed in the different tracks with the CJ20 which is more versatile and easy to drive with any small portable device without barely losing performance. Furthermore, the ergonomic fit and the machining finish of the CJ20 seem superior to me for daily and intensive use, giving a much more premium product feel to the touch.

Finally, against the Kefine Arnar, the one I have most recently and you can see my review on my profile, we find a hybrid design that combines in this case a planar with a BA driver. The Arnar uses that BA to reinforce the upper mids and treble, which gives it an extra crispness in vocals that makes it stand out somewhat more in this aspect compared to the CJ20 but it offers less punch in the bass and its soundstage feels somewhat more compressed to me. The Roseselsa CJ20 to me has a finish that feels much more professional and durable but this is not an opinion we are all going to agree on. Commenting on some more aspects about the sound of both, the Arnar has a tuning that seeks to be safer, warmer and more relaxed, making it ideal for very long listening sessions but at the cost of losing some of the excitement and detail that the CJ20 does offer which has a superior tonal coherence by not mixing different technologies, which in my experience places it a step above for purists of direct and coherent sound.

Global Ranking Link

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).

Final thoughts

To wrap up this review I consider the Roseselsa CJ20 a very solid option for anyone looking for a well built IEM with a fun sound but with the necessary technical balance, also designed for those who hate that game of nozzles trying to minimize treble or maximize other frequencies without really knowing what their favorite sound is, here you have a tuning that works exactly as it comes, with pros and cons as always but that will satisfy the majority if they listen to the genres it was designed for. Its aluminum construction and the use of a 14mm pure planar transducer make it a safe bet that surpasses for me others in similar ranges and obviously everything that falls below its price that I have tried to date in terms of planar or planar plus another driver. If you value a fast and detailed bass punch, natural vocal clarity and you move mostly between rock and metal, this model should be on your immediate purchase priority list.

You can buy it at these links:

HiFiGo

Roseselsa Official

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

Thank you for reading and I hope to read comments since in some reviews I don't see enough participation and I always love seeing how someone counters an opinion as long as it is with respect, or how they bring another model to the comparison which I could try to bring in the future and assess whether or not it sits above this CJ20 for me, I'm reading you!

Greetings to the whole community, this review marks a turning point regarding planar or hybrid planars since I have recently owned and reviewed models like the Simgot ET 142, the Kefine Arnar or some time ago the Hidizs MP143. This Roseselsa CJ20 directly becomes my favorite option of the 4, I have not had the chance to try alternatives like the Timeless II although I did have the Letshuoer Z12 at the time (already discontinued) but focusing on the music I listen to and what I expect from a pure planar IEM, they take the first place and I will tell you in detail the reason for this decision...

What I like / What I don't like

• Its design and size are a total success, combining a very elegant aesthetic with excellent comfort and a top level metallic finish.
• The nozzles are somewhat short, which compromises passive isolation and the fit with the stock eartips, forcing you to try from your own repertoire to achieve a good seal.
• Its speed and the authority of its low frequencies offer an ideal texture to transmit all the energy of the instruments, standing out in genres like rock and metal.
• The included cable is modular and with a secure threaded lock but it has a somewhat annoying tendency to keep the shape of the folds.
• Instrumental separation and spatial precision are one of its biggest strong points, maintaining order even in chaotic musical passages.
• Its raw texture and its lack of exaggerated sub bass make it less recommendable for dense electronic music or highly processed pop.
• I love that it does not try to be an analytical and boring earphone, it has a very dynamic and fun character for day to day use.

Specifications

• Driver Unit: 14.2mm Planar Magnetic Driver
• Impedance: 24Ω ± 10% u/ 1KHz 155mV
• Sensitivity: 102 ± 3dB/Vrms@1kHz
• THD: ≤3%@1kHz@1.0mW
• Frequency Response Range: 20Hz a 20kHz
• Cable Material: 1.2m Graphene Plated OCC Single Crystal Copper Wire
• Interface Type: 3.5mm / 4.4mm Moduled
• Connector Type: 0.78 2 pin
• Single Earbud Weight: 5.4g

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.
• NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.
• Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

As you can see in my photos where I try to show the almost complete experience from the outer box to the lower layers, we have a cardboard cover with the IEM broken down into pieces. Inside the package we find a selection of silicone eartips in different sizes, a cleaning brush and cloth and a carrying case with a finish that imitates black leather where the IEMs fit without a problem with the cable, a case that reminded me of the ones Hidizs includes in several of its models. And of course the modular two pin cable is also included with both 3.5mm and 4.4mm adapters.

The braided cable is made of good quality copper and features an interchangeable modular connector system. By the way, if you look at the photo that I have put together divided into three parts, you can appreciate a curious detail in the first panel. The 3.5mm connector had some wear marks and chipped paint, and the funniest thing is that I took that photo right after opening the package to put the 4.4mm plug. It is a slightly ugly aesthetic detail straight out of the box, although fortunately it has not affected its performance at all. Mind you, to compensate, I must praise that the modular cable connector has a threaded ring. I always like to mention this addition in the models that do include it, as it gives a spectacular extra peace of mind knowing that the cable is not going to split in two after an involuntary pull.

The work on the aluminum shells is impeccable and, just as I show you in the close ups of the housings, the circular grille of the faceplate and the golden details of the pins give it a very premium touch. I have not been able to find any imperfection in the joints. The shape of the shell is ergonomic and sits well in the ear, but the Achilles heel is that the nozzles are somewhat short. In fact, with many eartips, including the stock ones, I failed to create a proper fit in my ears. I had to keep trying from my wide repertoire until I solved the problem. And this is exactly where I highly recommend using a pair of SpinFit CP 100+, which you can see mounted on the shells in the photo next to the FiiO K9. Because the CJ20 has such short nozzles, the articulated axis of these specific eartips manages to penetrate and adapt to the ear canal, improving passive isolation in the process without having to resort to the typical foams, which unfortunately I am not a fan of.

Sound

Bass

In the bass section, the Roseselsa CJ20 proves that being a pure planar has its definite advantages over those other hybrids I mentioned at the beginning of the review. In my experience, the low end has a very physical punch and a control that prevents the low frequencies from getting where they shouldn't in the rest of the mix. The sub bass has a notable extension, managing to vibrate clearly when the music requires it but recovering with enough speed so as not to leave a trail of dirt behind that would take away the logic of a planar. Being an IEM focused on rock and metal, genres in which I move comfortably, I have run tests with specific and recent tracks like Seven Serpents by Kreator, the bass shows solidity in every double kick pedal hit. The positive thing is that the kick drum sounds dry and defined without losing the necessary impact in thrash metal. The negative thing is that if you are looking for an extra rumble that vibrates inside your ear, you might feel them too controlled or not visceral enough for your personal taste. On the FiiO K9 specifically I have noticed that this low area becomes even more authoritative and defined, proving that this model is designed to enjoy the punch of rock and metal where the double kick drum demands an immediate response without delays, something that unfortunately the dynamic drivers of most models do not manage equally well and even more so at these prices and below...

Mids

The mids are clear and have a presence that I found very pleasant from the first moment. They are not the main characters since this model seeks balance, but the vocals sound with a very realistic and close texture. In the lower mids, male vocals have enough body so as not to sound thin, while in the upper mids, female vocals and wind instruments have a clarity that does not become annoying for anyone at any time, if I want to nitpick I can say that it might slightly lack some weight in this frequency range to better feel the weight of some instruments and voices but I cannot put it as a con but rather as a simple observation. With my tests among my 3 usual dongles I must say that the FiiO KA15 has been where the mids become somewhat richer, helping the listening to be more relaxed and pleasant. Upon getting this IEM I went straight to a recent album that I have already listened to quite a bit and started to analyze the sound in Giants On The Run, that typical fast and frantic power metal track that opens the Giants and Monsters album by Helloween from this 2026, the lower mids provide fantastic support to the vocal harmonies of Kiske and Hansen. You can see in one of my photos using them alongside the FiiO KA15. The plus point is the naturalness with which the electric guitars are presented, galloping at full speed with a very authentic roar that does not sound processed. In tracks like this where you have a lot of drums, many guitars playing different melodies apart from another one with the rhythmic bases you feel how the model can tame the complexity and separate the elements clearly.

Treble

Regarding the treble, being a model that does not allow changing nozzles like the others I will compare below, they could fall into the error of offering fatiguing treble but luckily the tuning in this range without being the most detailed has just the right amount to make the listening enjoyable and even raise the volume to medium, medium high without that auditory fatigue that ruins so many long listening sessions. The high frequencies are energetic and bring a lot of air to the mix, which helps the sound not to feel enclosed or suffocating. The lower treble has the necessary power so that cymbals and synthesizers have definition, while the highest and airiest treble stays within a safe limit to avoid annoying sibilance that I said they could have fallen into and luckily that is not the case. In my experience, the planar driver manages energy peaks very well, avoiding those artificial metallic flashes that I hate so much. Listening to them with the NiceHCK Octave, the treble response feels very direct and transparent, ideal for those moments when I want to analyze the quality of the original recording with a higher fidelity than the KA15. Going back to metal, this time trying a track with only female vocals I did tests on the track End Of You by Poppy, Amy Lee and Courtney Laplante, the upper treble shows surprising resolution for this price range. The digital effects and cymbals sound crystalline and with a lot of definition. During the listening of this track and some that followed right after it caught me testing them with the Divinus Velvet, I have to say that the seal was not as perfect as with the CP100+ but they still kept the treble controlled so they are a good option to consider if you feel the sound with the CP100+ is somewhat duller than you would like.

However, not everything can be rock and metal where I already see and especially hear that they move great, when we take the CJ20 out of its comfort zone, things change course a bit. I have tested these earphones with dense electronic music and modern commercial pop from 2026, and in my experience, they are still compatible to enjoy these genres but not like they are for rock and metal. In electronic music, a sub bass with a slower decay and a more exaggerated vibration effect that fills the entire acoustic space is often sought after as I get with models like the Punch Audio Portazo, something that the control and speed of the CJ20 do not fully offer, resulting in a listening experience that can seem somewhat dry or lacking massive impact. If you want to solve this and give it that visceral touch it lacks, although not at the level of the model I mentioned you can try the Penon Liqueur Orange. As I have photographed in my tests with electronic music listening to Bob Moses alongside the Octave, these orange eartips have a super sticky material that vacuum seals the canal and fattens up the low end in a tremendous way, providing that extra weight and decay that these types of tracks cry out for. In pop tracks, the energy they have in the upper mids to make electric guitars shine can be a bit excessive for vocals passed through autotune filters that are already odious in themselves, making them sound too sharp or unnatural here. The CJ20 has a tuning with a very raw and realistic texture, which is a positive thing for analog instruments but can be a bit too revealing with synthetic sounds and modern pop productions of today.

Soundstage, Instrumental Separation and Imaging

The soundstage of the ROSESELSA CJ20 is more than adequate for being a closed design monitor that seeks isolation from the outside. It is a stage that extends slightly beyond your ears in a coherent and logical way. The width is notable and allows the music to breathe, preventing instruments from feeling piled up in the center of the head as happens in much more basic models. In depth it also does a decent job, allowing you to distinguish layers of sound that go from front to back, which helps create a more immersive and realistic experience for the listener looking for depth.

As for instrumental separation, it is easy to place each instrument in its corresponding place without some blatantly covering others. Even in complex musical passages with many elements playing at the same time, the Helloween track from before serves again, the CJ20 manages to maintain composure and present each melodic line individually. It is a vital aspect to enjoy bands with many members where instrumental chaos can ruin the listening if there is no order and here you do not have to worry about that...

The imaging is precise and quite coherent at all times during playback. The ability of this earphone to position sounds in three dimensional space is surprising considering what it costs and against its competitors that I reviewed recently. You can follow the path of a sound effect or the exact location of a string section very easily and without too much effort on your part. There is no feeling of emptiness between positions, but a smooth and logical transition that helps the spatial representation be credible. In my experience, this precision helps a lot to make the listening more entertaining and less monotonous, allowing you to discover small details in recordings that you already knew perfectly well but now take on a very interesting new spatial dimension, something I love and makes me go back to classic tracks in my library.

Comparisons

If we compare it with the Simgot ET 142 the most recent hybrid planar I reviewed days ago. While the CJ20 is a pure planar, the Simgot model adds a piezoelectric driver to the main planar for the highest frequencies. This makes the ET142 have much more extended treble and a brightness that can be excessive for some ears if you do not play with the assortment of included nozzles or personal eartips. The CJ20 on the other hand has a much more punchy low end with greater organic texture than the ET142, which usually opts for a profile more inclined towards extreme technical clarity. The ET 142 feels physically more robust although it is also larger and heavier which must be taken into account, and the CJ20 its lighter metal body offers a more complete listening experience for those who enjoy a sound with more weight in the bass, although Simgot's piezoelectric wins in terms of capturing microdetails in the highest frequencies and justifies its addition to the planar it incorporates.

Putting it up against the Hidizs MP143, we are facing a direct duel of pure planars with no additions. Both share that characteristic speed of planar technology, especially in the decay of the fastest notes. However, the CJ20 offers a timbre that, in my opinion, is more natural and less artificial in the mid frequencies. The MP143 can sound somewhat metallic in certain areas that I have barely noticed in the different tracks with the CJ20 which is more versatile and easy to drive with any small portable device without barely losing performance. Furthermore, the ergonomic fit and the machining finish of the CJ20 seem superior to me for daily and intensive use, giving a much more premium product feel to the touch.

Finally, against the Kefine Arnar, the one I have most recently and you can see my review on my profile, we find a hybrid design that combines in this case a planar with a BA driver. The Arnar uses that BA to reinforce the upper mids and treble, which gives it an extra crispness in vocals that makes it stand out somewhat more in this aspect compared to the CJ20 but it offers less punch in the bass and its soundstage feels somewhat more compressed to me. The Roseselsa CJ20 to me has a finish that feels much more professional and durable but this is not an opinion we are all going to agree on. Commenting on some more aspects about the sound of both, the Arnar has a tuning that seeks to be safer, warmer and more relaxed, making it ideal for very long listening sessions but at the cost of losing some of the excitement and detail that the CJ20 does offer which has a superior tonal coherence by not mixing different technologies, which in my experience places it a step above for purists of direct and coherent sound.

Global Ranking Link

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).

Final thoughts

To wrap up this review I consider the Roseselsa CJ20 a very solid option for anyone looking for a well built IEM with a fun sound but with the necessary technical balance, also designed for those who hate that game of nozzles trying to minimize treble or maximize other frequencies without really knowing what their favorite sound is, here you have a tuning that works exactly as it comes, with pros and cons as always but that will satisfy the majority if they listen to the genres it was designed for. Its aluminum construction and the use of a 14mm pure planar transducer make it a safe bet that surpasses for me others in similar ranges and obviously everything that falls below its price that I have tried to date in terms of planar or planar plus another driver. If you value a fast and detailed bass punch, natural vocal clarity and you move mostly between rock and metal, this model should be on your immediate purchase priority list.

