The offerings from Aria Ear, the new Vietnamese kid on the block, courtesy of Aural Cafe and not the brand, continue in my hands as I sit to collect my thoughts on their second offering, the Azuri. I thank Aural Cafe for giving me this opportunity to speak freely on the Azuri.

UNBOXING, ACCESSORIES, FIT AND COMFORT

The Azuri comes in a box that is devoid of any waifu shenanigans and instead has the product advertised accordingly, much like the Sylva. The package is near identical to the Sylva, so I am not sure what to expect beyond that.

Both the Sylva and Azuri have similarly shaped and sized shells, and so the comfort levels and overall fit are comparable. Except that the Azuri has a trippier faceplate which feels nice to look at in parts, but let’s not get hung up there: looks alone cannot take an “audible” product far, so here’s the sound of the Azuri.

LOWS

In tracks like Rush’s Limelight and The Spirit of Radio, compared to the Sylva, the Azuri is lethargic in its delivery and subdued in impact. Drums can feel a bit too relaxed across regions, especially the kicks, but this allows the bass lines to shine through, which is good as these tracks are my picks to assess performance due to the camouflaging bass lines paired with the mathematical drumwork. Separation is not one of its strengths, prima facie, but at least here vocals are where the Azuri does mildly better than the Sylva: a better grip over tonality, feels more cohesive, and since the bass has a subdued impact for the most part, it does not have the tendency to crowd over the vocals.

In tracks like Daft Punk’s Instant Crush and Get Lucky, the Azuri’s reluctance in the bass to fully land with impact diminishes its ability to keep me engaged. The overall vibe feels like a well-controlled slap rather than a proper punch, which I would say is a misplaced priority as these tracks need a moderately paced attack with a short decay and a reasonably extended sustain, and the Azuri fails there. The attack is anemic, which makes for an even worse decay, and the sustain is only faintly there. Vocals have adequate weight and body, with a mild essence of warmth that can just about be felt.

MIDS

This is where the Azuri gets problematic. In tracks like Queens of the Stone Age’s First It Giveth, tracks set in peculiar keys with unorthodox snare setups, the Azuri’s issue with a sloppy attack paired with an even sloppier decay ruins the presentation of this fast-paced track. It feels like the track is slowing down as the IEM simply cannot seem to keep up with it, and apart from the warmish tonality that does not affect vocals in a concerning way, I was on the verge of taking the Azuri off my ears.

The Azuri also has a problem in its separation, which is evident in instrumentally dominant tracks like Periphery’s Marigold, Tool’s Lateralus and Tesseract’s Juno, where elements like hi-hats and crashes are being confused because the rides are almost inaudible. Guitars come off with too much warmth and energy which overshadows the vocals and, to an extent, some of the drumming, and at least in this realm, the Azuri is fully dominated by the Sylva. Timbre too sounds off in parts, where the cymbals come off overly metallic in feel, brash and moderately lifeless. A misjudged fat drop of paint on an otherwise fine watercolour painting.

HIGHS

In tracks like PinkPantheress’ Stateside featuring Zara Larsson, one of those tracks where there is a lot of phonk-style bass and synth that hits in pulses, the Azuri covers back some ground by sounding rather smooth through the synths, while the bass did not have any distortion but suffered from a lack of clarity. The Azuri once again disappoints with its imaging, where the vocals feel a bit too pushed back, although their weight remains intact. The test for sibilance and pierce remains.

In tracks like Celine Dion’s All By Myself, Adele’s Easy On Me and Whitney Houston’s I’ll Always Love You, the Azuri starts strong and finishes off quite well with no pierce or sibilance, but like the Sylva, I wished the notes had more sustain and the vocals were pushed more forward in the imaging. The instrumentals were unblemished, especially the timbre which remained intact on the pianos. But once again, it is not a very memorable set.

CONCLUDING NOTES

Like its sibling, the Sylva, the Azuri is another forgettable set, but with a sloppier execution. Throughout my listening, this IEM simply keeps fidgeting and never quite settles on one single point, or multiple points for that matter. The IEM feels like it knows what it wants to communicate across and invoke emotionally, but it cannot quite set the tone properly as its vocabulary is too limited, and if Aria Ear wanted to make something different in terms of tunings, making one IEM comparatively “less warm” than the other simply does not cut it.

The Azuri could have been a brighter set to complement the Sylva, but in its attempt to be remembered, it slides further into obscurity by simply being worse than the Sylva across most consistent metrics. I really do not have much else to say except that the brand needs to give some identity to its offerings, and no, Tanchjim’s similarly tuned IEMs will still comfortably outperform Aria Ear, although I am fatigued with the former as well.

Having two similarly positioned IEMs in a catalog already brings in a degree of fatigue, and what makes matters worse is when one is clearly inferior while competing in a similar price segment. That inevitably puts the brand’s internal direction under a rather shoddy spotlight. A C- to be given because this attempt simply will not cut through the overwhelmingly stacked competition.

Will I buy it at retail? No.
Will I buy it used? No.

Sources used

SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus stacked with the xDuoo XD05 Pro running the AKM DAC chips, the Cayin N3 Ultra DAP in Classic Tube mode, the FiiO KA17 and the TRN BlackPearl portable dongle DAC/amps.

Eartips Used (ranked in order of performance)

KBear Coffee, Penon Liqueur Black, Tangzu Sancai Balanced, SpinFit CP100+, Dunu S&S

Tracks

• Rush: Limelight, The Spirit of Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message In A Bottle
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Avicii: Levels
• Periphery: Marigold
• Tesseract: Juno
• Kanye West: Stronger, Flashing Lights, Devil In A New Dress
• Altın Gün: Goca Dünya
• Timbaland: Give It To Me
• Adele: Easy On Me (Live), When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• A.R. Rahman: Tere Bina
• Alice in Chains: Down In A Hole (Live)
• Allen Stone: Give You Blue
• Florence + The Machine: Never Let Me Go
• The Smashing Pumpkins: Luna

The sub-flagship FiiO M25 DAP had part of its specifications revealed yesterday (May 17). In addition, several images of the new Digital Audio Player (DAP) were published on social media. Check out all the details below.

• English text: https://www.hifihub.com.br/en/spoilers/fiio-m25-specifications-revealed
• Portuguese text: https://www.hifihub.com.br/spoilers/fiio-m25-tem-especificacoes-reveladas

I’ve been using and testing the Roseselsa Ceramics MK2 for the last couple of weeks. There’s been a quite a bit hype and talk on forums and YouTube lately. People are calling these a sub-$30 "Sound King."

TLDR: If you care about audio quality for the cash, they live up to the hype. But if you’re expecting a flawless, seamless lifestyle earbud for your daily commute, there are a few things to note.

Price: ~$32.99 USD

Pros:

• Great price-to-performance ratio with high-res specs at affordable price
• Wide horizontal soundstage for a TWS bud.
• Mature, safe and musical tuning profile.
• Spacious charging case clearance allows for third-party tips
• Low latency with 47ms Game Mode.

Cons:

• Included stock ear tips are not the best and compromise the acoustic seal.
• High-res LDAC playback and multi-point dual-device connectivity cannot run simultaneously.
• The active noise cancellation performance is average
• Steep volume curve and tedious touch stepping for volume adjustments.

What’s included:

• Two true wireless capsules.
• Charging and storage case.
• Three pairs of stock silicone ear tips (S, M, L) (including the tips already on the buds).
• USB-A to USB-C charging cable.
• User manual.

 

Comfort, design and build quality:

You get a smooth, bean-shaped plastic body with a clean matte finish. It looks elegant and feels nice to touch although a bit slippery. The gold accent vents on the outer faceplates provide a touch of aesthetic personality. The housings are lightweight at just 4.3g. Sits comfortably in the ear concha without creating hot spots or pressure points.

For ergonomics, the elongated nozzle sits at a natural angle for a medium-to-deep insertion. Multiple users note that comfort is an easy 10/10 for long sessions, and I agree. I say it is not an ideal companion for the gym or heavy running though. Because of the stemless, smooth design, sweat or sudden movement can cause the buds to slowly slip out of place. It’s better used at a desk. It also works well for walks.

About the stock ear tips. I found them a bit thin, small, and flimsy to create a proper seal. Using the stock tips, I found that the sub-bass is lacking slightly. This causes the buds to sound thin, hollow, and sharp. I swapped them out for SpinFit ear tips, there is enough interior clearance in the casing. Doing so made a big improvement. They secure an instant acoustic seal. The buds still snap into the case to charge with no interference. Once you fix the seal, the driver wakes up.

The case handles daily pockets easily. The lid layout works great. It utilizes a rigid, dual-layered internal plastic shell. This holds the case open when placed flat on a table. Opening and closing the case, you can feel the magnetic force and of course, the satisfying snap of the case.

 

Technical:

• 1DD configuration with a 10mm titanium-coated dome composite dynamic driver (HR+ Planck structure).
• Integrated 24-bit dedicated DAC chip (113dB SNR).
• Bluetooth 6.0 wireless infrastructure.
• Supported audio codecs: LDAC, AAC, SBC.
• 40dB hybrid active noise cancellation.

 

Pairing for the tests:

• Stable neutral and warm/neutral source outputs.
• Output volume set between 30% to 50% because the volume curve scales steeply.
• Companion configuration via the RoseLink App.
• Aftermarket wide-bore silicone ear tips.

 

Sound signature:

The low end values control and speed. There is a roll-off below 50Hz in the deepest sub-bass. Bassheads looking for a heavy V-shape might find it a bit lean. Out of the box, the titanium driver benefits from some burn-in time to let the diaphragm stretch. However, the mid-bass features a clean 3dB to 5dB lift between 100Hz and 200Hz. This gives the music plenty of tight punch, texture and rhythm. It decays quickly. It avoids introducing bleed or muddy clouding into the midrange.

The tuning feels smooth, linear and organic. It avoids the thin or colored character typical of cheap budget buds. The mids stay clear. This allows instruments to separate cleanly with a natural note weight. Vocals are positioned slightly forward. Male voices carry an appropriate warmth without getting boxy. Female vocals sound fresh, smooth and velvety. They maintain air without becoming dry, nasal or shouty.

The treble is smooth and safe for long listening sessions. There is a deep, intentional drop right in the 4kHz to 5kHz range, which acts as a shield against sharp piercing or harshness from bad recordings. Right after that drop, the response climbs back up past 6kHz to bring back air and crisp sparkle. High-hats and cymbals sound lively and drop off naturally, but they never tire your ears out. It presents fine details gracefully instead of aggressively forcing a sharp, clinical sound into your ears.

The left-to-right soundstage width is the the standout feature. Vertical height and depth layering could be better, the horizontal stage is surprisingly wide for a closed wireless bud. It pushes sound cues well outside the borders of your head. The imaging is reliable too, allowing you to easily pinpoint exactly where an instrument or sound is placed without any messy or confusing overlap.

 

Gaming:

Make sure to enable the 47ms Game Mode.

Explosions, gunfire and impacts feel exciting. They do not turn into a fatiguing wall of muddy sound. Turning on Game Mode drops the latency.

Dialogues remain clear and natural. This keeps narrative easy to follow. It holds up when a busy orchestral soundtrack plays in the background. It excels in atmospheric immersion. Small background details play cleanly. Wind hums, distant echoes stay audible. This makes the virtual world feel much more believable. The soundstage provides plenty of breathing room.

 

Conclusion:

The Ceramics MK2 is a set that really grows on you. You just have to work around its daily quirks. I don’t think it compete as a flawless lifestyle accessory. The stock tips are not great. The ANC blocks out basic office hums but struggles against a loud public subway commute. Adjusting the volume via the touch panels is a slow, tedious process. A long press only alters the level by one single increment.

The RoseLink App requires you to choose your priority. You can have high-res LDAC playback or dual-device multi-point connectivity. They cannot run simultaneously.

Look at it strictly from a sound-first perspective. The pure fidelity you get for thirty bucks is crazy. It is an achievement to get Bluetooth 6.0 and an integrated 24-bit DAC at this tier. It easily rivals flagships that are still stuck on older Bluetooth protocols. It grooves past immediate, flashy tricks to prioritize a clean tuning. It offers tight transient agility and a beautifully wide horizontal soundstage. It serves as a highly reliable reminder for the community. You don't need to drop flagship money to find genuine, long-term joy in this hobby.

If you have reached this far, thank you for reading.

Hi everyone, I’m back with a review of the NiceHCK NX8Ti Limited Edition IEM. I received this IEM from Maddy, who kindly provided it for review purposes. Thanks to Maddy and the NiceHCK team.

Here are my subjective impressions as an audio enthusiast. Briefly, here are its pros and cons:

Pros (+)

• The packaging box is quite premium, with very abundant accessories and inclusions.
• The build quality is quite solid, featuring titanium alloy touches in several parts.
• Wide soundstage with 3D holographic imaging.
• The NX8Ti treble is more refined and smoother than NX8 yet still extends to the upper treble.
• The bass is quite deep and impactful.

Cons (-)

• If you like very stiff cables, that might be a positive thing for you, but for me, the cable is too stiff, making it a negative point in my assessment.
• The hard carrying case is not small, but because the provided cable is quite thick and stiff, it feels cramped when putting the IEMs inside the case.
• Although it carries the "limited edition" label, there is no serial number on each unit to indicate its production number. FYI, competitor products that aren't even limited editions have serial numbers on their IEM shells, and this applies to both resin and metal shells.
• The price has doubled, yet you still do not get a cable with a modular jack. This is not an issue for me since my sources are all 4.4 balanced, but it would certainly be nice to have a modular cable for an IEM at the $400 price point (btw, if you buy it on AliExpress today, May 20th, a launch price of $359 applies).
• The sound changes from the tuning nozzles are quite minimal.

These impressions are based on my preference for a V-shaped bright sound signature. Please don't use these impressions as a reference, as every ear is different and I'm only sharing my personal experience. Always trust your own ears and audition if possible. If you find any mistakes, feel free to comment.

As usual, before I go any further, I will provide a brief description of the NiceHCK NX8Ti Limited Edition. The NX8Ti is the second facelift version done by NiceHCK on the NX8. The first version was released around the end of 2024, followed by an update in the NX8 Special Edition in mid-2025, and now this limited edition version which was released on May 8, 2026. The price itself has increased significantly; the original NX8 sold for around $200 and the SE version for around $215, while now the Ti limited edition version has doubled to $400 with a launch promo price of around $360 that is only valid until May 20, 2026. Does this limited edition version bring a lot of positive changes? Please read on.

