![[NEWS] Moondrop EVO 2 Launches With PEQ and 15-Hour Battery Life](https://external-preview.redd.it/1A5B-w7zFXjRqGU0t7K_i5Zy-9dN5bLQ0QMlQxH7Bf4.jpeg?width=1080&crop=smart&auto=webp&s=993df5a119d8b06a26a5e0cd987f0b975223584e)
Moondrop launched the second generation of its EVO TWS Bluetooth ear hooks for IEMs (In-Ear Monitors), the Moondrop EVO 2 (II), today (August 19). Its main highlights include support for a parametric equalizer, modular connectors (2-pin and MMCX), and up to 15 hours of battery life. Check out all the details below.
Softears is simply one of my favourite brands to try out and hear their offerings, where I have had more hits than misses- with the Volume S, Twilight and RSV MK2 being their all time favourites; but when I got offered by one of my patrons to try out their new boxy offering, and a controversial “spiritual” successor to the Twilight in form and specs, the Edge, I simply said yes and spent a good chunk of my time, being surprised, blind sided and caught off guard by the Edge. Thank you to my good friend for making this review possible.
This is the first time I have unboxed a product from Softears, and I must say this was different- none of the cringe waifu branding, no product advertisement even: straight up why they named it Edge, their brand philosophy in very minimal font in a square box of grey. Unlidding the box gives way to a translucent sheet of paper underneath which lies the shells of the Edge in foam padding. Under that is a circular case which had the cable, protective covers for the IEMs, cleaning tool and microfiber cloth; and for eartips- three pairs of Softears Ultra Clears, and three pairs of regular (generic) eartips.
The stock cable is an abomination for the Edge, as it tangles easily, feels cheap, is not modular and the earhooks are so slim that if the Edge shells were not well balanced; this definitely would have caused so much fatigue to me but I am glad that although they weigh quite a bit, they don’t cause fatigue cause I had a 10/10 fit with these.
Word to the wise, Softears got it too angular where the edges can definitely scrape on the eardrums, and they definitely could have been softer (or Softear, pun intended). The Edge has vents, which means no pressure buildup and those are some big vents, but I didn’t feel an awful lot of compromises on the isolation. Enough chit-chat, here’s the sound.
The Softears Edge has a wonderful start here. The opening intro has a perceived rippling effect which oozes a lot of polish and when the rest of the elements come in, the bass keeps on going with a wonderful level of separation from the rest, the beats are super strong with a lot of punch, fast attack & a decay that is not sluggish by any means. The drop has a superb, clean, precise execution where not once did the bass feel overpowering.
If there is one way I could describe how the Edge performs on this track, COHERENT is what I would choose. Right from the beginning, both the drums and the bass know what to do and that makes me feel very nice about the Edge. Of course, the width on the perceived stage is a bit lacking but it has enough depth to beautifully capture the prodigally controlled aggression on Peart's drums, while across moments, Geddy's bass lines get so intense, I feared that it would spill over the drums but the Edge has ridiculous composure to reel it in like Nadal on a clay court.
Daft Punk : Get Lucky
The Edge does a brilliant job on this track - be it the amount of control it needs to hold over the slam on the bass, the degree to which notes from the bass need to be enunciated in a way that doesn't diminish the track. The depth in the perceived stage is adequate, the warmth in tonality is restrained enough to not cloud over the rest of the sound, and vocals are planted in the center. But I must say again, I thoroughly enjoyed this track on the Edge.
The Edge might come off a tad excessive when it comes to the intensifying drum intro as the guitar straddles through, but once all the elements join in, the Edge once again gets back in its track for keeping things auditorily fun. The Edge surprisingly manages to not humble Maynard's vocals in terms of weight and guitars have a shade of warmth that I appreciate with tons of energy. Instrument separation is fabulous and specially for an IEM which is this warm, imaging is precise while timbre remains fairly accurate. I was amazed when I heard the clarity sap through with the final rudiment of Carey and right before I could appreciate the texture of the wah-ing bass.
This is on a busy track with a lot of fast paced elements and the Softears Edge once again impresses me. Crisp, well separated, timbrally accurate snare hits, energetic, weighted guitars, planted vocals with adequate weight and the cymbals being audible. What I also like about the Edge is that despite this observation of such energy on the guitars, not once did the Edge feel fatiguing or shouty.
The Edge first gets the shimmery almost peppy textures on the cymbals and then the snare where the timbre is remarkable. Then once the horns come in, the Edge pulls my attention to how easily it was able to capture the faint drawing of the breath on them, as well as the pressing of the keys, while not making me forget that it is leading the act. Notes of the piano are nimble and tonally warm but not warm enough that they sound different from the actual key, but the best part comes in the drum solo where the Edge caught the potency of the kicks, the crisp snares and the toms resonant enough to almost sound like how it would sound live.
This is another track that I really enjoyed listening to the Edge but there was a blemish in my excitement levels; this is a track that is sibilant from the get go and the Edge definitely exaggerates the sibilance which surprisingly manages to keep the cymbals from being fatiguing. Through the straight note sustain, the Edge exhibited no sign of pierce, while the piano, bass and guitars supplemented the lush texture of Patricia's voice, it was just the sibilance that had to diminish what was otherwise an excellent listen.
There is no clear winner here in my juvenile opinion. The Edge brings a ferocious, energetic warmth with punchy bass and tight control, though it can get a bit spicy if a track is inherently sibilant. The Twilight drops the aggressive bite entirely- it is a midrange masterclass that gives you a much smoother, completely fatigue-free listen that just naturally sounds correct. However, the Twilight’s bass is sloppy and might feel blob-like with minimal tightness, and the Edge takes it to the cleaners when it comes to detail retrieval. Also, fit on the Edge is miles better.
Both of these go for a warm, cohesive vibe, but they handle the low-end very differently. The Meteor commits hard to a thick mid-bass that can sometimes overpower the lower mids and crush the details that tracks might have, which is where the Edge rules dominantly, while the Edge comes off quite sibilant in tracks where the Meteor either won’t show it or just be quite resistant to its exposure. The Edge keeps its bass way more composed. It punches hard without muddying the mix and offers significantly better instrument separation with stellar imaging, though one loses the Meteor’s totally relaxed top end.
If the Edge is all about rich, ferocious warmth while balancing technicalities, the Top Pro is an alternate take. The Top Pro flexes a freakishly controlled sub-bass, a wider perceived stage, and imaging that goes head to head with the Edge where the stage’s width is not quite there. On the top end however, it’s a “choose your poison” situation- where the Edge exaggerates existing sibilance, the Top Pro can get straight-up fatiguing and sibilant during high-frequency climaxes.
This one is basically the unapologetically fun daily driver versus the disciplined monitor. The Studio 4 offers a more nuanced, more cautious take on a neutral warm signature while the Edge trades that maturity away for pure engagement, throwing in a visceral bass slam and punch, kind of equal if not better vocals, but better stage and imaging, significantly better detail, and a much peppier treble.
These two sit on pretty different ends of the spectrum. The Pilgrim goes for the same presentation with a fabulous imaging, and for the most part, decent vocals but definitely felt strained in higher pitched vocals, where on busier tracks it could sound claustrophobic, instrument separation takes a good hit. The Edge completely fixes that underwhelmed feeling with its ferocious warmth, deep bass punch, and thick note weight, but you do sacrifice the Pilgrim's stage width and have to deal with the Edge's sensitivity to sibilance.
Honestly, the Edge easily outclasses the Mega5EST in almost every way. The Mega5EST struggles with an excessive mid-bass thump that tucks instruments into a blanket and messes with technical isolation. The Edge, on the other hand, shows ridiculous composure, keeping everything crisp and well-separated. The Mega5EST's only real win is its impressive restraint against sibilance, whereas the Edge delivers a vastly more energetic and polished listen at the cost of highlighting sharp sibilance.
At $499, the Softears Edge is an unapologetic powerhouse. It doesn't try to be a perfectly neutral studio monitor, nor does it aim for the relaxed, fatigue-free realism of something like the Twilight. Instead, it brings a controlled yet violent shade of warmth, ridiculous bass composure, and high-octane energy to almost everything you throw at it, and hits you blindside with a spear of detail and instrument separation which I didn’t expect given the lows that it has.
However, it is not free of flaws and the exaggerated sibilance which in my opinion is a by-product of an IEM being unforgiving in terms of handling tracks can be a deal breaker, for which eartip rolling and EQ is highly recommended. But, all things said and done, I thought I knew this IEM, but I didn’t- and safe to say, unlike Adam Copeland; I was least prepared for a positive sonic whiplash. (I think you know him).
Will I buy it at retail ? Absolutely, yeah.
Will I buy it used ? Absolutely, yeah.
Primarily used with the SMSL Raw MDA-1 desktop DAC amp, the Shanling M9 Plus stacked with the xDuoo XD05 Pro transportable DAC amp running RoHM DAC chips, via USB-C.
The Softears Edge is an extremely easy to drive IEM, so it’s very source friendly.
Higher quality image on my blog.
Let's get this out of the way: the Ola II has the trademarks of Tanchjim design. The DSP cable is good but sometimes a bit unwieldly, while the shells themselves have the usual distinct clean and even clinical look. The fit is a bit peculiar due to the very universal shape and tiny size, to the point of being a potential deal breaker for those that will not be able to form a seal. Personally, they are wonderful and have the same comfort as bullet-style IEMs that disappear in the ear.
As of late, they have deviated from their usual white/clear medical look they've adopted after the Hana 2021. The Soda, Fission, and now Ola are all lookers and keep that same aesthetic appeal while having distinct colors and quirks that make them stand out a bit more. The Ola II is on the more plain side of things, but the dark matte grey is definitely a looker!
As for sound, the Ola II is different from Tanchjim's lineup, opting for a more V-shape tuning while still retaining the mid bass and vocal emphasis character from all of the other 1DD. In a way, it reminds of the One without DSP, but with added air from the BA driver while having slightly less low treble glare. Overall, it sounds competent but it does seem to be more of the same from Tanchjim without much to make it stand out.
Full review will be coming out some time next week, with the usual detailed measurements.
In my opinion, KZ's core manufacturing policy has always been to deliver the best possible audio performance for the lowest possible price. They will compromise on almost everything else just to ensure the sound quality remains high, even within the ultra-budget IEM segment.
Today's review subject inherits this exact policy to the letter.
Before diving in, I want to establish a crucial context that many reviewers overlook - my personal listening preferences and perspective. I am not a basshead, nor am I a fan of a warm, relaxed sound signature. I prioritize clarity, transparency, forward vocals, and a moderate, well-controlled, punchy bass. I currently use these IEMs as my daily drivers for my PC setup, primarily for gaming or listening to ambient background music while working.
TL;DR: Should you buy them and who are they for?
If your budget is around $23 and you want to extract the absolute maximum audio quality for that amount, these are for you. If you already own a primary pair of IEMs for dedicated music listening and are looking for a budget-friendly secondary pair for gaming, competitive shooters, or background listening while working, these are an excellent fit. Furthermore, they can accommodate almost any sound preference, thanks to the tuning switches available on the tunable version. But it is more recommended for lovers of neutral sounds, slightly warm, or more expressive; they may not be suitable for strong bass heads. Never buy them for walks or something similar (read below 👇)
These earphones provide solid, versatile sound at a very reasonable price point. They won't blow your mind, after all, we are talking about a $23 set, but they more than excel in the role of a secondary pair.
