TL;DR

The Seraphim is a great V shape option that retails at $259 for anyone looking for a bombastic, exciting and contrasty sound signature with plenty of “technical performance” and surprising treble refinement while sacrificing mid range body and naturalness. It’s also extremely pretty.

Context

This iem was kindly sent to me by Jay and Linsoul for review, all thoughts and opinions are my own. I usually prefer iems that are non sibilant with relaxed upper treble and upper mids and raised lower mids that add body to the sound (kinda the opposite of harman ie 2019) but I can appreciate a variety of sound signatures if they’re done well.

Design, Build, & Comfort

• Aesthetics & Build: The iems are made of aluminium, build quality feels great. The shells are super light weight despite being metal. There is a big rear vent and a wavy etched pattern on the faceplate which looks incredible irl, plays well with the light. This is definitely the best looking ziigaat iem yet. The nozzles are metal as well with a metal grill to prevent dust from entering the iem, ziigaat includes 2 pairs of spare mesh filters which is nice to see. The cable matches the shells really nicely as well.
• Fit, Comfort and Isolation: These iems are definitely on the larger side, with some semi custom contouring so it fits me well. The nozzles are super short so people with smaller ears should also be able to wear it since you’ll be relying on larger than usual eartips for a seal anyway. It’s a shallow fitting iem. Isolation is just average, not particularly open sounding like the large vents would indicate (which is a good thing for me).
• Cable & Accessories: The cable is genuinely great, it’s a thin and lightweight single wire stand that splits at the y split, matches the shells beautifully. Has a functional chin slider. It’s definitely one of the better cables I've handheld in the price range, it doesn’t feel thick and heavy for the sake of being premium, doesn’t have a ton of memory or feel stiff. The swappable termination is unnecessarily long tho, and it doesn’t have a screw to hold it, it’s just friction fit. So you have to hold it near the ziigaat logo to make sure the termination doesn’t come off. It comes with a big leather ziigaat hardshell case, 3.5 mm and 4.4 mm terminations, spare nozzle mesh and 3 sets of eartips, foam and translucent sticky eartips in grey and white, no complaints with the accessories.

The Sound

The Seraphim has a 2 DD + 3 BA driver config, tuned by Jay Audio to a V shape sound signature with inspiration from Subtonic Storm and Ziigaat Odyssey.

• Bass (20 hz to 300 hz): The Seraphim has a ton of bass, almost a bit too much for my tastes but it is extremely well defined and quality bass. The bass shape pushes the sub bass more forward than the mid bass which isn’t my favourite style of bass (reminds me of harman ie 2019) but seraphim avoids the boomy and thin bass style of harman by adding way more mid bass (200 hz). As a result mid bass instruments like kick drums feel fast and tactile with adequate fullness, bass guitars sound super well defined with some of their gritty and abrasive characteristics overemphasized (due to the treble we’ll talk about later). Subbass is very well textured again, synth drops and low organ notes sound great, and the linear bass rise prevents a detached sub woofer style bass a lot of basshead iems like deuce have. Bass is probably the best part of the seraphim for me.
• Mids (300 hz to 6000 hz): There is a very audible lower mid range dip (300 hz to 1 khz) which gives mid range instruments a hollow and thin presentation (very harman like here). I find this especially confusing since both the storm and odyssey (the iems which seraphim takes inspiration from) have the characteristic filled in lower mids of new meta sets but none of that is present on the seraphim. While this does give a good sense of spaciousness and excellent instrument separation, male vocals, guitars, pianos and most mid range instruments sound thin and lacking in body. Female vocals fare a bit better, they're exciting and lively and have none of the nasal and shouty characteristics of harman (gentle pinna rise and relatively relaxed 3k). The scooped mid bass to mid range transition does give the seraphim a detached bass presentation which I don't particularly like. Overall the midrange of the seraphim is super energetic and exciting but it’s far from natural, very coloured, contrasty and imo, the weakest part of this iem.
• Mid & Upper Treble (6000 Hz to 20000 Hz): Treble is another strong suit of the seraphim imo, yes it is very boosted (particularly in the mid treble) but it is not peaky or harsh. The treble is surprisingly refined for what is a bombastic and exciting sound signature, there are no audible peaks or dips even via sine sweeps and as a result both the fundamentals and upper overtones of treble instruments are equally emphasized which I find a lot of iems struggle to do, usually emphasizing one over the other due to peaks or dips in my ear. The lower/mid treble boost gives kick drums, bass guitars and acoustic guitars that extra bit of edge and definition. There is also a considerable upper treble boost for ✨Resolution✨ which my warmpoo ears usually don’t like but the aforementioned lack of peaks makes it very tolerable. There is no added sibilance or zingy-ness to the tonality which a lot of iems with sore peaks (like heyday and davinci) have. I find this particularly shocking since jays audio and I usually have polar opposite treble preferences but the seraphim has one of the smoothest treble presentations I’ve heard.
• Subjective Technical Performance: The Seraphim has excellent imaging performance, instrument separation and upper treble detail retrieval, along with the contrast that comes with a V shaped tuning. I think anyone chasing “technicalities” in iems would be more than satisfied with the seraphim.