You can buy it at these links:

HiFiGo

Roseselsa Official

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

Thank you for reading and I hope to read comments since in some reviews I don't see enough participation and I always love seeing how someone counters an opinion as long as it is with respect, or how they bring another model to the comparison which I could try to bring in the future and assess whether or not it sits above this CJ20 for me, I'm reading you!

Greetings to the whole community, this review marks a turning point regarding planar or hybrid planars since I have recently owned and reviewed models like the Simgot ET 142, the Kefine Arnar or some time ago the Hidizs MP143. This Roseselsa CJ20 directly becomes my favorite option of the 4, I have not had the chance to try alternatives like the Timeless II although I did have the Letshuoer Z12 at the time (already discontinued) but focusing on the music I listen to and what I expect from a pure planar IEM, they take the first place and I will tell you in detail the reason for this decision...

What I like / What I don't like

• Its design and size are a total success, combining a very elegant aesthetic with excellent comfort and a top level metallic finish.
• The nozzles are somewhat short, which compromises passive isolation and the fit with the stock eartips, forcing you to try from your own repertoire to achieve a good seal.
• Its speed and the authority of its low frequencies offer an ideal texture to transmit all the energy of the instruments, standing out in genres like rock and metal.
• The included cable is modular and with a secure threaded lock but it has a somewhat annoying tendency to keep the shape of the folds.
• Instrumental separation and spatial precision are one of its biggest strong points, maintaining order even in chaotic musical passages.
• Its raw texture and its lack of exaggerated sub bass make it less recommendable for dense electronic music or highly processed pop.
• I love that it does not try to be an analytical and boring earphone, it has a very dynamic and fun character for day to day use.

Specifications

• Driver Unit: 14.2mm Planar Magnetic Driver
• Impedance: 24Ω ± 10% u/ 1KHz 155mV
• Sensitivity: 102 ± 3dB/Vrms@1kHz
• THD: ≤3%@1kHz@1.0mW
• Frequency Response Range: 20Hz a 20kHz
• Cable Material: 1.2m Graphene Plated OCC Single Crystal Copper Wire
• Interface Type: 3.5mm / 4.4mm Moduled
• Connector Type: 0.78 2 pin
• Single Earbud Weight: 5.4g

My Sources

• FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.
• FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.
• NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.
• Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

As you can see in my photos where I try to show the almost complete experience from the outer box to the lower layers, we have a cardboard cover with the IEM broken down into pieces. Inside the package we find a selection of silicone eartips in different sizes, a cleaning brush and cloth and a carrying case with a finish that imitates black leather where the IEMs fit without a problem with the cable, a case that reminded me of the ones Hidizs includes in several of its models. And of course the modular two pin cable is also included with both 3.5mm and 4.4mm adapters.

The braided cable is made of good quality copper and features an interchangeable modular connector system. By the way, if you look at the photo that I have put together divided into three parts, you can appreciate a curious detail in the first panel. The 3.5mm connector had some wear marks and chipped paint, and the funniest thing is that I took that photo right after opening the package to put the 4.4mm plug. It is a slightly ugly aesthetic detail straight out of the box, although fortunately it has not affected its performance at all. Mind you, to compensate, I must praise that the modular cable connector has a threaded ring. I always like to mention this addition in the models that do include it, as it gives a spectacular extra peace of mind knowing that the cable is not going to split in two after an involuntary pull.

The work on the aluminum shells is impeccable and, just as I show you in the close ups of the housings, the circular grille of the faceplate and the golden details of the pins give it a very premium touch. I have not been able to find any imperfection in the joints. The shape of the shell is ergonomic and sits well in the ear, but the Achilles heel is that the nozzles are somewhat short. In fact, with many eartips, including the stock ones, I failed to create a proper fit in my ears. I had to keep trying from my wide repertoire until I solved the problem. And this is exactly where I highly recommend using a pair of SpinFit CP 100+, which you can see mounted on the shells in the photo next to the FiiO K9. Because the CJ20 has such short nozzles, the articulated axis of these specific eartips manages to penetrate and adapt to the ear canal, improving passive isolation in the process without having to resort to the typical foams, which unfortunately I am not a fan of.

Sound

Bass

In the bass section, the Roseselsa CJ20 proves that being a pure planar has its definite advantages over those other hybrids I mentioned at the beginning of the review. In my experience, the low end has a very physical punch and a control that prevents the low frequencies from getting where they shouldn't in the rest of the mix. The sub bass has a notable extension, managing to vibrate clearly when the music requires it but recovering with enough speed so as not to leave a trail of dirt behind that would take away the logic of a planar. Being an IEM focused on rock and metal, genres in which I move comfortably, I have run tests with specific and recent tracks like Seven Serpents by Kreator, the bass shows solidity in every double kick pedal hit. The positive thing is that the kick drum sounds dry and defined without losing the necessary impact in thrash metal. The negative thing is that if you are looking for an extra rumble that vibrates inside your ear, you might feel them too controlled or not visceral enough for your personal taste. On the FiiO K9 specifically I have noticed that this low area becomes even more authoritative and defined, proving that this model is designed to enjoy the punch of rock and metal where the double kick drum demands an immediate response without delays, something that unfortunately the dynamic drivers of most models do not manage equally well and even more so at these prices and below...

Mids

The mids are clear and have a presence that I found very pleasant from the first moment. They are not the main characters since this model seeks balance, but the vocals sound with a very realistic and close texture. In the lower mids, male vocals have enough body so as not to sound thin, while in the upper mids, female vocals and wind instruments have a clarity that does not become annoying for anyone at any time, if I want to nitpick I can say that it might slightly lack some weight in this frequency range to better feel the weight of some instruments and voices but I cannot put it as a con but rather as a simple observation. With my tests among my 3 usual dongles I must say that the FiiO KA15 has been where the mids become somewhat richer, helping the listening to be more relaxed and pleasant. Upon getting this IEM I went straight to a recent album that I have already listened to quite a bit and started to analyze the sound in Giants On The Run, that typical fast and frantic power metal track that opens the Giants and Monsters album by Helloween from this 2026, the lower mids provide fantastic support to the vocal harmonies of Kiske and Hansen. You can see in one of my photos using them alongside the FiiO KA15. The plus point is the naturalness with which the electric guitars are presented, galloping at full speed with a very authentic roar that does not sound processed. In tracks like this where you have a lot of drums, many guitars playing different melodies apart from another one with the rhythmic bases you feel how the model can tame the complexity and separate the elements clearly.

Treble

Regarding the treble, being a model that does not allow changing nozzles like the others I will compare below, they could fall into the error of offering fatiguing treble but luckily the tuning in this range without being the most detailed has just the right amount to make the listening enjoyable and even raise the volume to medium, medium high without that auditory fatigue that ruins so many long listening sessions. The high frequencies are energetic and bring a lot of air to the mix, which helps the sound not to feel enclosed or suffocating. The lower treble has the necessary power so that cymbals and synthesizers have definition, while the highest and airiest treble stays within a safe limit to avoid annoying sibilance that I said they could have fallen into and luckily that is not the case. In my experience, the planar driver manages energy peaks very well, avoiding those artificial metallic flashes that I hate so much. Listening to them with the NiceHCK Octave, the treble response feels very direct and transparent, ideal for those moments when I want to analyze the quality of the original recording with a higher fidelity than the KA15. Going back to metal, this time trying a track with only female vocals I did tests on the track End Of You by Poppy, Amy Lee and Courtney Laplante, the upper treble shows surprising resolution for this price range. The digital effects and cymbals sound crystalline and with a lot of definition. During the listening of this track and some that followed right after it caught me testing them with the Divinus Velvet, I have to say that the seal was not as perfect as with the CP100+ but they still kept the treble controlled so they are a good option to consider if you feel the sound with the CP100+ is somewhat duller than you would like.

However, not everything can be rock and metal where I already see and especially hear that they move great, when we take the CJ20 out of its comfort zone, things change course a bit. I have tested these earphones with dense electronic music and modern commercial pop from 2026, and in my experience, they are still compatible to enjoy these genres but not like they are for rock and metal. In electronic music, a sub bass with a slower decay and a more exaggerated vibration effect that fills the entire acoustic space is often sought after as I get with models like the Punch Audio Portazo, something that the control and speed of the CJ20 do not fully offer, resulting in a listening experience that can seem somewhat dry or lacking massive impact. If you want to solve this and give it that visceral touch it lacks, although not at the level of the model I mentioned you can try the Penon Liqueur Orange. As I have photographed in my tests with electronic music listening to Bob Moses alongside the Octave, these orange eartips have a super sticky material that vacuum seals the canal and fattens up the low end in a tremendous way, providing that extra weight and decay that these types of tracks cry out for. In pop tracks, the energy they have in the upper mids to make electric guitars shine can be a bit excessive for vocals passed through autotune filters that are already odious in themselves, making them sound too sharp or unnatural here. The CJ20 has a tuning with a very raw and realistic texture, which is a positive thing for analog instruments but can be a bit too revealing with synthetic sounds and modern pop productions of today.

Soundstage, Instrumental Separation and Imaging

The soundstage of the ROSESELSA CJ20 is more than adequate for being a closed design monitor that seeks isolation from the outside. It is a stage that extends slightly beyond your ears in a coherent and logical way. The width is notable and allows the music to breathe, preventing instruments from feeling piled up in the center of the head as happens in much more basic models. In depth it also does a decent job, allowing you to distinguish layers of sound that go from front to back, which helps create a more immersive and realistic experience for the listener looking for depth.

As for instrumental separation, it is easy to place each instrument in its corresponding place without some blatantly covering others. Even in complex musical passages with many elements playing at the same time, the Helloween track from before serves again, the CJ20 manages to maintain composure and present each melodic line individually. It is a vital aspect to enjoy bands with many members where instrumental chaos can ruin the listening if there is no order and here you do not have to worry about that...

The imaging is precise and quite coherent at all times during playback. The ability of this earphone to position sounds in three dimensional space is surprising considering what it costs and against its competitors that I reviewed recently. You can follow the path of a sound effect or the exact location of a string section very easily and without too much effort on your part. There is no feeling of emptiness between positions, but a smooth and logical transition that helps the spatial representation be credible. In my experience, this precision helps a lot to make the listening more entertaining and less monotonous, allowing you to discover small details in recordings that you already knew perfectly well but now take on a very interesting new spatial dimension, something I love and makes me go back to classic tracks in my library.

Comparisons

If we compare it with the Simgot ET 142 the most recent hybrid planar I reviewed days ago. While the CJ20 is a pure planar, the Simgot model adds a piezoelectric driver to the main planar for the highest frequencies. This makes the ET142 have much more extended treble and a brightness that can be excessive for some ears if you do not play with the assortment of included nozzles or personal eartips. The CJ20 on the other hand has a much more punchy low end with greater organic texture than the ET142, which usually opts for a profile more inclined towards extreme technical clarity. The ET 142 feels physically more robust although it is also larger and heavier which must be taken into account, and the CJ20 its lighter metal body offers a more complete listening experience for those who enjoy a sound with more weight in the bass, although Simgot's piezoelectric wins in terms of capturing microdetails in the highest frequencies and justifies its addition to the planar it incorporates.

Putting it up against the Hidizs MP143, we are facing a direct duel of pure planars with no additions. Both share that characteristic speed of planar technology, especially in the decay of the fastest notes. However, the CJ20 offers a timbre that, in my opinion, is more natural and less artificial in the mid frequencies. The MP143 can sound somewhat metallic in certain areas that I have barely noticed in the different tracks with the CJ20 which is more versatile and easy to drive with any small portable device without barely losing performance. Furthermore, the ergonomic fit and the machining finish of the CJ20 seem superior to me for daily and intensive use, giving a much more premium product feel to the touch.

Finally, against the Kefine Arnar, the one I have most recently and you can see my review on my profile, we find a hybrid design that combines in this case a planar with a BA driver. The Arnar uses that BA to reinforce the upper mids and treble, which gives it an extra crispness in vocals that makes it stand out somewhat more in this aspect compared to the CJ20 but it offers less punch in the bass and its soundstage feels somewhat more compressed to me. The Roseselsa CJ20 to me has a finish that feels much more professional and durable but this is not an opinion we are all going to agree on. Commenting on some more aspects about the sound of both, the Arnar has a tuning that seeks to be safer, warmer and more relaxed, making it ideal for very long listening sessions but at the cost of losing some of the excitement and detail that the CJ20 does offer which has a superior tonal coherence by not mixing different technologies, which in my experience places it a step above for purists of direct and coherent sound.

Global Ranking Link

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).

Final thoughts

To wrap up this review I consider the Roseselsa CJ20 a very solid option for anyone looking for a well built IEM with a fun sound but with the necessary technical balance, also designed for those who hate that game of nozzles trying to minimize treble or maximize other frequencies without really knowing what their favorite sound is, here you have a tuning that works exactly as it comes, with pros and cons as always but that will satisfy the majority if they listen to the genres it was designed for. Its aluminum construction and the use of a 14mm pure planar transducer make it a safe bet that surpasses for me others in similar ranges and obviously everything that falls below its price that I have tried to date in terms of planar or planar plus another driver. If you value a fast and detailed bass punch, natural vocal clarity and you move mostly between rock and metal, this model should be on your immediate purchase priority list.

You can buy it at these links:

HiFiGo

Roseselsa Official

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

Thank you for reading and I hope to read comments since in some reviews I don't see enough participation and I always love seeing how someone counters an opinion as long as it is with respect, or how they bring another model to the comparison which I could try to bring in the future and assess whether or not it sits above this CJ20 for me, I'm reading you!

Hello everyone, I am back with a new review, in this case it is the second Kefine model I have had the pleasure of reviewing. From the start, the experience has been better than the previous one, and not because the previous one was bad with the Kefine Klean SV, but these Kefine Arnar play in a different league. That is why I have a better taste in my mouth when talking about them, an IEM that tries to play a different game than what the Klean were doing.

The initial sensations when trying them are of a well finished product, something that is appreciated when you have already accumulated dozens of models that, unlike this one, do not give a premium feeling in the hands. It is curious how they have moved from minimalist designs to something with much more visual personality, which I must also say may not be to everyone's taste. Just as the energetic and warm signature will not be to the liking of those looking for absolute neutrality, the first listen makes it clear that there is a very well defined technical direction behind this hybrid. Here is my opinion after living with them for these past few days.

What I like / What I don't like

• The midrange has a natural texture that hooks you from the first minute.
• The integration between the planar driver and the balanced armature is impeccable and very coherent.
• The soundstage isn't exactly the most expansive you will find in this price bracket.
• The tuning nozzles actually modify the sound in a way that matters to the user.
• It has bass, but it lacks the sub bass impact that some will miss.
• It is an affordable hybrid that performs above its price.
• The highs can feel too relaxed for those looking for the ultimate detail.