Build Quality: It's classic KZ in a worst way possible. They feature a rudimentary QDC connector, which, for the record, started wobbling on my unit by the fourth day, forcing me to secure it with resin. The acrylic shell looks okay, but it is far from a design masterpiece. The plastic nozzle mesh just does its job without any complaints. And now for the icing on the cake, brace yourselves, the brilliant engineers at KZ placed a ventilation hole on the front of the shell, right near the connector. As a result, when you walk, air blows directly into it, creating a distinct and annoying wind howl. I discovered this while taking them out for a walk. It is quite an unpleasant design flaw.
Fit and Comfort: This is where things get problematic. The shells are quite bulky, and they can occasionally fall out, especially if you have smaller ears. They sat relatively well in my medium-to-large ears for almost five months, but recently they started causing pressure pain in my left concha. While the discomfort subsided after two weeks, it was still an unpleasant experience. Overall, these are far from being ergonomically friendly IEMs.
Soundstage: It is reasonably wide, though not particularly deep, which is completely acceptable for the price. Footsteps in games are easily distinguishable and pinpointed.
Bass: With my specific tuning configuration (lowered bass), it becomes quite moderate and punchy. However, at higher volumes, it can still feel a bit overwhelming for my taste. That said, it definitely carries adequate weight and texture.
Mids: They simply sound decent. There is a slight scoop, which actually enhances instrument separation. Everything within this frequency range sounds natural, not muddy or muffled, and there is no bass bleed into the vocals.
Treble: It does an almost benchmark-level job of providing expressiveness without crossing into harsh, fatiguing peaks. They are comfortable for extended listening sessions, even considering that I boosted the upper mids and treble using the tuning switches.
Overall, this is a very capable model in terms of sound, but not in terms of build quality. I wouldn't call it an "endgame" for its price bracket, but these are IEMs that simply do their job well.
Thank you for reading, I hope this review helps someone out there. I intentionally kept it straightforward and avoided overly deep technical analysis, as I believe this format is much more convenient for the majority of readers who just want a quick and clear understanding of what these IEMs are all about.
Moondrop announced the E.S. Combo during the 20th Shenzhen International Audio Show (SIAS 2026), a new cable kit with accessories designed to turn IEMs (In-Ear Monitors) into headsets. Its key features include a detachable boom microphone, a mute switch, and a DAC/amp with controls for ENC and switching between EQ profiles, including a customizable equalization profile. Check out all the details below.
I received the new FiiO FH3 Lummi today. I can only say one thing... wooooow!!!!
These are IEMs focused 100% on vocals—crisp and completely free of sibilance; it feels like the artist is singing right into your ear. They sound phenomenal with female vocals.
They offer excellent technical detail; you can clearly hear the placement of every instrument.
I tested them with American pop, Latin pop, rock, reggaeton, salsa, and *corridos tumbados*.
They’ve managed to create an excellent IEM for the price point. They really ought to cost more.
The bass hits hard when it needs to—it strikes and then recedes without lingering or booming. They aren't "basshead" IEMs per se, but even if you are a basshead, you won't regret buying them.
They’ve already made it onto my personal favorites list.
If you’ve heard or own the Intuaura Impact, these could easily be considered an evolution of that model. They are excellent if you’re a "treblehead."
Plus, they are very comfortable despite having some weight to them. They stay securely in your ears.
They come with two types of ear tips:
A) Black ones: These provide more powerful bass without overpowering the other frequencies.
B) Red ones: Even though the vocals are already forward in the mix, these tips bring them even closer and widen the soundstage. The bass loses a bit of punch, but it’s still very good.
My preference: the black ones.
Pros: Desktop level power in a portable form factor
Predominantly clean reproduction with a slight bass boost
Has a Lineout and headphone outs and a mic for gaming
Will drive anything
Cons: It's not exactly portable
Will need external power if using with a phone
The recurrent theme in the VE universe is naming things after Transformers. Galvatron is, in Transformers lore, an upgraded Megatron and this one is no different.
We present to you the genie in the bottle that is the Venture Electronics Galvatron. I thank Venture Electronics and Audio Geek India for making it possible to trial this beast out. The views and impressions are my own.
VE continues to impress with how they pack so much power into spaces that seem impossible. Almost every device of theirs seems like the Tardis from Dr Who - larger on the inside than the outside. The Galvatron is able to toss out 3000mW at 32 ohms in the form factor slightly larger than the powerbank I’m using to juice it up.
The unit is built solid. An Aluminium chassis with ports in the front and the back. The front has a wonderfully tactile volume knob in shiny brass and 3.5, 4.4 and a 3.5mm mic port for gaming and a really cute gain toggle. The back has 2 usb c ports for data and charge. It is a demanding dac in the power department so powering it with just a phone may be a little difficult. A powerbank works best and also effectively eliminates the need for an additional linear power supply. In addition to the c-type ports, there’s a 3.5mm SPDIF in, and 4.4 and 3.5 lineouts. Because why not?
The Galvatron is able to dish out desktop set up level power to be able to run almost anything I throw at it. It works best with the VE ZhuanXu where, on the VE Prime stack and Fosi ZH3 I felt that while the mids were great, the bass lacked a little punch. That completely changes with the Galvatron. This audio source is able to inject an authoritative bass texture and weight without significantly affecting the overall nature of the IEM or the sound profile in the higher frequencies.
With more sensitive IEMs, the Galvatron demonstrates a pitch black background with no hiss at all. This is a tad different from the Devastator Pro Max which has a bit of noise floor and occasionally has a little “click” or a bit of static between tracks.This isn’t a dealbreaker but we aren't talking about the Devastator family.
The Galvatron is able to push crazy levels of volume with complete clarity and that trademark VE warmth. There is no noise floor that I could hear across all my IEMs - IE600, Kima 2, Twilight, Astralis, ZhuanXu. All were also easily driven at low gain with the volume dial not over the 25-30% mark. With headphones, both the Arya Stealth and HD600 are driven easily but the Sennheiser really shines on high gain. I would really like to try the ATH R90XA on this given its crazy impedance but that’s for another day.
From the music perspective, the Galvatron alters the bass just enough to make sub-bass rumbles more “feelable” and the mid-bass has a little added weight. This doesn't spill into the midrange and there’s no change in the character of male or female vocals and instruments on the equipment tested and with my regular test playlist. On more energetic tracks, like EDM and pop, the galvatron holds the treble just a tad to prevent the sound from tripping into sibilant territory or making the experience fatiguing.
The best comparison for me was with the VE Prime Stack, which I have reviewed earlier. On paper the two have that 3000mW balanced output at 32 ohms but the Galvatron just feels a lot more powerful and for lack of a better phrase, it appears to pack a lot more brute force. In the best way possible. The Prime + RA2BFE is a more sophisticated presentation of the music. Cleaner, more neutral and with all honesty, less fun.
Now there’s a couple of issues with the Galvatron and primarily it’s a brick. You can stick it in a bag and roam the countryside, I’m sure, but it looks and feels more at home on a desk. Currently I’m listening to it being powered by a power bank and connected to my macbook and tidal and the Dunu Kima 2. The practicality of using this one as a truly portable device is a bit lacking. To truly enjoy it via a phone, a power bank is essential and then the stack becomes a complete pain to carry. The devastator family is definitely more portable and I would stick with that for the times I want to be mobile. At home, this is very close to replacing my existing dac/amp.
Oh and the lineout works really nice with the 4.4 in on the back of the APOS Gremlin making the output beautifully warm and comforting, if you like your music that way.
At $200 this is a very easy dac to recommend. It holds its own against more expensive and larger desktop setups and drives almost anything with little or no effort and a lovely analog tilt to the music that makes it enjoyable and sometimes that’s all you want.
FiiO launched a new power supply today (August 17), the FiiO DARKSIDE MINI. Its main highlights include active noise cancellation and modular connections with multiple adapters, allowing it to be used with a wide range of audio equipment. Check out all the details below.
$54.99 USD / EUR 50 | Wired | 10mm MACCD dynamic driver | 3.5mm and 4.4mm interchangeable plug OR 3.5mm with mic and USB-C at around $59.99 / EUR54.50
> 📌 The Quick Read covers the full verdict in about two minutes. Stop after Who Is This For? for the gist. Specs, accessories, measurements and the sound breakdown follow below for those who want the detail.
> The Juzear Nimbus is a single dynamic driver at around USD55 with three interchangeable nozzles. The low end is the same on all three, noticeably elevated with medium impact. Everything from around 1kHz up changes with the nozzle. White is the balanced default, black is the most relaxed and scales the best with volume, and red is the most vocal forward. The basic character is on the natural side and the nozzle swap makes the set compatible with many genres. The build is metal with glass faceplates and does not feel like a USD55 IEM. I do see its limitations on bass heavy genres where an impactful bass is needed.
✓ Suits You If
✗ Skip It If
Main strength
The three nozzles make a clear difference in the music presentation, ranging from a relaxed leaning replay over to more vocal and treble presence. That gives three usable tunings from one shell and makes the Nimbus compatible with many music genres.
Main weakness
The bass needs higher volume to really show impact and its depth stays limited. On very high volume it starts to increasingly drone and affects the rest of the mix, while the overall impact barely increases. Soundstage is about average, and the red nozzles get shouty for me above mid volume.
The Nimbus makes the most sense if you:
👆 That's the core verdict. Everything below goes deeper into specs, accessories, measurements and sound.
Mostly because at that price point, I found the build and design interesting paired with three different nozzles. But would they have impact and if so, are they actually useable?
Making an IEM versatile with different tuning filters or nozzles is not a new concept and other manufacturers have released sets comparable in this price region like Simgot, Tanchjim and Hidizs to name a few.
I am not always happy with the type of versatility as they can be quite exaggerated in different ways. So, usually I would end up using only the preinstalled nozzle instead of swapping.
A bit different in case of the Nimbus where the tuning nozzles reach from natural, relaxed leaning to very vocal forward. Two of the nozzles are enjoyable to me, the white and the black ones. Let's have a closer look in the sound impressions part and if you are a bit into graph sniffing, welcome to read my frequency response measurements part, too.
| Driver Setup | 1x 10mm MACCD composite diaphragm dynamic driver, TPEE suspension, N52 neodymium magnet |
| Impedance | 32 Ω |
| Sensitivity | 108 dB ±1 dB SPL/mW |
| Frequency Response | 20 Hz to 20 kHz |
| THD+N | ≤ 0.8% |
| Isolation | 26 dB |
| Cable | Four-strand single-crystal copper silver-plated, two-wire twisted, with interchangeable 3.5mm and 4.4mm plug |
| Connector | 0.78mm 2-pin |
| Shell | CNC machined zinc alloy with multi-layer electroplating, blue laser colour glass faceplate |
| Nozzle | Metal, three interchangeable filter types in white, red and black. Nozzle 5.2mm wide, 6.2mm at the lip, measured with my own caliper |
| Weight | 9.2 g per side |
| Price | $54.99 USD / EUR 50 for the 3.5mm and 4.4mm version I received. The 3.5mm with mic plus USB-C version is $59.99 or around EUR54.50 |
| Where to Buy, not affiliated | hifigo.com/products/juzear-poise-series-nimbus · AliExpress 3.5mm and 4.4mm: aliexpress.com/item/1005012898042561.html · AliExpress 3.5mm mic and USB-C: aliexpress.com/item/1005012898663425.html · amazon.com/dp/B0H73CL5YC · amazon.co.jp/dp/B0HBQCY8PY · amazon.com.au/dp/B0HBQQ9TJ4 · amazon.co.uk/dp/B0H7BJT7VX · amazon.de/dp/B0HBQXVW46 |
Note. The Nimbus comes in two versions. Mine is the 3.5mm and 4.4mm interchangeable plug version. The other one ships with a 3.5mm mic cable and a USB-C dongle built around the CX31993 chip for calls, gaming and computer use.