Comparisons

Compared to some other popular iems:

• Dunu Davinci: Seraphim bass sounds more dynamic but the davinci has a way more natural and fuller sounding midrange. Upper treble peak ruins davinci treble for me while the seraphim is smoothened out. Seraphim is more comfortable with a better cable imo..
• Letshuoer Cadenza 4: Seraphim has significantly more bass and smoother treble, Cadenza 4 has a slightly more filled in and comparatively more natural midrange, but both are more scooped than I would like.
• Tangzu Heyday: Seraphim has better bass, better upper mids and is way less fatiguing and less zingy in the treble, is also significantly lighter despite both being metal, im just not a big fan of the heyday.
• Kiwi Ears Aether: Significantly less bassy and more filled in lower mids than seraphim but the aether treble is super punishing for me, and the lower bass shelf fails to balance it out only making it worse.
• Aful Explorer: Very different iems, explorer is much more full bodied than the seraphim with better male vocals but worse female vocals, bass on seraphim is a little better and overall the seraphim is much more livelier and higher res sounding due to upper treble boost. Explorer is more comfortable with better isolation.
• Truthear Pure: Wayy more natural than the Seraphim, much better mid range overall but it’s not nearly as exciting, contrasty or bombastic as the seraphim, I dont get the 7k peak on the seraphim like I do with the pure.

Who Should Buy This? 

• People who want an exciting and lively sound signature.
• People who enjoy contrasty sound signatures with boosted bass and treble
• People like harman but want more mid bass
• People who prioritize technical performance

Who Should Avoid This?

• People that want a natural or neutral iem
• People that want a warm or relaxing sound signature
• People that are treble sensitive

​

Disclaimer - I was loaned this iem as a part of a review tour by Sushiifi and DUNU. However, I'm NOT affiliated with dunu and hence it will not impinge on freedom to criticize the iem. All my opinions are my own.

INTRODUCTION

• The DUNU SA6 mk2 was launched in April 2023 at $579.99

· The SA6 stands for studio armature 6 , signifying the driver configuration.

• The DUNU SA6 MK2 utilizes a 3-way crossover specialised network design housing 6 balanced armatures - 2 Sonion balanced armatures for bass , and 4 Knowles balanced armatures for mid range and treble.

BUILD AND COMFORT

• The semi custom shells are lightweight but the shells are chonkers when it comes to the width. They will stick out from your ear quite a bit. It has an "Immersion switch" a.k.a bass boost switch on each shell that you can toggle with your fingers without the need of a tool. The switches are placed in an ergonomic spot so that you can switch them on/off on the go without removing the iem from your ear.

• The acrylic resin shell is "Hand poured" and capped by a "High grade stabilized wood faceplate" . Dunu claimed that the wood grain pattern is different for each shell making your specific iem "unique to you". I personally don't like this colour.

• The SA6 is comfortable to wear but there's a catch , slight pressure build up was an issue to me. It seems that the iem drivers are vented to the inside space of the shell and not connecting to an outlet on the shell.

ACCESSORIES

• The cable is the hulk pro mini which is a single crystal copper core wire featuring "Q lock plus" swappable 3.5mm, and 4.4mm right-angle termination jacks.

• Dunu generously provides 11 pairs of eartips which includes 3 pairs of dunu candy tips, 4 pairs of Dunu S&S tips and 3 pairs of standard balanced silicone tips and 1 pair of memory foam tips.

• A puck shaped leather carrying case, a cleaning brush for removing ear wax , a user manual, and paperwork are included in the box.

SONIC PERFORMANCE

Note : all the notes are with the bass boost switch on. When compared to the off mode ( 6 db shelf) , the boost is a modest 1 - 2 db (8 db shelf)

SOUNDSTAGE, DETAILS, AND LAYERING

• The soundstage is moderate to actually wide with real depth. Some instruments/sounds are placed further away than others. They feel like they're about half a foot away from your pinna. This width is not consistent and depends on that particular song.

• Detail retrieval is good in general but it's similar or average when compared to peers in the $500 range. The top pro is superior in this regard especially when it comes to micro details.

• Instrument separation and layering is good but not spectacular. You can pick up where an instrument is playing and separate that sound from the song.

BASS

• The SA6 mk2 has tasty amounts of sub-bass rumble with bass boost on. The dunu candy tips further accentuates this . The sub bass does not muddy the other frequencies but lends to an overall warm sound signature.

• The mid-bass is punchy with good amount of slam. Bass texture is perceptible while the attack and decay are the right duration without bloom or bloat.

• The bass is rather good but don't expect it to sound like a Dynamic driver. It's still the characteristic BA bass.

MIDS

• The mids are tinted warm , this is an unapologetically warm iem. This iem is studio in name only , not in practice.

• String instruments are clean but with a smooth edge.

• Woodwind and brass instruments sound well bodied and rich.

• Male vocals have that extra oomph provided by the warmth. Not accurate but fun.

• Female vocals in the lower register sound comforting and lush.

• I have to say that sometimes the vocals feel too far away or distant. It loses that intimacy that some songs require. This doesn't not occur in most songs but it does occur now and then.