Specifications

• 1 14.5 mm planar magnetic driver.
• 1 Knowles BA dedicated to mid and high frequencies.
• Nominal impedance of 13 ohms.
• Sensitivity of 107 db.
• Chassis made entirely of aluminum alloy through precision CNC machining.
• System of three interchangeable nozzles to adjust the frequency response.
• High purity copper modular cable with interchangeable 3.5 mm and 4.4 mm terminals.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

As you can see in some of my photos, inside we find a generous display of accessories that includes the earphones themselves, two transparent plastic cases with quality ear tips, and a black synthetic leather case with a very pleasant rough touch. The construction is entirely metallic, which ensures good durability, although the shell design is prone to scratching if you are not careful. The faceplate is decorated with a mesh or net that gives it an unusual but attractive touch, giving it a personality that moves away from the generic. On the inside, the shells are clearly marked with L and R in a very legible white color, along with a vent hole to manage pressure. The metal nozzles have a small lip at the end that makes changing them easier and ensures the ear tips do not slide off. The modular cable is a marvel of softness and balance, with four pin internal connectors that feel very robust. Additionally, the official USB C adapter that was included separately for me is a perfect solution for gaming or listening to music from your phone without complications or needing a separate DAC dongle, keeping the whole set well protected in its case where they fit easily with or without the dongle.

Tuning nozzles

The Arnar nozzles are one of the best alternatives I have tried compared to typical switches. The impact is real and we will notice it more easily than other well known models where, beyond the aesthetic color change of the nozzles, we perceive few changes at a sound level. We have three options that allow us to adjust the versatility of the earphone significantly. The silver nozzle is the one I consider most balanced or neutral, providing a very relaxed and cozy listen that adapts to almost everything. On the other hand, the gold nozzle is the most powerful of the three, clearly oriented toward highlighting high frequencies. The clear nozzle is able to provide an even better experience than the black one by offering even greater definition and more air, details, etc., without being harsh, tiring, or straining on your ears. The black nozzle does seek a warmer and denser profile as well; it also focuses primarily on the lower end of the frequency spectrum. It is a very effective way of customization that really allows the personality of the monitor to vary according to the mood or the equipment we are using, allowing the user to adapt the Arnar to their personal preferences without the need for external equalization, something that for me is essential since I am not a big fan of digital EQ and I like being able to alter the sound physically through these nozzles, or ear tips or switches if they had them, which is not the case this time.

Sound

The Arnar offers an uncommon experience because the Knowles brand balanced armature, which already provides a baseline of confidence, is responsible for enhancing mids and highs at the same time while the 14.5 mm planar reinforces the general frequency spectrum, something innovative for me just like the planar and piezoelectric combo of the Simgot ET142 that we will talk about later.

Starting as usual with the low frequencies, the impact is punchy and fast, with a slam that feels physical and authoritative, although if you are a lover of massive sub bass types, you will feel a bit short here, but it all depends on the musical style or styles you handle. In my experience, the result is a very organic and controlled sound, with a touch of rawness that makes it sound very realistic. The extension toward the deepest frequencies is excellent, allowing the sub bass to be perceived with a very defined structure, although as I say it will not be its most notable point if we only talk about bass frequencies. It is not the cleanest bass on the market because it has a slight touch of warmth that makes it more exciting. If we use the black nozzle, this area gains even more prominence, ideal for those who enjoy a more immersive and dense sound. To improve the impact, I have tried the Penon Liqueur Orange ear tips from my continuously expanding case that I will show one day, and the result is positive, as they provide a bit more body without sacrificing the technical control of its 2 driver hybrid system.

The midrange is a clear and detailed area where micro details appear constantly, maintaining a warm tone that is very pleasant for probably most users. Female vocals are shown with a detail that does not have a single bit of aggressiveness, while the male ones have a very well achieved depth and power. Let's be honest, if you are looking for a flat and technical response for monitoring, this midrange will seem too romantic, or I don't know if that is the most appropriate word but it is the one that occurs to me now, and not very analytical. In my opinion, the gold nozzle is the one that best highlights this area by providing an extra bit of articulation that makes the voices stand out over the mix. In this case, trying other ear tips I managed to make the texture of the mids even more fluid with the Divinus Velvet from my collection, eliminating any possible harshness in the more complex passages of more elaborate tracks from my Apple Music library. The Tangzu Tang Sancai are also an excellent option if you want the mids to breathe with an amazing naturalness, opening the center stage a bit more without losing that characteristic warmth, although as I have already commented in previous reviews when I use these specific ear tips, the seal for me makes everything worse since they do not seal for me as I would like, but if in your case they do, keep them in mind to improve the midrange experience. The timbre is natural, free of any metallic trace, which allows the instruments to sound relaxed and smooth at all times.

In the high frequencies the result is very balanced, though perhaps too conservative for some ears. With the silver or gold nozzle, the highs are more intense and detailed, but always maintaining absolute control that avoids any sibilance or annoying sound. The lower treble is very clear, allowing each instrument to have its prominence, while the highest area is airy and spacious. If you are someone sensitive to high frequencies, I would say the black nozzle is your best ally because it pushes that upper energy away a bit, leaving a darker but very relaxed sound. To compensate for this relaxation and gain some resolution without losing the timbre, I recommend the Pentaconn Coreir Brass or the Dunu S&S ear tips. Especially the Pentaconn helps the treble have a bit more definition thanks to their metallic core, something that curiously I did not achieve with the Sancai Noble, while the Dunu S&S balance the energy so the result is as linear as possible. From my point of view, for those looking for extreme detail or a sense of infinite or very extended air, the Arnar falls halfway, sometimes resulting in a bit of darkness in the highest part of the spectrum. The transition to the mids is still quite smooth and direct, but that is helpful over longer periods of time.

Soundstage, Instrumental Separation, Imaging…

The Arnar's soundstage has quite a few holographic elements that pull you into the music, but it has clear physical limitations. It is very well organized and positioned, offering a three dimensional experience but with a definition that feels improved compared to the Klean SV I reviewed previously, something to be expected due to the price difference but I must mention it. However, it is not the widest stage you are going to hear and in orchestral tracks for example you can feel that you lack air on the sides, resulting in a somewhat contained presentation inside the head. Voices tend to take a bit more prominence, placing you a bit closer to the stage, while the instruments are located just behind with a coherent distance, we could say. In my experience, this intimacy greatly favors vocal and acoustic genres because you prefer to feel that the artist is a few meters away from you instead of in the background. It is a compromise between depth and width that works well for most modern genres.

Thanks to the speed of the planar driver that oversees the entire range, the instrumental separation feels clean. The instruments have enough space to breathe and are clearly separated without giving the feeling of being artificially disconnected. Even in tracks very loaded with information like the orchestral themes I mentioned in the previous paragraph, the Arnar maintains a good sense of organization and nothing collapses creating a blob of sound where you don't understand everything that is playing. However, the layering is barely average, with about two or three rows of well defined depth but they become confusing if you try to explore further in very dense recordings. You can follow individual guitar or bass lines without one thing covering the other, which is the merit of a very well executed driver integration. It is a precise separation that allows you to enjoy complex pieces without mental effort, although it lacks that extreme depth of the high end that allows you to pinpoint exactly what is happening in the last row of instruments if we imagine it as an orchestra with several rows or layers.

Regarding imaging, the placement of elements in the virtual space is quite exact, each sound stays fixed in its place without dancing around the scene, even when the music becomes very busy or complex, maintaining a clear and stable image that does not blur when turning up the volume. This technical precision helps a lot to make the listening relaxed because the brain does not have to struggle to decipher what is happening in the mix. The positioning of details on the sides is sharp, providing a sense of being surrounded by the music in a coherent way. From my point of view, imaging would be the most prominent technical aspect of the three I just mentioned, even if it is limited by that somewhat narrow soundstage I mentioned before.

Comparisons

If we compare the Kefine Arnar with the Simgot ET142 that I was able to review recently and you have my review on my profile, the first thing that stands out is that the Arnar has a sound with more weight and more character in the bass area. The Simgot ET142 is an earphone that seeks more micro information and has a somewhat thinner profile that can become a bit fatiguing if you like sounds with more body, plus both are hybrid planars each accompanied by a different driver besides the planar. The Arnar, in my experience, is much more friendly for all types of genres, offering a warmth in the mids that the ET142 does not quite reach despite its own arsenal of nozzles. However, the Simgot offers a sense of air and detail superior to the Arnar which in that aspect sound much more relaxed or limited. The best thing about the Simgot is its detailed resolution in the treble, but the Arnar instead has a much better achieved general balance and a construction that for my taste shows less wear and especially fingerprints, something I hate in many Simgot models. In short, the Simgot is for analysis sessions and the Arnar is for enjoying music without general fatigue.

Compared to the Hidizs MP143, the difference is more evident due to the different driver technologies. The MP143 has a more aggressive bass hit and a somewhat more explosive dynamic, which makes it very fun for electronic genres. However, the Arnar has much richer mids and a better resolved texture in the vocals due to its tuning and management of both drivers superior to the MP143, because of the support of its balanced armature working with the planar. The MP143 can feel a bit empty in the center of the mix if you directly compare it with the body that the Arnar offers. Also, the design of the Arnar shells is much more ergonomic and light for long listening sessions.

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)

Final thoughts

The Kefine Arnar seemed like a quite interesting hybrid to me within the experiments I hadn't tried until now of mixing a planar with another type of driver, which manages to mix a warm signature with very solid technical aspects. It is evident that Kefine has taken extra care in controlling the energy while taking the set toward a very attractive and lively experience. With the tuning nozzles that really work in this model and a midrange that is a real marvel, it positions itself as one of the best options in its price range. I could say it is a monitor that invites you to enjoy the music, while offering the necessary flexibility to adjust the sound to your personal preferences through its accessories. If you are looking for something comfortable, well built, and with a sound with soul that does not sacrifice resolution, the Arnar should be on your list, as long as you accept its limitations in soundstage and treble extension.

You can buy the Kefine Arnar at:

HiFiGo

Linsoul

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 everyone, I am back with a new review, in this case it is the second Kefine model I have had the pleasure of reviewing. From the start, the experience has been better than the previous one, and not because the previous one was bad with the Kefine Klean SV, but these Kefine Arnar play in a different league. That is why I have a better taste in my mouth when talking about them, an IEM that tries to play a different game than what the Klean were doing.

The initial sensations when trying them are of a well finished product, something that is appreciated when you have already accumulated dozens of models that, unlike this one, do not give a premium feeling in the hands. It is curious how they have moved from minimalist designs to something with much more visual personality, which I must also say may not be to everyone's taste. Just as the energetic and warm signature will not be to the liking of those looking for absolute neutrality, the first listen makes it clear that there is a very well defined technical direction behind this hybrid. Here is my opinion after living with them for these past few days.

What I like / What I don't like

• The midrange has a natural texture that hooks you from the first minute.
• The integration between the planar driver and the balanced armature is impeccable and very coherent.
• The soundstage isn't exactly the most expansive you will find in this price bracket.
• The tuning nozzles actually modify the sound in a way that matters to the user.
• It has bass, but it lacks the sub bass impact that some will miss.
• It is an affordable hybrid that performs above its price.
• The highs can feel too relaxed for those looking for the ultimate detail.

Specifications

• 1 14.5 mm planar magnetic driver.
• 1 Knowles BA dedicated to mid and high frequencies.
• Nominal impedance of 13 ohms.
• Sensitivity of 107 db.
• Chassis made entirely of aluminum alloy through precision CNC machining.
• System of three interchangeable nozzles to adjust the frequency response.
• High purity copper modular cable with interchangeable 3.5 mm and 4.4 mm terminals.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

As you can see in some of my photos, inside we find a generous display of accessories that includes the earphones themselves, two transparent plastic cases with quality ear tips, and a black synthetic leather case with a very pleasant rough touch. The construction is entirely metallic, which ensures good durability, although the shell design is prone to scratching if you are not careful. The faceplate is decorated with a mesh or net that gives it an unusual but attractive touch, giving it a personality that moves away from the generic. On the inside, the shells are clearly marked with L and R in a very legible white color, along with a vent hole to manage pressure. The metal nozzles have a small lip at the end that makes changing them easier and ensures the ear tips do not slide off. The modular cable is a marvel of softness and balance, with four pin internal connectors that feel very robust. Additionally, the official USB C adapter that was included separately for me is a perfect solution for gaming or listening to music from your phone without complications or needing a separate DAC dongle, keeping the whole set well protected in its case where they fit easily with or without the dongle.

Tuning nozzles

The Arnar nozzles are one of the best alternatives I have tried compared to typical switches. The impact is real and we will notice it more easily than other well known models where, beyond the aesthetic color change of the nozzles, we perceive few changes at a sound level. We have three options that allow us to adjust the versatility of the earphone significantly. The silver nozzle is the one I consider most balanced or neutral, providing a very relaxed and cozy listen that adapts to almost everything. On the other hand, the gold nozzle is the most powerful of the three, clearly oriented toward highlighting high frequencies. The clear nozzle is able to provide an even better experience than the black one by offering even greater definition and more air, details, etc., without being harsh, tiring, or straining on your ears. The black nozzle does seek a warmer and denser profile as well; it also focuses primarily on the lower end of the frequency spectrum. It is a very effective way of customization that really allows the personality of the monitor to vary according to the mood or the equipment we are using, allowing the user to adapt the Arnar to their personal preferences without the need for external equalization, something that for me is essential since I am not a big fan of digital EQ and I like being able to alter the sound physically through these nozzles, or ear tips or switches if they had them, which is not the case this time.

Sound

The Arnar offers an uncommon experience because the Knowles brand balanced armature, which already provides a baseline of confidence, is responsible for enhancing mids and highs at the same time while the 14.5 mm planar reinforces the general frequency spectrum, something innovative for me just like the planar and piezoelectric combo of the Simgot ET142 that we will talk about later.

Starting as usual with the low frequencies, the impact is punchy and fast, with a slam that feels physical and authoritative, although if you are a lover of massive sub bass types, you will feel a bit short here, but it all depends on the musical style or styles you handle. In my experience, the result is a very organic and controlled sound, with a touch of rawness that makes it sound very realistic. The extension toward the deepest frequencies is excellent, allowing the sub bass to be perceived with a very defined structure, although as I say it will not be its most notable point if we only talk about bass frequencies. It is not the cleanest bass on the market because it has a slight touch of warmth that makes it more exciting. If we use the black nozzle, this area gains even more prominence, ideal for those who enjoy a more immersive and dense sound. To improve the impact, I have tried the Penon Liqueur Orange ear tips from my continuously expanding case that I will show one day, and the result is positive, as they provide a bit more body without sacrificing the technical control of its 2 driver hybrid system.

The midrange is a clear and detailed area where micro details appear constantly, maintaining a warm tone that is very pleasant for probably most users. Female vocals are shown with a detail that does not have a single bit of aggressiveness, while the male ones have a very well achieved depth and power. Let's be honest, if you are looking for a flat and technical response for monitoring, this midrange will seem too romantic, or I don't know if that is the most appropriate word but it is the one that occurs to me now, and not very analytical. In my opinion, the gold nozzle is the one that best highlights this area by providing an extra bit of articulation that makes the voices stand out over the mix. In this case, trying other ear tips I managed to make the texture of the mids even more fluid with the Divinus Velvet from my collection, eliminating any possible harshness in the more complex passages of more elaborate tracks from my Apple Music library. The Tangzu Tang Sancai are also an excellent option if you want the mids to breathe with an amazing naturalness, opening the center stage a bit more without losing that characteristic warmth, although as I have already commented in previous reviews when I use these specific ear tips, the seal for me makes everything worse since they do not seal for me as I would like, but if in your case they do, keep them in mind to improve the midrange experience. The timbre is natural, free of any metallic trace, which allows the instruments to sound relaxed and smooth at all times.