In the box: the IEMs, the cable with its interchangeable plug, three pairs of nozzles, nine pairs of eartips, a light blue spring pouch and paperwork with the instructions and the QC card. The unboxing experience is very good in this price bracket.
| Cable | Two-wire twisted, feels good and is ok in handling, though it is slightly memory prone. The plug is changeable between 3.5mm unbalanced and 4.4mm balanced on my version. Depending on whether you listen on your mobile device or at home, the USB-C version might be a good option instead |
| Eartips | Nine pairs in total, narrow and wide bore |
| Case | A light blue spring pouch. It does a basic protection and is pocketable |
| Other | Three pairs of interchangeable nozzles, instructions and a QC card |
The highlight for me are the compact metal shells with their blue glass faceplates and the three different nozzle types, which have different filters and adjust the sound mostly in the mids to presence region.
Fit & Comfort
The shells have noticeable weight and are about smaller than medium size. They sit secure in my mid-sized ears and fit very well thanks to the compact and rounded shell design. Even after several hours of wearing, my ears do not feel fatigued and there is no pressure build up as the shells are vented. The metal nozzles took my usual Divinus Velvet wide bore in size L without any issue and the seal was easy to get.
Build & Design
The shells and nozzles are made of metal and feel very solid in hand, and heavier than the usual resin shells. The blue glass faceplates feel very smooth and are reflective. The build feels premium and not like a USD55 IEM, and I still see IEMs much higher priced which have glued on nozzles or a cheaper build.
Cable
Covered in the table above. The short version is that it is good for the money, the plug swap works cleanly, and the only complaint is that it holds a bit of memory.
| Inline Mic | N/A on my version. There is no mic on the 3.5mm and 4.4mm cable, so I cannot say anything about the mic on the other version. That one ships with a 3.5mm mic cable and a USB-C DAC |
> 💼 Personal note. I spent most of my time swapping between the white and the black nozzles rather than settling on one. The swap is quick enough and the difference is clear enough that it became part of how I used the set. On days where I could not take much treble and forward vocals I would go with the black nozzles. On other days I really enjoyed the white nozzles which highlight vocals better.
The best listening volume on the Nimbus with the black nozzles was slightly over mid volume to higher volume, without any listening fatigue but with better dynamics the higher I went. With the white nozzles the volume varied between mid and slightly higher volume. With the red nozzles I felt that anything more than mid volume will fatigue my ears on longer sessions.
Sources were the Questyle Sigma Pro and the Hiby R4 Evangelion edition, streaming from Qobuz and Spotify at the highest available quality, using the stock cable with the 4.4mm plug. Eartips were the Divinus Velvet wide bore in size L throughout. The Nimbus is easy to drive and needs no extra dongle or amp, though it does want a bit of volume to open up.
This review is based on more than 30 hours of listening.
Method
For my IEM measurements I use my own 711 clone coupler. Measurements were done with stock ear tips on all sets. The measurements are attached as images.
The red graph shows the red nozzles, the blue graph shows the black nozzles, the white graph shows the white nozzles and the yellow line is the Harman IE 2019 target.
What the graph shows
The sub-bass partially aligns with the Harman target but then deviates from around 60Hz to around 1kHz. That means the Nimbus has more mid-bass emphasis than the Harman target, and slightly less energy at around 600Hz to 1kHz which lets vocals and instruments sound cleaner. The graph actually suggests more power in the low end than I hear, which surprised me.
From around 1kHz up until around 2.5kHz the red nozzles have a very similar response compared to Harman, but then the red nozzles slope downward. The red nozzles have the most elevated ear gain of the three and the most treble, so they are the ones which get shouty for me on higher volume, but they stay less shouty than the Harman curve.
The black nozzles follow the same as the red nozzles below 1kHz. From 1kHz on the black nozzles have less energy compared to Harman and then deviate substantially. Similar with the white nozzles but slightly different to the black ones. From 1.5kHz on the white nozzles deviate from Harman substantially and are energy wise between the black and the red ones.
For additional detail and air the Nimbus has an elevated 10 to 14kHz region on all three nozzles. The red ones carry the most energy of the three in the 4 to 10kHz area, and again at 14kHz they have more energy than the other two.
Depending on where you look on the graph the difference is at its highest around 4dB between the red and the black nozzles. Otherwise it is always somewhere between 1 and 2dB between each nozzle. That is not a lot on paper but it sits in the region which controls vocal energy and detail, and that is why three nozzles sharing the same low end can sound this different.
The Nimbus is threefold in a way. Three different sound signatures depending on the nozzle being used. They all share an identical frequency response from 20Hz up to around 1kHz, where they diverge into distinct vocal emphasis, presence region and mid-treble.
By default the Nimbus comes with the white nozzles installed. These carry slightly forward vocals, a mostly controlled bass with medium impact and some nice energy in the treble with reasonable detail retrieval. To my ears they have the best balance between bass, mids and presence region, with excitement that is well dosed. The black nozzles have the most relaxed sound signature with the perception of the most bass impact, as the rest of the frequencies are giving the bass more space, and of the three they scale the best with volume. Different on the red nozzles. The vocals are very much in front drawing the attention. The rest of the mix scales with the vocals, meaning I cannot really crank up this set that much as it gets shouty on higher volume.
Since the low end on all three nozzles is the same, this section refers to all three without mentioning it explicitly.
Bass is noticeably elevated with medium impact. The sub-bass on Key Glock's "Dough" is fine and stays controlled, but could reach deeper with more impact in my opinion. On A$AP Rocky's "Fkin' Problems" the sub-bass feels more impactful without droning too much or overshadowing the rest of the track.
It requires high volume to let the sub-bass have a better impact, and it has almost a BA like behaviour with a quick decay which does not linger long, with a rather controlled and shallow than deep rumble. But even volume scaling has its limit. The bass on very high volume, which is barely listenable for extended time, starts to increasingly drone affecting the rest of the mix, where the overall impact barely increases.
Mid-bass slam on Kaleida's "Think" does its job but will not blow anyone's mind, which is fine if you do not like an emphasized bass presentation and have it more as part of the whole performance. On Emika's "My Heart Bleeds Melody" a similar picture forms on this EDM track. The mid-bass has noticeable impact but will not bother with an overwhelming performance, but its punch feels good enough to make this track work for me.
The gist of the Nimbus bass is that it is on most tracks well audible but not heavily emphasized, leaving plenty of space to instruments and vocals without disappearing, but it needs higher volume to really show impact and its limited depth.
Lower mids are mostly relaxed and just slightly scooped out from around 600Hz to 1kHz when compared to the Harman 2019 target. The result is slightly thinner mids and upper mids, which are even more emphasized when using the white and red nozzles. The red nozzles push that the furthest. Their extra energy sits in the upper mids and presence region, which puts vocals right in front and is also where the shout comes from for me. The black nozzles are the other way around and are a recommendation for listeners who are sensitive for shout. As there is only very slight bass bleed, the mids stay pretty clean and clear, which results in good vocal replay for male and female voices. Overall the mids are well implemented, not sounding too dry but neither are they overly thickened. Especially on higher volume the clarity and separation between bass and mids become very visible. On Dire Straits' "Sultans of Swing", front man Mark Knopfler's vocals are just a little bit more front than mid centered and sound pleasant with good texture and emphasis. The controlled bass and mids have an impact on the treble, too.
The treble region has a noticeable elevation but does not sound overly energetic, actually slightly relaxed on the black nozzles with the occasional push of certain regions. The result is a relaxed leaning tonality with a bit unevenly distributed treble elevation. That can come across on some tracks as artificial, but is to my ears enjoyable on most tracks as it brings excitement and details without getting overly aggressive.
Both red and white nozzles have more details to present and slightly more treble energy, which sounds to me more natural and exciting and less uneven on these two nozzles. The 4 to 10kHz area is where that difference sits. Eg on R.E.M.'s "Drive" strings sound more pleasant, more life-like and detailed with the white nozzles when compared to the black ones. Same goes for sharper electric guitars. They carry a slight nice edge. Some more sparkle on instruments with a better extended treble. That is very much highlighted on The Doors' "Riders on the Storm", where the rain and the keys have good plasticity and detail. The difference to the black nozzles is clearly audible and I like it.
The red nozzles are in most cases too much for me though, and what makes them too much sits below the treble rather than in it. So they are less a treble head option than their extra energy suggests.
Tip rolling can change the sound here as on any other set, and with nine pairs in the box there is enough to try. I did try the narrow bore tips but not long enough to give proper feedback on them.
Soundstage is about average on the Nimbus. Good is the separation and layering, so even on busy tracks it sounds relatively clear, where instruments have enough space to come through. Thanks to the well controlled bass and good mids, the detail retrieval feels solid. Spatial information is good but not very wide or deep.
Depending on the nozzle, layering, separation and imaging can slightly vary, as the presence region and treble add more space between the instruments, where the black sounds as if it plays in the smallest room. On John Coltrane's "Mr. P.C. (2020 Remaster)" the sax in my left ear sounds really good with the white nozzles and the room seems to be bigger than on the black ones, where the drums and bass are clearly further away in the back.
Looking at the whole set, the value of the Juzear Nimbus sits in the choice rather than in any single one of the three tunings. On its own none of the nozzles are reinventing the wheel at USD55. But together they make the Nimbus a versatile set which covers most of my library on different listening days.
A thing to consider is the bass on all three nozzles. Whatever they change further up, they do not add sub-bass depth or mid-bass impact, so a bass heavy library is the one case where I would consider other options.
Build, fit and the package are a no brainer for me. Metal shells, glass faceplates, a cable with an interchangeable plug, nine pairs of tips with a pocketable pouch are for USD55 very good value and a recommendation.
✅ Juzear Nimbus can be recommended if you
❌ Consider other options if
Disclosure
This review sample was provided by HiFiGo. No payment was received and HiFiGo had no influence over this review. No affiliate links are included in this review.
Thank you for reading. If you find this review format useful or think something was missing, please let me know. Much appreciated.
Massdrop × Noble Kaiser 10 Review – Out of the Way, Make Room – Here Comes the KAISER!
A Small Love Letter to an IEM!