TREBLE

• Cymbals sound smooth without sibilance. There's one issue as a result of the wide soundstage, sometimes cymbals are pushed far away due to which they may sound washed out or muffled or low res.

• Female vocals with a higher frequency pitch are handled reasonably well. There is no vocal sibilance to speak of. Even in the upper register, they sound breathy and lush. The trailing resonance notes are perceptible.

• Snare drums and string instruments have that initial crisp note .

• The mk2 has good treble extension and presence in the air region. Details are not forced on you but are easy to find if you look for them. It's like a high resolution picture taken on your phone , you have to zoom in to find the details.

• The transient response is clean and tight. There is no reverb or artifacts. The BAs are fast and resolving.

CONCLUSION

• The SA6 mk2 is 3 years old now and I think Dunu went a little too safe with the tuning on these. Yes they sound warm and comforting but does it have the staying power in 2026 ? The last 3 years feel like a decade of progress. The Dunu 242 has better mids and equally if not more detailed bass at $350. Is the Dunu SA6 mk2 worth the $500 in big 2026 ? I'm not convinced but I won't take away the fact that this iem is competent. Good sound stays good and that's all that matters.

EARTIPS USED: Dunu S&S , Dunu Candy and Sancai balanced.

Tracks used -

- Killshot by Eminem

- GDFR by flo rida

- Another one bites the dust by queen

- Toxic by britney spears

- Winter , four seasons by vivaldi

- Mexico by vitamin string quartet

- When I'm down by Chris Cornell

- Show me how to live by Audioslave

- Angel of the morning by Juice newton

- Monomyth by Animals as leaders

- Fuel by Metallica

- Novocaine by Amber rubarth

Fosi launched its first digital audio player (DAP), the Fosi Neo, today (October 10). Inspired by Apple’s MP3 player, the iPod, its main highlight is the “Click Wheel.” However, Fosi’s asking price is somewhat high for what the DAP offers. In addition to covering the Fosi Neo’s launch, the article below examines the features of its main competitors, highlighting their advantages and disadvantages.

• English text: https://www.hifihub.com.br/en/product-launches/fosi-neo-ipod-inspired-dap-launches-at-79-99
• Portuguese text: https://www.hifihub.com.br/lancamentos/fosi-neo-dap-inspirado-no-ipod-chega-por-us-7999

Note: This post with links has been previously approved by the moderators.

Hello to you all!

First, a big shoutout to Gk HiFi (Groove Keeper) for giving a coupon to buy this set. There’s no payment involved in the development of this review, so I’m conscious this has certain influence on what I'm saying in this analysis, but before being a reviewer, I’m also a consumer and a hobbyist, so I’m giving my sincere opinions. My biases are my musical and tuning preferences at play.

TL/DR; The Kunten Pro is more than a great challenger for the under-20 USD segment; it is the upgrade to the market disruptor Kunten with which GK began its journey as an independent company. Like their first hybrid IEM, the Streak, for the Kunten Pro, GK worked with the community to help with the tuning and, like the Kunten original, the K Pro has a single DD configuration, this time with a new ‘KUN 2nd gen’ dynamic driver, improved quality of construction, dampening, etcetera, and of course a more refined tuning.

The Kunten Pro delivers a bassy shelf, but that is balanced with some great midrange, and smoothed yet zero dark highrange, incredible upper treble extension, resulting in a warm, engaging, fun, and musical, more than analytical tonality, yet keeping decent technicalities overall; the Kunten Pro has even an improved cable than the usual KZ/CCA/TRN that those brands have accustomed us to for their most economical products, all of this with the special sauce GK is pulling out this 2026.

PROS:

• Bassy and cohesive V/U tuning: very musical but decently analytical.

• Bass: Great sub-bass extension, noticeably powerful mid-bass, fast enough, with great impact and note weight.

• Mids: enough transparency with an adequate note weight; male vocals slightly recessed, female voices are forward, not shouty nor fatiguing.

• Treble: smooth, without auditory fatigue from sibilance, good detail retrieval; warm and organic timbre.

• Technicalities: soundstage is expansive, separation and stratification of instruments above the average for its price segment.

• Quality and ergonomics: Comfortable and ergonomic, lightweight and practical design.

• Easy to power and scalable with higher-quality sources.

• GK TS100 eartips substantially improve its tonality.

• Great value for less than 20 USD.

CONS:

• Midbass bleeding affects the low midrange.

• They are not IEMs with an exceptional level of technical detail or overall technicalities. The soundstage lacks some depth.

• The included eartips and cable are just sufficient for using it out of the box, but it needs better eartips to get the most out of it.

• The smooth treble does not have the same energy as in the Kunten original or the Streak.

The Kunten Pro has an MSRP of 16.13 to 20.58 USD (with a 3.5 mm cable with or without mic, and USB-C with mic, and Golden or Black colours available). You can find it directly on the GK Official Store on AliExpress, and at other stores and/or retailers online.