In the high frequencies the result is very balanced, though perhaps too conservative for some ears. With the silver or gold nozzle, the highs are more intense and detailed, but always maintaining absolute control that avoids any sibilance or annoying sound. The lower treble is very clear, allowing each instrument to have its prominence, while the highest area is airy and spacious. If you are someone sensitive to high frequencies, I would say the black nozzle is your best ally because it pushes that upper energy away a bit, leaving a darker but very relaxed sound. To compensate for this relaxation and gain some resolution without losing the timbre, I recommend the Pentaconn Coreir Brass or the Dunu S&S ear tips. Especially the Pentaconn helps the treble have a bit more definition thanks to their metallic core, something that curiously I did not achieve with the Sancai Noble, while the Dunu S&S balance the energy so the result is as linear as possible. From my point of view, for those looking for extreme detail or a sense of infinite or very extended air, the Arnar falls halfway, sometimes resulting in a bit of darkness in the highest part of the spectrum. The transition to the mids is still quite smooth and direct, but that is helpful over longer periods of time.

Soundstage, Instrumental Separation, Imaging…

The Arnar's soundstage has quite a few holographic elements that pull you into the music, but it has clear physical limitations. It is very well organized and positioned, offering a three dimensional experience but with a definition that feels improved compared to the Klean SV I reviewed previously, something to be expected due to the price difference but I must mention it. However, it is not the widest stage you are going to hear and in orchestral tracks for example you can feel that you lack air on the sides, resulting in a somewhat contained presentation inside the head. Voices tend to take a bit more prominence, placing you a bit closer to the stage, while the instruments are located just behind with a coherent distance, we could say. In my experience, this intimacy greatly favors vocal and acoustic genres because you prefer to feel that the artist is a few meters away from you instead of in the background. It is a compromise between depth and width that works well for most modern genres.

Thanks to the speed of the planar driver that oversees the entire range, the instrumental separation feels clean. The instruments have enough space to breathe and are clearly separated without giving the feeling of being artificially disconnected. Even in tracks very loaded with information like the orchestral themes I mentioned in the previous paragraph, the Arnar maintains a good sense of organization and nothing collapses creating a blob of sound where you don't understand everything that is playing. However, the layering is barely average, with about two or three rows of well defined depth but they become confusing if you try to explore further in very dense recordings. You can follow individual guitar or bass lines without one thing covering the other, which is the merit of a very well executed driver integration. It is a precise separation that allows you to enjoy complex pieces without mental effort, although it lacks that extreme depth of the high end that allows you to pinpoint exactly what is happening in the last row of instruments if we imagine it as an orchestra with several rows or layers.

Regarding imaging, the placement of elements in the virtual space is quite exact, each sound stays fixed in its place without dancing around the scene, even when the music becomes very busy or complex, maintaining a clear and stable image that does not blur when turning up the volume. This technical precision helps a lot to make the listening relaxed because the brain does not have to struggle to decipher what is happening in the mix. The positioning of details on the sides is sharp, providing a sense of being surrounded by the music in a coherent way. From my point of view, imaging would be the most prominent technical aspect of the three I just mentioned, even if it is limited by that somewhat narrow soundstage I mentioned before.

Comparisons

If we compare the Kefine Arnar with the Simgot ET142 that I was able to review recently and you have my review on my profile, the first thing that stands out is that the Arnar has a sound with more weight and more character in the bass area. The Simgot ET142 is an earphone that seeks more micro information and has a somewhat thinner profile that can become a bit fatiguing if you like sounds with more body, plus both are hybrid planars each accompanied by a different driver besides the planar. The Arnar, in my experience, is much more friendly for all types of genres, offering a warmth in the mids that the ET142 does not quite reach despite its own arsenal of nozzles. However, the Simgot offers a sense of air and detail superior to the Arnar which in that aspect sound much more relaxed or limited. The best thing about the Simgot is its detailed resolution in the treble, but the Arnar instead has a much better achieved general balance and a construction that for my taste shows less wear and especially fingerprints, something I hate in many Simgot models. In short, the Simgot is for analysis sessions and the Arnar is for enjoying music without general fatigue.

Compared to the Hidizs MP143, the difference is more evident due to the different driver technologies. The MP143 has a more aggressive bass hit and a somewhat more explosive dynamic, which makes it very fun for electronic genres. However, the Arnar has much richer mids and a better resolved texture in the vocals due to its tuning and management of both drivers superior to the MP143, because of the support of its balanced armature working with the planar. The MP143 can feel a bit empty in the center of the mix if you directly compare it with the body that the Arnar offers. Also, the design of the Arnar shells is much more ergonomic and light for long listening sessions.

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)

Final thoughts

The Kefine Arnar seemed like a quite interesting hybrid to me within the experiments I hadn't tried until now of mixing a planar with another type of driver, which manages to mix a warm signature with very solid technical aspects. It is evident that Kefine has taken extra care in controlling the energy while taking the set toward a very attractive and lively experience. With the tuning nozzles that really work in this model and a midrange that is a real marvel, it positions itself as one of the best options in its price range. I could say it is a monitor that invites you to enjoy the music, while offering the necessary flexibility to adjust the sound to your personal preferences through its accessories. If you are looking for something comfortable, well built, and with a sound with soul that does not sacrifice resolution, the Arnar should be on your list, as long as you accept its limitations in soundstage and treble extension.

You can buy the Kefine Arnar at:

HiFiGo

Linsoul

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 everyone, I am back with a new review, in this case it is the second Kefine model I have had the pleasure of reviewing. From the start, the experience has been better than the previous one, and not because the previous one was bad with the Kefine Klean SV, but these Kefine Arnar play in a different league. That is why I have a better taste in my mouth when talking about them, an IEM that tries to play a different game than what the Klean were doing.

The initial sensations when trying them are of a well finished product, something that is appreciated when you have already accumulated dozens of models that, unlike this one, do not give a premium feeling in the hands. It is curious how they have moved from minimalist designs to something with much more visual personality, which I must also say may not be to everyone's taste. Just as the energetic and warm signature will not be to the liking of those looking for absolute neutrality, the first listen makes it clear that there is a very well defined technical direction behind this hybrid. Here is my opinion after living with them for these past few days.

What I like / What I don't like

• The midrange has a natural texture that hooks you from the first minute.
• The integration between the planar driver and the balanced armature is impeccable and very coherent.
• The soundstage isn't exactly the most expansive you will find in this price bracket.
• The tuning nozzles actually modify the sound in a way that matters to the user.
• It has bass, but it lacks the sub bass impact that some will miss.
• It is an affordable hybrid that performs above its price.
• The highs can feel too relaxed for those looking for the ultimate detail.

Specifications

• 1 14.5 mm planar magnetic driver.
• 1 Knowles BA dedicated to mid and high frequencies.
• Nominal impedance of 13 ohms.
• Sensitivity of 107 db.
• Chassis made entirely of aluminum alloy through precision CNC machining.
• System of three interchangeable nozzles to adjust the frequency response.
• High purity copper modular cable with interchangeable 3.5 mm and 4.4 mm terminals.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

As you can see in some of my photos, inside we find a generous display of accessories that includes the earphones themselves, two transparent plastic cases with quality ear tips, and a black synthetic leather case with a very pleasant rough touch. The construction is entirely metallic, which ensures good durability, although the shell design is prone to scratching if you are not careful. The faceplate is decorated with a mesh or net that gives it an unusual but attractive touch, giving it a personality that moves away from the generic. On the inside, the shells are clearly marked with L and R in a very legible white color, along with a vent hole to manage pressure. The metal nozzles have a small lip at the end that makes changing them easier and ensures the ear tips do not slide off. The modular cable is a marvel of softness and balance, with four pin internal connectors that feel very robust. Additionally, the official USB C adapter that was included separately for me is a perfect solution for gaming or listening to music from your phone without complications or needing a separate DAC dongle, keeping the whole set well protected in its case where they fit easily with or without the dongle.

Tuning nozzles

The Arnar nozzles are one of the best alternatives I have tried compared to typical switches. The impact is real and we will notice it more easily than other well known models where, beyond the aesthetic color change of the nozzles, we perceive few changes at a sound level. We have three options that allow us to adjust the versatility of the earphone significantly. The silver nozzle is the one I consider most balanced or neutral, providing a very relaxed and cozy listen that adapts to almost everything. On the other hand, the gold nozzle is the most powerful of the three, clearly oriented toward highlighting high frequencies. The clear nozzle is able to provide an even better experience than the black one by offering even greater definition and more air, details, etc., without being harsh, tiring, or straining on your ears. The black nozzle does seek a warmer and denser profile as well; it also focuses primarily on the lower end of the frequency spectrum. It is a very effective way of customization that really allows the personality of the monitor to vary according to the mood or the equipment we are using, allowing the user to adapt the Arnar to their personal preferences without the need for external equalization, something that for me is essential since I am not a big fan of digital EQ and I like being able to alter the sound physically through these nozzles, or ear tips or switches if they had them, which is not the case this time.

Sound

The Arnar offers an uncommon experience because the Knowles brand balanced armature, which already provides a baseline of confidence, is responsible for enhancing mids and highs at the same time while the 14.5 mm planar reinforces the general frequency spectrum, something innovative for me just like the planar and piezoelectric combo of the Simgot ET142 that we will talk about later.

Starting as usual with the low frequencies, the impact is punchy and fast, with a slam that feels physical and authoritative, although if you are a lover of massive sub bass types, you will feel a bit short here, but it all depends on the musical style or styles you handle. In my experience, the result is a very organic and controlled sound, with a touch of rawness that makes it sound very realistic. The extension toward the deepest frequencies is excellent, allowing the sub bass to be perceived with a very defined structure, although as I say it will not be its most notable point if we only talk about bass frequencies. It is not the cleanest bass on the market because it has a slight touch of warmth that makes it more exciting. If we use the black nozzle, this area gains even more prominence, ideal for those who enjoy a more immersive and dense sound. To improve the impact, I have tried the Penon Liqueur Orange ear tips from my continuously expanding case that I will show one day, and the result is positive, as they provide a bit more body without sacrificing the technical control of its 2 driver hybrid system.

The midrange is a clear and detailed area where micro details appear constantly, maintaining a warm tone that is very pleasant for probably most users. Female vocals are shown with a detail that does not have a single bit of aggressiveness, while the male ones have a very well achieved depth and power. Let's be honest, if you are looking for a flat and technical response for monitoring, this midrange will seem too romantic, or I don't know if that is the most appropriate word but it is the one that occurs to me now, and not very analytical. In my opinion, the gold nozzle is the one that best highlights this area by providing an extra bit of articulation that makes the voices stand out over the mix. In this case, trying other ear tips I managed to make the texture of the mids even more fluid with the Divinus Velvet from my collection, eliminating any possible harshness in the more complex passages of more elaborate tracks from my Apple Music library. The Tangzu Tang Sancai are also an excellent option if you want the mids to breathe with an amazing naturalness, opening the center stage a bit more without losing that characteristic warmth, although as I have already commented in previous reviews when I use these specific ear tips, the seal for me makes everything worse since they do not seal for me as I would like, but if in your case they do, keep them in mind to improve the midrange experience. The timbre is natural, free of any metallic trace, which allows the instruments to sound relaxed and smooth at all times.

In the high frequencies the result is very balanced, though perhaps too conservative for some ears. With the silver or gold nozzle, the highs are more intense and detailed, but always maintaining absolute control that avoids any sibilance or annoying sound. The lower treble is very clear, allowing each instrument to have its prominence, while the highest area is airy and spacious. If you are someone sensitive to high frequencies, I would say the black nozzle is your best ally because it pushes that upper energy away a bit, leaving a darker but very relaxed sound. To compensate for this relaxation and gain some resolution without losing the timbre, I recommend the Pentaconn Coreir Brass or the Dunu S&S ear tips. Especially the Pentaconn helps the treble have a bit more definition thanks to their metallic core, something that curiously I did not achieve with the Sancai Noble, while the Dunu S&S balance the energy so the result is as linear as possible. From my point of view, for those looking for extreme detail or a sense of infinite or very extended air, the Arnar falls halfway, sometimes resulting in a bit of darkness in the highest part of the spectrum. The transition to the mids is still quite smooth and direct, but that is helpful over longer periods of time.

Soundstage, Instrumental Separation, Imaging…

The Arnar's soundstage has quite a few holographic elements that pull you into the music, but it has clear physical limitations. It is very well organized and positioned, offering a three dimensional experience but with a definition that feels improved compared to the Klean SV I reviewed previously, something to be expected due to the price difference but I must mention it. However, it is not the widest stage you are going to hear and in orchestral tracks for example you can feel that you lack air on the sides, resulting in a somewhat contained presentation inside the head. Voices tend to take a bit more prominence, placing you a bit closer to the stage, while the instruments are located just behind with a coherent distance, we could say. In my experience, this intimacy greatly favors vocal and acoustic genres because you prefer to feel that the artist is a few meters away from you instead of in the background. It is a compromise between depth and width that works well for most modern genres.

Thanks to the speed of the planar driver that oversees the entire range, the instrumental separation feels clean. The instruments have enough space to breathe and are clearly separated without giving the feeling of being artificially disconnected. Even in tracks very loaded with information like the orchestral themes I mentioned in the previous paragraph, the Arnar maintains a good sense of organization and nothing collapses creating a blob of sound where you don't understand everything that is playing. However, the layering is barely average, with about two or three rows of well defined depth but they become confusing if you try to explore further in very dense recordings. You can follow individual guitar or bass lines without one thing covering the other, which is the merit of a very well executed driver integration. It is a precise separation that allows you to enjoy complex pieces without mental effort, although it lacks that extreme depth of the high end that allows you to pinpoint exactly what is happening in the last row of instruments if we imagine it as an orchestra with several rows or layers.

Regarding imaging, the placement of elements in the virtual space is quite exact, each sound stays fixed in its place without dancing around the scene, even when the music becomes very busy or complex, maintaining a clear and stable image that does not blur when turning up the volume. This technical precision helps a lot to make the listening relaxed because the brain does not have to struggle to decipher what is happening in the mix. The positioning of details on the sides is sharp, providing a sense of being surrounded by the music in a coherent way. From my point of view, imaging would be the most prominent technical aspect of the three I just mentioned, even if it is limited by that somewhat narrow soundstage I mentioned before.