Regarding the specifications and accessories you will receive, they are roughly as follows:

• Impedance: 18Ω
• Frequency Response: 20Hz-30Khz
• Sensitivity: 112.3dB/mW@1kHz
• Plug Type: 4.4mm
• Driver Type: Hybrid (1DD Titanium Alloy Housed for bass, 6 balanced armature drivers for midrange and treble, 1 Piezoelectric for upper treble)

As for the included accessories, they are as follows:

• 1 × Pair of NiceHCK NX8Ti Limited Edition IEM
• 4 × Pairs of NiceHCK 08 ear tips (SS/S/M/L)
• 4 × Pairs of NiceHCK 07 ear tips (SS/S/M/L)
• 4 × Pairs of NiceHCK C04 ear tips (SS/S/M/L)
• 4 × Pairs of NiceHCK gray transparent blue ear tips (SS/S/M/L)
• 1 × Cleaning Brush
• 2 x Pairs of replaceable Tuning Nozzles
• 1 × Premium carrying case
• 1 x 4-Strand 7N SCC Titanium Alloy Cable
• 4 x Pin protectors

Unboxing & Physical Build

The packaging box of the NX8Ti can be considered quite luxurious and fairly large. The box itself is black, covered in shiny white glitter, with a design resembling a gift box. Inside, there is a black cylindrical hard carrying case, which is actually just adequately sized, not overly large. Additionally, we get 4 sets of eartips in 4 different sizes, with impressions roughly as follows:

• NiceHCK 07 eartips: The pre-installed standard.
• NiceHCK 08 eartips: Enhances the bass.
• NiceHCK C04 liquid silicone eartips: Enhances the soundstage.
• NiceHCK Gray-transparent blue ear tips: Makes the treble sound smoother.

For the tuning nozzles, we are also given 2 sets which, frankly, make a very minimal difference to my ears. The impressions are roughly as follows:

• Silver: Mid-treble feels slightly forward, upper treble is more smoother.
• Gold: Mid-treble feels smoother, with the upper treble more forward

Moving on to the cable, honestly and subjectively, I do not like its color and flexibility. The gray color is exactly the same as PVC pipe fittings, while the texture is too stiff for me. However, I do quite like the titanium color of the connectors and pins. Still, it is quite a pity that for a $400 price tag, we do not get a modular cable, even though personally I don't mind because my sources support 4.4 balanced.

Besides the accessories I mentioned above, there is another accessory that I have just seen for the first time: a pin protector. Its function is to act as additional reinforcement so the connector pins do not bend easily. Additionally, the other accessories include a cleaning brush and spare IEM filters, which are commonly found in IEMs at the $400 price level.

Finally, we get to the main component, the IEM shell. Its shape is still similar to the old one and still uses resin, but it now features a faceplate made of titanium alloy. Honestly, I much prefer the current faceplate; the appearance is much more elegant and low-profile. The fitting still remains the same as before, which doesn't really allow for a deep fit in my ears, but it is still very comfortable to wear. There is absolutely no pressure build-up or driver flex because the shell itself already has 3 vent holes.

NiceHCK claims that the internals of the current NX8Ti have undergone many changes. Among other things, the Dynamic Driver now has a new housing made of titanium, along with 4 new BA units to handle the treble, and a new 4-way crossover circuit featuring Polymer Multi-Layer Capacitors from Rubycon, which reportedly makes the sound smoother and more detailed. In addition, the internal wiring now uses 6N Single-Crystal Silver. If observed more closely, it seems the NX8Ti brings a lot of changes to the interior of its shell.

As a limited edition product, I feel there is something missing in the NX8Ti, Although it carries the "limited edition" label, there is no serial number on each unit to indicate its production number. It is actually not very difficult to put production numbers on the IEM shells. Linsoul, with brands like Kiwi Ears and Ziigaat, has been doing this for a long time, even without the "limited edition" label, and it can be done on both metal and resin shells.

Sound Impressions

Here are my sound impressions. In my opinion, the sound signature is U-shaped. For this review, I used the Topping DX5 II with the largest size NiceHCK C04 eartips, the silver nozzle, with streaming Tidal at volume 25 on low gain.

Bass

The bass feels largely similar to the original NX8. There is a noticeable rumble that remains well-controlled, with about a 9dB sub-bass boost. For someone who isn't a basshead, this feels plenty visceral. The bass presentation is quite fun, providing more than enough quantity for my tastes, Its texture still remains good, carrying a satisfying weight without ever sounding dry with a medium-to-fast transient response. The punch still remains impactful and well-controlled. While the overall difference isn't significant the NX8Ti refined it even further with weightier bass and faster transient response.

Midrange

The NX8 had a rather laid-back midrange, and the NX8Ti largely still follows, though I feel it has slightly better dynamics that prevent it from sounding too relaxed. Both male and female vocals are positioned neutrally in the center of the stage. The lower-mids, particularly for male vocals, have a warmish tint slightly above neutral but stop short of sounding lush. The upper-mids still feel a bit flat, female vocals still lack that extra bit of vocal energy for my preference. Overall, the midrange is still quite similar to the NX8, certainly far from being shouty or sibilant but it sounds a bit clearer, which gives the instruments a better sense of separation.

Treble

This is where the NX8Ti shows the biggest improvement. Previously, I found the NX8's tuning to have a slightly metallic BA timbre, but now it sounds much more natural, detailed, clear, and extends nicely into the upper treble. It seems NiceHCK knew exactly what needed fixing. The mid treble has a nice bite to it without being sharp, making it perfectly comfortable for long listening sessions. While the NX8 had enjoyable treble for a $200 set, the NX8Ti takes it a step further: it is smoother yet still reaches well into the upper frequencies. There are no peaks, sibilance, or piercing notes, just smooth, crisp treble with a natural decay on it.

Technicalities

The NX8Ti boasts a fairly wide soundstage with decent imaging and layering. However, it lacks a bit of definition, meaning the 3D holographic effect can feel slightly off on certain tracks. Instrument separation is very good, but perhaps not quite up to the task for fast, complex genres like metal. Resolution and detail retrieval are solid and appropriate for the price point. The timbre is quite natural, leaning toward neutral, and the driver coherency is so good for a tribrid driver setup.

Conclusion

So, is the NiceHCK NX8Ti Limited Edition worth owning? If you already own the NiceHCK NX8 and you like it, I can assure you that you will like the sound of the NX8Ti Limited Edition even more. However, the question is whether the set price of $400 is appropriate for the performance produced by the NX8Ti Limited Edition? Only you can decide that, as everyone's ear sensitivity and preferences differ. For me, at a price closer to $300 is a worthwhile purchase because its sound signature aligns perfectly with my preferences. If you enjoy music genres like jazz, pop, blues, and R&B, I think you will likely match well with the NX8Ti's sound.

Personally, I really appreciate what NiceHCK has accomplished. They managed to elevate the NX8 to a much higher level with this NX8Ti Limited Edition and transparently detailed all these changes on their website, covering everything from the exterior to the internal components, except for the manufacturer of their custom BAs. That's all, fellas. Thank you for reading. Cheers.

Want to check the current price or know more? you can find NiceHCK NX8Ti Limited Edition at the links below(unaffiliated links)

Aliexpress

NiceHCK Official Website

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

What I like and what I do not like

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

Specifications

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

My Sources

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

Unboxing and build

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

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

Sound

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

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

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

Soundstage instrumental separation and imaging

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

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

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

Comparisons

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

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

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

Final conclusions

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

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

Disclaimer: The GK brand offered me a good discount for this unit in addition to including the cable improvements and the extra eartips but the model despite the discount was paid for by me. My opinions are completely independent and have not been influenced by the brand or the store maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

Wanted to do a quick review of the Fresh Reviews Arete 2 vs the Kiwi Ears Astral.

Both were purchased by me. This is not sponsored, not influenced by anyone, and nobody asked me to write this. I wish someone had done a practical comparison that would have helped guide my own decision, but unfortunately, I had to find out the expensive way.

I’ll keep this short and sweet with bullets rather than a giant essay.

Also, like everything in audio, this is subjective. These scores are based on how I hear things, my ears, my preferences, my use case, and my gear. You may hear things differently, and that is completely fine.

My review focuses on both gaming and music.

All content is my own. AI helped me generate the tables to be posted on reddit.

What matters to me for gaming

For gaming, the most important categories for me are:

• Imaging / directionality precision
• Soundstage
• Layering and separation
• Fatigue, especially from elevated bass or treble
• Comfort, including shell size, seal, tip rolling, long sessions, and ear pressure
• Resolution

I mostly care about whether I can place sounds accurately, whether the mix gets congested, and whether I can play for hours without my ears getting annoyed.

What matters to me for music

For music, the most important categories for me are:

• Layering and separation, especially in busy tracks
• Bass / sub-bass quality and quantity
• Bass decay, meaning whether bass is fast and clean or slower and more lingering
• Timbre and naturalness
• Forward vocals vs shout
• Treble peaks, especially around 2–4K and 8–10K
• Air, especially 10K+ tuning
• Resolution

I am treble-sensitive, so harshness matters a lot to me. I like detail, separation, and energy, but not when it turns into fatigue.

Quick TL;DR

The Astral is the more immediately exciting IEM.

It has more energy, more bass presence, more sparkle, and more “look at me” factor. But in gaming, that extra energy works against it for me. It can overwhelm my senses and make individual cues harder to isolate.

The Arete 2 is less flashy, but more controlled, more precise, and easier to use in actual gameplay. I can more reliably hear footsteps, shields, reloads, and positional cues on the Arete 2.

Gaming Comparison

Imaging / Directionality Precision

Winner: Arete 2

• Arete 2 gives me cleaner directional cues.
• It is easier to tell where sounds are coming from.
• Footsteps, reloads, shields, and small positional cues are easier to isolate.
• Astral still images well, but the extra energy makes it harder for me to lock onto individual cues consistently.
• Astral can overwhelm my senses, especially when a lot is happening.

For competitive gaming, I trust the Arete 2 more.

Soundstage

Winner: Arete 2

• Arete 2 gives me a more useful gaming stage.
• The stage feels wider and more readable to me in actual gameplay.
• More importantly, sounds have better placement inside that stage.
• Astral still has a good stage, but it does not give me the same sense of usable width.
• Astral sounds more energetic, but not more spacious for gaming.
• The extra bass/treble energy makes the stage feel busier rather than bigger.

For gaming stage, Arete 2 wins for me.

Layering and Separation

Winner: Arete 2

• This is one of the biggest differences.
• Arete 2 lets individual sounds exist separately.
• Footsteps, shields, reloads, distant gunfire, and environmental cues are easier to pick apart.
• Astral throws a lot of information at me, but individuality gets lost more easily.
• When the mix gets busy, Astral becomes more overwhelming.
• Arete 2 is calmer and more organized.

For cue separation, Arete 2 is better.

Fatigue

Winner: Arete 2

• Astral is more exciting, but also more fatiguing.
• The extra bass and treble energy can wear me down over longer sessions.
• Arete 2 is smoother and easier to tolerate.
• I can play longer on Arete 2 without thinking about treble, pressure, or tip rolling as much.

This is one of the biggest differences for me.

Comfort

Winner: Arete 2

• Arete 2 is easier for me to wear for longer periods.
• Less ear pressure.
• Easier seal.
• Astral is not terrible, but I was more aware of it in my ears.

Comfort is obviously personal, but for me, Arete 2 wins.

Resolution

Winner: Arete 2 for gaming

• Astral has more perceived detail because it is more energetic.
• Arete 2 gives me cleaner usable detail.
• I can pick out small cues more reliably.
• Astral can make everything sound more intense, but not necessarily more readable.

For gaming resolution, Arete 2 wins because the detail is easier to use.

Music Comparison

Bass / Sub-Bass

Winner: Astral

• Astral has more bass quantity and more physicality.
• Sub-bass feels more obvious.
• It sounds bigger and more fun.
• Arete 2 bass is tighter and cleaner, but less exciting.

For bass impact and fun, Astral wins.

Bass Decay

Winner: Arete 2

• Arete 2 sounds faster and cleaner to me.
• Bass does not linger as much.
• Astral has more bass presence, but that can also make it feel thicker.
• On busy tracks, Arete 2 keeps things a little cleaner.

If you want bigger bass, Astral.
If you want cleaner bass behavior, Arete 2.

Layering and Separation in Busy Tracks

Winner: Arete 2

• Astral can sound very impressive on simpler tracks.
• But when tracks get busy, the extra energy can make things feel more intense.
• Arete 2 handles busy passages in a more controlled way.
• It does not throw detail at you as aggressively, but it is easier to follow.

For busy tracks, I prefer Arete 2.

Timbre / Naturalness

Winner: Arete 2

• Arete 2 sounds more natural to me.
• Vocals and instruments feel less exaggerated.
• Astral has more excitement, but can sound a bit more colored.
• Arete 2 is less “wow,” but more believable.

For naturalness, Arete 2 wins.

Vocals: Forward vs Shout

Winner: Arete 2

• Arete 2 gives me vocals without pushing them too far. However, can be shouty in some tracks.
• Astral can be more vivid, but can also edge closer to shout depending on the track.
• If you are sensitive to upper mids, Astral may be riskier.

Arete 2 is safer here.

Treble Peaks: 2–4K and 8–10K

Winner: Arete 2

• This is another major category for me.
• Astral has more treble excitement, but also more potential spice.
• I am sensitive around 2–4K and 8–10K, and Astral triggered that more often.
• Arete 2 is smoother and less annoying in those areas.

Astral has more sparkle.
Arete 2 has less pain.

Air / 10K+ Tuning

Winner: Astral

• Astral has more air and openness up top.
• It sounds more extended and sparkly.
• Arete 2 is smoother, but also less airy.
• If you like that open, brighter “hi-fi” top end, Astral does that more obviously.

For air, Astral wins.

Music Resolution

Winner: Astral, but with caveats

• Astral gives more perceived resolution.
• It sounds more detailed and open.
• But some of that comes from the brighter tuning.
• Arete 2 is less flashy, but easier to listen to for longer.
• On busy tracks, I still prefer Arete 2 because the detail is less forced and easier to follow.

For pure “wow, I hear more stuff,” Astral wins.
For relaxed busy-track listening, Arete 2 is better for me.

Scores

These are not objective scores. This is just how I personally rate them for my use case.

Gaming Scores

Category	Arete 2	Astral
Imaging / Directionality	9	8.5
Soundstage	8.5	8
Layering / Separation	9	7
Fatigue Control	9	7
Comfort	9	7.5
Resolution	8.5	8
Gaming Overall	8.8	7.7

Music Scores

Category	Arete 2	Astral
Bass Quantity	7.5	9
Bass Quality / Decay	8.5	8
Layering / Separation	8.5	8
Timbre / Naturalness	8.5	7.5
Vocals	8.5	7.5
Treble Smoothness	9	7
Air / Extension	7.5	9
Resolution	8	8.5
Music Overall	8.3	8.0

Final Verdict

The Kiwi Ears Astral is the more exciting IEM.

It has more bass, more sparkle, more air, and more immediate wow-factor. If you listen quickly, Astral can seem more impressive.

But for me, the Fresh Reviews Arete 2 is the better IEM for actual use, especially gaming.

Arete 2 gives me better directionality, better usable soundstage, better cue separation, better comfort, and less fatigue. I can more reliably hear footsteps, shields, reloads, and small positional cues. Astral sounds more energetic, but that energy can overwhelm my senses and make individual sounds harder to isolate.

For me:

Pick Astral if you want:

• More bass
• More sparkle
• More air
• More excitement
• More immediate wow-factor
• A more energetic music-first listen

Pick Arete 2 if you want:

• Better gaming precision
• Better usable soundstage
• Better cue separation
• Smoother treble
• Better comfort
• Less fatigue
• More natural mids
• Cleaner long-session listening

My personal final scores:

Fresh Reviews Arete 2: 8.6 / 10
Kiwi Ears Astral: 7.9 / 10

The Astral is more exciting.
The Arete 2 is more useful.