Legacy Time! 😊
10 × Knowles Balanced Armature per side
Noble itself released the original K10 in 2014 as its flagship at the time. A few years later Massdrop brought exactly this tuning back and put it into the universal aluminium version with black shells and red faceplates. The first Massdrop launch was announced for October 2017 at 899.99 US dollars. During later drops the price eventually went down to around 700 dollars.
The old Drop page no longer exists, the Kaiser 10 can now only be bought used. Regular new stock is practically impossible to find and the K10 mainly lives on through the used market.
For me the Kaiser 10 is a true legacy piece.
Even today I still think it is one of the most beautiful IEMs ever made.
Black anodized aluminium, those bright red faceplates, the Noble crown logo, pretty thick shells and ten BAs per side.
For me it still easily beats quite a few pure BA IEMs in the price range up to 500 euros.
A real classic and a masterpiece from Noble!
The midrange is dense, slightly forward and emotional. The bass has surprisingly good body for a pure BA setup, but remains controlled and textured. The treble has energy and shine, without becoming permanently sharp for me.
That is why I still take the Kaiser 10 out of its box from time to time, simply listen to music with it and ignore its little flaws. It manages to combine vocals and bass in such a musical way that listening to your favourite songs is simply fun.
Thank you Noble for this beautiful IEM!
That is also why it does not get a normal 2026 rating from me:
Legacy rating: 8.8.
A Few Words About Noble Audio
Noble Audio officially started on April 15, 2013 as Wizard Audio Industries LLC and was founded by Dr. John Moulton.
Anyone who has been around the IEM scene for a little longer probably also knows his nickname:
The Wizard.
John Moulton holds a doctorate in audiology and was already building his own custom IEMs before Noble. According to Noble, the nickname appeared somewhere in the Head-Fi community after he posted pictures of some of his extremely elaborate CIEM designs there. Another user basically said that there must be a Wizard responsible for this.
When you look at some of those old designs, you can understand it.
From the very beginning Noble was not only known for sound, but also for some completely crazy shells:
Wood. Carbon. Metal. Acrylic. Exotic materials. Eventually even gold and diamonds.
The Kaiser 10 was released on November 19, 2014 and very quickly became one of the best-known models from the young company. Noble itself still lists it as one of the defining products in the company’s history.
The name Kaiser 10 actually has two meanings.
“Kaiser” refers to Noble technician Kaiser Soze – no, not the guy from The Usual Suspects and the 10 of course stands for the ten balanced armature drivers per side.
In 2017 Kaiser Encore and Katana followed. After that things kept moving forward technically with Khan, Sultan, Viking Ragnar and Ronin.
In 2024 Noble released the Chronicle for its tenth anniversary, limited to 118 units and priced at 6000 dollars. Since August 2025 the Kronos has been sitting at the top of the regular lineup: nine drivers with 2DD, bone conduction, 4BA and 2EST inside a titanium shell for currently 4500 dollars.
Unfortunately that is, like most Noble IEMs, outside my financial reach. That is why I occasionally keep an eye on the used market, but even there prices for Noble IEMs are still very high. Something I can understand when I listen to the Kaiser.
So from the Kaiser 10 with ten BAs we eventually arrived at the Kronos with dynamic drivers, BA, EST and bone conduction.
Quite a lot has happened in a little over ten years.
Technical Specifications
Driver configuration: 10 × balanced armature per side
Driver manufacturer: Knowles
Commonly documented driver setup: 2 × CI-22955 + 4 × TWFK-30017 dual-BA modules
Total armatures: 10 per side
Bass: 2 × Knowles CI-22955
Mids: 2 × balanced armature, one TWFK dual-BA section*
Mid/high: 2 × balanced armature, one TWFK dual-BA section*
Treble: 2 × balanced armature, one TWFK dual-BA section*
Super-high: 2 × balanced armature, one TWFK dual-BA section*
Crossover: 4-way
Acoustic paths: Triple Bore
Frequency range: 15 Hz – 20 kHz
Impedance: <35 Ohms
Connection: 0.78 mm 2-Pin
Cable: 50 inches / 127 cm, braided
Plug: 3.5 mm
Shell: CNC-machined, anodized aluminium
Massdrop version colour: matte black shell + red faceplate
Weight: 25.5 g for the pair.
The five two-armature frequency groups are documented for the Kaiser 10. The CI-22955/TWFK-30017 combination is widely documented in K10 teardown and DIY material, but Noble and Massdrop did not officially publish a model-number assignment for each individual TWFK frequency group.
Ten balanced armatures per side.
The commonly documented setup is two Knowles CI-22955 bass drivers plus four Knowles TWFK-30017 dual-BA packages.
And this is important:
A TWFK-30017 already contains two armatures.
So four TWFK modules give us eight armatures, together with the two CI bass drivers that makes ten BAs per side.
Twenty Knowles armatures in total.
2014!
If that was not a statement!
Massdrop describes five driver groups with two armatures each: two for bass, two for mids, two for the transition between mids and treble, two for treble and another two for the super-high range. The whole thing is controlled by a 4-way crossover and three separate acoustic bores in the nozzle.
What is surprising is how coherent the Kaiser 10 sounds despite this huge number of drivers.
That was already one of the special things about the K10 back then. Several contemporary reviews did not simply highlight the number of drivers, but especially the coherence of the whole setup.
Very clearly: I do not want to romanticize it, but we are talking about an IEM whose basic concept is more than ten years old and in my opinion it still delivers right up there.
Unboxing, Build Quality and Accessories
The packaging of the Massdrop Kaiser 10 is actually almost funny.
With what was originally a flagship you expect a huge luxury box.
You do not get one though. 😊
Massdrop basically shipped the K10 directly inside its black Pelican case. Inside are the IEMs, the cable and almost all of the accessories.
The complete package includes:
Massdrop × Noble Kaiser 10 Universal
Pelican Hardcase
Carabiner
Velvet fabric pouch
11 pairs of eartips
braided 3.5 mm 2-Pin cable
cleaning brush.
Eleven pairs of eartips are decent even by today’s standards. The set includes normal single-flange silicone tips, double-flange silicone tips and foam tips in different sizes.
Noble typically used six pairs of single-flange silicone tips, three pairs of double-flange and two pairs of foam tips with its premium universal IEMs at the time.
I use the Divinus Prism Wide Bore Tips. They sit very securely on the relatively thick nozzle of the Kaiser 10 and open up the upper range a little for me, without adding unnecessary extra bass or warmth to its already full-bodied sound. Vocals and treble in particular sound a little freer and cleaner with them, while the basic character of the K10 remains completely intact.
The Pelican Case will probably survive the next Kaiser as well.
Massive. Water resistant. Carabiner attached.
The stock cable is around 1.27 metres long, four-core braided and ends in a normal 3.5 mm plug. Massdrop also offered optional 2.5 mm balanced and Lightning cables among others.
The cable itself is one of those areas where I can really notice the age of the package.
It works, it is flexible and it is replaceable. I treated myself to a red NICEHCK RedAg 4N Pure Silver 4.4 mm cable. Purely because of the looks I simply could not resist. Unfortunately it is no longer available from NiceHCK, so for that reason alone it fits the Kaiser pretty well too.
The shells are still beautiful.
The Massdrop version is made completely from precision-machined and anodized aluminium. Unlike the normal K10U version it received matte black shells and red faceplates with the Noble crown. Technically and sound-wise the tuning of the original Kaiser 10 remained unchanged.
The shell is pretty thick though and visibly sticks out from many ears. The nozzle is also on the larger side and is roughly in the T500 class. That can definitely matter for smaller ears or ear canals.
The build quality is still excellent today.
A massive aluminium shell that still feels like a real premium IEM even after all these years.
Noble, hats off, I think this IEM might even survive me.
Sound
The Kaiser 10 sounds full, dense and musical, with powerful BA bass, very present mids and energetic treble that for me never becomes unpleasantly sharp.
Its character is less about maximum subbass depth or modern air extension and more about body, vocals and this very coherent old-school multi-BA tuning.
Bass
The bass is fast, controlled and surprisingly full-bodied for a pure BA IEM, but in the subbass it does not reach the physical depth and pressure of modern good dynamic driver systems.
Here we take “Limit to Your Love” by James Blake.
At around 0:55 those extremely deep bass impulses arrive.
The individual bass hits are separated very cleanly, the attack comes quickly and the bass remains controlled.
James Blake’s voice and the piano stay clearly above it and are not covered by a thick carpet of low end.
Right at the bottom that final physical pressure is missing.
The Kaiser compensates for this with contour and texture.
Basslines are very easy to follow and midbass hits in particular sound nicely dry and defined.
Mids and vocals
The mids are the heart of the Kaiser 10. They sound dense, slightly forward and have a lot of body, giving vocals an emotional and almost tangible presence.
Here we take “Someone Like You” by Adele.
At around 0:13 her voice once again comes in alone over the piano.
The Kaiser puts her big and full-bodied right in the centre.
Her voice has substance.
The lower parts remain intact and at the same time the upper mids make articulation and small changes in her voice easy to follow.
When Adele reaches the first big chorus at around 1:15, exactly this character becomes even clearer.
Her voice becomes stronger and gets more energy.
Certain upper vocal parts have a very slight metallic shine, if you are used to modern good BA or hybrid systems you can notice it. But it really is only a hint, not like with……ah…already talked about that one.
Presence
The presence is clearly there, vocals and guitars have clean contours, without the entire range being pushed forward all the time.
“Enter Sandman” by Metallica:
At around 0:55 the intro finally turns into this massive wall of guitars.
The Kaiser 10 presents the guitars beautifully dense.
The individual attacks have bite and the snare cuts through clearly, at the same time the full mids give the whole thing plenty of body.
It sounds big and compact.
The guitars have substance and the snare has attack.
The upper mids give the whole thing enough energy so Metallica does not suddenly sound like elevator music.
Treble
The treble has clear energy and shine, but sounds surprisingly controlled to me and never becomes permanently sharp. Right at the top it lacks a little air and free extension compared with modern EST or micro planar systems.
Here we take “Colors” by Beck again.
From around 0:10 hi-hats, percussion and small electronic effects are already running through the upper range at the same time.
The Kaiser 10 presents these elements clearly.
The hi-hats have shine and short electronic impulses remain easy to follow.
The Kaiser sounds compact, but also very coherent.
Soundstage and technical abilities
The stage is nicely sized, but by today’s standards not exceptionally wide or deep. Imaging, separation and the coherence of the ten BAs however still work surprisingly well today.
Here we take “Bubbles” by Yosi Horikawa.
The small sounds appearing at completely different positions are placed cleanly by the K10 and even small movements are easy to follow.
The stage remains a little more compact though and especially in depth there are IEMs today that layer much further.
Conclusion
The Noble Kaiser 10 is a piece of IEM history.
In 2014 a ten-BA flagship with this tuning, this build quality and this coherence was something special and even today this thing is still great.
The bass has body, control and good texture, even if modern dynamic drivers can do significantly more in the deepest subbass.
The mids are dense, emotional and still belong to its biggest strengths for me.
The treble has energy and shine, without constantly shouting at me.
The stage is no longer what I would call absolute top class today and a lot has happened over the years when it comes to air, depth layering and microdetail.
But that is not really what the Kaiser 10 is about for me anymore.