Kunten Pro technical specs:

- Casing materials: ABS plastic, metallic faceplate

- Driver: 1 x 10 mm super-linear composite diaphragm dynamic driver 2nd gen (KUN 2nd gen)

- Freq. response: 20 Hz – 40 kHz

- Sensitivity: 109 dB/ mW @ 1 kHz

- Impedance: 43 Ω

- Connection: 0.78 mm, QDC

- Cable: 1.2 m length, 3.5 mm jack, with or without microphone, 2 cores, silver-plated OCC (USB-C available)

What’s in the Kunten Pro package?

The box reflects the brand's origins, with a budget-oriented feel and look; the front shows an image of the set. The Kunten Pro I received is golden, with a 3.5 mm cable, but black shells (as the Kunten original) and a USB-C cable option are also available.

Simple and sufficient packaging, by the way, consisting of the IEMs themselves, 3 pairs of the well-known KZ Starline eartips (S – M (installed) - L sizes), a manual, and the cable, which is 2 cores with a 3.5 mm single-ended 0.78 mm QDC connection; it feels thin and decent quality (at least it is better than the usual KZ cable included in the package of almost all of their IEMs). It’s prone to tangling but not to producing transmitted vibrations.

The IEMs themselves are made of ABS plastic, in which you can see the dynamic driver inside, with metal faceplates with the Kunten Pro letters on each side and pointing up the slogan saying “GK INNOVATIVE KUN 2 DRIVER”.

It is light to use and is well-vented with two vents for the dynamic driver (one on the plastic shell and the other on the semi-open faceplate), and it seems not to be prone to scratches or so, more like a “beater” set. Doesn’t have rough or sharp edges; its nozzle has a lip to ensure good eartip grip and fit, making a nice seal as well. Its diameter (6.4 mm) is a great fit for my middle-sized ears.

Upgraded eartips:

GK sells the GK-TS100 eartips, and they have sent me a set of these, and I found that they are a great match for this set.

The GK-TS100 eartips are made of liquid silicone with a black core. They are wide-bore, with a similar shape to Divinus Velvet eartips. I find them so well-fitted in the Kunten Pro that I’m using them even on other sets like the Streak.

How does the Kunten Pro sound?

I think the stock cable and eartips included are enough to use it as it is, but having those TS100 eartips to pair the Kunten Pro with them, well, at least my clear recommendation is to change the eartips, as I said before; the TS100 fit them perfectly.

The Kunten Pro, with its 10 mm super-linear ‘KUN 2’ dynamic driver, offers a mild V/U-shaped tuning that is bassy but pretty balanced, warm, with a smoothed yet refined treble.

Thanks to Fernanda Gunsan for his measurements of this set. No EQ was used in the review of this IEM.

Lower Range:

The Kunten Pro comes with a remarkable quantity and quality on the bass shelf, offering that well-done subbass thump, extension, and great midbass potency; with decent resolution and transparency as well, incredible attack and impact, and its midbass bleeds a bit into the lower mids. Moving forward a bit, its 'KUN 2' driver has a more noticeable impact than on the Kunten original’s KUN driver.

For bassy music, its bass delivery sometimes feels like it is overwhelming a bit of the other frequencies, but its coherence is noticeable.

Mid Range:

Talking about the mids on the Kunten Pro, the midbass bleeds into the lower mids, sounding like a classic V/U-shaped tuned set; the male vocals are recessed, but neither veiled nor thin, fortunately. Overall, the mids are well presented and with pretty decent note weight.

The Kunten Pro shows us the character the ‘KUN 2’ driver has, with great transparency, warm, organic timbre, smoothed pinna gain, having good presence and more than average resolution. Female vocals are beautifully displayed; they are forward, and at high volumes are not shouty nor fatiguing.

High Range:

The Kunten Pro has a smoothed and refined treble; it is crisp and not sharp, yet has good spark. Lower highs take a nice and well-placed dip into the 6 kHz and 10 kHz regions to tame sibilance almost perfectly, elevating to a pronounced peak at 8 kHz to give energy to the mix, and you can notice some great resolution and well-done tonality.

Upper high range and technical aspects:

Going into the upper highs, the Kunten Pro also takes into consideration a smooth and refined approach, with an open and slightly airy take, allowing you to use this IEM at high volumes without fatigue in long sessions.

In the technicalities, the Kunten Pro is a more-than-average capable IEM, with an expansive soundstage, wider but with not so much depth. The instrumental separation and layering show coherence in this set; however, the K Pro is not a macro and micro detail beast, but gives you a decent quality of that analytical fun added to that musicality, with a warm and organic tonality. The Kunten Pro can deliver a full display of macro and micro details, without congestion on complex, busy and/or fast music at any moment.

Comparisons (Kunten original and Streak):

GK Kunten Pro vs. GK Kunten original:

The Kunten is the first IEM launched by GK; it has a 1 10 mm super-linear ‘KUN’ dynamic driver configuration; it is also cheaper than the Kunten Pro. In comparison, the Kunten is more balanced, with less bass quantity than the K Pro, less recession in the lower midrange, but it has a more energetic treble, and it is more prone to sibilance at high volumes, and its upper treble is rolling off earlier than in the K Pro.