And for my use case, useful wins.

Hi everyone, I’m back with a review of BASN PA60 Dongle DAC. I received this dongle from Perry, who kindly provided it for review purposes. Thanks to Perry and BASN team.

Here are my subjective impressions as an audio enthusiast. Briefly, here are its pros and cons:

Pros:

• Musical, warm, and fairly laid-back sound tuning, while still maintaining decent detail retrieval.
• Sufficient power to handle IEMs and some low-impedance headphones.
• A braided C-to-C cable that is quite short, supple, and flexible.
• Perfectly suited for users looking for a dongle DAC with simple, Plug-and-Play (PnP) functionality.
• Solid build quality with a clean, minimalist aesthetic.
• Black background.

Cons:

• Competitors at this price point offer far more features, such as screens, higher power output, companion app connectivity, and PEQ, at a more affordable price.
• The LED indicator brightness cannot be adjusted, nor can it be turned off completely.
• Switching from UAC 2.0 to 1.0 mode lacks a memory feature, meaning the device will always revert to UAC 2.0 after powering down.
• There are cheaper dongle DACs in lower price brackets that offer higher resolution and better detail.

 

These impressions are based on my preference for a V-shaped bright sound signature. Please don't use these impressions as a reference, as every ear is different and I'm only sharing my personal experience. Always trust your own ears and audition if possible. If you find any mistakes, feel free to comment.

As usual, before I go  any further,  I will give a brief description of the BASN PA60 dongle DAC. The BASN PA60 is currently the only dongle DAC sold by BASN, and so far, it seems to be sold exclusively through Amazon and their official website. The BASN brand itself focuses more on the professional realm, targeting musicians as their primary market. Amidst the onslaught of manufacturers aggressively marketing feature-packed dongle DACs, is BASN capable of breaking into the market, or at least competing with other dongle DACs? Will its $99 price tag attract buyers? Let’s analyze further.

Here is a quick look at the specifications and accessories you will receive:

Specifications:

• DAC Configuration: ESS ES9039Q2M
• AMP Configuration: Dual OP-AMP Ricore RT6863
• USB Audio Bridge Controller Configuration: CT7601PR
• Output Jacks: 3.5mm Single-Ended and 4.4mm Balanced
• Max Output Power: 125mW (SE), 240mW (Bal) @ 32 ohms
• THD+N (Distortion): 0.00056% @ 1kHz
• Noise Floor: <1.6uVrms (SE), <2uVrms (Bal)
• SNR: 122 dB

Included Accessories:

• PA60 portable DAC headphone amplifier
• USB-C to USB-A adapter
• USB-C to USB-C silver-plated cable
• User Manual

Unboxing + Physical Build

The retail packaging itself is quite simple; we are just given a box containing the Dongle DAC, a USB C-to-C cable with a USB-A adapter, and a comprehensive user manual. The manual clearly details all the functions of the Dongle DAC, including the behavior of the RGB LED indicators, which I will explain briefly later.

As for the PA60 dongle itself, its shape is quite similar to other rectangular dongles on the market, with the addition of independent volume buttons and an "M" button. This button can be used to change the output impedance level and switch modes between UAC 2.0 and UAC 1.0. In terms of shape and materials, I have absolutely no complaints; it utilizes an aluminum alloy metal body that is quite lightweight, and the build quality is solid, with no loose buttons or rattling jack ports. During operation, the aluminum alloy material does a good job of dissipating heat, making the body feel a bit warm, though it remains completely safe to hold.

Moving on to the included accessories, we get an 8-core braided silver-plated USB C-to-C cable that is incredibly supple and flexible. It is quite short at only 13cm, which is perfectly adequate for connecting to a DAP or other portable devices like mobile phones and handheld gaming gadgets. Aside from that, a USB-C to USB-A adapter is included, which is useful for connecting to a PC or Mac.

User Experience

To test the PA60 dongle, I tried using the Kiwi Ears Orchestra II, Ruviest Prelude, and Simgot EP5 headphones. When plugged into these IEMs or headphones, absolutely no background noise was audible on either the low-impedance or high-impedance outputs. I also tried it with my planar headphone, the Hifiman Edition XS, but for some reason, the sound felt incredibly hollow in the midrange. Strangely, the bass and treble attacks also lacked the speed usually expected from planars.

When first plugged into a source device, it is recognized as "BASN PA60." For the Simgot EP5, a volume level of around 10/60 was enough to deliver good dynamic range and adequate volume, at least to my ears. It doesn't take long for the temperature of the aluminum body to rise; it gets warm within about 3 minutes, and by the 5-minute mark, the warmth stabilizes and stops increasing. For someone like me who is used to the heat generated by the HiBy R4 and Topping DX5 II, the PA60’s warmth is honestly quite reasonable.

Throughout my usage so far, I haven't encountered any strange anomalies. Everything works exactly as advertised by BASN, and I haven't found any bugs that caused the device to malfunction. Standard settings like volume, digital filters, and output impedance levels are all saved according to the user's last preference, meaning the memory feature is active. Unfortunately, however, we must manually re-activate the UAC 1.0 mode every single time the device is powered back on. This means if we want to connect it to a PS5 or Nintendo Switch, we have to plug and unplug it again, which ends up being rather inconvenient.

Regarding the LED indicator, the PA60 features numerous LED notifications during operation. The LED light flashes when in UAC 1.0 mode and changes color when adjusting impedance levels, bitrates, and audio formats. During the day, the light from this LED is bright enough, but at night, it becomes a bit blinding. To give you an idea of how bright it is: if you place your thumb over the BASN PA60 at night, the LED light will bleed right through, making your thumb look visibly red. If only the PA60 had a setting to adjust the brightness or turn off the LED entirely, it would be much more appealing and would likely save some power from the source device—even though, in my experience, the PA60 isn't power-hungry at all.

At a price point nearing $100, the features on the PA60 are nothing to write home about when compared to similarly priced competitors. I don't want to explicitly compare it to other dongles in its price range because doing so would make the BASN PA60 look far too inferior. However, in this era of internet transparency where various brands compete fiercely, it isn't hard for us to judge that this dongle's features are far too minimal for the asking price.

Let's start with power output: other competitors at cheaper price points can offer twice the power, meaning they can be paired with a wider variety of audio gear that demands higher impedance. Not to mention features like a companion app and PEQ, both of which are absent on the PA60. As for a display, honestly, I don't mind the absence of one because I rarely look at the screen when using my DAC/Amps anyway. Even so, having one would certainly make it more attractive, though dongle DACs with screens sometimes introduce new issues, such as screen burn-in.

As for the sound quality produced, I find the tonality to be quite neutral with a slight bass boost, accompanied by a midrange that has decent body, making vocals feel relatively thick. The treble is smooth and detailed. Overall, the sound inclines toward a warm, musical presentation with technicalities that are quite ordinary considering the price tag. Instrument separation, soundstaging, and imaging are not particularly sharp or wide for the price, but they are far from bad. At the very least, the sound generated by the PA60 remains clear and detailed, typical of the ES9039Q2M chip, with zero noise or hiss—delivering a truly black background.

If you are looking for a dongle DAC with a neutral-to-warm tonality, the PA60 might just be what you are looking for, and well because this dongle uses an ESS DAC chip, the PA60 also features the 8 digital filter modes native to ESS. I apologize as I couldn't clearly discern the differences between them. However, based on my ears and past experience using the ES9039Q2M DAC filter settings, filter number 3—the linear phase fast roll-off—seems to offer the most extended treble.

Conclusion

As a debut dongle DAC from BASN, I think it is understandable if the product doesn't feel groundbreaking or spectacular. Naturally, we always want a brand's first product to be very good, but unfortunately, I don't think BASN quite achieved that with the BASN PA60, and they still have a lot to learn from competitors in the current dongle DAC market.

In my opinion, the most fatal flaw of this dongle DAC is not its functionality—it functions 100% as advertised by BASN, which is great. Rather, the issue lies in its pricing strategy, which is far from competitive given the features it brings to the table. If it were priced somewhere around $60, it would be a highly compelling option to consider. That's all, fellas. Thank you for reading. Cheers.

Want to check the current price or know more? you can find BASN PA60 at the links below(unaffiliated links)

BASN Official Website

Amazon

Test Setup

• Equipment used: Samsung S23 cell phone and Fiio Snowsky Echo Mini DAC/Amp
• Musical genres: Pop, Rock, Electronic and Experimental.

Quick Specifications

• The Simgot x HBB EW300** is a tri-hybrid earphone containing 1 DD + 1 Micro-Planar + 1 PZT per side. Its official price is around $85, but I managed to pay about $60 for it using a direct conversion (approximately R$ 300.00).

My Sound Impressions

• BASS: The bass is very impactful, yet clean. I can perfectly distinguish the instruments used, with great extension and definition. Test music:"Get Lucky" (Daft Punk)
• MID: In the midrange, it felt like the instruments were all around me, especially the singer. It sounds very natural and clear; I didn't feel anything receding or as if I were behind a curtain. Test music: "Dreams" (Fleetwood Mac)
• TREBLE: The high frequencies are bright and detailed. I can clearly hear the instruments in the background and the micro-details. The impression I get is of an open and very wide soundstage. Test music: "Bubbles" (Yosi Horikawa)

Unboxing and Accessories

• Interchangeable mouthpieces and extra filters
• 1 pair of tips for (S/M/L)
• Removable 3.5mm cable
• Carrying case

Conclusion and Critiques

• For anyone looking for a comfortable, compact V-shaped headphone with a very interesting driver configuration and a wide soundstage, it's definitely worth it!
• Negative points: For the price of the IEM, I think it should come with a slightly larger case (I found it too small) and should also include more options for sets of tips in the box.

Note: This is my first review. I'm new to the hobby, only about 3 months old, but I've dived headfirst into the world of audio! Any constructive criticism or suggestions are very welcome.

Check out my full review of the Ziigaat Arete II here:  https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/ziigaat-x-fresh-reviews-arete-ii-review-loves-take/

Ziigaat X-Fresh Reviews Arete II Review 

-$279

-5-driver hybrid 

-Bass switch

What's up everyone, I just published my full review of one of Ziigaat Audio's latest mid-fi hybrid iems, the Ziigaat X-Fresh Reviews Arete II. Honestly, I thought I loved the Ziigaat Luna, but in comes the Arete II and totally dismantles my Ziigaat pecking order. Granted, I haven't heard 'em all yet. However, the Arete II is a very well crafted, well designed, and well tuned set with a highly musical take on the spectrum. The beauty is that the Arete II is also highly technical. Really, a well done set and an easy choice at $279. I actually conducted this review spanning two months, everyday listening, and it was a joy to write. Anyway, In my review I explain just about everything I can think of covering everything from unboxing, to build, to design, to the tuning and everything in between. I speak on certain issues which may arise, what genres work, and who this set may fit. In my mind the Arete II is one of those sets which could easily fit in some short lists for anyone seeking out a musical and fun sound, a spacious and well separated sound, and a sound that is absolutely fantastic for casual listening. 

Arete II Pros

-Build Quality is great (all-alloy) 

-Comfortable for my ears, even over long periods

-Design is either good, or not-so-good. For me, I think it’s a dope look 

-Tuning works well with many genres. Near all-rounder

-Organic-ish timbre, smooth and cadent, great clarity, very musically gifted

-Great dynamic balance of the spectrum

-Bass digs deep, tactile, textured, and with a hearty slam, not muddy

-Mids excel in vocal delivery, pronounced, forward, and non-fatiguing 

-Treble carries a nice measure of brilliance and fantastic extension, non-offensive and clean 

-Imaging is a definite strong point of this set (great for gaming), strong separation 

-Nicely layered for a slightly warmer, smoother sound

-Spacious stage and well dimensioned sound field

Arete II Cons 

-Look may not be everyone’s favorite 

-A touch heavier than all resin sets

-Included cable is no where near what I’d expect at this price

-Bass may be too boosted for some and not enough for bassheads

-Lower mids are a hair recessed, less clean-lined clarity

-Very sensitive listeners may possibly find this set too luminous up top (I do not) 

-Treble hunters (treble heads) will not be impressed

-Detail retrieval is good for the tuning, but average overall

Check out my full review of the Ziigaat Arete II here:  https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/ziigaat-x-fresh-reviews-arete-ii-review-loves-take/

Disclaimer: First, a big shoutout to Vicky from EPZ Audio for giving me this IEM to make this review and to give it my sincere opinions and impressions. This review is unpaid, so, the only bias at play is my musical and tuning preferences.

Introduction:

The EPZ P40 is the new tribrid IEMs by EPZ Audio, following the success of the P50 last year, but this time with a less expensive yet immensely competitive option with a 2 DD + 1 Planar + 1 PZT driver config, and a premium package for a more than affordable price.

TDLR; EPZ presents the P40, a fantastic tribrid configured IEM that delivers a neutral and bright sound who comes closer to the Harman 2019 target (measured with a 5128 rig, not the old 711 one) with a great bass shelf, well-done tuned midrange, and a treble who not only adds spark to the mix, but also it is airy, open and pretty natural and not fatiguing tuning overall.

An IEM with pausegame potential, a set who don’t want to be the brightest one but the most crystal clear and natural. With a premium package including a quality matching cable, great selection of eartips included and a beautiful carrying case; making it a high valuable option for seasoned audiophiles and newcomers.

Pros:

- High-quality modular cable with 3.5 mm and 4.4 mm connectors

- Lightweight, ergonomic and well-built resin shells

- Attractive faceplate design with good scratch and fingerprint resistance

- Clean and balanced bass with good extension and impact

- Natural and detailed midrange with a great and natural vocal presence

- Crisp, sharp and airy treble with controlled sibilance

- Wide soundstage with excellent imaging and layering of instruments

- "Funalytical" tuning that resolves and at the same time is musical

- Easy to drive and with good scalability with higher quality audio sources

- Great value for less than 200 USD

Cons:

- Neutral bright tuning can fatigue out listeners who are sensitive to it

- Not suitable for bass lovers looking for a lot of bass

- Can be sibilant at very high volumes

- Medium-sized nozzles may not be comfortable for all ears

- Less analytical than other detail-focused competing IEMs

You can get a P40 IEMs for a MSRP of 159.99 USD (maybe less on sale), directly on EPZ Official Web: https://epzaudio.com/products/epz-p40-tribrid-iems, the official EPZ store on AliExpress, and other retailers online.    

Technical specifications:
- Driver Type:
   - 9 mm DLC dynamic driver (Bass)
   - 7 mm DLC dynamic driver (Midrange)
   - Microplanar driver
   - PZT ceramic driver
- Casing Material: Medical grade resin.
- Frequency Response: 20 Hz - 20 kHz.
- Sensitivity: 100 +/- 3 dB.
- Impedance: 14 Ω.
- Cable: Furukawa Silver-plated, twister pair.
- Jack connector: SE 3.5 mm and balanced 4.4 mm (modular).
- Connection Type: 2 Pin, 0.78 mm.
- Cable length: 1.2m ± 0.2 m.

What comes in its package?