I take it out of the Pelican Case, see those red faceplates, put it in my ears and immediately know again why it is the Kaiser.
The design. The build quality. The dense vocals.
That controlled BA bass.
Simply this character.
There are IEMs that are technically better, there are IEMs with deeper bass, bigger stage, more air and more details.
But there is only one Kaiser 10!!!
With that said:
You do not have to rule anymore to remain the Kaiser. 😊
Thanks for reading,
Yours,
Faxe.
Moondrop announced its first wireless gaming headset, the Moondrop Gaming Maestro 01 Pro (GM-01 Pro), during the 20th Shenzhen International Audio Show (SIAS 2026). Its main highlights include support for 10-band parametric equalization (PEQ), breathable fabric ear pads, and 2.4 GHz and Bluetooth connectivity. Check out all the details below.
TL;DR
The pure is an excellent iem. Period. It’s one of the best sounding iems I have tried irrespective of price, I think most people who are just chasing sound quality should stop here, the pure does so little wrong sonically it’s frankly absurd it costs so little.
Context
I bought this iem with my own money, I generally prefer iems that are non sibilant with relaxed upper treble and upper mids and raised lower mids that add body to the sound (kinda the opposite of harman ie 2019).
Design, Build, & Comfort
The Sound
The Truthear Pure has a 1 DD + 3 BA driver config, tuned to be a warmer (and arguably more neutral) take on the beloved truthear hexa by listener from headphone show.
Comparisons
Compared to some other popular iems regarded as neutral by the community:
Compared to some popular budget coloured iems:
Conclusion
The pure is lowkey where most people who care about sound quality should stop at imo. We finally get a well done “neutral” set under $100. Excellent bass response, glorious mid range and solid treble. If you could just eq down the resonance peak after a sine sweep, adjust the bloom and pinna gain to your liking this is pretty much as good as iems get irrespective of price. For $90 + $10 for a 5 band parametric eq dac you have achieved endgame iem.
​
Intro:
The Tanchjim Space II is one of those almost overly unassuming DACs... not because it isn't pretty. It is.
But because of what it isn't. It's not some huge, flashy DAC that you'd see sitting on the desk of one of those half head shaved A holes... (audiophile as…) you get the point. It's not big. It's not bulky. But with 225mW of power at 32Ω, it absolutely gets the job done. And that's what I love about it. It's small enough to fit in your pocket, it's made out of metal, it feels incredibly solid, and honestly... It's become a daily driver for me.
Not because I hate the Fosi MD3. I actually really like the MD3. It's because the Space II is everything the MD3 isn't. It's Small. Portable. Easy to carry. And it has basically everything I actually need in a dongle DAC. Oh... and did I mention the app? Because the app is amazing. But more on all of that later… Because it's EPIC STORY TIME!
Epic Story:
So I remember the first time I noticed the sky… And no, I don't mean NOTICED THE SKY… I mean the first time I really took the time to look up. To actually look at the stars. To notice how everything looked. And I remember just looking up and uttering… "Wow..." It was 1993. I was 5... almost 6. My grandmother's husband of the year took me to a lake in Boston. We went out to this small island that day for a little fair they were having. And I won a pie eating contest. It was segregated by age, obviously. And the results? Well... honestly, that depends on who you believe. I remember eating at least 15 whole cherry pies directly to my face. My grandmother would have told you a completely different story. She'd say it was one large piece or something like that! But let's be real… I like my story way better. Anyway, rowing back to the trailer, night fell. There was a summer sun shower just as the stars began to peek into the night sky. And it was absolutely stunning. I'll never forget that day. The pie was amazing. And I ate at least 20 full pies that day! George got in trouble because I ruined all of my clothes with pie stains. But somewhere between the lake, the rain, the stars, and a ridiculous amount of cherry pie… I saw the sky for the first time. After that day, I would always look at the sky, I studied space like I was going to be an astronaut one day! Hell I even went to space camp once….. but that passion never died, which leads me to the Tanchjim Space 2…
DISCLAIMER:
Tanchjim sent me this unit for review purposes! All opinions expressed are my own. No money was exchanged to influence my opinion or the outcome of this review.
TECH STUFF:
DAC Chips:
Dual CS43131
Outputs:
3.5mm Single-Ended
4.4mm Balanced
Power Output:
225mW @ 32Ω
PCM:
Up to 32-bit / 384kHz
DSD:
Native DSD256
DNR:
132dB
SINAD:
110dB
Dimensions:
4.2 × 2.1 × 1.2 cm
Weight:
15.1g
Power Consumption:
Approximately 0.4W
Volume Memory:
Yes
Microphone Input:
3.5mm
DSP:
Full DSP and Game Audio Suite
PEQ:
10-band Parametric EQ
App:
Tanchjim App
Gain:
Low Gain / High Gain
DAC Modes:
Class AB / Class H
Connectivity:
USB-C
Price:
Approximately $79.99 at launch
WHAT'S IN THE BOX?
Alright... let's keep this one simple.
The Space II doesn't come with a giant pile of accessories, but honestly, I don't think it needs one.
Inside the box you get:
• USB-C to USB-C cable
• USB-A adapter
• Warranty card
• QC card
• Instruction manual
And that's it.
No giant collection of cables you're probably never going to use. No random accessories thrown into the box just to make it look fuller. It's a pretty straightforward package that gets you from opening the box to listening to music without much fuss. And honestly… That's exactly what I want from something designed to live in my pocket.
You can actually watch the unboxing here:
https://youtu.be/RWK73R8Z0ks?is=uzjc16AyLymtGw8L
FIRST IMPRESSIONS
Let me start off by saying this thing is tiny, it's the kind of small you can lose it in your pocket! It's all metal, with a small window where you can see all the cool little bits and bobs in it, the buttons are few, basically just a volume clicker, which all works well enough.
My only problem that I ran into is the ports. Those tiny little bastards had rigor mortis the first time I tried them. I literally had to shove the 4.4mm termination into that damn port so hard that I was sure I was going to break it. I didn't, and now after a couple weeks I can tell you... it's smooth and perfect!
THE APP
Now let's talk about the app, because honestly... this is where the Space II really starts to separate itself from a lot of the other dongle DACs I've used. The Tanchjim app is actually useful, which shouldn't be as surprising as it is, but I've used enough DAC apps to know that's not always the case. It connected quickly, stayed connected, and I didn't have to fight with it every time I wanted to change something.
You've got your standard controls like volume and gain, but then things get really interesting. There are different modes and presets that actually change the presentation, including a tube amp style preset, a vinyl style preset that adds some character and distortion, and even a CD player preset. That one honestly gave me a little nostalgia hit I wasn't expecting.
But the feature that matters most to me is the 10-band system-wide PEQ. This isn't one of those features that exists on the spec sheet just so the company can say it has PEQ. You can actually use it, and it makes an audible difference across your listening. You can build your own tuning or use existing profiles, and that makes the Space II much more versatile than a basic dongle DAC.
There are also options for channel balance, DAC modes, filters, microphone gain, DRE optimization, and game audio features. I haven't found myself using every single one of them, but the important thing is that they're there and they actually work.
The biggest downside is also pretty damn simple... iOS users are left out. The Space II's app functionality isn't available on iOS, which is a legitimate limitation if you're deep in the Apple ecosystem. For Android users, though, my experience has been excellent, and even my Google Pixel played nicely with it.
For me, the app is probably the biggest reason the Space II doesn't feel like just another tiny DAC. It's a little pocket-sized source with an entire toolbox of ways to change how you listen.
REVIEW
After actually living with the Space II for a couple of weeks, I think the biggest compliment I can give it is that I stopped thinking about it. And I mean that in the best possible way. It just became part of my setup.
I didn't have to think about whether I wanted to grab it. I didn't have to think about whether it was going to work. I just plugged it in and listened.
And that's honestly what I want from a portable DAC.
The Space II doesn't feel like something I have to build my listening experience around. It just gets out of the way and lets me listen to my music.
I've used it with different IEMs and different sources, and I've found it incredibly easy to live with. The combination of its size, power, features, and the flexibility of the software makes it one of those pieces of gear that I can see myself continuing to reach for long after the review is finished.
MY SCORE
Unboxing: 8.9/10
Quality: 9.5/10
App: 10/10
Giftability: 9.5/10
MY WIFE'S Review
So I went back and forth between the dac that I have and the space2. I for some reason the dac that I have seems to almost like, make the headphones quieter and even though the dac that I have now you can really dial in the volume. It never gets as rich as when I would plug in the space 2 dac and I didn't realize that a dac could have so much effect on the quality of the sound. But I'm a little bit jealous that you're keeping it for yourself. Just going to say that out loud right there because I want it also. I like cuz so I'm a girl and I like the fact that it has a little window where you could see the little bits inside and I thought it was really cute. I also like the fact that it's not bulky. It doesn't need a magnet to stick to your phone. It feels way more portable than the dac that I have now. I like that it's compact. I like that it has both a 3.5 and a 4.4 mm even though the 4.4 mm stuck for a second and we got it in after like kind of forcing it. But I do like that it has both options in such a small package
Unboxing: 10/10
Quality: 10/10
App: 10/10
Giftability: 10/10
Her reasoning is pretty simple...
She wants one. Or two just in case one breaks!
Closing:
Honestly out of all the DACs I've ever used this one is it, it's probably my DAC endgame…. And I hate that for me because let's be real finding new gear is the best part of this hobby!
Hell it's honestly something I'm using for every iem review since I got it!
And that's probably the biggest surprise for me. I started this review wanting to find reasons not to like it. Instead, I ended up wondering whether I actually need my DAP with me anymore.
That's a pretty damn good problem for a $79.99 dongle DAC to give me.
Question of the Day
If you could only keep one, would you take a dedicated DAP or a tiny dongle DAC like the Space II? And why?
Electro Audio World's Take:
I remember back in the early 90s, when I was in high school, almost all the wired earphones I listened to were like this. The SIVGA M260 is like a classic for those who want to go back to those old days with a retro design and an unusual product.
While most products in this price range are traditional closed back earphones, the M260 is completely different with its traditional flat earphone design and large 14.2mm dynamic driver. This distinction is important because the M260 is not like a traditional one. Its semi open architecture provides a more comfortable fit in the ear, less isolation, and a significantly more open presentation.
The 14.2mm driver uses a copper ring reinforced composite biocellulose diaphragm, a CCAW voice coil, and an N50 neodymium magnet. This combination has managed to provide the M260 with a surprisingly capable technical foundation for such an affordable headphone.
SIVGA's M260 has a balanced, slightly warm, and naturally airy character that makes music enjoyable.
Design, Comfort, and Build Quality
The M260 boasts a compact metal body with a distinctly retro look. Its construction feels far more robust than its price suggests, and the small body remains extremely comfortable during long listening sessions.
Its flat head design means the M260 sits on the outer ear rather than closing the ear canal. As a result, isolation is minimal, but comfort and openness are excellent. This is one of those headphones I can easily imagine wearing for hours without feeling the pressure some closed ear headphones create. I'm back in the old days :)
The detachable MMCX cable is also a nice feature. While the 3.5mm version is particularly simple, SIVGA also offers a USB C version with an integrated DAC and microphone.