Comparisons

If we compare the Kefine Arnar with the Simgot ET142 that I was able to review recently and you have my review on my profile, the first thing that stands out is that the Arnar has a sound with more weight and more character in the bass area. The Simgot ET142 is an earphone that seeks more micro information and has a somewhat thinner profile that can become a bit fatiguing if you like sounds with more body, plus both are hybrid planars each accompanied by a different driver besides the planar. The Arnar, in my experience, is much more friendly for all types of genres, offering a warmth in the mids that the ET142 does not quite reach despite its own arsenal of nozzles. However, the Simgot offers a sense of air and detail superior to the Arnar which in that aspect sound much more relaxed or limited. The best thing about the Simgot is its detailed resolution in the treble, but the Arnar instead has a much better achieved general balance and a construction that for my taste shows less wear and especially fingerprints, something I hate in many Simgot models. In short, the Simgot is for analysis sessions and the Arnar is for enjoying music without general fatigue.

Compared to the Hidizs MP143, the difference is more evident due to the different driver technologies. The MP143 has a more aggressive bass hit and a somewhat more explosive dynamic, which makes it very fun for electronic genres. However, the Arnar has much richer mids and a better resolved texture in the vocals due to its tuning and management of both drivers superior to the MP143, because of the support of its balanced armature working with the planar. The MP143 can feel a bit empty in the center of the mix if you directly compare it with the body that the Arnar offers. Also, the design of the Arnar shells is much more ergonomic and light for long listening sessions.

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)

Final thoughts

The Kefine Arnar seemed like a quite interesting hybrid to me within the experiments I hadn't tried until now of mixing a planar with another type of driver, which manages to mix a warm signature with very solid technical aspects. It is evident that Kefine has taken extra care in controlling the energy while taking the set toward a very attractive and lively experience. With the tuning nozzles that really work in this model and a midrange that is a real marvel, it positions itself as one of the best options in its price range. I could say it is a monitor that invites you to enjoy the music, while offering the necessary flexibility to adjust the sound to your personal preferences through its accessories. If you are looking for something comfortable, well built, and with a sound with soul that does not sacrifice resolution, the Arnar should be on your list, as long as you accept its limitations in soundstage and treble extension.

You can buy the Kefine Arnar at:

HiFiGo

Linsoul

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.

Greetings everyone. This time it is the turn of the ooopusX Op.22, a pair of earphones trying to carve out a niche in the market at a price of around 35 dollars. It is a brand that I was completely unaware of, partly because it is relatively new, having started its journey last year with two models in its catalog to date: this ooopusX Op.22 and the ooopusX Op.24, which we could consider its older brother, although the price is not much higher. Something that characterizes both models, though I will focus on the ooopusX Op.22, is their bass adjustment dial. This is somewhat innovative since other brands usually limit this to a simple switch that is often hard to manipulate without a specific tool. I am not going to say they are a revolution because at this stage nothing is, but they have that something that makes you want to keep listening longer than you planned. Furthermore, the fact that a small brand takes a risk with physical mechanics at this price point deserves at least a bit of our attention.

What i like / what i don't like

• The tuning dial system truly offers two low frequency profiles that are distinct and useful for different genres.
• The soundstage is surprisingly wide for this price range.
• The accessory package includes a good cable and 6 pairs of eartips, but the carrying pouch is sold separately.
• The alignment marks on the shells help a lot to position them correctly on the first try without fighting for a fit.
• The design with that particular aesthetic gives it a distinctive touch compared to other more boring models.
• Vocals and cymbals can sound too shouty or fatiguing on high energy songs.
• Midrange detail retrieval stays one step behind the market leaders in this technical range.

Specifications

• Hybrid configuration of four drivers with two dynamic drivers and two balanced armatures per side.
• Ten and eight millimeter coaxial dynamic drivers with carbon fiber dome diaphragm and silicone suspension.
• Two custom balanced armature units for the upper mid frequencies and the upper treble extension.
• Physical dial integrated into the shell to toggle between two bass response modes with a turn.
• The shell is made of soft synthetic material with a metallic faceplate processed by high precision CNC machining.
• High sensitivity that allows them to be driven easily from any portable source without needing much gain.
• 0.78 millimeter two pin cable with preformed hooks to ensure greater stability over the ear while walking.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

The unboxing experience of the ooopusX Op.22 is quite satisfying considering its low cost. They come in a compact box with a futuristic aesthetic that, in my view, is quite visually attractive. Upon opening it, you find the earphones perfectly nested and beneath that the whole set of accessories needed to get started. They include two different sets of silicone eartips that slightly change the final profile, 6 pairs in total, and printed guides to understand how the adjustment dial works. Regarding the eartips, there are matte black ones and shiny black ones. These shiny black ones, which are very similar to the TRN T-Ear Tips, provided me with the best seal and grip in the ear. Since the IEM nozzle is somewhat short, this specific eartip helped more than the other to keep them secure.

The cable is flexible and has almost no memory effect, which is appreciated for daily use. However, it is a 3.5mm cable and there is no other alternative or modular version available, something we are starting to see in some models at these prices and would have been appreciated here. Regarding the build, the shells combine a soft inner part with a CNC machined outer plate where we find the famous dial.

It's worth noting that there is an interface system to connect the IEM to the cable. The IEM cable connector system has QDC connectors instead of a standard 2 pin configuration. As such the connector housing will project outward from the side of the IEM shell and as long as they are in their connector housing the metal pins inside the plastic cover remain safe from accidental damage. While personally I do not like the way this works with some brands continuing to use it, for people who plan on using aftermarket cables it is something they should be aware of. One detail I liked is the small engraved alignment marks that serve to orient them properly before putting them in the ear, avoiding poor positioning. However, it is a shame that the two pin connectors do not have clear colors to distinguish the left from the right side, which forces you to look closely the first time you assemble the cable to avoid reversing the phase. The carrying case does its job by protecting the earphones from accidental bumps in your pocket or backpack, although I must mention that the option including the pouch/case costs 5 dollars more. I can understand this given the tight price of the product and the configuration it includes, as the price is already quite adjusted without the pouch.

Sound

Talking about the part that interests us most and highlighting once again the physical dial that allows you to choose between two clearly differentiated modes. The mode represented by an open circle offers a very linear and controlled response. In this configuration, the bass has excellent texture and a cleanliness that allows percussion instruments to sound natural without any kind of muddiness leaking into other areas. It is a very honest performance where the sub bass is present but does not try to dominate the entire mix.

On the other hand, turning the dial to the solid circle, the one that is fully colored inside, things change and we gain a much more evident body in the mid bass. It is not that they become earphones for bassheads, but they do add a warmth and weight that makes genres like pop, electronic, or hip hop have much more energy and punch. In my experience, this versatility is real and not a marketing move already seen from other brands, as the change clearly affects how the two dynamic drivers work, offering two bass flavors that are perfectly valid depending on your mood or the musical style you are listening to.

In the mid frequencies, we find a performance that in my opinion is quite correct but does not seek to be the absolute protagonist of the show, something I already suspected from the start knowing we have a dial to play with the bass amount. There is adequate density that prevents vocals from sounding thin or lacking body. There is no sign of that strange crossover that sometimes appears in cheap hybrid models when moving from the dynamic driver to the balanced armature. The low mids, for their part, maintain cleanliness even when the bass boost mode is active, which allows instruments to keep their definition. Where the Op.22 sounds with more strength or character, to put it in understandable terms, is in the transition towards the upper mid frequencies. There is an evident boost that projects vocals and instruments forward. Thanks to this, the music feels more alive and energetic, but it can also make recordings that are already bright sound a bit more fatiguing than they were. This is my personal experience, but I could say in my tests that detail retrieval in this area does not reach the level of some models at this price, but it is more than enough for daily use where you get a fun sound or experience.

The high frequencies are handled by the 2BAs and offer an extension that has surprised me quite a bit with its clarity. There is no sharp roll off in the highest frequencies, which allows instruments associated with those frequencies, like cymbals among others, to breathe with a certain naturalness and air. The boost I mentioned earlier in the upper mids helps give a sense of immediate sharpness, but you have to be a bit careful with sibilance on tracks that are not well recorded or have a lot of compression. This is something that, from what I have been experiencing over time, is quite recurring in entry level budget IEMs or mostly those below 100 or 150 dollars, obviously not in all of them, but it is where I observe this most. If you are someone sensitive to these high frequencies, I recommend trying the included double flange eartips, as according to my tests they help smooth out that energy peak without killing the overall detail of the music. In my tests with the Questyle M15i, I noticed the highs gain a slightly more refined and less sharp texture than with the FiiO KA15, which helps compensate for that stock energy. Here it really depends on your gear and the colorations or filters they incorporate.

It is not an earphone that hides information, but it does not become irritating either if the source you use is at least decent and does not exaggerate the brightness artificially. The combination of different driver technologies does a solid job of maintaining the necessary sparkle without the sound feeling too metallic.

Soundstage, Instrumental separation, Imaging

The sound seems to expand much further than what one would expect from a model of this size and price. In my experience, width is the dimension that stands out most, offering a very marked horizontal separation that creates a fairly large sound bubble around the head. It is not a stage that stands out for having an abysmal, concert stadium level depth, but the sense of horizontal amplitude is quite satisfying and helps high instrument density musical passages not feel overwhelming or claustrophobic.

Regarding instrumental separation, the use of a four driver design allows each element of the mix to have its own defined place within the sound space. You will not feel like instruments are piling up on top of each other in a chaotic way, even when the song becomes truly complex. The balanced armature drivers in this case do a good job maintaining the sharpness of the upper layers while the dynamic drivers handle the foundation without interfering with the rest. In my opinion, this ability to differentiate sounds individually is superior to what many single driver models offer in this same price range, making them ideal for those who enjoy focusing on the details.

The imaging is precise and coherent within that wide soundstage I mentioned earlier. You can locate the source of sounds with relative ease and movements from side to side are perceived fluidly and without weird jumps. In my experience, it does not reach that almost surgical precision of models that cost ten times more, but for watching movies, for example, they work really well because they give you a clear idea of the position of the elements. It is a sound image that feels very well earned by the earphone's own tuning and does not feel artificial or forced at all, allowing a fairly decent immersion in any multimedia content.

Comparisons

If we put the ooopusX Op.22 against the 7Hz x HBB Elua Ultra, a model I have liked quite a bit since it came out unlike the HBB Elua, the difference in sound philosophy is obvious. The Elua Ultra looks for a much more classic sound centered on impact and pure fun, with bass that hits with much more raw force in the lowest region. If you are one of those who just want the bass to rattle your skull, the Elua Ultra will give you that physical impact that the Op.22 might still fall short of even trying both modes. However, the 7Hz model does not have that technical definition and treble clarity that we do find in the ooopusX. In my opinion, the Op.22 is more versatile for someone who listens to a bit of everything, while the Elua Ultra is a better specialist for hip hop or genres where rhythm rules over detail.

When comparing them with the KZ Libra High Res, we notice that the KZ brand continues to bet on that detail that can sometimes be a bit aggressive and tiring for the ear. The Libra has a detail recovery that might seem superior upon first contact due to its colder tuning that makes everything feel like it is under a powerful spotlight. I will venture to say that the Op.22 has a much more natural timbre and a build that feels quite a bit more robust and professional than the plastic of the KZ. The Libra is unbeatable if the only thing you care about is feeling that the music is very defined for very little money, even if it sounds a bit metallic. In contrast, the ooopusX offers a more pleasant and realistic listen, sacrificing that last peak of artificial sharpness but giving you greater coherence.

Finally, against the Simgot EW300 DSP, the situation is different because we are looking at an earphone that costs more than double, and one has to be realistic about what that implies. The Simgot takes advantage of digital processing, which in my case the USB-C cable provides, to offer an overall resolution and midrange precision that are simply on another, much more refined technical level. The coherence between its drivers is almost perfect and microdetails appear with a naturalness that the Op.22 finds harder to match in its 2 dial positions. Where the ooopusX does hold its own is by offering a soundstage perceived as wider and, of course, being able to physically modify its sound in some way without touching the equalizer, obtaining two sound modes that differ from each other.

Global Ranking Link

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)

Final thoughts

To conclude, I think the ooopusX Op.22 is one of the most pleasant surprises I have come across lately in this very affordable price segment. It is not easy to find earphones that offer a tuning system that actually works and is not just an aesthetic ornament to grab customers and sell more units. Having the ability to choose between a reference bass and a warmer one simply by turning a dial is something you end up missing when you go back to other less versatile models. I think they are an excellent purchase for someone who wants a sound with personality and a soundstage that takes you a bit outside your own head. They are not perfect because of that peak in the high frequencies, but for thirty five dollars, it is hard to ask for more build quality.

Buy the ooopusX Op.22 here: ShenzhenAudio

Disclaimer: This unit was sent by ShenzhenAudio 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.

Greetings everyone. This time it is the turn of the ooopusX Op.22, a pair of earphones trying to carve out a niche in the market at a price of around 35 dollars. It is a brand that I was completely unaware of, partly because it is relatively new, having started its journey last year with two models in its catalog to date: this ooopusX Op.22 and the ooopusX Op.24, which we could consider its older brother, although the price is not much higher. Something that characterizes both models, though I will focus on the ooopusX Op.22, is their bass adjustment dial. This is somewhat innovative since other brands usually limit this to a simple switch that is often hard to manipulate without a specific tool. I am not going to say they are a revolution because at this stage nothing is, but they have that something that makes you want to keep listening longer than you planned. Furthermore, the fact that a small brand takes a risk with physical mechanics at this price point deserves at least a bit of our attention.

What i like / what i don't like

• The tuning dial system truly offers two low frequency profiles that are distinct and useful for different genres.
• The soundstage is surprisingly wide for this price range.
• The accessory package includes a good cable and 6 pairs of eartips, but the carrying pouch is sold separately.
• The alignment marks on the shells help a lot to position them correctly on the first try without fighting for a fit.
• The design with that particular aesthetic gives it a distinctive touch compared to other more boring models.
• Vocals and cymbals can sound too shouty or fatiguing on high energy songs.
• Midrange detail retrieval stays one step behind the market leaders in this technical range.

Specifications

• Hybrid configuration of four drivers with two dynamic drivers and two balanced armatures per side.
• Ten and eight millimeter coaxial dynamic drivers with carbon fiber dome diaphragm and silicone suspension.
• Two custom balanced armature units for the upper mid frequencies and the upper treble extension.
• Physical dial integrated into the shell to toggle between two bass response modes with a turn.
• The shell is made of soft synthetic material with a metallic faceplate processed by high precision CNC machining.
• High sensitivity that allows them to be driven easily from any portable source without needing much gain.
• 0.78 millimeter two pin cable with preformed hooks to ensure greater stability over the ear while walking.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

The unboxing experience of the ooopusX Op.22 is quite satisfying considering its low cost. They come in a compact box with a futuristic aesthetic that, in my view, is quite visually attractive. Upon opening it, you find the earphones perfectly nested and beneath that the whole set of accessories needed to get started. They include two different sets of silicone eartips that slightly change the final profile, 6 pairs in total, and printed guides to understand how the adjustment dial works. Regarding the eartips, there are matte black ones and shiny black ones. These shiny black ones, which are very similar to the TRN T-Ear Tips, provided me with the best seal and grip in the ear. Since the IEM nozzle is somewhat short, this specific eartip helped more than the other to keep them secure.