· Earphones *2
· The user Guide and QC Card
. 6 pairs of ‘KBEar/NICEHCK’ like 07 eartips SML sizes
· A storage Box in faux leather and rectangular shape
· A 0.78mm, 2 pin, twisted pair cable with a screwing locking modular mechanism, with two jack connectors (3.5 mm single ended and 4.4 mm balanced)

Its cable looks of high quality, is not so thick, but it is flexible, matching perfectly with the shells and has 2 pins, 0.78 mm connectors. It is modular, with the 3.5 mm single ended and 4.4 mm balanced jacks included, 90 grades oriented, with that screwing lock mechanism. It’s not prone to tangle nor producing translated vibrations.

The shells are made of translucent blue medical grade resin with a pretty ergonomic design, and the faceplates are made of resin with a metal border, with a shiny design who changes color according to the light and orientation with the EPZ logo in silver letters (I loved that minimalist yet gorgeous design). It’s very well constructed, lightweight despite carrying 4 drivers per side, and it is on the mid-size (perfect to use it in long sessions), it doesn’t seem prompt to micro scratches and fingerprints.

It’s well vented, with a vent close to the nozzle to avoid pressure building; with a metallic nozzle that is on the mid-size (6 mm diameter), but as I always say: check if it fits your ears.

How the EPZ P40 sounds:

The P40 with its 2 dynamic drivers + 1 MPD + 1 PZT driver configuration offers a crystal-clear, neutral yet bright sound, with great balanced and focused on the mids and high frequencies, it’s a mild V-shaped tuned set.

For this review, EPZ provided me the EPZ M100 liquid silicone eartips to use with the P40, so I’m using the M sized ones. I tried the IEM with the stock eartips finding that they are also perfect for it, giving a good fit and seal.

The stock cable is more than fine as it is, so at the moment I don’t see the need to change it. The graph is taken from the Earphone Archives squiglink page, so thanks to them.

BASS:

The P40 focus is not in this region, but, it offers a pretty decent quantity and high quality bass shelf, with a good amount of subbass thump and midbass bump, it is so clean, with good velocity, with a neutral decay, highly resolving, well extended into the lower frequencies, with a magnificent impact, tonality and dynamics overall, as a mild V-shape tuned set, midbass bleeds slightly into the lower midrange yet making male vocals sounds natural unlike other Harman 2019 target “complaining” sets.

In songs like “The Epilogue” by Crosses, from the Crosses album, you can feel the great impact of the bass drops and bass guitar line, the P40 doesn’t leave you craving more bass, it delivers what you need, not more, not less.

In “Flows Through You” by Bruce Soord and Jonas Renske, from the Wisdom of Crowds album, the P40 shows how a real balanced bass is excellently delivered, the bass drops have a lotta impact, and it’s not overwhelming vocals, samples and keyboards, it is zero bloomy or muffled, the cleanness and resolution is there.

MIDS:

The P40 midrange begins with a slight midbass bleed into the lower midrange, though male vocals remain neutral, not recessed at all, free of muddiness nor thin. Midrange carry a great noteweight, and yes, it is the main focus of this set, but it is never overcoming other frequencies no matter the volume you are listening to sounds.

The frequency curve of the P40 takes a dip to 600 Hz later advancing into a bit warm pinna gain, yet offering a clean sound, with great resolution, presence and refined character; female vocals are forwarded, nor shouty or fatiguing at all.

In songs like “In Dark Distortion” by At The Gates, in the The Ghost of a Future Dead album, the melodic death metal pioneers present the last recording by Tomas Lindberg doing his unquestionable vocal greatness, the P40 shows how the neutral tuning is well done, the fast drumming and melodic (excuse me the redundancy) guitars are delivered fantastically.

In “We Will Rise” by Arch Enemy, from the Anthems of Rebellion album, all the instruments are presented impeccably, the P40 delivers that hash banshee vocals of Angela Gosow perfectly.

TREBLE:

In this segment of frequencies, the P40 takes an interesting twist into the neutral bright tuning, it is very sparkling, crisp and kind of sharp without being spicy, handling the sibilance nicely with an 8 kHz dip instead of a fatiguing energy, so, it’s not arduous in long sessions at a mid-to-high volume, but of course, as a bright leaning set is preferred to not listen music at high volume.

In songs like “Face to Face I to IV” by Edge of Sanity, from the masterpiece album Crimson II, the P40 not only deliver a crystal clear and natural upper range, but shows all the nuances and colorations of the track almost perfectly.

Listening to “Fell on Black Days” by Soundgarden, from the Superunknown classic album, the P40 is presenting all the hi-hats and cymbals in the drums, the guitars and colorations are reproduced so transparent, with a pretty natural timbre.

TECHNICALITIES:

In the P40, the upper treble extends very well, thanks to the PZT driver (avoiding the PZT sheen you can notice on other sets who use that kind of driver), rolling off unlike the Harman 2019 target going smoothly up to 16 kHz, without bad-putted peaks, presenting an airy and open sound, the soundstage is expansive, with great wide and depth.

In songs like “Gets Me Through” by Ozzy Osbourne, from his Live At Budokan album, the P40 can transport you to the historic concert, positioning the instruments perfectly in the mix, with a resolution who punches way above its weight, and excellent imaging and layering of instruments; capturing the intensity and emotion of the 2000s hit from the Prince of Darkness himself.

The P40 is more musical than analytical, something like a ‘funalytical’ set more than a macro and micro detail beast who bores folks who want to enjoy their music at its fullest, it is very engaging with that neutral and clean more than bright character.

With full detailed songs like “Idioteque (Canal Studios 04-08/2001)” by Radiohead, from the Kid A Collector’s Edition album, the catchy and melodic track is delivered by the P40 almost perfectly, you can be sure to hear all its macro and microdetails at full display, well positioned, well separated, with a natural tone.
 
COMPARISONS:

EPZ P40 vs. Hidizs MP 145 Pro:

The MP145 Pro (169.99 USD MSRP) is a 1 planar driver IEM by Hidizs. It has a neutral bright tuning with substantially less bass than the P40 balancing the sound, and it is also taking a brighter approach, and finally it is more analytical than musical.

Another thing with the MP145 Pro is than its more prone to sibilance with spicy tracks, so in this case I prefer the P40, because it’s better for casual and critical listening than for just getting all the nuances in music as the MP145 Pro is.

EPZ P40 vs. Punch Audio Portazo:

The Punch Audio Portazo (189.99 USD MSRP) is a hybrid IEM with a 1 DD + 2 Planar driver configuration. It has a more bassy yet still balanced and organic sound. The Portazo is more V-shaped than the P40, with less treble energy and less upper treble extension.

The Portazo is a balanced set going towards being “basshead”, with more subbass than midbass focus, and gives a great display of technical capacity, but the P40 delivers a more neutral and cleaner sound. It is a matter of tuning preferences, I’m very happy with the balance and clarity the P40 offers, but the Portazo it’s better handling the sibilance at high volume. With both sets you can’t go wrong, but you need what fits in your tastes.

EPZ P40 vs. Simgot Supermix 4:

The Supermix 4 (150 USD MSRP) has a similar subbass and midbass to the P40, it is also a Harman 2019 target tuned set, but the bass overall feels less impactful than on the P40, also, the male vocals are recessed and sometimes sound thin, with drier upper mids and less mid treble energy than the P40. Both handling the sibilance good, yet the PZT driver implementation on the Supermix 4 unlike the one on the P40 can bother a lot of people who is sensible to that upper treble region. The SM4 is still holding well in 2026, but the P40 is an overall better set who totally worths the money you pay for it.  

Closing thoughts and conclusions:

The EPZ P40 is a set who not only shows how you can crank the treble to get clarity but balances its sound to sound neutral and musical, zero boring and nicely mature and refined.

In the under 160 USD segment, its quantity and high quality bass delivery who balances that naturalness and brightness, and its added lower and higher frequencies' extension put it as an overall neutral, musical and technical yet engaging work of art, with a great pausegame potential, making it ideal for seasoned audiophiles who look for the most accurate to the mix sounding set, and newcomers who want great value and quality on Hi-Fi gear, all of them receiving a very high-quality audio experience at a fair cost.

The P40 with its 100 dB sensitivity and 14 ohms of impedance is easy to drive, even with low powered sources, but my advice goes to use it with the 4.4 mm balanced jack connection because this set scales greatly with more quality and powerful sources.

Can I recommend it? Totally yes, if you are looking for a neutral and crystal-clear audio for less than 200 USD, the EPZ P40 stands out as a more than compelling value proposition and one of the better competitors for its price segment, who punches way above its weight. With a premium package and contemporary technology, and of course, the EPZ seal of quality.

Once again, thanks to EPZ for providing me with this IEM to test it, enjoy it, and finally give me the reasons to recommend it as a product that exceeds my expectations and deserves more praise IMHO, it is now one of my favorite sets in my collection. And thank you, dear reader, for checking my review, please have a happy listening!

 

Hello Community!

Another dongle DAC that I put to the test, from the hand of the Tri brand. It is the entry-level model and its name is Third Eye TK1.

Official price: 60€-70$

Link

Pros:
-Reduced size.
-Light weight.
-Intuitive and fast-response buttons.
-Good capability to drive low and medium impedance headphones.
-Improves the impression of sound separation.
-Good construction and reliable USB-C cable.

Cons:
-I do not think being glass-covered on both sides is sensible for something portable.
-I miss a gain selector.

Technical aspects:
-DAC/Amp device.
-Cirrus Logic Dual CS43131 sound and amplification chip.
-Dual 3.5mm SE and 4.4mm BAL output.
-Power at 32 ohms: 200mW BAL and 76mW SE.
-DSD256.
-Sampling up to 32b@384khz.
-SNR 130dB u/4.4mm and 125dB u/3.5mm.
-USB-C interface.
-Status LED.
-Microphone support.

Compatibility:
-Windows/MacOS PC.
-IOS, iPadOS, Android.
-No native APP.
-Not compatible with Walk Play.

Package contents:
-DAC/Amp.
-USB-C to USB-C cable (Lightning separately)
-USB-C to USB-A adapter.
-User manual.

Construction, design and quality of life:
The TK1 is built with a lightweight aluminum metal alloy base, with two glass-covered sides. The device feels well finished, without signs of poor assembly: the buttons do not wobble and the connections, both USB-C and both Jack outputs, are firmly secured.

The body is not regular in its shapes, but rather on one of its sides it has a protrusion breaking the rectangular shape and the symmetry of the whole. On the flat side, the buttons occupy a central position oriented toward one end.

Personally, I do not think adding glass to something portable is an appropriate option since it will be a gadget traveling inside a pocket, sharing space with other objects and increasing the chances of scratching those glasses. A simple case, made of fabric for example, included in the package, costs little and protects quite a lot.

The dimensions are really small: 57mm x 23.7mm x 12.1mm and in my listening sessions outside home, its lightness and size did not pose any inconvenience or discomfort whatsoever.

The buttons respond quickly. The functions they provide are play/pause and volume up/down. Orientation by touch is simple since there is a free space on the spine of the TK1 that serves as a reference. A gain selector in these gadgets is always phenomenal for two reasons: first because not every headphone needs the same power and second, the energy consumed. I have the impression and, comparing it with other rivals and without any measuring equipment, that the TK1 has a factory setting slightly higher than what we know as low gain.

This dongle DAC has a status LED that indicates PCM audio transmission through a green color and DSD audio through a red LED. The inclusion of a third color to indicate a lower sampling PCM would have been a great idea, as in other competing devices.

To finish, the TK1 disconnects from wherever we have it plugged in if it does not have a Jack plug connected to it, which is a success in portable devices in order not to waste battery.

Sound quality and power:
I find a warm and neutral DAC/Amp, where I was able to enjoy a better appreciation of the space between sound layers. Of course, that slightly warm character does not mean that it leaves technicalities aside.

Very slightly colored, the appreciation of body and solidity is constant in the weight of the notes, but it is not confronted or, better said, it does not negatively affect the resolution of the tonality throughout the whole spectrum.

The sound cleanliness makes itself noticed while maintaining a slightly rounded listening experience in the lower end of the frequencies, where the bass can be heard softly rounded, with a little more forcefulness.

The midrange area, within that slight warmth, has order, has separation, but I find refinement in instruments and voices, being able to affirm that it comes very close to what I understand as a natural, organic listening experience.

As for the treble, there is brightness, detail, a sensation of spaciousness, but the edges are subtly softened to avoid being sharp and without sinning from lack of vitality.

The impression I had at all times is of having in my hands a dongle DAC with a spacious sensation, good physicality, but not in terms of excessive body, rather precise, analytical.

In terms of power, I was able to work with any IEM that I own. Its low output impedance greatly benefits this type of headphone, but, as we approach medium impedances, the power becomes insufficient. I am talking, for example, about my DT770 Pro 80 ohms, where the achieved volume was insufficient.

Regarding the level of background noise tolerance, I could only appreciate it slightly in very easy to drive IEMs, in balanced output and around 70% of the total volume, such as the CCA CRA+. These are situations intentionally sought out and with malice. In the rest of the tests with other headphones, everything worked perfectly.

Final conclusion and personal evaluations:
Tri Third Eye TK1 is a dongle DAC that, if I become very picky, would need slight quality of life improvements, such as a case to protect its glass panels from breakage and scratches and a gain selector.

However, I really liked it as a source that gives a certain warmth to the bass and that point of analysis to its mids and treble, which showed themselves to be quite neutral, natural.

But above all, the expansion of the soundstage benefits from a very satisfying overall cleanliness and transparency, with quite generous timbre resolution.

If you made it this far, thanks for reading.
More reviews on my blog.
Social media on my profile.
See you in the next review!

Disclaimer:
This set of monitors has been sent by KeepHifi. I sincerely appreciate the opportunity to be able to test one of their products free of charge and that no conditions have been imposed when creating this analysis.

Despite this, my priority is to be as impartial as possible within the subjectivity involved in analyzing an audio product. My opinion belongs only to me and I develop it around the perception of my ears. If you have a different one, it is equally valid. Please, feel free to share it.

Equipment used:
-Windows PC.
-MacBook Air M4.
-Lenovo Idea Tab Pro tablet.
-Iphone 16 Pro Max.
-CCA CRA+.
-Twistura D-Major.
-NF Audio RG15.
-Kiwi Ears Astral.
-TRN Mermaid.
-Audio-Technica m50x.
-BeyerDynamic DT 770 Pro 80 ohms.

Hi everyone, I’m back with a review of ZiiGaat x Fresh Reviews Arete II IEM. I received this IEM from Presley, who kindly provided it for review purposes. Thanks to Presley and ZiiGaat team.

Here are my subjective impressions as an audio enthusiast. Briefly, here are its pros and cons:

Pros (+)

• There is a switch that is simple and easy to use, dedicated solely to bass tuning, and the changes it brings are quite noticeable.
• The build quality of the IEM shell is entirely made of fairly lightweight metal. For a gaming IEM, the design is not tacky, yet it still manages to showcase an aesthetic indicative of gaming gear.
• It features a wide soundstage with 3D holographic imaging that can easily pinpoint sound sources.
• It is very suitable as a multifunctional IEM for gaming, watching movies, or simply listening to music.
• The price difference of $30, or about 12%, compared to its predecessor makes it a very worthwhile choice, especially when weighing what you get (the build quality and accessories of the Arete II are more comprehensive).
• Looking at the previous product, the Arete, the price increase for the Arete II is quite reasonable and aligns with the dollar inflation rate over the last two years, which is around 6%.