Overall Sound Signature:
The M260 has a smooth, balanced, and slightly warm tonal character. It's not a headphone for bass lovers, and it's certainly not aggressively analytical either. Its greatest strength is the consistency between the mid and upper frequencies. Vocals have excellent intelligibility, instruments maintain a convincing tone, and its open design provides an unusually wide presentation for this price range.
The M260 sounds particularly good in acoustic music, jazz, vocal recordings, classic rock, and live performances. It also works surprisingly well in games, as its open design provides a natural sense of distance.
Bass
The bass is controlled rather than excessive. The 14.2mm driver provides a respectable low frequency extension, but the open design naturally limits physical sub bass pressure compared to a closed earphone.
The mid bass is significantly stronger than the deepest sub bass. Kick drums have a clean beat, and bass guitars are easily followed without creating excessive heat.
This is a bass presentation designed around balance rather than impact. If your priority is tremendous sub bass noise, the M260 will not be the right choice. However, if you want bass that supports the music without dominating it, it is quite satisfying.
Midrange
The mid frequencies are the M260's strongest point.
Vocals are positioned naturally within the presentation, avoiding the thinness sometimes seen in cheap headphones. Male vocals have sufficient fullness, while female vocals maintain clarity and presence without becoming overly bright.
Acoustic guitars, piano, and strings also benefit from the M260's natural tonal balance. There is a pleasant sense of openness around the instruments, allowing individual elements to breathe rather than being squeezed into a narrow central image.
This is where the M260 shows its true audiophile appeal. It doesn't need excessive treble or bass emphasis to produce interesting sound.
Treble
The treble sounds are smooth, clean, and have a wide enough range to maintain clarity. It didn't bother me during listening.
The M260 doesn't have the aggressive high frequency presentation of some modern affordable earphone’s. Cymbals and percussion have enough energy to remain audible while avoiding excessive sharpness.
This makes the M260 particularly suitable for extended listening. Detail capture is good for its price, but presentation is based on naturalness rather than extracting the finest micro detail from a recording.
Soundstage and Technical Performance
The M260's open design provides a significant advantage over many closed IEMs. The soundstage feels naturally wide, and the closed feel associated with traditional IEM’s is significantly less.
Depth is also respectable, and imaging is stable enough to convincingly place instruments within the presentation. The result is particularly enjoyable with live recordings, jazz ensembles, and orchestral music. However, it's important not to confuse openness with ultimate technical resolution. Closed earphones like the TRN Shell can provide stronger separation and more micro detail. The M260, however, stands out with its consistency, natural range, and effortless presentation.
1- Hidizs AP80 Pro Max & M260 Synergy
The AP80 Pro Max brings out the clean and clear side of the M260. The dual ES9219C DAC architecture provides ample control for the 16 ohm M260, while the compact DAP makes an excellent portable partner.
The bass becomes slightly tighter and more pronounced with the ESS DAC chip, while the mid frequencies gain a little more separation. Vocals remain the central attraction, gaining added clarity while preserving the M260's natural tone.
This combination works particularly well for acoustic recordings, jazz, and vocal music. The AP80 Pro Max doesn't fundamentally change the character of the M260. Instead, it provides the headset with a cleaner foundation and makes its wide presentation more prominent.
2-TempoTec V3 Blaze & M260 Synergy
The V3 Blaze gives the M260 a slightly more energetic presentation. The dual AK4493SEQ architecture provides plenty of resolution and dynamic capability for this extremely easy to drive headset.
With the V3 Blaze, the M260's bass becomes more controlled, while percussion gains a bit better definition. But the biggest improvement is seen in the overall sense of organization. Complex recordings feel less cramped, and the open soundstage becomes particularly enjoyable. This pairing demonstrates something important about the M260: despite its modest price, it scales well enough with a quality DAP to make source selection meaningful.
Package Contents:
The package includes M260 headphones, a detachable cable, a carrying case, spare foam ear caps, and documentation. The USB C version also includes a DAC and microphone in the cable.
Pros
Excellent comfort for extended listening
Natural and expressive mid frequencies
Clear and expansive presentation
Smooth and fatigue free highs
Controlled and clear bass
Excellent build quality
Detachable MMCX cable
High value for money
Cons
Limited passive isolation
Sub bass cannot compete with closed loop IEMs.
Technical resolution is below that of more advanced hybrid IEMs.
Flat headband may not be suitable for everyone.
Conclusion:
In my opinion, the SIVGA M260 is a refreshing example reminding us that good sound doesn't always require a complex driver configuration or an aggressively tuned frequency response.
Its 14.2mm dynamic driver, comfortable semi open design, and natural tonal balance create a very mature experience for its price. The M260's effortless, open, and almost speaker like presentation makes long listening sessions truly enjoyable. For listeners who value natural vocals, spaciousness, comfort, and musical harmony rather than maximum technical aggressiveness, the M260 is one of the most interesting affordable headphones I've heard.
Moondrop announced yesterday (August 14), during the 20th Shenzhen International Audio Show (SIAS 2026), the launch of its first electrostatic headphone, the Moondrop MOONZERO. Featuring a driver developed in-house by the company, the MOONZERO arrives at a price similar to that of the SR-X1, the entry-level model from Japanese manufacturer Stax. Check out all the details below.
I received this Muse Hifi M3 Ultra at the same time as the Aful Iceborne and that is why I am reviewing them one after the other. With the recent experience of the Iceborne I now find myself with this other dongle that I sincerely was especially eager to try with my IEMs and see what a dongle with these unusual characteristics can contribute, even more so within the 100 dollar range. I expected something that would differentiate itself from the rest of the dongles tested so far and luckily for me that has been the case. The sound, without going into details but as an introduction, improves in terms of warmth and organicity and softens annoying peaks in certain models making them more enjoyable here, so it will be one more dongle in my collection that will help me get more out of IEMs that without EQ needed something to tame them.
DAC: ES9028Q2M
Amplification: ES9603Q + dual JAN6418
USB: SA9137L
Support: PCM 32 bit / 384 kHz and native DSD256
Outputs: 3.5 mm and 4.4 mm balanced
Power: 460 mW (3.5 mm) / 480 mW (4.4 mm) at 32 Ω
THD+N: 0.0004 % (3.5 mm) / 0.0003 % (4.4 mm)
SNR: 120 dB / 121 dB
Weight: approx. 55 g
Dimensions: 65 × 46.5 × 16 mm
As I could expect, the presentation once you open the box, which by the way opens by sliding to the side and not upwards, includes just the essentials, the DAC and the corresponding cable besides the basic manual. You can always hope that some brand includes a protective case as standard which is usually sold separately, although in this model I have no knowledge that one exists yet.
It is something that time may confirm but it would be welcome to a certain extent to protect the 2 tubes that come uncovered and that you can touch but that make you think that after an accidental drop they could break. I cross my fingers that it does not fall and much less that they break. The two tubes are JAN6418. I am no expert on this but it is clear that together with the rest of the circuitry they do a different job from a conventional dongle of the ones we all have, but I will talk about that below. The body is aluminum although at first before receiving the product it gave me a feeling like cheap plastic and not at all, it is hard and resistant and with only a weight of 55 grams. It is a bit more voluminous than other dongles, that also has to be said, but it can fit in the pocket the same as the rest.
I have had them on long walks and in the end I did not feel that I was carrying an uncomfortable brick in my pants even though it was connected to the smartphone where I use Apple Music. Apart from that, far from heating up after more than an hour and a half that I walked, it felt quite lukewarm to the touch so it seems that it manages heat quite well, despite the sensation that the tubes give when they light up with an orange color on the side that transmits heat visually, that is not something that really happens.
I had the idea that this DAC was not going to be something neutral or anything similar to others of my current models like the Questyle M15i, NiceHCK Octave or the more recent Tanchjim Space II. This M3 Ultra adds an extra layer of body or density to the music, which is especially noticeable in the lower midrange and in most vocals. This gives a somewhat more organic and colored sound, something that by the way I wanted to move away from since I got into seeking total neutrality some time ago but I think it is necessary to have models like this and others that seek to contribute something different to the tracks you already know and to others still to discover.
Bass
I have not felt that the bass increases as such when using this M3 Ultra but rather the body of that bass or the density. More than in the subbass I would say it happens more in the midbass with that extra body that fills that zone a bit more without bothering. I may have noticed the definition a bit more distorted than with some of my other DACs, but as I say, not to the level of dirtying the sound but of giving it a more organic or realistic touch and not so perfect. In any case, the transition from bass to mids still feels smooth.
Mids
I think that pair of tubes has quite a bit to say in this range. I have noticed it especially in the vocals with a more striking presence in tracks that I already had more than listened to and where I could notice the difference more easily. To fine tune a bit more I would say that the lower mids are denser than the upper mids which sound much softer helping in this way that tracks that were brighter in this range sound better to my taste and tolerate higher volume better. I think this DAC prioritizes sounding musical, sacrificing slightly a bit of the resolution that the Questyle M15i has me used to, which I consider without a doubt my best dongle of all the ones I have. But not everything is resolution and what one gives me the other does not and they can complement each other quite well.
Treble
I have not felt that the M3 Ultra emphasizes the treble or worsens the extension of the same. As I commented with my usual tracks that I already know I still feel that extension and distant and subtle detail, but yes a bit more controlled without getting to sound dark or muted which was also my concern when I was using it the first minutes and felt that it did not have the energy that it had in my other models. It would be in an intermediate point between very energetic and dark allowing prolonged listening and that will surely benefit many IEMs that perhaps lacked a bit more control in treble with their stock EQ.
I decided to try this M3 Ultra with 3 of my IEMs that I know well how they sound and where they overdo or where they lack to see how they behaved here. Starting with the Mysticraft Myth, I immediately noticed that extra body in the bass without them increasing but yes improving their density the same as the vocals that now sounded more present. The stage of the Myth is already excellent in itself and according to its price but with this DAC the enveloping sensation improved especially in some tracks curiously from older recordings although possibly remastered like the song Stand! by Jackson 5 that jumped in my library when I activated shuffle mode and impressed me how it sounded here with this specific combination of IEM and DAC.
Another model that I wanted to try and that already has a very special treatment in mids and in the vocals are the Ziigaat Arcanis, which also on certain occasions have sounded a bit bright in the treble of some musical tracks, and the M3 Ultra has fixed them completely if I compare them with the FiiO KA15 where they became a bit annoying at times. Now the treble was smoothed as happens in general with all the IEMs I have connected here, but above all the body and organicity that the vocals acquired took the Arcanis to a new level that I think improved the overall experience of this specific model, with which I think it has been the most benefited of the 3 IEMs that I tried.
Lastly and exclusively with the M3 Ultra connected to the mini PC at home, I tried the Binary 1900, which is a fairly balanced IEM in general without standing out in specific frequencies although also prioritizing musicality before excessive detail. The M3 Ultra once again added to the 1900 an extra layer of warmth to the sound in general but without unbalancing its original tuning that is already very well tuned in itself. The vocals as in the Arcanis also gained a bit more organicity and presence although not as much as in those.