The cable is flexible and has almost no memory effect, which is appreciated for daily use. However, it is a 3.5mm cable and there is no other alternative or modular version available, something we are starting to see in some models at these prices and would have been appreciated here. Regarding the build, the shells combine a soft inner part with a CNC machined outer plate where we find the famous dial.

It's worth noting that there is an interface system to connect the IEM to the cable. The IEM cable connector system has QDC connectors instead of a standard 2 pin configuration. As such the connector housing will project outward from the side of the IEM shell and as long as they are in their connector housing the metal pins inside the plastic cover remain safe from accidental damage. While personally I do not like the way this works with some brands continuing to use it, for people who plan on using aftermarket cables it is something they should be aware of. One detail I liked is the small engraved alignment marks that serve to orient them properly before putting them in the ear, avoiding poor positioning. However, it is a shame that the two pin connectors do not have clear colors to distinguish the left from the right side, which forces you to look closely the first time you assemble the cable to avoid reversing the phase. The carrying case does its job by protecting the earphones from accidental bumps in your pocket or backpack, although I must mention that the option including the pouch/case costs 5 dollars more. I can understand this given the tight price of the product and the configuration it includes, as the price is already quite adjusted without the pouch.

Sound

Talking about the part that interests us most and highlighting once again the physical dial that allows you to choose between two clearly differentiated modes. The mode represented by an open circle offers a very linear and controlled response. In this configuration, the bass has excellent texture and a cleanliness that allows percussion instruments to sound natural without any kind of muddiness leaking into other areas. It is a very honest performance where the sub bass is present but does not try to dominate the entire mix.

On the other hand, turning the dial to the solid circle, the one that is fully colored inside, things change and we gain a much more evident body in the mid bass. It is not that they become earphones for bassheads, but they do add a warmth and weight that makes genres like pop, electronic, or hip hop have much more energy and punch. In my experience, this versatility is real and not a marketing move already seen from other brands, as the change clearly affects how the two dynamic drivers work, offering two bass flavors that are perfectly valid depending on your mood or the musical style you are listening to.

In the mid frequencies, we find a performance that in my opinion is quite correct but does not seek to be the absolute protagonist of the show, something I already suspected from the start knowing we have a dial to play with the bass amount. There is adequate density that prevents vocals from sounding thin or lacking body. There is no sign of that strange crossover that sometimes appears in cheap hybrid models when moving from the dynamic driver to the balanced armature. The low mids, for their part, maintain cleanliness even when the bass boost mode is active, which allows instruments to keep their definition. Where the Op.22 sounds with more strength or character, to put it in understandable terms, is in the transition towards the upper mid frequencies. There is an evident boost that projects vocals and instruments forward. Thanks to this, the music feels more alive and energetic, but it can also make recordings that are already bright sound a bit more fatiguing than they were. This is my personal experience, but I could say in my tests that detail retrieval in this area does not reach the level of some models at this price, but it is more than enough for daily use where you get a fun sound or experience.

The high frequencies are handled by the 2BAs and offer an extension that has surprised me quite a bit with its clarity. There is no sharp roll off in the highest frequencies, which allows instruments associated with those frequencies, like cymbals among others, to breathe with a certain naturalness and air. The boost I mentioned earlier in the upper mids helps give a sense of immediate sharpness, but you have to be a bit careful with sibilance on tracks that are not well recorded or have a lot of compression. This is something that, from what I have been experiencing over time, is quite recurring in entry level budget IEMs or mostly those below 100 or 150 dollars, obviously not in all of them, but it is where I observe this most. If you are someone sensitive to these high frequencies, I recommend trying the included double flange eartips, as according to my tests they help smooth out that energy peak without killing the overall detail of the music. In my tests with the Questyle M15i, I noticed the highs gain a slightly more refined and less sharp texture than with the FiiO KA15, which helps compensate for that stock energy. Here it really depends on your gear and the colorations or filters they incorporate.

It is not an earphone that hides information, but it does not become irritating either if the source you use is at least decent and does not exaggerate the brightness artificially. The combination of different driver technologies does a solid job of maintaining the necessary sparkle without the sound feeling too metallic.

Soundstage, Instrumental separation, Imaging

The sound seems to expand much further than what one would expect from a model of this size and price. In my experience, width is the dimension that stands out most, offering a very marked horizontal separation that creates a fairly large sound bubble around the head. It is not a stage that stands out for having an abysmal, concert stadium level depth, but the sense of horizontal amplitude is quite satisfying and helps high instrument density musical passages not feel overwhelming or claustrophobic.

Regarding instrumental separation, the use of a four driver design allows each element of the mix to have its own defined place within the sound space. You will not feel like instruments are piling up on top of each other in a chaotic way, even when the song becomes truly complex. The balanced armature drivers in this case do a good job maintaining the sharpness of the upper layers while the dynamic drivers handle the foundation without interfering with the rest. In my opinion, this ability to differentiate sounds individually is superior to what many single driver models offer in this same price range, making them ideal for those who enjoy focusing on the details.

The imaging is precise and coherent within that wide soundstage I mentioned earlier. You can locate the source of sounds with relative ease and movements from side to side are perceived fluidly and without weird jumps. In my experience, it does not reach that almost surgical precision of models that cost ten times more, but for watching movies, for example, they work really well because they give you a clear idea of the position of the elements. It is a sound image that feels very well earned by the earphone's own tuning and does not feel artificial or forced at all, allowing a fairly decent immersion in any multimedia content.

Comparisons

If we put the ooopusX Op.22 against the 7Hz x HBB Elua Ultra, a model I have liked quite a bit since it came out unlike the HBB Elua, the difference in sound philosophy is obvious. The Elua Ultra looks for a much more classic sound centered on impact and pure fun, with bass that hits with much more raw force in the lowest region. If you are one of those who just want the bass to rattle your skull, the Elua Ultra will give you that physical impact that the Op.22 might still fall short of even trying both modes. However, the 7Hz model does not have that technical definition and treble clarity that we do find in the ooopusX. In my opinion, the Op.22 is more versatile for someone who listens to a bit of everything, while the Elua Ultra is a better specialist for hip hop or genres where rhythm rules over detail.

When comparing them with the KZ Libra High Res, we notice that the KZ brand continues to bet on that detail that can sometimes be a bit aggressive and tiring for the ear. The Libra has a detail recovery that might seem superior upon first contact due to its colder tuning that makes everything feel like it is under a powerful spotlight. I will venture to say that the Op.22 has a much more natural timbre and a build that feels quite a bit more robust and professional than the plastic of the KZ. The Libra is unbeatable if the only thing you care about is feeling that the music is very defined for very little money, even if it sounds a bit metallic. In contrast, the ooopusX offers a more pleasant and realistic listen, sacrificing that last peak of artificial sharpness but giving you greater coherence.

Finally, against the Simgot EW300 DSP, the situation is different because we are looking at an earphone that costs more than double, and one has to be realistic about what that implies. The Simgot takes advantage of digital processing, which in my case the USB-C cable provides, to offer an overall resolution and midrange precision that are simply on another, much more refined technical level. The coherence between its drivers is almost perfect and microdetails appear with a naturalness that the Op.22 finds harder to match in its 2 dial positions. Where the ooopusX does hold its own is by offering a soundstage perceived as wider and, of course, being able to physically modify its sound in some way without touching the equalizer, obtaining two sound modes that differ from each other.

Global Ranking Link

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)

Final thoughts

To conclude, I think the ooopusX Op.22 is one of the most pleasant surprises I have come across lately in this very affordable price segment. It is not easy to find earphones that offer a tuning system that actually works and is not just an aesthetic ornament to grab customers and sell more units. Having the ability to choose between a reference bass and a warmer one simply by turning a dial is something you end up missing when you go back to other less versatile models. I think they are an excellent purchase for someone who wants a sound with personality and a soundstage that takes you a bit outside your own head. They are not perfect because of that peak in the high frequencies, but for thirty five dollars, it is hard to ask for more build quality.

Buy the ooopusX Op.22 here: ShenzhenAudio

Disclaimer: This unit was sent by ShenzhenAudio 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.

Greetings everyone. This time it is the turn of the ooopusX Op.22, a pair of earphones trying to carve out a niche in the market at a price of around 35 dollars. It is a brand that I was completely unaware of, partly because it is relatively new, having started its journey last year with two models in its catalog to date: this ooopusX Op.22 and the ooopusX Op.24, which we could consider its older brother, although the price is not much higher. Something that characterizes both models, though I will focus on the ooopusX Op.22, is their bass adjustment dial. This is somewhat innovative since other brands usually limit this to a simple switch that is often hard to manipulate without a specific tool. I am not going to say they are a revolution because at this stage nothing is, but they have that something that makes you want to keep listening longer than you planned. Furthermore, the fact that a small brand takes a risk with physical mechanics at this price point deserves at least a bit of our attention.

What i like / what i don't like

• The tuning dial system truly offers two low frequency profiles that are distinct and useful for different genres.
• The soundstage is surprisingly wide for this price range.
• The accessory package includes a good cable and 6 pairs of eartips, but the carrying pouch is sold separately.
• The alignment marks on the shells help a lot to position them correctly on the first try without fighting for a fit.
• The design with that particular aesthetic gives it a distinctive touch compared to other more boring models.
• Vocals and cymbals can sound too shouty or fatiguing on high energy songs.
• Midrange detail retrieval stays one step behind the market leaders in this technical range.

Specifications

• Hybrid configuration of four drivers with two dynamic drivers and two balanced armatures per side.
• Ten and eight millimeter coaxial dynamic drivers with carbon fiber dome diaphragm and silicone suspension.
• Two custom balanced armature units for the upper mid frequencies and the upper treble extension.
• Physical dial integrated into the shell to toggle between two bass response modes with a turn.
• The shell is made of soft synthetic material with a metallic faceplate processed by high precision CNC machining.
• High sensitivity that allows them to be driven easily from any portable source without needing much gain.
• 0.78 millimeter two pin cable with preformed hooks to ensure greater stability over the ear while walking.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests.

FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket.

NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself.

Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

The unboxing experience of the ooopusX Op.22 is quite satisfying considering its low cost. They come in a compact box with a futuristic aesthetic that, in my view, is quite visually attractive. Upon opening it, you find the earphones perfectly nested and beneath that the whole set of accessories needed to get started. They include two different sets of silicone eartips that slightly change the final profile, 6 pairs in total, and printed guides to understand how the adjustment dial works. Regarding the eartips, there are matte black ones and shiny black ones. These shiny black ones, which are very similar to the TRN T-Ear Tips, provided me with the best seal and grip in the ear. Since the IEM nozzle is somewhat short, this specific eartip helped more than the other to keep them secure.

The cable is flexible and has almost no memory effect, which is appreciated for daily use. However, it is a 3.5mm cable and there is no other alternative or modular version available, something we are starting to see in some models at these prices and would have been appreciated here. Regarding the build, the shells combine a soft inner part with a CNC machined outer plate where we find the famous dial.

It's worth noting that there is an interface system to connect the IEM to the cable. The IEM cable connector system has QDC connectors instead of a standard 2 pin configuration. As such the connector housing will project outward from the side of the IEM shell and as long as they are in their connector housing the metal pins inside the plastic cover remain safe from accidental damage. While personally I do not like the way this works with some brands continuing to use it, for people who plan on using aftermarket cables it is something they should be aware of. One detail I liked is the small engraved alignment marks that serve to orient them properly before putting them in the ear, avoiding poor positioning. However, it is a shame that the two pin connectors do not have clear colors to distinguish the left from the right side, which forces you to look closely the first time you assemble the cable to avoid reversing the phase. The carrying case does its job by protecting the earphones from accidental bumps in your pocket or backpack, although I must mention that the option including the pouch/case costs 5 dollars more. I can understand this given the tight price of the product and the configuration it includes, as the price is already quite adjusted without the pouch.

Sound

Talking about the part that interests us most and highlighting once again the physical dial that allows you to choose between two clearly differentiated modes. The mode represented by an open circle offers a very linear and controlled response. In this configuration, the bass has excellent texture and a cleanliness that allows percussion instruments to sound natural without any kind of muddiness leaking into other areas. It is a very honest performance where the sub bass is present but does not try to dominate the entire mix.

On the other hand, turning the dial to the solid circle, the one that is fully colored inside, things change and we gain a much more evident body in the mid bass. It is not that they become earphones for bassheads, but they do add a warmth and weight that makes genres like pop, electronic, or hip hop have much more energy and punch. In my experience, this versatility is real and not a marketing move already seen from other brands, as the change clearly affects how the two dynamic drivers work, offering two bass flavors that are perfectly valid depending on your mood or the musical style you are listening to.

In the mid frequencies, we find a performance that in my opinion is quite correct but does not seek to be the absolute protagonist of the show, something I already suspected from the start knowing we have a dial to play with the bass amount. There is adequate density that prevents vocals from sounding thin or lacking body. There is no sign of that strange crossover that sometimes appears in cheap hybrid models when moving from the dynamic driver to the balanced armature. The low mids, for their part, maintain cleanliness even when the bass boost mode is active, which allows instruments to keep their definition. Where the Op.22 sounds with more strength or character, to put it in understandable terms, is in the transition towards the upper mid frequencies. There is an evident boost that projects vocals and instruments forward. Thanks to this, the music feels more alive and energetic, but it can also make recordings that are already bright sound a bit more fatiguing than they were. This is my personal experience, but I could say in my tests that detail retrieval in this area does not reach the level of some models at this price, but it is more than enough for daily use where you get a fun sound or experience.

The high frequencies are handled by the 2BAs and offer an extension that has surprised me quite a bit with its clarity. There is no sharp roll off in the highest frequencies, which allows instruments associated with those frequencies, like cymbals among others, to breathe with a certain naturalness and air. The boost I mentioned earlier in the upper mids helps give a sense of immediate sharpness, but you have to be a bit careful with sibilance on tracks that are not well recorded or have a lot of compression. This is something that, from what I have been experiencing over time, is quite recurring in entry level budget IEMs or mostly those below 100 or 150 dollars, obviously not in all of them, but it is where I observe this most. If you are someone sensitive to these high frequencies, I recommend trying the included double flange eartips, as according to my tests they help smooth out that energy peak without killing the overall detail of the music. In my tests with the Questyle M15i, I noticed the highs gain a slightly more refined and less sharp texture than with the FiiO KA15, which helps compensate for that stock energy. Here it really depends on your gear and the colorations or filters they incorporate.

It is not an earphone that hides information, but it does not become irritating either if the source you use is at least decent and does not exaggerate the brightness artificially. The combination of different driver technologies does a solid job of maintaining the necessary sparkle without the sound feeling too metallic.

Soundstage, Instrumental separation, Imaging

The sound seems to expand much further than what one would expect from a model of this size and price. In my experience, width is the dimension that stands out most, offering a very marked horizontal separation that creates a fairly large sound bubble around the head. It is not a stage that stands out for having an abysmal, concert stadium level depth, but the sense of horizontal amplitude is quite satisfying and helps high instrument density musical passages not feel overwhelming or claustrophobic.