The Kunten is more musical than analytical; it has less air and soundstage than in the K Pro, and of course is less technically proficient than the former. I can see what GK did with the K Pro in comparison to the Kunten; the KUN 2 driver, better build, and better internals are more than great additions to the K Pro character, so the K Pro is an upgrade by definition to the Kunten.

Both sets are great for their price, and GK is doing a good job in this crowded market, offering those bang-for-the-buck IEMs.

GK Kunten Pro vs GK Streak:

The Streak is a hybrid set; it has a  1×10 mm super-linear ‘KUN’ dynamic driver + 1 x Microplanar driver configuration. It is practically in the same price segment as the Kunten Pro, with just approximately 5 USD of difference between them. In comparison, the Streak also has less bass than the K Pro; it is more balanced, with a “peakier” upper midrange, more linear lower treble, and a bit more attack in the mid-treble; now, the MPD driver in the Streak gives it more upper treble extension than in the K Pro.

The Streak is more neutral, balanced and technical than the Kunten Pro, so it is a perfect option for audiophiles on a budget, and like the Kunten Pro, it is an all-rounder, so it is a matter of tuning preferences. I’m more inclined towards the Streak, but I see why the Kunten Pro is also an incredibly awesome choice.

Final thoughts and conclusions:

The GK Kunten Pro is an excellent option in the budget-oriented sub-20 USD market of IEMs, delivering a bassy, balanced, warm, sparkly and more musical yet analytical sound with a refined character that is absolutely enjoyable and makes a stand in a crowded and very competitive segment as the true upgrade to the Kunten original and a sidegrade to the Streak.

The Kunten Pro, with its 43 ohms of impedance and 109 dB of sensitivity, is easy to drive, even with low-powered sources; the option with the DSP cable is a well-received feature, because you can use it without looking for an additional source. I tried it with various sources I have, encountering the benefits of being paired with neutral sources, not requiring too much output power to shine at its best.

Apart from those upgraded eartips, I would like for GK to sell the Kunten Pro with a carrying pouch or case, like the CCA Phoenix or the TRN Conch. And I think, well, the GK-TS100 eartips work flawlessly with it, so why include the Starline eartips with its stock package? Yes, you can use the Kunten Pro as it is, but those eartips don't let it bring out all its qualities. So, I guess GK is pulling all the money into the earphones themselves.

It has great bass quantity and quality, and its warm and musical yet analytical tonality makes it ideal for listeners who appreciate an engaging and fun audio experience. It’s not a technical beast, and it doesn’t need to be; the Kunten Pro never claimed to be like that, and that’s great because it’s a refined product for a very affordable price, not a budget-fi killer, and even like that, it’s a bang-for-the-buck IEM.

At under 20 USD, the Kunten Pro isn’t a market disruptor, but it 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: Absolutely, it is a great and very competitive option in a crowded market, with a warm and fun yet refined tonality and technical perks that appeal to musicophiles on a budget and newbies in the hobby. So, thanks again to GK, and may the gods of audio and musicophilia bless you with happy listening!

I’ve been in this hobby for about six months now, spending my money trying different IEMs, headphones, DACs and sources, learning along the way what I actually like.
And I genuinely felt the need to share this one with you guys… specially because this is NOT A CHEAP HOBBY once you get in the rabbit hole!

The KZ PRX costs around $30, which makes what I’m hearing from it kind of ridiculous.

I already own more expensive gear, including the AFUL Performer 7, Truthear Zero:RED, Simgot EA500LM and HIFIMAN Ananda Stealth, so this isn’t my first IEM or my first experience with planar sound. And obviously, I’m not going to claim that the PRX is technically better than something like the Performer 7. It isn’t.

The most expensive IEM you own doesn’t necessarily become your favorite for every type of music.

What I enjoy most about it is the combination of speed, energy and bass presence. It sounds lively without feeling slow or congested, and there’s something about the planar presentation that makes attacks and busy passages particularly satisfying.
One of the tracks I used was Muse, Hysteria. That bass line is a great test because there’s so much happening around it, and the PRX does a very nice job keeping the bass energetic while still allowing me to follow the rest of the arrangement.

And then there’s Audioslave, I Am the Highway, one of my favorite songs. This is probably the kind of track that best explains why I like the PRX. The guitars have energy, Cornell’s voice has presence, and when the song opens up, the PRX gives me that sense of drive that makes me stop evaluating the IEM and just enjoy the music.
That last part matters to me.

Compared with my Zero:RED, the PRX feels more energetic and immediate. The RED still gives me a more relaxed and balanced presentation.
Compared with the EA500LM, the Simgot has its own brighter, sharper and very clear character. The PRX feels different rather than simply better or worse.

For a $30 IEM, that’s a huge compliment.

Ps: one small change I made was replacing the original cable with a TRN modular cable, with both 3.5 mm and 4.4 mm plugs. I’m not claiming the cable itself magically improves the sound. I did it mostly for convenience.
I usually run the PRX from my FiiO M21, and the modular cable lets me use the 4.4 mm balanced output easily. The PRX appreciates some power, and I like the additional volume/headroom I get from that setup.