Cons (-)

• The surface of the IEM is a fingerprint magnet.
• For me personally, the fitment of this IEM is quite comfortable, but if you are accustomed to using deep-fit IEMs, this one will feel somewhat uncomfortable.
• As a gaming IEM, it would feel much more complete and beneficial if the retail package included a cable with a built-in microphone and a Type-C connector.
• There is a slight BA timbre, which is not really an issue for me personally.

 

These impressions are based on my preference for a V-shaped bright sound signature. Please don't use these impressions as a reference, as every ear is different and I'm only sharing my personal experience. FYI I’m just a casual gamer not a serious one. Always trust your own ears and audition if possible. If you find any mistakes, feel free to comment.

As usual, before I go  any further, I will provide a brief description of the ZiiGaat x Fresh Reviews Arete II. The Arete II is a gaming IEM line from ZiiGaat in collaboration with Gaming YouTuber Fresh Reviews. Its tonality is still quite similar to the original Arete (as far as I can remember), but it boasts better technicalities, build quality, and accessories at a relatively similar price point. The Arete II is priced at around 249 bucks, while its predecessor was around 279 bucks. Considering inflation rate, the price of the Arete II makes a lot of sense. But do the updates brought by the Arete II offer significant changes? Please read on.

Here are roughly the specifications and accessories you will get:

• Driver: Hybrid, BASS - 10mm Liquid Silicone Dynamic Driver, MID - 2 x Balanced Armature Knowles Driver ED 29689, TREBLE - 2 x Balanced Armature SWFK 31736
• Plug Type: Modular 3.5mm and 4.4mm jacks
• Connector: 0.78mm 2-pin
• Sensitivity/Impedance: 104dB@1kHz / 24 Ω
• Frequency Range: 20Hz - 40kHz

As for the included accessories, they are as follows:

• 1x Pair of ZiiGaat x Fresh Reviews Arete II
• 7x Pairs of Silicone Eartips (S/M/L)
• 1x 3.5mm Interchangeable Plug
• 1x 4.4mm Balanced Interchangeable Plug
• 1x Ultra-Pure Silver-Plated OFC Cable
• 1x Carrying Case
• 1x Warranty card
• 1x Wearing diagram/user instruction card

Unboxing & Physical Build

Regarding the packaging box and accessories, it remains similar to previous ZiiGaat products such as the Horizon, Odyssey 2, Luna, and Crescent, sharing the exact same packaging box dimensions and design. The accessories are also identical, featuring the ZiiGaat PELLEPOD hard carrying case made of brown PU leather with a velvet-lined interior. This case can actually be purchased separately for $19.

Moving on to the cable, it is also the same as the previous ZiiGaat products I mentioned earlier. The cable meets the standard for IEMs in 100 bucks and above price range; it features a modular jack, a black cable 4-core braided design that is quite flexible, and is free of microphonics. The eartips are also consistent with previous ZiiGaat products, providing 3 pairs of transparent liquid silicone, 3 pairs of translucent black smoke liquid silicone, and 1 size of foam eartips. It seems ZiiGaat knows exactly how to apply an "one for all, all for one" approach to their product accessories to cut down their production costs.

At lasts, we arrive at the part that truly carries the identity of the ZiiGaat Arete II, which is its IEM shell. In my opinion, the shell of the ZiiGaat Arete II is quite captivating. Its faceplate looks fairly simple with two color choices to pick from—red or blue, featuring the word "ARETE" without the glittering and sparkling ornaments usually found on ZiiGaat's resin faceplates. This clearly signifies that this IEM is indeed different from other IEMs made by ZiiGaat.

The differences between the Arete II and other ZiiGaat IEMs do not stop there. As a gaming IEM whose entire body shell is made of CNC aluminum, it is also equipped with a small on-off switch lever used to increase the bass level. This makes it more functional for various usage scenarios without the confusion of managing multiple switches like on KZ or CCA IEMs. Unfortunately, the switch still uses a "1-ON" label, which might be confusing for casual users. The "1" doesn't actually mean OFF; rather, it indicates the tuning level. While other IEMs like KZ or CCA might have 3-4 switches meaning the bass can be adjusted up to 3 levels, the Arete II only has 1 switch, so the low-frequency boost adjustment only has 1 level. The good thing about this kind of switch tuning model is that we can toggle it on the fly without having to take off the IEMs, as the switch lever is very easy to reach.

In terms of fitment, I don't have any significant issues. It is quite comfortable to wear for hours, though it does feel like the Arete II requires some adaptation time for its fit. Personally, because I am already familiar with the Odyssey 2, which has a very similar shell to the Arete II, I didn't find it bothersome. However, for those of you used to deep-fit IEMs, this might be quite annoying and take some time to get used to. Regarding other aspects, it is perfectly safe; there is no driver flex or pressure build-up.

The Arete II features a 1DD+4BA configuration. The BAs themselves are from a highly credible manufacturer, Knowles, handling the midrange and treble, while the bass is handled by a dynamic driver using a liquid silicone suspension diaphragm. To be honest, I am not a big fan of the bass feel on the Odyssey 2, which is made of bio-cellulose, because at low volumes it sounds slightly pillowy. I think it feels very appropriate that the Arete II uses liquid silicone diaphragm for its bass, as I personally quite like the bass texture of the Arete II and the Punch Audio Portazo, which seem to use the same diaphragm material.

Here are my sound impressions for its sound signature, which I consider to be U-shaped. For this review, I used a Topping DX5 II with the standard largest-sized black smoke eartips, streaming Tidal at a volume of 28-30 on low gain.

Bass

The sub-bass on the Arete II feels slightly more dominant than its mid-bass. Even when the switch is off, the rumble of the sub-bass can still be felt, and for me personally, it is deep enough. The mid-bass is quite punchy, controlled, and has a neat and agile texture. When the switch is turned on, the sub-bass becomes more visceral, sounding increasingly like a mini subwoofer. The mid-bass feels denser and weightier, though unfortunately, this comes at the cost of transient speed, which decreases slightly and becomes less agile; even so, it still feels quite natural. Personally, I use the Arete II more often with the switch off when listening to music or playing games because, for me, the bass amount is more than enough, and I also prefer the mid/vocal sound where the separation feels more apparent. I only turn the switch on when watching movies or listening to genres that really require fun bass, like R&B and hip-hop. Regarding the bass quantity when switched on, I think it's almost touching basshead levels, which means this IEM might be perfect for those with basshead ears.

Midrange

When the switch is off, both male and female vocals feel quite clean, with a good balance leaning towards an intimate positioning. Instrument sounds such as the piano and acoustic guitar also carry the right weight and sound quite clear. The lower-mid, especially for male vocals, feels sufficiently weighted—neither too thin nor too thick. In the upper-mid, specifically for female vocals, it sounds quite smooth and clear, and still delivering good emotion; however, for some reason, in certain tracks with many instruments, the female vocal doesn't feel entirely effortless, and when switched on, the separation gap between the bass and midrange feels closer, making the soundstaging feel slightly compressed with male vocals gain a slightly thicker weight, and instruments like the guitar and piano also feel a bit warmer. Sibilance and shoutiness are absent whether the switch is on or off. If you need a slightly more musical sound, I think switching it on can help a bit more musical sounding; conversely, if you need a clear midrange that leans slightly dry, it's better to keep the switch off.

Treble

I quite like the typical treble presentation on the Arete II. Its lower treble is crisp and smooth, while its upper treble is quite extended, sparkling, and airy. It is just a pity that this Knowles BA timbre sounds slightly metallic, so for perfectionists, it might sound a bit incoherent. Furthermore, for those sensitive to treble, you might feel slightly bothered by the upper treble, which is quite energetic when listening to the shimmering sound of cymbals. Based on my analysis CMIIW, it is possible that ZiiGaat intentionally made the treble on the Arete II more extended to sharpen the imaging by enhancing its micro-details. If you frequently listen to songs with many instruments filled with upper treble, like violins and percussions, listening to the Arete II maybe will make you fatigue quickly.

Technicalities

The Arete II has a fairly wide soundstage with very well-defined depth, as well nice imaging and layering, so when the 1^(st) time you put them on you will feel wow for their holographic imaging. The separation between instruments feels well-spaced, showcasing good micro and macro details. Multi-driver coherence is also quite good, featuring a fairly fast transient response. There might be some IEMs out there with a wider soundstage than the Arete II, but in terms of depth and layering, the Arete II is exceptionally well-defined, making pinpoint accuracy for horizontal and vertical positioning feel highly accurate.

The resolution boasts quite fine detail without having to sound analytical; the sound presented by the Arete II gives a fairly musical impression with details that I find quite effortless. Being an IEM that can be tuned with a bass switch allows it to alternate smoothly between being quite musical and little bit technical. As for the timbre itself, it feels quite natural, except if you are sensitive to its upper treble, you will notice a slightly metallic BA timbre.

Conclusion

So, is the ZiiGaat x Fresh Reviews Arete II worthy of owning? If you are a handheld gamer, the value offered by the Arete II is highly worthwhile because, apart from being highly capable for gaming, the Arete II also excels in watching movies, not to mention it can be perfectly used for listening to music. Then, if you are not a gamer, does that make it less worth buying? Not really. If you enjoy its tonality, which is quite balanced when switched off and slightly warm when switched on, you will feel like you own two IEMs in one package, where even though the changes are quite noticeable, the difference isn't as drastic as black and white.

As for its drawbacks, in my opinion, there aren't many. However, for an IEM that highlights its gaming aspect, it is a real shame that ZiiGaat did not equip its retail package with an inline microphone and a USB Type-C connector cable. If only these were included in the package, I think the Arete II would be absolutely perfect as a gaming IEM. Hopefully, this can be realized later in the Arete 3. That's all, fellas. Thank you for reading. Cheers.

Want to check the current price or know more? you can find ZiiGaat x Fresh Reviews Arete II at the links below(unaffiliated links)

ZiiGaat Official Website

Linsoul

Aliexpress

Amazon

The Juzear Defiant Gamefidelity Edition is not your usual “gaming tuned” IEM that throws massive bass and sharp treble at you for fake excitement. Instead, Juzear took a more refined route here.

This is a hybrid setup featuring:

• 1 Dynamic Driver
• 3 Balanced Armatures

And rather than sounding overly aggressive, the Defiant Gamefidelity focuses more on clarity, positioning, layering, and long session comfort.

Honestly, this feels less like a gimmicky gaming IEM and more like a proper audiophile set that also happens to work very well for gaming.

Build, Cable & Accessories

The Defiant Gamefidelity Edition looks premium immediately.

The shells have a glossy resin finish with a very clean and polished appearance that honestly looks more expensive than its price bracket. Fit is comfortable overall and the shells sit securely without becoming fatiguing during longer sessions.

Unlike the standard Defiant, this version comes with:

• 3.5mm cable with MEMS microphone
• USB Type C adaptor included

This makes the package much more convenient for mobile gaming, Discord calls, handheld consoles, and general plug-and-play usage.

You do lose the modular 4.4mm termination system from the standard version, but for the audience this edition targets, I think the included setup makes more sense practically.

The MEMS mic quality is surprisingly decent too and gets the job done for casual communication and gaming.

Sound Overview

The Defiant Gamefidelity Edition goes for a balanced U-shaped tuning with a strong focus on detail retrieval and separation.

What immediately stood out to me was how controlled and refined the presentation feels.

This is not a “huge slam and excitement” type of IEM. Instead, it focuses more on:

• Clarity
• Precision
• Layering
• Smoothness
• Imaging

And because of that, it becomes a very easy IEM to listen to for long hours.

Bass

Bass here is clean, textured, and controlled.

Subbass has good extension and rumble, but the midbass stays restrained and avoids becoming overly punchy or bloated. Because of this, the Defiant sounds more technical than energetic.

For gaming and competitive positioning, this tuning actually works very well because bass never overwhelms details.

For music though, this can become a double edged sword depending on your taste. If you enjoy aggressive rock or highly energetic genres, you may want a little more impact and slam.

Still, the bass quality itself is undeniably good.

Midrange

The midrange is clean, spacious, and slightly relaxed.

Vocals are not extremely forward, but they come through naturally with good clarity and separation. Instruments have excellent placement and the overall presentation feels organized even during busy tracks.

Some people may find the mids slightly recessed depending on the recording, but personally I think Juzear intentionally tuned it this way to improve depth perception and avoid fatigue.

For longer sessions, this tuning works surprisingly well.

Treble

Treble is probably the strongest aspect of this IEM.

There’s a lot of detail and air here, but Juzear managed to keep it smooth enough to avoid harshness. The Defiant extracts micro details very well without sounding sharp or piercing.

This is one of those rare sets that feels technical without becoming tiring.

The upper end especially helps with:

• Positional accuracy
• Imaging
• Environmental details in games
• Instrument separation

Technical Performance & Gaming

Technicalities are excellent for the price.

• Strong detail retrieval
• Very good layering
• Clean instrument separation
• Accurate imaging
• Spacious presentation

The soundstage is not gigantic, but it has very good depth and positional accuracy.

For gaming, the Defiant Gamefidelity Edition performs genuinely well because of its controlled bass and strong imaging but i am not a hardcore gamer. Only games i Tested were Valorant, call of duty and Forza. Footsteps, directional cues, and smaller environmental sounds are easy to pick apart without the mix becoming muddy.

And unlike many “gaming” products, this still remains a very capable music IEM too.

Pros

• Beautiful design on the earphone and box
• Incredible build quality
• Enjoyable, warm, and relaxed sound signature
• Excellent bass
• Absolutely outstanding soundstage, separation, resolution, and technicalities
• Very comfortable, can be worn for many hours without fatigue
• Sensational and modular cable
• Easy to drive…

Cons

• Expected more from the accessories kit
• …but its potential only scales up with better sources

Sources and ear tips used in the review

• EPZ TP35 Pro
• Letshuoer DT01 Pro
• Snowsky Echo Mini
• Snowsky Retro Nano
• iPod Touch 6th Gen
• HE Sonic Galaxy (L)

Yes, this is my first time writing a review (and I may make mistakes — that's normal), and I'm starting with an earphone that gives me delightful sensations while listening. It's a planar built in a quite different way from the usual, the Letshuoer Astralis — the brand's newest release, priced at $189 — with a warm, very musical character, smooth, relaxed, and even somewhat technical. It's the kind of IEM you can listen to for hours without getting tired, so succulent is the Astralis.

Disclaimer

This unit was a wonderful gift from a giveaway Letshuoer ran on their social media, and I'm grateful to have been chosen to test the Astralis in exchange for my honest impressions.

Accessories, Comfort, and Build

The box is a standard size for the brand's lineup, but nicely styled and attractive, referencing the name "Astralis" (from the stars). The accessory kit itself felt uninspired for the asking price, featuring the same rigid case found on most of Letshuoer's cheaper models. You get two very basic types of ear tips that do the job well enough. The cable is excellent — it doesn't tangle, is very pliable, has no memory, and is modular (3.5mm / 4.4mm), which is useful for pairing with a variety of sources since this earphone is very easy to drive. It shines with a better source, but the DT01 Pro dongle gets the job done when needed.