Speaking a bit above about how I have felt the soundstage, separation and imaging in this M3 Ultra, the width is more than I expected and the depth not as much as I have noticed in the M15i but in the end this is contributed more by the IEM itself that you connect than by the DAC itself, which does not take away that in a certain way it can be enhanced for better or for worse and here it does not worsen at all. It is possible that the tubes help in their way so that the instruments have a bit more space around them, it is something that can be felt in specific songs if you stop to listen after trying other dongles and then come to these. But the holographic sensation I would dare to say that it improves in general IEMs where they felt a bit flatter in width and depth.
Of course, I had to try more complex tracks, in quantity of instruments, speed, etc, to check that indeed some layers of instruments get a bit closer between them when the melody gets complicated, something that my desktop DAC the FiiO K9 manages wonderfully and here being a dongle even with these unique characteristics manages with a bit more complication making the music a bit flatter in those specific moments that I comment.
I was able to use it for a while from the smartphone itself watching a movie and the localization of the sounds the same as with music remained quite coherent without disorienting me about where the sounds around me were coming from, although it is clear that the focus of the M3 Ultra is clearly on music but it does not clash at all if you want to use it in other areas.
I will compare it directly with the Aful Iceborne for having it very recently and being a model of similar price and launched practically at the same time or of that I have knowledge. Starting from the fact that the Iceborne gives the sensation of an elongated brick that simulates a black ice block, it is still smaller and a bit thinner still than the M3 Ultra. Perhaps in the photo that I have included where both are seen face to face it is not appreciated but I have checked it myself and it wins in all measurements being more compact. Where does it not win against the M3 Ultra? Well surely in construction material since a resin DAC although it can surely resist hits and falls does not give you the same peace of mind as one of aluminum although as I commented, the tubes of the M3 Ultra are uncovered no matter how surrounded by aluminum they are so time will tell how each one resists not only to hits but to involuntary scrapes and scratches on pants, tables, etc.
I have not felt that either of the 2 heats up especially after use for hours although perhaps the M3 Ultra manages heat better, whether due to its internal construction or that of the aluminum case itself. Regarding how they modify the sound of the IEMs it could be summarized in that the Iceborne gets closer to that neutrality that I had been pursuing for some time in the dongles that I wanted to have without coloring or modifying the songs too much as I know them, while the M3 Ultra does add whether for good or not so good a layer of warmth and body to the music that why not say it, is something that can be appealing or there are those who may prefer it in general for their day to day with greater control of treble that the Iceborne shows closer to how they are originally.
It should also be noted that in terms of power the M3 Ultra has 480 mW unlike the Iceborne that stays at 300 mW so you are going to have less margin to amplify more demanding headphones on the Iceborne, apart from that the Iceborne does not have multimedia buttons like the M3 Ultra but neither does it have physical volume control which the M3 Ultra does.
I do not consider that I should put one ahead of the other since neither of the two seem bad dongle DACs to me. Perhaps for what each one contributes the Iceborne should cost a bit less than what it costs, due to construction material, technology and simplicity at the level of possibilities for that total lack of buttons.
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)
To conclude I must say that the Muse Hifi M3 Ultra is a more or less economical way, that each one will value but yes a quite accessible way to get closer to tube sound in portable format, which I recommend without a doubt and at the moment I write this review they are at a price of 109.99$ but this same August 17 some Back to school campaign discounts are coming where the model will drop 12% staying at 96.79$ a price that sincerely is much more attractive and even more if you can combine it with some extra coupon or extra discount, so stay tuned to these discounts if you are interested in the model and want to get it at an even more competitive price.
Purchase Link: https://hifigo.com/products/muse-hifi-m3-ultra
Disclaimer:
This unit was sent by HiFiGo for review.
My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.
Intro
One of the hardest parts of being a reviewer is staying subjective. You get different IEMs, all in different price brackets, and you test them. Hell, you test them on a level that most casual listeners will never achieve, even if this is their daily set. You get to know them on such an intimate level they become almost like a girlfriend that you put inside your...... ears...... but here's the truth: every set you use at every price bracket, at least the ones I've tested, has pros and cons.
And usually, the cheaper the set, the more cons there are. So at $54.99 USD for the 3.5mm/4.4mm set and $59.99 USD for the 3.5mm/USB-C dongle version, I was expecting to find some pretty glaring cons with relatively few pros.
So let's delve into it. Let's see what I found, and how all of those pieces work together to make up this set.
Is it a dream? Or was JUZEAR's head in the clouds when they made the Nimbus?
Disclosure
HiFiGo sent me this set for review purposes. No money was exchanged to sway my views.
I'm sure some people would say that because it was sent to me, all subjectivity is gone. I mostly disagree with that standpoint. Honestly, there may be some sway, but I'm going to do my best to remain objective and remember not only is this set different from the others I've tested, but also that it's a sub-$60 USD IEM.
Epic Story Time
When I was younger, I lived in the country. There wasn't a whole lot of kids around, and my family and I lived on an old ranch. I worked and spent all my free time outside, except on Sundays, when I went fishing.
Granny caught me once, and I can tell you the ass-whooping I got. Well, let's just say I will never again fish on Sunday.
I spent so much time outside by myself that, honestly, I got real familiar with that pond. I knew exactly what fish were biting at exactly what time of day. Hell, I could thread my line through a hollow from 20 yards away!
There was a stump I used to use as a makeshift pole vault, and I almost got bit by a cottonmouth one day. I can say I'll never do that again!
I never felt lonely because I had my music, my headphones, my pole, and my cat.
That's right. I had a fishing cat.
He went to the pond with me every day. He would sit there and watch me. He hated fish but loved hanging out with me. I miss that cat every day. His name was Kujo.
One thing you'll learn when you fish every day is that there's a lot of downtime. Like, a lot.
Sometimes you sit in your chair for five or six hours without a single nibble, so I'd sit and stare at the sky. Watch the clouds as they passed. Some would even say I had my head in them, there clouds.
Hell, I spent so much time staring at the sky that a few years ago I had my eyes checked, and the eye doctor asked me if I used to just stare at the sun.
I replied, "Kinda."
Anyways, thanks for taking some time out of your day to read my nostalgic walk down memory lane!
Now, onto the actual review. But before that, let's take a look at the tech stuff. You know, if I don't add it, someone's gonna be like, "But what's under the hood?!"
Tech Specs
10mm single dynamic driver
MACCD multilayer amorphous carbon composite diaphragm
TPEE flexible suspension
Large "Big Black" voice coil
N52 neodymium magnet
32Ω impedance
108dB ±1dB SPL/mW sensitivity
20Hz...20kHz frequency response
≤0.8% harmonic distortion
26dB noise reduction
9.2g per earpiece
0.78mm 2-pin connectors
4-strand single-crystal copper, silver-plated cable
CNC precision-engraved zinc-alloy construction
Laser colorful glass faceplate
Three interchangeable tuning nozzles
3.5mm + 4.4mm interchangeable plug system
USB-C Version Only
CX31993 DAC
32-bit/384kHz
124dB SNR
Distortion as low as -108dB
What's in the Box
JUZEAR Nimbus IEMs
3 pairs of interchangeable tuning nozzles
White
Red
Black
9 pairs of ear tips
PU leather spring-protection storage bag
High-purity single-crystal copper, silver-plated cable
Interchangeable 3.5mm + 4.4mm plug system or
3.5mm microphone cable + USB-C DAC dongle, depending on the version
Tuning Nozzle Test
JUZEAR says that each nozzle does a different thing. Here's what they say!
White nozzle... pre-installed
Balanced
Gentle
Smooth
Solid bass
Natural vocals
Transparent treble
Intended as the core/all-around tuning
Suitable for most music
Red nozzle
Increases the energy in the high and ultra-high frequencies
Makes the presentation brighter, more transparent, and airier
JUZEAR specifically recommends it for strings, female vocals, instrumental music, and ACG where stronger high-frequency presence is desirable
Black nozzle
Reduces the energy in the high and ultra-high frequencies
Makes the bass stronger
Creates a richer, more atmospheric presentation
JUZEAR recommends it for pop, electronic, DJ, and rap where rhythm and impact are important
Okay, so now that I've written all of that out, I can now tell you what the plans are for the nozzles and how imma run my test!
For this first test I really wanted to focus on the tuning nozzles. JUZEAR gives you three different options, and since the default nozzle is the baseline tuning, that's where I wanted to start.
The White
Everything seems smoothed out with the white nozzle. Nothing is overly pronounced. It's a bit chill, a little refined, but honestly, nothing really stands out.
And I mean that in a good way.
It makes for a really pleasurable listening experience. Nothing is fighting for your attention, nothing is screaming "look at me!"... it just lets you sit back and enjoy the music.
The Red
It's interesting just how obvious the difference is between the red nozzles and the pre-installed white ones. I can tell you right now, these won't be my daily-driver nozzles for this set.
Honestly, they make the Nimbus way too bright and shiny for my taste. But for you? They may be absolutely perfect.
So when you get this set, make sure you test them! That's the beauty of having three different tuning options... you can find the one that works best for your ears and your music.
The Black
The black nozzle is perfect for me. It adds in a ton of warmth, smooths out the treble, and honestly, these are my EDC.
This is the nozzle where everything just clicks for me. It's warm, relaxed, and easy to listen to, without feeling like it's missing anything. Out of the three, this is the one I'd be reaching for every day.
Okay, so we got our nozzles picked... what's next?
The Review
Accessories
I really want to spend some time talking about the accessories because the unboxing is absolutely fun.
You can watch the unboxing here!
https://youtu.be/A611QMms2Mw?is=tNTYu4QDNG75qyXS
It's easily in my top 10 sets I've opened, honestly probably top 3, right behind BASN (review coming soon) and Erand Resonance 5.
I got the 3.5mm version with the USB-C dongle DAC because, honestly, I wanted to test their DAC and the included microphone.
And honestly? The DAC is great for what it is. It's a dongle DAC built around the CX31993, supporting up to 32-bit/384kHz audio, with a claimed 124dB signal-to-noise ratio and distortion as low as -108dB. For something included with a sub-$60 IEM, that's pretty damn impressive.
The ear tips are actually great, too. I always use whatever ear tips come in the box at first before switching to my preferred tips for the set, and these are definitely good enough that I wouldn't feel the need to immediately replace them.
Then there's the cable.
This thing is absolutely thick and tightly wound. Like, seriously, it's tight. But despite that, it's not heavy, and out of all the cables I've used, this is easily one of the least microphonic.
All in all, when I'm rating the accessories alone, I'm giving the Nimbus a 10/10.
Hear me out... I know exactly what you're thinking right now! Cool, the accessories are good... how's it sound?!
Sound
Honestly, the sound is just okay.
Is it better than the Chu 2? Yes.
Is it better than the GeekWold S12 Ultra? No.
But here's where I think the Nimbus gets interesting... is it a great gift? Is it worth picking this set up for the accessories and the sound? Or, more importantly, would this make a great first set?
Fuck yeah.
Would I have been hyped if this was my first set?
Also yes.
And I think that's where the Nimbus really starts to make sense. You're getting a genuinely versatile set, three different tuning options, an excellent accessory package, and, depending on which version you buy, a pretty damn useful little USB-C DAC and microphone.
It's not going to beat every IEM I've tested. It doesn't need to.
What it does need to do is give someone who's getting into this hobby a reason to be excited about their first real set of IEMs.