So who would I recommend it to?
If you already own several IEMs, I think the PRX is interesting because it offers something genuinely different for very little money: a cheap entry into a full planar IEM.
And if you’re relatively new to the hobby, like me, I think it’s an even more interesting purchase because it lets you experience how a planar driver can present speed, transients and complex passages without spending $100, $200 or more.

Is it perfect? Of course not. There are more refined IEMs. There are better tonal references. There are sets that resolve more detail and present music in a more sophisticated way.
But that almost misses the point.
For around $30, the KZ PRX makes me want to listen to music.

As I’m trying to get into the reviewers world, here’s my affiliate link so you can check it out!
Ps: look for Choice Day coupons available now so you can get more discounts :)

https://s.click.aliexpress.com/e/\_mNBPaMj

​

Disclaimer - I was loaned this iem as a part of a review tour by Sushiifi and DUNU. However , I'm NOT affiliated with dunu and hence it will not impinge on freedom to criticize the iem. All my opinions are my own.

INTRODUCTION

- The DUNU DN 242 is an 8 driver tribrid iem priced at around $350.

- Driver configuration is 2 DD + 4 BA + 2 MP with a 5 way crossover , the name of the iem is derived from driver configuration like how german cars were named according to engine displacement in the yesteryears.

BUILD And COMFORT

- The iem is wrapped in a silhouette of resin and capped with a glossy, lava like faceplate. There is a gold bevel-like frame to give it a more classy and sophisticated look.

- The iem itself is quite thick but weighs a svelte 6.5g each. They fit perfectly to the contours of my pinna. Don't worry about them sticking out , they look pleasant to the eyes

ACCESSORIES

- Cable is a silver plated OCC copper cable with modular termination.

- Dunu generously provides 10 pairs of eartips which includes 3 pairs of dunu candy tips, 4 pairs of Dunu S&S tips and 3 pairs of standard silicone tips.

- A black cleaning brush , 3 thematic Nezha (Warrior God) cards , a hard fabric carrying case , user manual and paperwork.

SONIC PERFORMANCE

SOUNDSTAGE, DETAILS AND LAYERING

- Evaluating the dunu for soundstage was strange. It is definitely dependent on that perticular track. Well recorded binaural tracks sound like you're in the room while older songs without remastering come across as claustrophobic.

- Detail retrieval is above average. The 242 can give you the " I've never heard that sound before " moments. I have to say that it can come uncomfortably close to the top pro in this criteria (85-90%)

- Instrument separation and layering is also quite track dependent. But in general, you can easily pick up where an instrument is playing and separate that sounds from the song.

BASS

- The 242 has a good amount of sub bass rumble but it's not overbearing on the rest of the frequencies. I would also not say it is a basshead iem in any way. The sub bass has good extension without colouring the iem warm.

- The mid bass is punchy and plosive. You can hear those kick drums like small explosions in your ear. The driver moves sufficient amounts of air that is easily perceptible. The attack and decay is the right duration without bloom or bloat.

MIDS

- The best part of this iem is the mids. It is absolutely immaculate.

- String instruments sound accurate with the correct timbre.

- Woodwind and brass instruments have that ethereal feel.

- Male vocals are awesome. One of the best in the sub $500 class. You can hear chris cornell whispering melancholic in your ears with these.

- Female vocals are almost perfect with a caveat. The 242 with the wrong eartips can have vocal sibilance on certain tracks . Get the right eartips to fit in your ear as deeply as possible to remove length modal resonance.

TREBLE

- Many of my peers find the 242 a little hot in the upper treble (The dreaded air region) I do agree that it can come across as bright in certain tracks , especially at loud volumes.

- As I said before , find an eartip that brings the nozzle as close as possible to your eardrum to reduce the treble spice.

- Cymbals can come across rather prominent in certain genres. They can be distracting at times.

- Female vocals with a higher frequency pitch can cause some sibilance but it's not harsh in any way.

- Snare drums and string instruments have that initial snap which requires well controlled treble. 242 has that in spades.

- The transient response is clean and tight. Not as good as iems with estats but still pretty good.

CONCLUSION

- The Dunu 242 was a pleasant surprise. If the upper treble region had more polish, I would be super tempted to put it above the Top pro in the sub 500 segment but top pro has superior treble extension and quality. I hope Dunu fixes this small chink in the fortress with mems or estat driver or even high frequency BAs .

EARTIP USED - Sancai wide bore gave me a good seal and eliminated the length mode resonance.

I bought the Punch Audio Martilo with my own money. Not sponsored or affiliated.

I also maintain a running ranking list with 170+ headphones, IEMs and gaming/music recommendations. Link is in my profile.

Score: 8/10

I liked Martilo when I first tried it, but ownership has moved it up a little for me. It gets labelled as a basshead IEM, and there is definitely a lot of bass here. But after spending more time with it, I am not sure I would call it a true basshead set.

Basshead Lite is probably closer.

It hits hard, especially in the sub-bass, but never turns into a muddy wall of bass. You still get vocals, details, separation and surprisingly good gaming performance.

Bass

This is obviously the main attraction. There is a large sub-bass boost and it can hit properly hard when the track calls for it. It reminds me somewhat of Astral with a much bigger bass boost.