The Astralis is made from an aluminum alloy, very well constructed, and the star motifs on the shell give it an elegant look. It's quite comfortable in the ear, especially with the HE Sonic Galaxy tips, which fit the Astralis like a glove, providing decent isolation and allowing you to wear them for many hours without fatigue.

Sound

Sound Signature

In conceiving the Astralis, Letshuoer took an interesting path, combining characteristics of the S08 with some aspects of the S12 Ultra to arrive at a neutral-warm sound with a tuning that shifts between U-shape and even L-shape, along with a mild recession in the mids.

Bass

This is where the Astralis truly shines, especially in the sub-bass, with an imposing and delightful presence. The mid-bass keeps pace with the subs, offering texture, impact, physicality, and definition that are exceptional even by planar standards, staying close to the boundary with the mids without crossing over. Percussion and bass lines make their full weight felt in this region — this is the star of the Astralis.

Midrange

Given the tuning direction, it's natural that the mids are more recessed here, but that doesn't mean they're bad — quite the contrary. They have great smoothness, naturalness, and refinement, with a very gentle pinna gain and incredible softness. The upper mids are more relaxed, which is good for those sensitive in that region; the aggressiveness here is about as fierce as a Pinscher chasing the mailman. With vocals, the highlight goes to male voices, particularly baritones and basses, thanks to the Astralis's warm, textured tendencies.

Treble

Compared to the solid S08, there's a clear improvement in this region — even if it remains well-tempered — and it's still delightful to my taste, with very good control, definition, extension, and speed, plus a subtle and natural sparkle with a relaxed airiness. Detail retrieval here is excellent and expansive, yet with zero sibilance, no odd peaks or coloration, and instruments come through beautifully.

Technicalities

Soundstage and Separation

The soundstage is quite wide, with impressive depth and spatiality, and zero congestion. Instrument separation is a pleasure, making it easy to pinpoint positions, with a rich and satisfying imaging performance.

Final Thoughts

The Astralis is a box of surprises — warm, smooth, relaxed, with an excellent soundstage in a planar that is very different from what we're used to, yet highly entertaining and a formidable option under $200.

Tanchjim decided it would be a wonderful idea to give me further experience in what the brand has to offer by sending me the Force; its collaboration with Effect Audio (for the memes, Defect Audio). I own the One and Bunny DSP, I have reviewed the Fission; and after they sent me the Space Pro which is a lovely dongle dac amp for the record, I now start with their IEMs. All’s not pretty however, as in this review, I will express my frustration and disappointment with how majorly Tanchjim missed their mark in making something truly different with the Force, specially given the price tag that it comes with.

I would like to take this opportunity to thank one of my patrons for supplying me his personally owned units of the Origin in S nozzles and the Nora to make my review as elaborate as possible.

Accessories, fit, comfort

Tanchjim also continues with their waifu branding which I personally dislike as I am tired of this trend where a majority of companies have hopped on this trend, but keeping that aside; the Force has very similar accessories provided with the rest of their IEMs in this segment- present, over and under. The Effect Audio branding is everywhere- from the cable obviously, to the shells, to the box and even a leaflet inside the paperwork. Oh, I also appreciate the replacement filters provided. All 20 of them.

It is a bit disappointing that at $280, Tanchjim would provide for a modular Effect Audio cable with their standard long 2 pin design, a type C plug with DSP capabilities, yet won’t include their special T-APB eartips but just put standard translucent white narrow and wide bore eartips. I like the case however, feels nice and sturdy in hand.

The shells of the Force feature an open back design that doesn’t really contribute much apart from having next to zero distortion regardless of volume levels, and despite a comparatively larger footprint compared to the Nora and Origin, the Force was comfortable enough for longer periods. However, the build quality is not very confidence inspiring.

Keeping the rambling aside, let me scooch over to the sound where the actual disappointment happens.

LOWS

In tracks like Rush’s Limelight and The Spirit of Radio, two tracks where the bass lines are camouflaged within the drums in my observation, the Force really does not impress with detail, where I could hear the plucks with lesser effort compared to other sets in its class, though it still maintains a respectable level of separation. The Force lacks the sustain to let the drums truly breathe and resonate, as the perceived attack is a bit too fast and the decay cuts off too quickly, resulting in a less than desirable sustain which makes the toms and kicks feel flatter than usual. 

In tracks like Daft Punk’s Get Lucky and Instant Crush, two of my picks to gauge their punch and slam, the Force continues to struggle with bass impact where the presentation often feels blob-like, but the detail retrieval mildly impresses, as I could still feel the bass line cut through the beats while allowing the vocals to move slightly forward. 

MIDS

In tracks like First It Giveth by Queens of the Stone Age, a track with an unorthodox snare setups and in a peculiar scale, the Force leans out in its approach to give the instruments a proper spotlight. It does, however, have a mild issue with imaging where the cymbals are slightly tucked under the guitars, and the vocals feel somewhat disjointed. Consolation marks are to be awarded for its tonality, as the snares and guitars sound fairly accurate with zero noticeable weirdness, and I didn’t perceive them as thin or strained.

As the tracks get busier in instrumentals like Periphery’s Marigold and Animals as Leaders’ The Woven Web, the Force starts frustrating me. The cymbals become increasingly washed out like painting a monsoon sky on handmade watercolor paper with a flat brush, while the toms and cymbals slow down to provide more body to the guitars, which once again, in the Force’s context, results in interfering with the overall presentation of vocals. 

As I push the Force further with Tool’s Lateralus, Pneuma and Schism; tracks known for their technical prowess, the problem with the Force in terms of imaging continues to persist, and its inconsistent detail retrieval becomes even more apparent. Tonality still is fortunately, and its control over balancing the emphasis between guitars and vocals improves towards the end of the track once the bass starts coming in, where the Force finally begins sounding cohesive. 

HIGHS

In tracks like Pinkpantheress’ Stateside featuring Zara Larrson, a track with relatively thin vocals, phonk-esque bass, and synths, the Force maintains its composure reasonably well. The synths carry a well-appreciated shimmer without coming off piercing, while the vocals remain properly planted. The bass avoids excessive distortion, and both artists get enough room to shine adequately. 

In tracks like Never Let Me Go by Florence + The Machine and Celine Dion’s All by Myself where the primary highlight is how diverse vocals can get cutting through monotony, the Force begins to break apart. The yodelling and vibratos come off piercing, the straight notes sound unfaltering; however, the otherwise acceptable control over the instrumentals cannot save this IEM from spilling over. 

In tracks like Adele’s When We Were Young and Easy On Me; emotionally charged baritone ballads, the Force does an average, forgettable job, though it once again raises questions regarding its timbre capabilities as I found the notes quivering towards coming off from how they should rather sound in keys of the Majors. Through the climax, despite all its attempts to hold itself back, the Force simply comes off sibilant.

COMPARISON WITH NORA

The Nora simply outclasses the Force through the lows, offering a massive improvement in impact with a well-adjusted attack and a perfectly controlled decay. Detail retrieval is especially impressive, where the Nora lets the bass lines fly with a fantastic rumble that makes the entire presentation feel alive. I could clearly hear the plucks, the kicks sound appropriately full, the toms resonate naturally, and the vocals simply add the icing on top.

Through the mids, the Nora improves even further. Tonality leans warmer, timbre sounds fabulously lifelike, and detail retrieval reaches a phenomenal level where I could hear the fast bass picking cutting through the meaty guitars with ease. Vocals remain firmly planted at the center, showcasing significantly crisper imaging compared to the Force. As tracks grow busier, the Nora consistently maintains a far more cohesive presentation.

Through the highs, the Nora can still become shouty with phonk-style synth tracks, though it avoids drowning out the vocals. Once fed with vocal-intensive tracks featuring dramatic climaxes and technical performances, the Nora convincingly outperforms the Force with phenomenal control over piercing sibilance.

COMPARISON WITH ORIGIN (S NOZZLE)

Through the lows, the Origin does not carry the same overall quantity as the Force, but it surpasses both the Force and the Nora with superior separation between the bass lines and drums, alongside more precise imaging. In tracks focused on punch and slam, the Origin makes the nimble Nora look mildly outclassed while convincingly outperforming the Force by carrying enough energy for the groove to remain engaging, all while sprinkling in absurd amounts of detail and maintaining an excellent level of separation.

Through the mids, the Origin comes off thinner across both vocals and snares, while still maintaining a commendable level of isolation, imaging, and a marginal improvement in separation compared to the Nora. Even when pushed through busy tracks, aside from the cymbals sounding comparatively brighter, the Origin largely goes toe to toe with the Nora.

The difference appears in the highs, where I found the Origin shoutier than both on phonk-esque synth tracks, though the bass remained largely free of distortion. On tracks with dramatic vocal climaxes and technical performances, the Origin unfortunately does become piercing, though not to the same extent as the Force, and that is ultimately where the Nora wins this three-way comparison.

Concluding Notes

The Tanchjim x Effect Audio Force is one of those IEMs that kept making me go back and forth in terms of coming close to being appreciated yet heavily skewing towards being a frustrating listen. Every now and then, it would show signs of being competent at what it does, but nothing stayed consistent enough for me to fully trust the Force. And the problem with the Force is not that it is outright bad, it just feels unsure of itself and that’s because Tanchjim decided to bloat its lineup with IEMs that have the same driver at different price points- Bunny DSP, Fission, Fola, Nora and the Origin; and except for the Bunny DSP, they all sound kind of the same, more or less. The Force should have been the more capable one, and beat this whole basketball team, but ironically it fails to shut the door as the moment the music starts getting more demanding with busier instrumentals, larger vocal performances, or tracks that rely heavily on imaging and layering, the Force just trips over its own shoelaces.

And hilariously for the Force, the Nora and Origin both make its weaknesses stand out like a mirror’s reflection. The Nora sounds far more cohesive and natural to my ears, while the Origin pushes ahead with sharper imaging and stronger separation; and the Force ends up sitting somewhere being a half moulded sculpture which would otherwise be revelled as something abstract in the modern era, which it is not- it just pretends to be.

At $280 retail, the Force is a bad, bad bargain; and for that I am awarding it nothing above a B-. Tanchjim, you can clearly do better; get some breathing air, go back to the drawing board, get back to the original ethos of taking time with the releases, but release IEMs with distinct identities.

Will I buy this new? Absolutely not.
Will I buy this used? Only at a good, good deal.

Sources used: SMSL Raw MDA-1 and Venture Electronics Megatron desktop DAC amp, Shanling M9 Plus, iBasso DX340 with the Amp 17 card and Cayin N3 Ultra DAPs and stacked with the XDuoo XD05 Pro with the AKM dac chips, FiiO KA17 and Venture Electronics Odo dongle dac amps.

Eartips used (ranked in order of performance): Dunu S&S, KBear Coffee, Divinus Velvet Narrow Bore, JVC Spiral Dots, Spinfit CP100+, Penon Liqueuer Black

Tracks

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message In A Bottle
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Avicii: Levels
• Periphery: Marigold
• Tesseract: Juno
• Kanye West: Stronger, Flashing Lights, Devil In A New Dress
• Altin Gun: Goga Dunya
• Timbaland: Give It To Me
• Adele: Easy On Me Live, When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• AR Rahman: Tere Bina
• Alice in Chains: Down In A Hole (live)
• Allen Stone: Give You Blue
• Florence + The Machine: Never Let Me Go

Overview (TL/DR)

The NX8Ti is a balanced soft U-shaped IEM with a very energetic and engaging sound that, PZT timbre aside, will offer you comfort, detail and immersion, with one of its major downsides being that is a Limited Edition, which means that they will eventually run out of stock, so, if you are looking for a comfortable early endgame pick, you might want to check those.

With a present low end that packs a deep-reaching sub-bass rumble along an authoritative, agile and clean mid-bass punch; a fairly present mid-range that offers consistent male vocals and lively female vocals; and a well extended treble, that packs a impactful bite and immersive detail while still being somewhat controlled, NX8Ti is great, though, it might be a bit too much for treble sensitive people.

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WOULD RECOMMEND:

* For people that like more energetic and slightly bassy sound signatures.

* For people that want very good quality of bass but don’t want a bassy IEM.

* For people who want a mostly balanced sound on an IEM.

* For people that want a sturdy and durable IEM.

* For people looking for a very comfortable and lightweight IEM, either for small ears or for long use sessions,

* A direct technical upgrade coming from the OG NX8, and a great next step from cheaper PZT-using IEMs like Simgot EW300.

* For people that like to do EQ, since it works well with it.

* For people looking for a decent assortment of stock accessories.

* I personally enjoyed it for Electronic music and some Pop/K-Pop.

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WOULD NOT RECOMMEND:

* Not for people that like very thick and very full (lush) vocals.

* Not for people that like more warm/bassy or relaxed sound signatures.

* Not for people looking for an excellent “performance to price” ratio.

* People who are very sensitive to treble should be cautious with this set (even with EQ).

* If you struggle with the PZT driver timbre, better consider other options.

* People that use iems at high volumes should be cautious with this set.

* IMO, the treble amount and PZT timbre doesn’t work the best for Rock genres.

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Full disclosure, this set WAS provided by NiceHCK, I did NOT buy it with my own money, but the opinions, as always, were given without any brand’s editorial direction, and on my own accord.

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I will leave the official links here given the product right now is on its pre-sale period, and, with this code: 【NNX8TI】 you can get the price down to $359 on AliExpress, It expires on May 20th.

AliExpress Store Link (Click Here).

Official NiceHCK Page (Click Here).

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REVIEW

INTRO

As a somewhat seasoned reviewer there is nothing more frustrating than reviewing an IEM that you just genuinely love but it has an specific detail that makes it complicated for you to easily recommend it, and despite how much I appreciate NiceHCK because it feels like they genuinely care for good sound, It also would be great if they could make my “job” easier for recommending their stuff.

So, when I tried the NX8 I felt like it had potential that ended in nothing remarkable, now with the revamped NX8Ti, they fixed nearly everything: better performance, better sound, even better comfort, is genuinely great, however, preference will always play a huge role on enjoyment, and it will depend on if its sound works for you, so, before making a choice, let me tell you about it.

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Fit and Drivability

I, 9/10 times, struggle with fit because, apparently, i have weird ears, however, NX8Ti just goes in like a glove, you just need to know what eartips to pick, and with the 4 different sets of included eartips, 2 pairs for each size, plus the ergonomic, small and relatively light weight shell of the NX8Ti, you have near 0 chances of struggling with getting a good seal, which is always extremely welcome.

Besides the very ergonomic fit of the IEM, the Ti on its name stands for “Titanium” which you can find in the sturdy “Titanium Alloy Laser-Etched” face-plates that makes the set feel more premium and durable while keeping the weight at a minimum, an upgrade compared to the basic NX8. Also, for the record, I will be using the (Kbear-style) NiceHCK 07 and 08 included eartips, both on its small size for this review.