Regarding instrumental separation, the use of a four driver design allows each element of the mix to have its own defined place within the sound space. You will not feel like instruments are piling up on top of each other in a chaotic way, even when the song becomes truly complex. The balanced armature drivers in this case do a good job maintaining the sharpness of the upper layers while the dynamic drivers handle the foundation without interfering with the rest. In my opinion, this ability to differentiate sounds individually is superior to what many single driver models offer in this same price range, making them ideal for those who enjoy focusing on the details.

The imaging is precise and coherent within that wide soundstage I mentioned earlier. You can locate the source of sounds with relative ease and movements from side to side are perceived fluidly and without weird jumps. In my experience, it does not reach that almost surgical precision of models that cost ten times more, but for watching movies, for example, they work really well because they give you a clear idea of the position of the elements. It is a sound image that feels very well earned by the earphone's own tuning and does not feel artificial or forced at all, allowing a fairly decent immersion in any multimedia content.

Comparisons

If we put the ooopusX Op.22 against the 7Hz x HBB Elua Ultra, a model I have liked quite a bit since it came out unlike the HBB Elua, the difference in sound philosophy is obvious. The Elua Ultra looks for a much more classic sound centered on impact and pure fun, with bass that hits with much more raw force in the lowest region. If you are one of those who just want the bass to rattle your skull, the Elua Ultra will give you that physical impact that the Op.22 might still fall short of even trying both modes. However, the 7Hz model does not have that technical definition and treble clarity that we do find in the ooopusX. In my opinion, the Op.22 is more versatile for someone who listens to a bit of everything, while the Elua Ultra is a better specialist for hip hop or genres where rhythm rules over detail.

When comparing them with the KZ Libra High Res, we notice that the KZ brand continues to bet on that detail that can sometimes be a bit aggressive and tiring for the ear. The Libra has a detail recovery that might seem superior upon first contact due to its colder tuning that makes everything feel like it is under a powerful spotlight. I will venture to say that the Op.22 has a much more natural timbre and a build that feels quite a bit more robust and professional than the plastic of the KZ. The Libra is unbeatable if the only thing you care about is feeling that the music is very defined for very little money, even if it sounds a bit metallic. In contrast, the ooopusX offers a more pleasant and realistic listen, sacrificing that last peak of artificial sharpness but giving you greater coherence.

Finally, against the Simgot EW300 DSP, the situation is different because we are looking at an earphone that costs more than double, and one has to be realistic about what that implies. The Simgot takes advantage of digital processing, which in my case the USB-C cable provides, to offer an overall resolution and midrange precision that are simply on another, much more refined technical level. The coherence between its drivers is almost perfect and microdetails appear with a naturalness that the Op.22 finds harder to match in its 2 dial positions. Where the ooopusX does hold its own is by offering a soundstage perceived as wider and, of course, being able to physically modify its sound in some way without touching the equalizer, obtaining two sound modes that differ from each other.

Global Ranking Link

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)

Final thoughts

To conclude, I think the ooopusX Op.22 is one of the most pleasant surprises I have come across lately in this very affordable price segment. It is not easy to find earphones that offer a tuning system that actually works and is not just an aesthetic ornament to grab customers and sell more units. Having the ability to choose between a reference bass and a warmer one simply by turning a dial is something you end up missing when you go back to other less versatile models. I think they are an excellent purchase for someone who wants a sound with personality and a soundstage that takes you a bit outside your own head. They are not perfect because of that peak in the high frequencies, but for thirty five dollars, it is hard to ask for more build quality.

Buy the ooopusX Op.22 here: ShenzhenAudio

Disclaimer: This unit was sent by ShenzhenAudio 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.

Today is April 30 and I can finally publish this review of the Kiwi Ears Halcyon because their Kickstarter starts today. I was lucky enough to receive this unit courtesy of Linsoul a week ago and honestly I had seen some hype in some forums about how they would sound. I also had my own expectations about being able to test a model like this with such a lead time before its launch. I have read from people who tried them at some audio shows weeks ago and gave their first impressions, some of which I do not agree with. I have been testing them on my sources for days trying to get the best and worst out of this model and without a doubt this new type of driver will be the way forward for many brands. Binary Acoustics already joined the party previously and some other brands will too as I will mention in the review. These are my personal opinions on this imminent launch from Kiwi Ears.

What I like / What I don't like

• The treble frequency response is fast but controlled and makes me wonder if this will be the new standard in high frequency drivers.
• The design and shape of the shells seem to me one of the most beautiful things the brand has done, including how they have integrated the logo and model.
• The CNC machined aluminum chassis gives them a robustness and a sense of luxury that I consider necessary once you hit a certain price point.
• Instrumental separation is some of the best I have heard in a long time thanks to the precision of the MEMS driver.
• They are very sensitive to the seal of the stock eartips, a mediocre fit completely ruins the perception of the bass.
• The modular cable connection system is a success but it is a simple push fit and lacks a safety screw, which makes me feel a bit insecure.
• The accessory level seems to have been cut to lower the final price without sacrificing the interior of the iem.

Specifications

• Five driver system with a tribrid configuration that mixes three different types of technology.
• A ten millimeter dynamic driver with a composite diaphragm dedicated exclusively to the reproduction of low frequencies.
• Two DEK series balanced armature units in charge of providing naturalness and detail to the mid frequencies.
• One WBFK series balanced armature unit for support in the high frequencies.
• One USound MEMS driver that uses solid state technology for ultra high frequencies.
• Impedance of twenty nine ohms with a sensitivity of one hundred and nine decibels measured at one kilohertz per milliwatt.
• Extended frequency response from ten hertz to forty two kilohertz to cover every detail.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests. FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket. NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself. Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

The box of the Kiwi Ears Halcyon is smaller than the recently reviewed Kiwi Ears Orchestra II. That made me suspect, even knowing that these Halcyon are cheaper, that the contents inside would not be at the same level. Upon taking them out, you find the two CNC machined aluminum shells that shine with a truly professional finish. The transition from resin to this material is a total success because they not only feel more expensive, but the metal helps the internal acoustic chamber to be much more controlled.

The faceplate design is, in my opinion, the most beautiful I have seen from the brand to date. The shape is elegant and the way they have integrated both the Kiwi Ears logo and the model name seems to me an absolute aesthetic success. Inside the package you have the hard carrying case, replacement filters and a selection of six pairs of eartips: three with a normal internal diameter and three with a wide diameter. It also comes with the braided copper cable with a modular system that includes interchangeable 3.5mm and 4.4mm balanced plugs.

A curious detail of my unit is that the right side had the red dot on the rubber where the connection pins are and an extra one on the cable itself, something that seems like an isolated marking error. The modular connector is a simple push fit. I miss a screw that would finish securing the connection for an extra bit of peace of mind, as simply pushing does not give me the feeling that it is one hundred percent secure against accidental tugs.

In short, it comes with everything necessary to function but as I mentioned at the beginning of this section, I feel that the cable, the case and the eartips are below expectations as it is more similar to what the Cadenza II offered than what the Orchestra II offers. Perhaps something intermediate would have been better but I understand that maybe to make the model more competitive the smartest option was to cut back on accessories and not on the iem itself, which performs with a high mark in all aspects.

Sound

Let's talk about how these Halcyon sound and where they stand out with their tuning and configuration, which is somewhat novel for the brand and for iems in general.

In the low frequency section, the ten millimeter dynamic driver passes with flying colors in terms of controlling the frequencies it handles, as long as you achieve a proper seal. At first I used the wide diameter stock tips and in my right ear the bass barely hit, as if the driver was turned off. For a moment I thought it was a unit problem because it is not something that has happened to me before. After switching to the Azla Sedna Earfit Origin, which always seal well for me and reveal just the right amount of information without cutting treble, the sound changed completely and was identical on both sides. Obviously a good seal can be achieved with any eartip including the stock ones but I did not want to stop mentioning this peculiarity that happened to me. The eight dB boost in the sub-bass is very physical and deep, providing that necessary base for the music to have body and emotion, since it is something a dynamic driver can do and not all releases achieve it properly. What I liked most is that the cut at 200 Hz that they announced before the launch guarantees that the low frequencies do not get in the way of the voices. The bass is fast and has a very detailed texture, allowing you to perfectly distinguish a kick drum hit from a bass guitar sound. It is not an earphone that feels slow at any time, quite the opposite, it has an agility that in my experience is hard to see in drivers of this size. The mid-bass has just the right weight so that the music does not sound thin, providing a very natural warmth that in genres like metal for example is appreciated. As is usual in my tests, using them on my desktop dac, the FiiO K9, I notice that the bass dynamics are even more striking than on my dongles, demonstrating that this driver appreciates a good current to move with ease and precision.

The mid frequencies are managed by the two balanced armatures, which according to the information I could consult on the product page are from the DEK series. I am not an expert on this but normally when brands do not work with names like Sonion or Knowles they usually just put custom BA and nothing else, which makes me a bit curious about what this DEK series contributes or the reason why it is specified this time. In my experience, the mid zone is clean and transparent. Male voices sound with a very real authority and female voices have a clarity that allows you to perceive the breaths of the performer although they are not exactly an iem for ASMR. Kiwi Ears has adjusted the mid frequencies to imitate how we hear naturally. When we plug our ear with an iem, we lose the amplification that our own ear makes of voices. These Halcyon compensate for that loss very precisely at 3 kHz, making the singers sound clear and close to you, but without it sounding like they are screaming at you. It is a very faithful to reality presentation looking to sound as natural as possible, ideal for those looking to hear the recording exactly as it was conceived although negative for those looking for more fun and contrast between the different frequencies. The upper mids have a very smooth transition to the high part, avoiding those timbre jumps that sometimes ruin hybrid earphones. You can tell there is a very well worked coherence between the different types of drivers. Testing some acoustic music tracks in my Apple Music library I especially noticed that cleanliness that I consider to be the Kiwi Ears house mark but elevated to another level of refinement and detail, learning from some past mistakes.

Let's talk then about the high and ultra high frequencies where the MEMS driver manufactured by USound lives alongside 1 WBFK BA. We continue with more names that although they are surely not new to me, it is not common to read them in product specifications and I appreciate the transparency there has been this time, mostly to value or take as a reference how each driver sounds knowing who is behind it for better or worse. This is where the true technological difference is noticed compared to models with more traditional drivers. This driver can move at a speed that other components cannot reach. Perhaps microplanars are the fastest after these MEMS but it is something I have not quite compared. In my opinion, this translates into a treble that is a new leap in terms of sharpness. The transparency you get in drum cymbals or violins if you listen to some orchestral music or soundtracks in general is something you simply cannot get with conventional drivers with the same cleanliness you achieve here. There is no sibilance or that artificial brightness that tries to simulate detail, here the resolution is real. Doing some tests on the Questyle M15i, the treble breathes even more than on my other dongle dacs. The extension in the ultra high frequencies is remarkable, giving that feeling of air that makes the music not feel enclosed and that metal percussion instruments have a decay until they fade out that is very natural and prolonged, very similar in my perception to the one the NiceHCK Rockies gave me with that relaxed yet extended sound although in that case it was with EST drivers. It is a treble zone that, from my point of view, can compete in our current state with earphones that double its price and that continue to bet on safer or better known technologies.

Soundstage, Instrumental Separation, Imaging

The soundstage of the Halcyon is very wide and has a horizontal expansion capacity that has left me very satisfied. I think the work they have done on the internal acoustic chamber design helps the sound not feel compressed inside the ear canal, making you notice a large and well defined three dimensional space. It is not one of those widths that sound unreal or hollow, but rather maintains a coherent depth that allows you to place the musicians in space with great ease. You can tell that the air flows well between the drivers and that gives a feeling of relief that is very much appreciated in recordings that are very loaded with instruments. It could still be more immersive without a doubt, it is not the most spectacular I have heard but we are moving in a price range where the competition does not offer much more in this aspect.

As for instrumental separation, by having five dedicated drivers and such a well executed frequency filtering, each element of the mix occupies its own place without overlapping with the one next to it. In my opinion, this is especially noticeable in complex tracks with a lot of information density, where you can focus on a specific melodic line without the rest of the band distracting you. It is a very sharp separation that helps reduce listening fatigue because you do not have to struggle to guess what is playing. The speed of the MEMS driver in the treble helps a lot so that the sounds of the instruments are perfectly defined, allowing even the fastest notes of the guitars to be perceived in an individualized and clear way.

In terms of imaging or positioning, the Halcyon are quite precise. Sounds that move from one side to the other do so in a fluid way and without jumps, which shows that the synchronization between the different types of drivers has been worked on with great care. It is a joy to close your eyes and know exactly where each musician is located in the virtual stage generated by these earphones. When using them for critical listening sessions, this precision greatly facilitates the task of analyzing how the original mix has been structured. I have not tested them for this occasion in multimedia content or in games, I have done the latter rarely but at first glance based on music alone I think they have good capabilities to perform in a more than correct way in those areas.

Comparisons

The most direct rival to these earphones is the Binary Acoustics EP321. Coincidentally I have them on the way so I have not been able to review them yet, so this comparison will be made in that same review against these Halcyon. By sharing an almost identical driver configuration, it will be the acid test to see who has been able to better implement the MEMS driver and who has achieved a more convincing tonal balance for the final user. It is going to be a very interesting fight between two brands trying to dominate this new technology at the same time.

If we compare them with the Soundpeats Air5 Pro+ that I reviewed a few months ago and that also uses a MEMS driver, the difference is simply abysmal. In my experience, in the Soundpeats the driver is more of a marketing claim than a real improvement because it is limited by internal amplification and the lack of a serious acoustic design. In the Halcyon, by having a direct connection and being able to use sources like in my case the FiiO K9, the driver shows what it is capable of, offering a resolution and a transparency several steps above the Soundpeats. There is no possible comparison between a TWS earphone and a real high fidelity tool like this, no matter how much they share the same technological base in their specifications, but I did not want to overlook it having had a model that already tried to innovate with this technology.

Faced with the Thieaudio Hype 4 MKII, we find two different philosophies. The Thieaudio bet on a denser sound and with mids that I would say have more body making the songs fill you more in some way. However, in my opinion, the Halcyon are superior in terms of pure detail and air in the highest frequencies and I say this having the Thieaudio on a pedestal in terms of treble since it is precisely the problem for some for being perhaps excessive although not for me. In any case, in these Halcyon you win in terms of speed when representing those trebles since the BA of the Hype 4 MKII cannot execute them at that speed due to BA limitations in that specific aspect, which makes the Halcyon more suitable for analyzing micro details without missing any information.

Finally, when comparing them with the Dunu DN-142 which I also reviewed not long ago and which incorporates 1 dynamic driver, 4 BA and 2 planars, we see where the technological advantage lies. Although the Dunu are excellent and have an enviable construction and why not say it a superior set of accessories, their planar drivers, although they give an excellent level of detail, still do not reach the speed of these MEMS in the Halcyon. The Dunu offers a very coherent timbre and great body in the bass, but stays one step behind in that sense of extension and cleanliness in the ultra highs that the Kiwi Ears model offers. In my experience, the Halcyon feels more capable when the music becomes fast and complicated because the MEMS driver does not have the inertia of the heavier components of the Dunu or the other models I have mentioned.