What keeps Martilo under control is the mid-bass. There is less mid-bass emphasis than something like RSV MK2, so the bass does not become thick or start bleeding into everything else. Even with the quantity, it stays tight and controlled. That is not to say that RSV MK2 feels bloated in mid bass. I actually think this is why someone expecting a ridiculous bass cannon might come away slightly disappointed.

It has a lot of bass. It just does not sound messy and remains technically competent. Astral still has the advantage in bass texture and overall technical performance, but Martilo gives me more outright low-end quantity.

Mids / Vocals

This will probably be the most divisive part of Martilo. The mids sit further back than some of my other IEMs. That generally works well with my preferences. I prefer the ear gain to rise before 3kHz rather than pushing hard directly through 3kHz, and Martilo avoids the shout I get from a lot of IEMs tuned more aggressively there.

Most vocals sound perfectly fine. There are some exceptions. Billie Jean by Michael Jackson and Here I Am by Bryan Adams can put the singer noticeably further back than I would prefer. Male vocals can also occasionally show some sibilance. I noticed it with Morgan Wallen and Ed Sheeran in particular.

It is track dependent rather than something I hear constantly. I would 8/10 times the vocals sounded absolutely fine for me.

Treble / Air

Treble is generally safe. There is some energy around 6.1–6.2kHz, which works well with my ears because my problem area tends to sit slightly higher, around 6.6kHz.

So I still get enough treble presence for detail without the sharp, pinching effect I can get from sets that peak directly in my sensitive area.

There is also a decent amount of air. Astral is airier, particularly higher up around the 14–15kHz region, but I would not describe Martilo as dark. There is enough upper-end extension to keep the bass-heavy tuning from feeling closed in.

Technicalities

This was better than I expected given the bass quantity. Details remain easy to hear through the mids and treble, imaging is good and separation holds up when tracks get busy.

Astral is still clearly ahead in resolution, bass texture, air and overall technicalities. That does not really bother me with Martilo because I am buying it for a different reason. I want the bass boost without destroying everything sitting above it.

Gaming

This was the biggest surprise. I expected all that sub-bass to make Martilo pretty mediocre for competitive gaming.

In COD BO7 multiplayer, footsteps were easy to trace and separation remained good even with gunfire, explosions and killstreaks going off around me.

I went in expecting something around 5/10 gaming performance. It ended up closer to 7–7.5 territory. That is very respectable for something this bass-heavy.

I still would not buy Martilo specifically for gaming. Around similar money, Arete 2 is considerably better, and Astral is also stronger technically.

Fit

The shell is actually quite similar in shape to Astral. It protrudes out of my ears rather than sitting flush, but unlike some larger IEMs I never had trouble maintaining a seal. The stock tips are also genuinely good, so I have not had to fight with tip rolling just to get Martilo working properly. No major fit complaints from me.

Comparisons

Softears RSV MK2

RSV MK2 gives me better bass texture, more detail, cleaner layering and a smoother overall presentation.

It also carries more mid-bass, while Martilo puts more of its emphasis lower down. My full RSV MK2 review is still a work in progress.

Xenns Mangird Top Pro

Top Pro is much more resolving and better at layering and separation. Its bass is also more controlled and textured.

Martilo gives me considerably more bass quantity and sub-bass impact.

Fresh Reviews Arete 2

Arete 2 is the gaming pick.

Martilo is the bassier music-first option that happens to game surprisingly well.

Binary Acoustics 1900

Binary 1900 is the more refined music IEM and slightly stronger technically. It is a very easy listen.

Martilo has the bass response that never overwhelms the music.

Juzear Light Shuttle

Light Shuttle is the more balanced all-rounder and the better choice if music and gaming carry equal weight.

Martilo is the pick when sub-bass comes first.

Final Thoughts

I think calling Martilo a pure basshead IEM oversells what it is trying to do. If you want absurd bass quantity above everything else, there are probably better options.

Martilo gives you the bass boost without forcing the rest of the tuning to pay for it. That is why I ended up liking it more after ownership than I did during the initial audition.

Basshead Lite. And I mean that as a compliment.

P.S. I am not a basshead so it is no surprise that I really enjoyed the tuning of Martilo.

Well, this has been a long testing process. The Daybreak has been my daily driver for a few months now, and I have to say, Crin’s IEMs are mostly a hit for me. I generally like his tuning philosophy, with a few exceptions. Will the Daybreak be one of them? You’ll find out.

Test Gear

• Snowsky Melody
• CX31993 DAC
• MacBook — got the smoothest sound from these
• Poco F5
• Cable: Moondrop MC1

Build

It feels solid. Mine is from the later batches, and I haven’t faced any QC issues. These have held up pretty well for the few months I’ve been using them, so I think the build quality is solid and should last a long time with proper care.

The design is pretty basic and minimal and doesn’t look fancy, but I like minimalist design, so it works for me. Though, I wouldn’t mind a bit more of a fancy pattern in the dark empty space on the faceplate.

Comfort

For me, there were some issues because of the long nozzle, and I had to do quite a bit of tip rolling. However, I’ve now found a very comfortable setup. Basically, smaller and shorter eartips work better for me because the nozzle goes quite deep.