Now, after all the good stuff, is time to mention one of the major catches that NX8Ti has: those are kind of power-hungry, they definitely do better with more power, so, take the advice from this clown that asked for a 3.5mm cable and do not, I repeat, DO NOT get NX8Ti with the 3.5mm cable, just get the 4.4mm version and plug it on the most powerful DAC you have around.

As for what’s recommended to be used for power delivery, despite its 112.3dBs sensitivity and 18 ohm impedance specs, which aren’t particularly heavy on paper, I do recommend the use of a DAC, like a CX31993 dongle with 60mW of power output, as the bare minimum, that said, my best experience using NX8Ti was with the NiceHCK Octave in its 4.4mm connection which offers 550mw of power output.

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THE BIAS.

Before the sound review, I need to mention a few things about me: Bear in mind that every person perceives sound in a different way, and those differences are key to understand what each person does or doesn’t like, and how that will translate into a review.

My preference is a “neutral with bass boost” type of tuning, I don’t like too boosted treble, however, I can handle intense upper treble quite a bit, so, what is not too bright, too treble forward for me, could actually come as harsh for you, and what is bassy enough for me, could be too bassy or even muddy for you.

I’m also a bit susceptible to IEMs with boosting on the upper mid-range and the lower treble area of the sound (around 4Khz-6Khz), which affects things like high pitched vocals and instruments. Having boost peaks in those areas makes the sound be a bit too intense and harsh for me, so, when I say that the sound could be “shouty,” or too intense in treble or vocals for some, I’m mostly talking about this.

Last thing is that I usually don’t struggle with iems with the called “Metallic / BA / Planar” Timbre that some people can’t really enjoy, I normally don’t have problems with neither of those, but I do struggle with PZT driver timbre.

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SOUND

Bass

Despite the NX8Ti being an overall balanced-sounding IEM, it is packing enough low end that it could be considered slightly bassy, which works well given its strong yet responsive bass quality, making it engaging without turning overbearing, plus the overall bass presentation is pretty clean, with just an small amount of bleed into the mid-range.

For the sub-bass, it has a deep reaching an enveloping presentation, with a fairly present vibrating rumble that is almost on part with the mid-bass punch however, this just stands ever so slightly over the rest of the sound without getting on the way, so it is only heard when the music calls for it, plus, it has a nice texture to it.

On the side of the mid-bass, it is everything you could ask for, it is very punchy, with a nice degree of physicality to it, while keeping an agile, fairly fast response, which lets it adapt well to different music genres, being forward when needed, or just keeping a sense of rhythm when the music requires so, is not a basshead amount of bass, but it is a decent amount of it nonetheless.

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Mid-range (vocals)

As I said on the TL/DR, the NX8Ti is a soft U-shaped IEM, which means that vocals, do take an small hit and, while the overall presentation is fine, natural-ish and kind of present, they aren’t the most lush or the most accurate, specially thanks to the PZT driver which, at least for me, always makes female vocals sound a bit off.

The lower mid-range, where general instruments and most male vocals are prevalent, is decently present overall, but still a bit “on the background” for the very low area of mid-range, it doesn’t have the most body, is just acceptable, especially with the extra “warmness” coming from the bass, so male vocals doesn’t feel too “thin” outright.

In terms of upper mid-range, were most high pitched vocals / instruments exist, MX8Ti presents a more lively side, however, vocals still aren’t the fullest feeling, also, because of the PZT driver timbre, high-pitched vocals could feel a bit odd at times, like with a hint of a “lisp”, besides, if you are very sensitive to boosted upper mid-range, there is a chance the vocals could feel borderline shouty on a few songs.

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Treble

With PZT drivers treble is always a mixed bag, depending on your tolerance of timbre and the recording quality of the song, you might or might not get a bit of a “noisy” sense of treble overall, but with well recorded audio in general, is usually not a problem at all, included the “lispy” vocals mentioned earlier and, compared to the original NX8, in the Ti version this PZT timbre is a lot more controlled.

On the lower treble, the area that could make some vocals feel “shouty”, is, as said before, fairly controlled with decent presence that adds some bite to the music, although at times it could feel a bit too intense for sensitive people like me, it is overall fine, giving good energy and sense of detail to the music.

As for upper treble, it is well extended and detailed, with some sparkle, and enough feeling of air, but back with the PZT driver, depending on your tolerance of the timbre, it could feel a bit too much on some songs, it also depends on the mixing of the music, for music that has controlled treble and makes vocals or bass stand out, it won’t get on the way, but if the mixing makes treble stand out, it will give it to you.

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Technical performance

Now, the NX8Ti normal price is about $400usd, but is down to $359usd for launch/pre-release period, also, with the PZT driver timbre on top, is a bit harder to properly judge this IEM, there is always a degree of subjectivity involved, so, in my opinion, technical performance, for a $400 IEM, is fine but not the most impressive, however, one has to bear in mind that part of the price is also because is a limited edition.

Resolution: Resolution is often what can impress more people out of the gate and, with a very crisp and clear resolution, the NX8Ti definitely offers a good performance for $400usd.

Detail retrieval: The capacity of convey detail is good for an IEM around $400, however, depending of the eartips used, detail could be a little less obvious based on how much the selected eartips affect bass and treble presence.

Note-weight: This NX8Ti, as said before, packs some bite, so note-weight is more on the strong side, but nothing too aggressive, just enough so the music feels more energetic, with more body.

Soundstage: Is more on the open, expansive side, but I wouldn’t call it too wide, it really depends on your audio and eartips of choice, still, it’s a reasonably open soundstage for its price.

Imaging: The imaging is very precise and lets you follow the sound around pretty well, so if you were worried about it, it does offer a very competitive performance in this area.

Separation: Separation is decent but, given the extra presence of treble thanks to the tuning and the PZT driver timbre, sounds could get a bit “blurry” on very complex tracks like with some Rock music genres.

Replay: With NX8ti it really is all about the replay, if your audio is not the best recorded or produced, it might not play well in this IEM, especially if it has too much treble, but well done tracks sound excellent in it.

Harshness control: For harshness control PZT timbre is never my favorite, if you often listen to music that you feel it could sound harsh, and listen at high volume on top, the treble on NX8Ti might be a bit too intense for your ears.

Sibilance: So far for me, all PZT drivers I have tried have this extra… “zing” in the sound that can feel like hints of sibilance, so, the NX8ti doesn’t deal with recorded sibilance the best for me, and that can be a major downside if your music struggles with it.

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Overall sound

The NX8Ti is a balanced soft U-shaped IEM with a very energetic and engaging sound that, as long you don’t mind the PZT driver timbre on the treble, will offer you comfort, detail and immersion into your music, with one of its major downsides being that is a Limited Edition model, which means that the price won’t change much over time, and they will eventually run out of stock, so, if you are looking for a comfortable early endgame, you might want to get it while you can.

With a present low end that packs a deep-reaching sub-bass rumble along an authoritative, agile and clean mid-bass punch; a fairly present mid-range that offers consistent male vocals and lively female vocals; and a well extended treble, that packs a impactful bite and immersive detail while still being somewhat controlled, though, it might be a bit too much for treble sensitive people.

I personally think that, if you are kind of a treblehead, and want something comfortable, detailed and engaging, this is by far one of the safest choices to pick, with also a very good sober-looking and sturdy build quality, my only gripe being the cable and the “Limited Edition” status, but with Dunu candy eartips, those might become my personal daily drivers.

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Now, 3 quick comparisons so you can grasp were this IEM lands:

First, versus the Dunu DN242 (And DN142), for me, the NX8Ti is like an in-between the Dunu twins in terms of tuning, a more energetic 242, or a more controlled 142, with a performance that sometimes stands out over them, but being the comfort the major point that NX8Ti has, still, I personally like 242 a bit more because is the more natural-sounding for me.

Then, versus the NiceHCK NX8 (OG), what else can I say? As stated in the intro, is better at everything the OG NX8 does, and easily a “double the price double the performance” upgrade, great next step if you liked the OG but wanted more, also, it could, too, be considered an upgrade coming from other PZT IEMs like the EW300.

And versus the Dunu DK3001BD, In this case the $100 extra does make a notable difference, DKBD remains unbeatable in openness, detail and texture, but characteristics like an extended sub-bass and treble, the NX8Ti does has its moments of brilliance where it wants to rival more expensive stuff, especially in resolution.

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Accessories

The unboxing of the NX8Ti is very premium but not everything is perfect, as I mentioned before, you have a great assortment of accessories… except for the cable that is, IMO, a miss for the product, either way, it is usable, so the package ensures a good user experience overall.

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• The cable included is a thick, sturdy but also not that flexible, ash-blue (gray) color, 0.78mm 2-pin “7N Single-Crystal copper custom cable” cable formed by 2 thick strands, and embellished by “Titanium Alloy components” like the chin slider.

Honestly, this cable makes me kind of upset, is not even the fact that for something over $200 we still don’t get interchangeable nozzles that, let’s be real, it should be a must at this point, but even the right side of the cable is market by a random elastic red O-ring in the cable? I just don’t think this cable belongs with this IEM, period.

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• On a good note, NX8Ti includes 4 different sets, with 2 pairs of each size, of eartips, that offer the well liked (Kbear) NiceHCK 07 and the comfortable 08 models, as well as some NiceHCK C04 tips and some generic black eartips.

I don’t have much to say, besides the black stock tips, all the others fit comfortable and work fine with the IEM, good on NiceHCK for not only give us a good assortment of tip options, but also include spares just in case, love to see it.

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• You can also find in the box a round “NICEHCK EBX25Ti Earphone” carrying case.

I honestly liked the larger stock case of the OG NX8 better, with that thick cable included it feels too crammed, but either way, it works fine, it will protect your iems.

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• Finally, in the package comes a plastic, black brush for cleaning the IEMS, a pair of tuning nozzles than barely change sound (mostly some more treble), 2 pairs of replacement filters for said nozzles, and some sort of “connection guards”, called “pin covers”, that are supposed to help protect the 2-pin connections.

There is a lot of interesting and useful extra stuff to ensure durability and ease of use and for that I still compliment NiceHCK on the accessories.

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So yeah, for a $400 price-tag, the inclusions are as fine as it gets, no nonsense like uncomfortable eartips, plus replacements for anything that might could worn down overtime, besides the cable, NiceHCK has done a great job for the accessories.

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Conclusions

My struggles with PZT drivers might affect to some degree my perception of this IEM, my brother which is kind of a treble-head LOVES the NX8Ti, I can’t seem to agree in its sound supremacy but, to be fair, for a limited edition product, despite the, just a bit, steep price IMO, is hard to lose if you bet on this IEM if you are looking for a daily driver end-game and like treble detail.

After some testing around in these past days, the NX8Ti, with Dunu candy tips, might as well become my daily driver for once, because it has everything, good performance, great comfort, and the PZT doesn’t bother me unless with certain songs, it really is a good set overall, but preference is always king.

A big thanks to NiceHCK and Da Bao for the opportunity to test this exciting model, and I hope NiceHCK keeps giving us more and better IEM bangers in the years to come.

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Thanks a lot for reading, the Budget Knight bids farewell, wishing you the best, good luck. – O.E.

Check out my full review of the Hidizs My Lin Special Edition:  https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/hidizs-my-lin-special-edition-review/

Hidizs My Lin Special Edition Review 

-$99

-2-Driver Hybrid (1DD + 1BA) 

-Three sets of tuning nozzles 

At the link above is a review covering Hidizs Audio's latest iem named the Hidizs My Lin Special Edition. The My Lin is a 2-Driver Hybrid iem consisting of one dynamic driver and one balanced armature driver and comes in at under $100. It's the successor to another Hidizs iem, the Hidizs MS2 Pro. Hidizs actually did a solid job with this one. A carbon copy build of the MS2 Pro, yet with upgrades everywhere else. It comes with a much better unboxing and solid accessories, a much better design/aesthetic and a more musical and engaging sound. This is a set to casually enjoy while not losing out entirely on stuff like details, decent enough sound separation, and spot-on imaging along with a spacious enough stage. The bass rides deep, it's haptic in feel, palpable with a nice mid-bass slam that isn't a detriment frequency wide. The midrange is vocal forward with very nice presence, solid macro-dynamic energy, and is mostly non-offensive. Lastly, the treble has some shimmer, some sparkle, and comes across semi-brilliant while remaining mostly non-offensive. Sure it has some subjective tonal issues for different listeners, but I can't complain at all because Hidizs practically nailed their target sound with this set. At any rate, I do try to disclose those downsides and try to cover this set as well as I can. So, if you'd like to learn more about Hidizs latest, then feel free to check out my thoughts. I hope you are all doing well. Take care. 

My Lin Pros

-Price-to-performance 

-Unboxing experience is great

-Built like a tank with all zinc alloy, mirror polished, and seemingly durable

-A very nice looking iem. Great aesthetics. Flat-out dope faceplates! 

-Three sets of tuning nozzles which each portray the tuning slightly differently 

-The My Lin fits my ears very well, comfortable for long listening 

-Highly immersive and engaging sound for its class & cost

-Authoritative bass region, deep rumbles, haptic energy, and solid slam without clouding or veiling the mix

-Midrange is built on musicality-first, clean, vocals are great (especially females) 

-Treble has solid brilliance while remaining relatively non-offensive 

-For the engaging tuning details come through rather well

-Imaging is spot on

-Nice soundstage, open, airy, and decent enough depth of field 

My Lin Cons

-Mild lower midrange warmth, and slight recession can hide some clarity

-While the fit is great for me, the My Lin is not a typical iem build and may 

present some issues

-Straight audiophiles who desire a reference neutral sound will be disappointed 

-Can become slightly peaky in brighter tracks

-Micro-details are solid for a musical, warm, and bassy tuning but nowhere near class leading analytically tuned iems. 

-Nice focus in the low-end but not for bassheads

Check out my full review of the Hidizs My Lin Special Edition:  https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/hidizs-my-lin-special-edition-review/

Hello to you all!

First, a big shoutout to Meggie from KeepHiFi for giving me this set to test it and give my sincere opinions. There’s no payment involved in the development of this review. With my biases being my musical and tuning preferences.

TDLR; Another banger hybrid set who uses the well-known and praised ‘Zenith’ dynamic driver, paired with a second-generation 30019 BA driver, this time from KZ (Knowledge Zenith) themselves for the under 25 USD segment. A revival of a budget legend who began with the original ZST back in 2016 and the ZST X back in 2020, with 10 years of history under its shoulders.

Now the ZST Pro X comes with a flagship dynamic driver and a new BA configuration, and of course, a refined tuning, who offers a bassy, warm, organic and musical more than analytical ride, yet keeping a more than decently detailed sound, all of this with the special sauce KZ is pulling out this 2026.