Global Ranking Link

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)

Final thoughts

To finish, the Kiwi Ears Halcyon seems to me a brave and technically brilliant proposal that arrives today on Kickstarter to try to revolutionize what we understand by portable audio. I like that they have not settled for doing the same old thing, there are many models already and it is time to innovate. They have sought to integrate the MEMS driver so effectively in a high quality aluminum chassis. In my experience, they are earphones that offer an almost perfect balance between power in the bass and a fast and clear resolution in the treble, maintaining very natural mids that are perhaps not the best of the set but are not disappointing at all. The design is, from my point of view, the most beautiful the brand has released along with the HBB Punch and the inclusion of a modular cable is necessary for me and they have done so despite not having the extra security lock with a screw that I would love to see in all modular cables or at least within these prices. If you are looking for something that really sounds like next generation, you can take a look at the campaign that starts today with starting prices below those we will see later in Linsoul and other stores that sell them: https://www.kickstarter.com/projects/kiwiears/kiwi-ears-halcyon-worlds-first-mems-1dd-3ba-tribrid-iem?ref=28clxh

Disclaimer:This unit was sent by Linsoul 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.

Thanks for reading me and I will continue with them at times looking for new perceptions of this MEMS and how it can continue to evolve and improve over time to find a place among other drivers, surely seeing more and more hybrid iems that incorporate them. Until the next review!

Today is April 30 and I can finally publish this review of the Kiwi Ears Halcyon because their Kickstarter starts today. I was lucky enough to receive this unit courtesy of Linsoul a week ago and honestly I had seen some hype in some forums about how they would sound. I also had my own expectations about being able to test a model like this with such a lead time before its launch. I have read from people who tried them at some audio shows weeks ago and gave their first impressions, some of which I do not agree with. I have been testing them on my sources for days trying to get the best and worst out of this model and without a doubt this new type of driver will be the way forward for many brands. Binary Acoustics already joined the party previously and some other brands will too as I will mention in the review. These are my personal opinions on this imminent launch from Kiwi Ears.

What I like / What I don't like

• The treble frequency response is fast but controlled and makes me wonder if this will be the new standard in high frequency drivers.
• The design and shape of the shells seem to me one of the most beautiful things the brand has done, including how they have integrated the logo and model.
• The CNC machined aluminum chassis gives them a robustness and a sense of luxury that I consider necessary once you hit a certain price point.
• Instrumental separation is some of the best I have heard in a long time thanks to the precision of the MEMS driver.
• They are very sensitive to the seal of the stock eartips, a mediocre fit completely ruins the perception of the bass.
• The modular cable connection system is a success but it is a simple push fit and lacks a safety screw, which makes me feel a bit insecure.
• The accessory level seems to have been cut to lower the final price without sacrificing the interior of the iem.

Specifications

• Five driver system with a tribrid configuration that mixes three different types of technology.
• A ten millimeter dynamic driver with a composite diaphragm dedicated exclusively to the reproduction of low frequencies.
• Two DEK series balanced armature units in charge of providing naturalness and detail to the mid frequencies.
• One WBFK series balanced armature unit for support in the high frequencies.
• One USound MEMS driver that uses solid state technology for ultra high frequencies.
• Impedance of twenty nine ohms with a sensitivity of one hundred and nine decibels measured at one kilohertz per milliwatt.
• Extended frequency response from ten hertz to forty two kilohertz to cover every detail.

My Sources

FiiO K9: My main desktop equipment connected to my PC for critical cleanliness and power tests. FiiO KA15: Portable DAC dongle for daily use when leaving home due to its amount of quick adjustments, its integrated equalizer, multimedia buttons to handle from the pocket. NiceHCK Octave: I use it when seeking a more direct power delivery without the digital processing of the FiiO KA15, making it ideal for when I want to perceive the natural response of whatever I am listening to without any extra coloration from the device itself. Questyle M15i: Reference portable amplifier/DAC to search for a more organic and musical texture, when I am at home but not necessarily at the PC.

Unboxing and build

The box of the Kiwi Ears Halcyon is smaller than the recently reviewed Kiwi Ears Orchestra II. That made me suspect, even knowing that these Halcyon are cheaper, that the contents inside would not be at the same level. Upon taking them out, you find the two CNC machined aluminum shells that shine with a truly professional finish. The transition from resin to this material is a total success because they not only feel more expensive, but the metal helps the internal acoustic chamber to be much more controlled.

The faceplate design is, in my opinion, the most beautiful I have seen from the brand to date. The shape is elegant and the way they have integrated both the Kiwi Ears logo and the model name seems to me an absolute aesthetic success. Inside the package you have the hard carrying case, replacement filters and a selection of six pairs of eartips: three with a normal internal diameter and three with a wide diameter. It also comes with the braided copper cable with a modular system that includes interchangeable 3.5mm and 4.4mm balanced plugs.

A curious detail of my unit is that the right side had the red dot on the rubber where the connection pins are and an extra one on the cable itself, something that seems like an isolated marking error. The modular connector is a simple push fit. I miss a screw that would finish securing the connection for an extra bit of peace of mind, as simply pushing does not give me the feeling that it is one hundred percent secure against accidental tugs.

In short, it comes with everything necessary to function but as I mentioned at the beginning of this section, I feel that the cable, the case and the eartips are below expectations as it is more similar to what the Cadenza II offered than what the Orchestra II offers. Perhaps something intermediate would have been better but I understand that maybe to make the model more competitive the smartest option was to cut back on accessories and not on the iem itself, which performs with a high mark in all aspects.

Sound

Let's talk about how these Halcyon sound and where they stand out with their tuning and configuration, which is somewhat novel for the brand and for iems in general.

In the low frequency section, the ten millimeter dynamic driver passes with flying colors in terms of controlling the frequencies it handles, as long as you achieve a proper seal. At first I used the wide diameter stock tips and in my right ear the bass barely hit, as if the driver was turned off. For a moment I thought it was a unit problem because it is not something that has happened to me before. After switching to the Azla Sedna Earfit Origin, which always seal well for me and reveal just the right amount of information without cutting treble, the sound changed completely and was identical on both sides. Obviously a good seal can be achieved with any eartip including the stock ones but I did not want to stop mentioning this peculiarity that happened to me. The eight dB boost in the sub-bass is very physical and deep, providing that necessary base for the music to have body and emotion, since it is something a dynamic driver can do and not all releases achieve it properly. What I liked most is that the cut at 200 Hz that they announced before the launch guarantees that the low frequencies do not get in the way of the voices. The bass is fast and has a very detailed texture, allowing you to perfectly distinguish a kick drum hit from a bass guitar sound. It is not an earphone that feels slow at any time, quite the opposite, it has an agility that in my experience is hard to see in drivers of this size. The mid-bass has just the right weight so that the music does not sound thin, providing a very natural warmth that in genres like metal for example is appreciated. As is usual in my tests, using them on my desktop dac, the FiiO K9, I notice that the bass dynamics are even more striking than on my dongles, demonstrating that this driver appreciates a good current to move with ease and precision.

The mid frequencies are managed by the two balanced armatures, which according to the information I could consult on the product page are from the DEK series. I am not an expert on this but normally when brands do not work with names like Sonion or Knowles they usually just put custom BA and nothing else, which makes me a bit curious about what this DEK series contributes or the reason why it is specified this time. In my experience, the mid zone is clean and transparent. Male voices sound with a very real authority and female voices have a clarity that allows you to perceive the breaths of the performer although they are not exactly an iem for ASMR. Kiwi Ears has adjusted the mid frequencies to imitate how we hear naturally. When we plug our ear with an iem, we lose the amplification that our own ear makes of voices. These Halcyon compensate for that loss very precisely at 3 kHz, making the singers sound clear and close to you, but without it sounding like they are screaming at you. It is a very faithful to reality presentation looking to sound as natural as possible, ideal for those looking to hear the recording exactly as it was conceived although negative for those looking for more fun and contrast between the different frequencies. The upper mids have a very smooth transition to the high part, avoiding those timbre jumps that sometimes ruin hybrid earphones. You can tell there is a very well worked coherence between the different types of drivers. Testing some acoustic music tracks in my Apple Music library I especially noticed that cleanliness that I consider to be the Kiwi Ears house mark but elevated to another level of refinement and detail, learning from some past mistakes.

Let's talk then about the high and ultra high frequencies where the MEMS driver manufactured by USound lives alongside 1 WBFK BA. We continue with more names that although they are surely not new to me, it is not common to read them in product specifications and I appreciate the transparency there has been this time, mostly to value or take as a reference how each driver sounds knowing who is behind it for better or worse. This is where the true technological difference is noticed compared to models with more traditional drivers. This driver can move at a speed that other components cannot reach. Perhaps microplanars are the fastest after these MEMS but it is something I have not quite compared. In my opinion, this translates into a treble that is a new leap in terms of sharpness. The transparency you get in drum cymbals or violins if you listen to some orchestral music or soundtracks in general is something you simply cannot get with conventional drivers with the same cleanliness you achieve here. There is no sibilance or that artificial brightness that tries to simulate detail, here the resolution is real. Doing some tests on the Questyle M15i, the treble breathes even more than on my other dongle dacs. The extension in the ultra high frequencies is remarkable, giving that feeling of air that makes the music not feel enclosed and that metal percussion instruments have a decay until they fade out that is very natural and prolonged, very similar in my perception to the one the NiceHCK Rockies gave me with that relaxed yet extended sound although in that case it was with EST drivers. It is a treble zone that, from my point of view, can compete in our current state with earphones that double its price and that continue to bet on safer or better known technologies.

Soundstage, Instrumental Separation, Imaging

The soundstage of the Halcyon is very wide and has a horizontal expansion capacity that has left me very satisfied. I think the work they have done on the internal acoustic chamber design helps the sound not feel compressed inside the ear canal, making you notice a large and well defined three dimensional space. It is not one of those widths that sound unreal or hollow, but rather maintains a coherent depth that allows you to place the musicians in space with great ease. You can tell that the air flows well between the drivers and that gives a feeling of relief that is very much appreciated in recordings that are very loaded with instruments. It could still be more immersive without a doubt, it is not the most spectacular I have heard but we are moving in a price range where the competition does not offer much more in this aspect.

As for instrumental separation, by having five dedicated drivers and such a well executed frequency filtering, each element of the mix occupies its own place without overlapping with the one next to it. In my opinion, this is especially noticeable in complex tracks with a lot of information density, where you can focus on a specific melodic line without the rest of the band distracting you. It is a very sharp separation that helps reduce listening fatigue because you do not have to struggle to guess what is playing. The speed of the MEMS driver in the treble helps a lot so that the sounds of the instruments are perfectly defined, allowing even the fastest notes of the guitars to be perceived in an individualized and clear way.

In terms of imaging or positioning, the Halcyon are quite precise. Sounds that move from one side to the other do so in a fluid way and without jumps, which shows that the synchronization between the different types of drivers has been worked on with great care. It is a joy to close your eyes and know exactly where each musician is located in the virtual stage generated by these earphones. When using them for critical listening sessions, this precision greatly facilitates the task of analyzing how the original mix has been structured. I have not tested them for this occasion in multimedia content or in games, I have done the latter rarely but at first glance based on music alone I think they have good capabilities to perform in a more than correct way in those areas.

Comparisons

The most direct rival to these earphones is the Binary Acoustics EP321. Coincidentally I have them on the way so I have not been able to review them yet, so this comparison will be made in that same review against these Halcyon. By sharing an almost identical driver configuration, it will be the acid test to see who has been able to better implement the MEMS driver and who has achieved a more convincing tonal balance for the final user. It is going to be a very interesting fight between two brands trying to dominate this new technology at the same time.

If we compare them with the Soundpeats Air5 Pro+ that I reviewed a few months ago and that also uses a MEMS driver, the difference is simply abysmal. In my experience, in the Soundpeats the driver is more of a marketing claim than a real improvement because it is limited by internal amplification and the lack of a serious acoustic design. In the Halcyon, by having a direct connection and being able to use sources like in my case the FiiO K9, the driver shows what it is capable of, offering a resolution and a transparency several steps above the Soundpeats. There is no possible comparison between a TWS earphone and a real high fidelity tool like this, no matter how much they share the same technological base in their specifications, but I did not want to overlook it having had a model that already tried to innovate with this technology.

Faced with the Thieaudio Hype 4 MKII, we find two different philosophies. The Thieaudio bet on a denser sound and with mids that I would say have more body making the songs fill you more in some way. However, in my opinion, the Halcyon are superior in terms of pure detail and air in the highest frequencies and I say this having the Thieaudio on a pedestal in terms of treble since it is precisely the problem for some for being perhaps excessive although not for me. In any case, in these Halcyon you win in terms of speed when representing those trebles since the BA of the Hype 4 MKII cannot execute them at that speed due to BA limitations in that specific aspect, which makes the Halcyon more suitable for analyzing micro details without missing any information.

Finally, when comparing them with the Dunu DN-142 which I also reviewed not long ago and which incorporates 1 dynamic driver, 4 BA and 2 planars, we see where the technological advantage lies. Although the Dunu are excellent and have an enviable construction and why not say it a superior set of accessories, their planar drivers, although they give an excellent level of detail, still do not reach the speed of these MEMS in the Halcyon. The Dunu offers a very coherent timbre and great body in the bass, but stays one step behind in that sense of extension and cleanliness in the ultra highs that the Kiwi Ears model offers. In my experience, the Halcyon feels more capable when the music becomes fast and complicated because the MEMS driver does not have the inertia of the heavier components of the Dunu or the other models I have mentioned.

Global Ranking Link

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)

Final thoughts

To finish, the Kiwi Ears Halcyon seems to me a brave and technically brilliant proposal that arrives today on Kickstarter to try to revolutionize what we understand by portable audio. I like that they have not settled for doing the same old thing, there are many models already and it is time to innovate. They have sought to integrate the MEMS driver so effectively in a high quality aluminum chassis. In my experience, they are earphones that offer an almost perfect balance between power in the bass and a fast and clear resolution in the treble, maintaining very natural mids that are perhaps not the best of the set but are not disappointing at all. The design is, from my point of view, the most beautiful the brand has released along with the HBB Punch and the inclusion of a modular cable is necessary for me and they have done so despite not having the extra security lock with a screw that I would love to see in all modular cables or at least within these prices. If you are looking for something that really sounds like next generation, you can take a look at the campaign that starts today with starting prices below those we will see later in Linsoul and other stores that sell them: https://www.kickstarter.com/projects/kiwiears/kiwi-ears-halcyon-worlds-first-mems-1dd-3ba-tribrid-iem?ref=28clxh

Disclaimer:This unit was sent by Linsoul 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.

Thanks for reading me and I will continue with them at times looking for new perceptions of this MEMS and how it can continue to evolve and improve over time to find a place among other drivers, surely seeing more and more hybrid iems that incorporate them. Until the next review!