For me, the following tips are quite comfortable:

• KZ LS01
• NiceHCK C04
• Audiocular Atmos — mostly a copy of the C04
• Final Audio E

With these, I can comfortably use the Daybreak for hours.

Dunu Candy, Dunu S&S, and KBEAR 07 either feel too big or too small for me, or create too much pressure, which makes them uncomfortable for long listening sessions. I also didn’t have much luck with the wide-bore stock eartips that come with it.

However, you might not have the same problem since I have a particularly unusual ear canal angle. I just wanted to mention it.

Sound Impression

Well, this is almost a perfect jack-of-all-trades IEM. These are very close to my preferred target since I mostly prefer neutral or brighter IEMs.

I would describe them as a pretty “neutral” set with a decent amount of bass. Not necessarily neutral in the strictest sense, but they sound “true” or “correct” to me, if that makes sense.

I feel like these have very little coloration for the most part. However, that also means that some people might find them boring.

The Daybreak is quite dependent on how a song is recorded. If a microphone is sensitive, the mixing is poor, the audio file is of poor quality, or the recording quality is bad, the Daybreak will let you know.

Due to the nature of the tuning, I think it is also a very versatile IEM and should work well across almost every genre.

This is the type of IEM that makes me think, “Yeah, this just works.”

Bass

The bass is decent. The mid-bass has good punch, while the sub-bass is quite controlled and has some rumble. Some people may prefer less of it, especially considering this is supposed to be a relatively neutral set, but for me, it is enough.

The bass has a bouncy feeling to it, and of course, it has excellent control and does not become muddy.

If you want more bass, eartips like the Dunu Candy and Final Audio E can help. However, I don’t like excessive bass and prefer a more open sound, so I mostly opt for wide-bore or normal-bore eartips.

These definitely don’t have basshead-level bass, but bassheads might still appreciate what they offer.

Mids / Vocals

I would say these are ever so slightly warm, so vocals have good body and sound full. They aren’t particularly intimate, but they also aren’t very recessed.

Male Vocals:

Male vocals sound good in some songs, but they may lack the warmth you get from warmer IEMs, which can sometimes make them feel a little dry.

However, I would say they sound quite close to how someone’s voice actually sounds to me.

Female Vocals:

Female vocals sound very good overall, with nothing major to complain about. However, if a singer’s voice reaches very high pitches, it can sometimes sound shrill and even slightly sibilant.

Overall, I find the vocals very natural.

Treble

The treble has a somewhat laid-back presentation, but cymbals and shimmer are still quite present because there is a good amount of air.

In some songs, it can get quite spicy, especially in J-pop. Otherwise, I find it very smooth.

For me, the treble is very smooth, although trebleheads might find it a little too safe.

Instrumental Harshness and Sibilance

There is some instrumental harshness. It’s not the kind of harshness that immediately attacks you, but it can slowly become fatiguing, even at lower volumes. If, for example, you like something like the Aful Explorer or TruthEar Pure, then the Daybreak will sound a bit harsher.

That being said, it depends heavily on the recording and the song. Sometimes it can sound harsh, while other times it sounds very smooth. Acoustic guitars sound crisp, just the right amount.

You might need to adjust the volume depending on the track if you’re sensitive to this. If you want to reduce it, Final Audio E tips or other narrow-bore eartips can help.

For most genres, I feel like this is quite a smooth IEM.

I also wouldn’t call these particularly sibilant in most cases. I would say they sit somewhere in the middle between smooth and harsh. However, if a track already has sibilance, the Daybreak will let you know.

Technicalities

Soundstage:

The soundstage is wide, but with some conditions.

In some songs, the positioning of instruments and vocals feels quite dense, while a few instruments can be especially far away. Because of this, it can sometimes feel like there is quite a bit of empty space.

Whether that’s a good or bad thing is up to you.

It’s both intimate and wide-sounding, and this can vary depending on the song. On average, I wouldn’t call it especially wide. I’d say it’s better than average.

Separation:

The separation is decent, but it isn’t particularly sharp or analytical. Instruments don’t sound completely distinct or constantly demand your attention, but they still have their own sense of space and position. Vocals can feel closer, while some instruments sit further back, giving it good layering without making the presentation feel overly dissected.

Detail Retrieval:

I wouldn’t say it presents microdetails right in your face. There are other sets that do this better than the Daybreak.

Imaging:

Imaging is good. As you would expect from an IEM in this range, everything is correctly placed directionally, but nothing is particularly extraordinary.

Conclusion

The Daybreak may not impress you immediately. It doesn’t have the instant “wow factor” that some IEMs in this price range offer. Instead, it’s a true jack of all trades—and whether you’d prefer that over a master of one is up to you.

It’s for someone who wants a natural, versatile IEM that does almost everything well without demanding attention. The bass is controlled, vocals are natural, the treble is smooth with enough air, and the technical performance is solid without being exceptional in any one area.

If you’re chasing huge bass, extreme detail, or a massive soundstage, there are better choices for those specific traits. But if you want an IEM that’s easy to live with across different genres and has very few major weaknesses, the Daybreak is an easy recommendation.

It may not wow you at first, but its balance is what makes it special.