Pros:

- Lightweight and comfortable shells

- Great midbass slam and subbass extension

- More musical than analytical mild V / U-shaped tuning

- Refined, crisp and sharp treble without major harshness

- Natural BA timbre for a budget hybrid (2nd gen 30019 BA)

- Good soundstage, imaging, and layering of instruments

- It’s engaging and non-fatiguing at high volume

- Good macro and micro detail retrieval for the price

- Kind of easy to drive

- Good value under 25 USD

Cons:

- The included ‘new’ wide bore Starline eartips give poor seal (please bring back the good old Starlines)

- The stock cable is improved, but it is still thin and tangles easily

- No carrying bag included (As for example, NiceHCK Tears and CCA Phoenix)

- Its medium- to large nozzle may not suit small ears

- Midbass bleed into lower mids. Male vocals sound slightly recessed

- Upper mids/treble can get a bit harsh at high volume

- Upper treble extension is only average

KZ (Knowledge Zenith), launched back in 2025 the Zenith, with a 10 mm flagship dynamic driver, punching way above its weight, resulting on a successful IEM pointed to seasoned audiophiles on a budget. Back in 2025 last months GK (Groove Keeper), who was once a KZ subbrand, after parting ways with its main brand, launched an IEM back in November 2025 in the budget-oriented segment of the market, with the ‘same’ dynamic driver as the well-known and praised Zenith but cutting cost in the fabrication and accessories, its name is the GK Kunten, and it entered the market disrupting it.

Now, after that successful entry, GK launched a new set, a hybrid IEM driven by a 1 x 10 mm dynamic driver (the same as the GK Kunten) + 1 Microplanar driver configuration. This KZ ZST Pro X is the response from KZ to that product, a KeepHiFi exclusive IEM but using a second generation 30019 BA driver instead of a MPD handling the upper mids and treble, not only to revive a legendary “cheap” IEM: ZST and ZST X, but presenting this 2026 an IEM who distinct the brand from their competitors, all within the budget-oriented market.

With its MSRP of 26.99 to 29.99 USD (With 3.5 mm cable with or without mic, and usb-c with mic, and Silver or Black colors available). You can find it directly on the Yinyoo Official Store at Amazon:https://www.amazon.com/dp/B0GSQSSLQ3?th=1, and coming soon in the KeepHiFi official store, and in other retailers online.

Technical specs:

- Housing materials: ABS plastic, metallic faceplate
- Drivers:
- 1 x 10 mm super-linear composite diaphragm dynamic driver (bass and lower mids)
- 1 x second-generation 30019 BA driver (upper mids and treble)
- Freq. Response: 20 Hz – 40 kHz
- Sensitivity: 110 dB/ mW @ 1 kHz
- Impedance: 40 Ω
- Connection: 0.78 mm, QDC
- Cable: 1.2 m 3.5 mm with or without microphone, 2 cores, silver-plated OCC (USB-C available)

What’s in the package?

The box is the usual KZ box, with the “No matter how luxurious the packaging can not change the inherent quality of the product…”, its front shows an image of the set and its driver configuration. The ZST Pro X sent to me is color black with a cable with a 3.5 mm single ended jack, but there’s also a silver color shells and a USB-C cable options available.

Simple and sufficient packaging by the way, consisting on the IEMs itself, 2 pair of the new wide bore KZ Starline eartips (S and M (installed) sizes), a warranty card, the cable that is 2 cores, with an 3.5 mm single ended 0.78 mm QDC connection, it feels thin and decent quality (at least is an improved one over the usual KZ cable included in the package of almost all of their IEMs), and it’s prone to tangle but not of producing translated vibrations.

The IEMs itself are made of ABS plastic in which you can look the dynamic driver inside and, in the nozzle, the custom 2nd gen BA driver, with metal faceplates with some shiny accents, 3 little vents and one vent with a mesh in the lower part.

The shells are kind of lightweight, and seems that is not prompt to scratches. Doesn’t have rough or sharp edges, its nozzle it’s plastic and has a lip to assure good eartips grip and fit, making a nice seal as well, but its medium to large size diameter (6.2 mm) is not the best option for persons with small ears, so keep that in mind.

Eartips and cable used:

Honestly, I don’t find the included new starline eartips a good fit for the ZST Pro X because those eartips are thin and don’t make a good seal in the ears. So, I was using some KBEar coffee clone eartips, but later change them to some KBEar 07 eartips finding the best sound synergy, fit and seal.

The included cable is fine to use it as it is, but I changed it to a QKZ T1 cable, and a 3.5 mm jack, finding it matches perfectly with the ZST Pro X shells.

How the ZST Pro X sounds?

The ZST Pro X with its 10 mm super-linear ‘Zenith’ dynamic driver + 1 2nd-gen 30019 BA driver configuration offers a mild V/U-shaped tuning, that is bassy but pretty balanced, warm, with a smoothed yet refined treble.

Thanks to Jaytiss for his measurements of this set. No equalization was used in the review of this IEM.

BASS:

The ZST Pro X comes with a more than good quantity and quality on the bass shelf, with decent subbass thump, extension, and great midbass slam; great resolution and transparency, with a remarkable attack and impact. As a mild U / V-shaped tuned IEM, its midbass bleeds into the lower mids.

In songs like “SYNC.wav” by Moodring, from the Stargazer album, is shown that nice bass impact, with greatly delivered drum kicks and bass guitar by the ZST Pro X, it sounds totally clean and clear.

In songs like “Pink Cellphone” by Deftones, from the Saturday Night Wrist album, the groovy and smooth bass drops in the mix is perfectly sounding thanks to the ZST Pro X, with zero bloating and great impact and a natural decay.

MIDS:

Talking about the mids on the ZST Pro X, midbass bleeds into the lower mids, the male vocals are recessed, but nor veiled nor thin. The midrange has a more than decent note weight thanks to the ‘Zenith’ dynamic driver.

In songs like “Nothing Sacred” by Paradise Lost, from the controversial (but my favorite) album Host, the ZST Pro X shows us that character the ‘Zenith’ driver has, the groovy drumming is nicely heard, the rhythmic electric guitars, and the main vocals are emotional yet powerful presented.

The FR curve in the ZST Pro X takes a dip who goes to 700 Hz approximately, then it enters a warm pinna gain encountering its first peak at 2.5 kHz, later descending smoothly to be merged with the lower treble, showing great presence, transparency and a more than average resolution. Female vocals are forwarded, and, at high volumes they are not shouty nor fatiguing.

In songs like the pop hit “Vogue” by Madonna, from her I’m Breathless album, the incredible Madonna’s vocals in the ZST Pro X shows why she is the Queen of POP, and the keyboards, electronic drums and samples in the song are there.

HIGHS:

The ZST Pro X has a refined treble; it is crisp and sharp but not spicy (and I like that a lot). The lower treble goes descending from the upper midrange to take a dip in 6 kHz and 10 kHz to handle the sibilance almost perfectly, elevating to a very energetic peak at 8 kHz. The 30019 BA driver does a more than decent job in it, with more than average resolution and a natural timbre without that ‘cheap BA’ sheen.

In songs like “King of Those Who Know” by Cynic, from their masterpiece album Traced in Air, the ZST Pro X shows that refined treble implementation, the prog death metal drumming with jazzy sauce, keyboards and guitars are delivered with a smile on my face, and zero fatigue at high volume.

In “Believe” by Control Denied, from their first and only released album The Fragile Art of Existence, the constant and magnificent drum work by Richard Christy, the guitars by the great and only Chuck Schuldiner, all of this are shown fantastically by the ZST Pro X, with that 30019 BA driver making featuring its well-crafted tuning.

TECHNICAL CAPACITIES:

Going into the upper highs, the ZST Pro X takes a smoother approach, with an open and decently air display, you can use this IEM at high volumes without fatigue in long sessions.

In the technicalities, the ZST Pro X is an IEM who punches above its weight, with an expansive soundstage, with good horizontality and depth. The imaging and layering of instruments are also more than average; the ZST Pro X is not an analytical snoozefest but a musical, engaging and detailed beauty, giving you some technical perks, with a pretty natural timbre**.** 

Now, in live songs like “Chalice of Blood (Live)” by Forbidden, from the Raw Evil: Live at the Dynamo, you can get all the details in the track, not congested, distinguishing the instruments is possible, the ZST Pro X can immerse you in the thrash legends concert.

In “No Quarter (Live at MSG 1973)” by Led Zeppelin, in the The Song Remains the Same live album, the ZST Pro X can show you a full display of macro and microdetails, Page, Bonham, Plant, all of them are heard perfectly, the balanced and natural tonality heard is more than great.

Comparisons:

KZ ZST Pro X vs. CCA Xyrra:

The Xyrra is a relatively new IEM driven by a 1 10 mm DD + 1 30118 BA configuration. In comparison, the Xyrra’s bass is a bit more focused on the midbass than the subbass, it also is more V-shaped tuned than the ZST Pro X, with drier upper mids, a more energetic treble and airier, it also is pretty spicy at mid-to high volumes, so you are getting fatigued faster than in the ZST Pro X.

Something I noticed in the Xyrra is that distinguishable BA timbre and unnaturalness, unlike the 30019 BA in the ZST Pro X and its smooth and natural treble delivery, so, I’m more inclined to the ZST Pro X tonality. The Xyrra is a wonderful IEM, but the ZST Pro X is a better all-rounder set.

KZ ZST Pro X vs. Gk Streak:

The Gk Streak is a new IEM by GK, driven by a 1 10 mm ‘KUN’ DD + 1 MPD configuration. In comparison, the ZST Pro X is bassier, and the Streak has a bit less energetic upper mids and treble than in the ZST Pro X.

The MPD in the Streak is well-implemented, having a natural timbre but smoother than in the ZST Pro X; it’s less spicy and less prone to sibilance at high-volumes in contrast to the ZST Pro X, who has a more crisp and sharp treble, but less upper treble extension than in the Streak. This time I can’t choose one of another, both are excellent IEMs, you can’t go wrong with both.

KZ ZST Pro X vs. KZ Duonic Bass:

The KZ Duonic Bass is another hybrid set by KZ, who’s replacing the Castor and Castor Pro line of IEMS, driven by a 1 8 mm DD + 1 8 mm ‘Tri-Magnetic’ Planar Driver, so, it uses a MPL instead of a BA as in the ZST Pro X. The Duonic Bass has a bit less subbass than the ZST Pro X; it has a bit less warm upper mids, but a more ‘Harman’ and similarly energetic treble, it also is airier and more open than the ZST Pro X.

That pseudo-planar in the Duonic Bass is a very good implementation, with a natural timbre as the 30019 BA on the ZST Pro X so, it is a matter of tuning preferences. I’m more inclined to the ZST Pro X by a bit, just for that ‘Zenith’ dynamic driver implementation, but I also love the tuning of the Duonic Bass. Again, you can’t go wrong with both.   ​

Final thoughts and conclusions:

The ZST Pro X is a fantastic option in the budget-oriented sub 25 USD market of IEMs, delivering a bassy, musical and engaging, crisp and sparkly tuning, with more than average technical capacities, with a refined character that make a stand in a crowded and very competitive segment.

The ZST Pro X, with its 40 ohms of impedance a 110 dB of sensitivity it’s easy to drive, even with low powered sources to give all its qualities; the option with the DSP cable is a well-received thing, because you can use it without looking for an additional source.

I tried it with mostly all the sources I have, encountering it being a hybrid set, it benefits of being paired with neutral and slightly warm sources, not requiring too much output power to shine at its best. However, I modified the QKZ T1 cable by changing the single-ended 3.5 mm jack to a balanced 4.4 mm jack, finding that the ZST Pro X scales adequately, with a little more openness and soundstage feeling, as well as more refined treble.

Apart from the included eartips (I prefer the old and well-known KZ starline eartips), I would like for KZ and KeepHiFi to sell the ZST Pro X with a carrying pouch or case as the CCA Phoenix or the TRN Conch. So, I guess KZ is pulling all the money in the earphones themselves.

Its remarkable bass quantity and quality, and its musical more than analytical tonality make it ideal for listeners who appreciate an engaging yet decently technical audio experience on a budget.

At under 25 USD, the ZST Pro X it’s not a market disruptor, but is one of the best choices for budget-conscious audiophiles and newcomers who crave a high-fidelity experience without spending a lot.

It is a recommendation: The KZ ZST Pro X presents itself as a more than competitive option, with its musical yet refined tonality and technical perks that can be perfect to both seasoned audiophiles seeking the best value and beginners entering the hobby. So, thanks again to KeepHiFi and KZ, and the gods of audio and musicophilia bless you with a happy listening!

Dunu Titan X enters the budget segment with: seriously premium build and a loaded accessory package. Full metal shells, quality cable, plenty of tips, and even Dunu Candy eartips in the box already make it feel a step above the usual budget release.

But build alone means nothing if sound does not follow. Thankfully, Titan X is not just about presentation.

Sound Impressions

Bass

Titan X has a full bodied and weighty bass response. It gives enough quantity to keep music engaging, but it does not dominate the tuning. The bass leans more toward thickness and body rather than sharp punch or fast bounce.

If you want ultra snappy slam, there are stronger options. But if you enjoy a richer and more musical low end, Titan X does a good job.

Midrange

This is where Titan X gets interesting. Vocals come through with a slight warmth and fullness that makes both male and female vocals enjoyable.

Lower mids add body, preventing thinness, while upper mids have enough energy to keep vocals clear and present. There are moments where upper mids approach the edge, but overall it stays controlled enough to avoid fatigue. Although it has a strong peak at around 3k which might boost the females vocals a bit forward.

Treble

Treble is mostly smooth and safe, with decent enough extension for the price. It avoids harshness and scratchiness, which is something many budget single DD sets struggle with.

Do not expect huge sparkle or airy brilliance here. Titan X plays it more controlled than flashy.

Technical Performance

Detail retrieval is respectable for the price. Imaging and separation are decent, though not standout level. Soundstage has decent width without sounding especially large.

Overall, Titan X focuses more on a pleasing listen than chasing raw technical flex.

Build, Comfort & Accessories

Honestly one of the best parts of this set.

• Full metal shells feel premium and sturdy
• Excellent included cable
• Large tip selection (3 diffrent styles included)
• Dunu Candy eartips included
• Comfortable despite the metal build

At this price, Dunu really overdelivered here.

Comparisons

Tangzu Waner Red Lion

This is the obvious comparison right now.

Build: Titan X wins comfortably. Full metal shells feel much more premium and durable.
Accessories: Both are strong. Tangzu gives good extras, while Dunu includes Candy tips which are genuinely useful.
Sound: Very different tuning styles.

• Red Lion has boomier bass with more obvious low end presence
• Titan X sounds more balanced across frequencies
• Vocals are better on Titan X to my ears: warmer, fuller, more musical
• Treble / technicals / perceived stage are fairly close

My pick: Titan X feels like the more refined all rounder.

GK Streak

Build & accessories: Titan X easily feels more premium.
Sound: GK Streak sounds more mature and balanced overall, with better treble extension. Titan X sounds warmer and more musical.

Kefine Klean (OG Black)

Very competitive matchup.

Build: Both feel solid and well made.
Accessories: Titan X wins.
Sound: Quite close overall, with no massive gap either way.

This one comes down more to preference than clear winner.

Final Verdict

Dunu Titan X feels like a budget IEM made by a brand that actually cared about the whole package. Great build, strong accessories, pleasant musical tuning, and vocals that stand out nicely.

It may not be the most technical or hardest hitting set in the bracket, but it delivers a mature and enjoyable tuning wrapped in premium hardware.

If you want a warmish, smooth, well built budget single DD that feels more expensive than it is, Titan X is an easy recommendation.