And I think it does that.
So, let's deep dive into the sound and figure out exactly what you're getting for that $54.99...$59.99 price tag.
The Test
Although prior to this test I lived with them for about 40 hours, testing hundreds of songs, ASMR, and audiobooks, I'll be speaking specifically about these five tracks. Each one is designed to test a different part of the IEM's performance.
I will also only be using the Tanchjim Space 2, which will allow me to have a controlled baseline for my test.
The songs are:
Massive Attack... "Angel"
Fleetwood Mac... "Dreams"
Billie Eilish... "Bad Guy"
Tool... "Chocolate Chip Trip"
Daft Punk... "Giorgio by Moroder"
Massive Attack... "Angel"
Sub-bass: Deep but refined
Bass: Thick and gritty, with good texture
Bass bleed: Slightly bleeds into the mids
Overall: Adds a nice warmth to the presentation
The black nozzle definitely leans into the warmer side here, and you can hear that low-end character without it completely taking over the track.
Fleetwood Mac... "Dreams"
Vocals: Rich and resonant
Midrange: Even with the black nozzle, the mids remain warm and pleasant
Instrument separation: Honestly, it just isn't there. At all.
Upper mids: The warmth starts to muddy things up a bit
This is where that warmth starts to show its downside. Vocals sound great and the overall presentation is pleasant, but when the track gets busier, the instruments don't separate the way I'd like them to. There's a bit of congestion creeping into the upper mids.
Billie Eilish... "Bad Guy"
Midrange energy: Just okay
Vocal detail: Good, but it could be better, even compared to the similarly priced GeekWold GK12 Ultra... it's missing a lot
Upper treble: There are still some slight peaks, even with the black nozzle
Treble character: Those peaks can occasionally become almost piercing
Spatial separation: Almost nonexistent
The black nozzle definitely smooths things out, but it doesn't completely eliminate those upper-treble peaks. They're not constantly in your face, but when they show up, they can be almost piercing.
Also, spatially, things feel pretty cramped. There's almost no separation between elements, which makes the presentation feel more closed-in than I'd like.
Tool... "Chocolate Chip Trip"
This one is interesting because it's one of the first tracks where you can really hear the separation, imaging, and soundstage.
Imaging: Good
Soundstage: Maybe 1...2 inches off your head
Instrument placement: Conical
Layering: Surprisingly good, and honestly one of the major pluses of this set
Layering is actually best heard on this track. While the Nimbus doesn't give you a huge soundstage, it does a surprisingly good job of placing individual elements within that limited space.
It's not wide, but what space it does give you is being used pretty effectively.
Daft Punk... "Giorgio by Moroder"
The vocals are crystal clear and genuinely good. There's a point where you can actually hear the emotion enter Giorgio Moroder's throat, and the Nimbus captures that really well.
Vocals: Crystal clear with good emotional texture
Bass: Excellent
Treble: Good, without becoming overly intrusive on this track
Detail: Still a little muddy in places, especially when the mix gets busy
Percussion: The little click-click sounds are really nice
And honestly, the Nimbus handles this song better than it has any right to, especially considering everything else we've heard on this test list.
This is genuinely pleasant.
And because of that, I'm bumping this entire section from a 6.5 to a 7.
Sound Rating: 7/10
Closing Thoughts
So, is this a perfect set?
No.
Can you find better-sounding IEMs in this price range?
Yes.
Does the Nimbus give you way more than most other sets at this price?
Oh, hell yeah.
Would I recommend this set to a friend?
Honestly, probably not... unless he came to me saying, "Dude, I love your headphones. I want to try something that has a ton of extras."
That's where the Nimbus really shines.
Would I Replace Them If I Lost Them?
On sale? Yes.
If these went on sale, I'd probably replace them. The accessories alone make the Nimbus worth considering at the right price.
Full price? No.
The sound is mid at best for the money. There are better-sounding options available if sound quality is your only priority.
Who Is It For?
I think the Nimbus is primarily for the new guy getting into the hobby.
It's an approachable first set that gives you a ridiculous amount of stuff to play with, and the three tuning options give a new listener a chance to figure out what they actually like.
It's also a good choice for people who enjoy electronic music, pop, and other busy tracks, especially if you prefer a warmer presentation.
And apparently, I'm not the only one who thinks the tuning works.
My wife genuinely likes these and gives them a 9/10. The only set we have that she likes more is the Simgot EW300, which is very much her daily driver.
My son loved these so much that they're actually replacing his previous favorite, the PULA Audio Arc.
So if you asked him to rate the Nimbus?
I'm pretty sure he'd give it a 10/10.
And honestly, that's probably the most important thing about the Nimbus.
It's not the best-sounding IEM I've tested.
But for someone getting their first set, getting all of this for around $55...$60, having a bunch of accessories, multiple tuning options, and a DAC/microphone option?
That's a pretty damn good first step into the hobby.
Final Rating... 8/10
The sound alone would score lower, but the Nimbus isn't just about sound. The accessories, tuning options, DAC/microphone version, build, and overall package add a lot of value.
It won't be in my daily rotation, but it will be in my son's... and that's important.
It proves just how subjective this hobby really is.
QotD
What's one audio purchase you regret not making sooner?
Moondrop announced its new CHU 3, Silicon, and The Garden IEMs (In-Ear Monitors) today (August 14) during the 20th edition of the Shenzhen International Audio Show (SIAS 2026). Check out all the details revealed by the manufacturer, including the frequency response, driver configuration, and price of each model.
Loric is Kefine's cheapest IEM to date. It comes in at just $25, which is cheaper than Kefine’s popular Klean lineup that costs around $60.
In this review, I will be comparing it against the Klean SV and other budget IEMs to see where it stacks up.
Bass
Loric has a dominant bass response with a clear emphasis on the sub-bass. The mid-bass is not the main focus, but it still has enough presence to give drums a satisfying sense of body.
With this type of tuning, the bass feels well integrated to the midrange. This means, it doesn’t sound distinct or impactful, instead it adds more warmth into the overall tuning.
In terms of quality, the attack isn't particularly sharp or incisive, but it doesn’t sound sluggish in decay.
The bass hits with good physicality due to sheer quantity, while the texture remains respectable for the price. Overall not bad for the price, but not the best either.
Mid-range
The overall midrange tuning of the Loric is on the warmer side. The excessive bass boost injects some warmth into the lower mids, which makes male vocals come across as full bodied.
Female vocals are not the strongest aspect of the Loric, as they can come across as too warm at times. There is a good upper mids emphasis, which keeps them from sounding drowned out.
The warmth also affects string instruments, where you do not get that plucky character because the treble extension is quite limited.
Treble
This relaxed approach continues into the treble. Most of the energy is concentrated in the lower to mid treble region, after which it gently rolls off.
This limited extension is noticeable with cymbals, where the strikes feel incomplete, missing the last bit of shimmer and sparkle.
Due to the way the treble is tuned, the overall presentation leans towards a warm, cozy sound that is easy to listen to.
Subjective Performance
From a technical perspective, it performs about as expected for its price. The detail retrieval is decent, as the limited treble extension does affect the perception of detail.
The sense of resolution is also good for an IEM with a relaxed treble. As the bass is well controlled, it does not come across as muddy or soft sounding.
When it comes to soundstage and imaging, they are about average for the price.
One thing that surprised me is that despite the bassy, relaxed side, the instrument separation is very good for the price.
Accessories, Build & Comfort
Loric comes with 6 pairs of ear tips (in black and white colors), along with a nice carrying pouch. The pouch feels much better than most of the ones I have seen included with IEMs.
The cable is also very good. It's soft, easy to wrap and does not cause any microphonics. This is one of the best cables I have seen in this price range.
The cable comes with different terminations, ranging from 3.5 mm (with or without mic) to Type C with mic.
The build quality is impressive for the price too. The moment I unboxed it, I was quite surprised by how heavy it felt in the hand.
The shells feel solid and premium in the hand and I also like the way the faceplate is designed. It has a unique structure that is quite interesting to look at.
Comfort is also excellent. I did not face any pressure issues. It is on the smaller side and is properly vented, so I did not face any issues with long term comfort either.
This is a category where Kefine has always done well with its Klean series and the same approach continues with the Loric.
Comparisons
Klean SV
The main difference between Loric and Klean SV is in the treble and bass. The Klean SV has a lot of upper treble, which makes it sound more technical but can also come across as harsh or sibilant.
Loric completely avoids that pitfall and is much smoother, although it also sounds less technical because of it.
The overall tuning of the Klean SV is also a bit leaner compared to the Loric, which has lots of bass. Loric sounds much fuller and noticeably bassier in comparison.
Klean SV is still the better IEM, as it's a step above Loric in terms of subjective qualities. It also comes with much nicer accessories and a metal build.
Twistura Delta
Now comparing it against the budget IEMs I have heard in this price range, first is the Twistura Delta.
Twistura Delta is one of the bass specialists in this price range. It has a gigantic bass shelf and treble.
The build quality is better on the Delta, as it comes with a metal shell, but Loric is better in the accessories department.
If you want a contrasty, bassy tuning, pick the Delta. If you want a smoother, more relaxed tuning, go for the Loric.
NiceHCK Tears
NiceHCK Tears has one of the best treble performances in this price range. The area where the Loric pulls ahead is with the build quality and accessories. It is a step above the Tears in this regard.
In terms of tuning, Tears are on the brighter side. The treble sounds crisp and well extended without sounding sibilant or harsh, which is an area where the Loric is not as strong.
If you want that kind of presentation, pick the Tears. If you want a smoother, more relaxed presentation, go for the Loric.
Dunu Titan X
This is one of the IEMs that is a step above the Loric in terms of build and accessories, as it comes with a metal shell, a great cable and premium ear tips.
However, in terms of sound, I prefer the way the Loric sounds, as it has better treble extension.
Loric feels much more refined than the Titan X, despite both going for a similar relaxed, bassy tuning.
Pula Arc
Next is the Pula Arc, which is one of the latest budget IEMs on the market.
Pula Arc's bass is a step above the Loric. It sounds bouncy, engaging and fun to listen to.
It is also one of the IEMs that I would say has done smooth tuning the right way. Loric does not quite measure up to that level in terms of sound quality for me.
In terms of build quality and accessories, Loric is a huge step above the Arc.
Conclusion
This is the kind of IEM I could recommend to anyone entering this hobby who does not know what they want and just wants something that sounds good.
It's because it does really well in build quality and accessories, which are a step above most budget IEMs in this price range.
It is not a specialist IEM. There are a lot of other budget IEMs on the market that excel in certain areas, which I covered above.
Instead, Loric reminds me of the term "jack of all trades" in the budget segment. It does everything well enough to be a reliable option.
Links to the product page - AliExpress (non-affiliated)
Disclaimer: The sample unit was sent to me by Kefine for review purposes. They had no input into the content and I am not paid for this review. All thoughts and opinions are entirely my own.
FiiO’s sub-brand JadeAudio launched a new open-back planar magnetic headphone today (August 13), the JadeAudio JT9. Its main highlight is an improved planar driver designed to deliver greater refinement in the bass and treble compared with the JadeAudio JT7. Check out all the details below.
