Hello Community!

The set I was missing from Twistura is finally here: D-Major. Something very different from what was previously seen in the brand, with its own character, very marked and for very specific tastes.

Price: 47$-40€

Link

Pros:

-I think it is the IEM with the most clarity that I found in the sub 100$ segment.
-Great treble extension, with a lot of openness.
-Female voices feel truly alive.
-Exquisite sound positioning.
-Great control in sonically chaotic tracks or situations.
-Very technical sound.

Cons:

-The soundstage, although coherent, is intimate.
-Depending on genres or chosen nozzle, it emphasizes sibilance too much.
-The bass is not very fun.
-It is not for someone looking for a set for everything.
-The fit of the shells in your ears may not be the most comfortable.

Accessories:

-Two shells.
-Two sets of SML sized Eartips, silicone and liquid silicone.
-Cable with 0.78mm connections and 3.5mm connection.
-USB-C DAC dongle.
-Three sets of tuning nozzles.
-Carrying and storage pouch.
-User manual.

Comfort, design and construction:

Starting with the bad part, the shape of the shell body is not the most ideal to favor the feeling that everything is well fitted and in its place. The nozzle area has a widening that seems not to facilitate the insertion of the nozzle into your ear canal. The result is that you are always aware that the IEMs may fall out of place, but they are actually well positioned. You do not feel painful pressure but rather a continuous thought that the monitors are not properly fitted.

Despite this, the included Eartips do a good job keeping the set inside your ears: they are elastic, adapt to the canal and provide a good seal that prevents leaks or sound escape.

The construction and materials used are somewhat far from products that feel more premium. They are good and correct for the price: a plastic body and a metallic faceplate. The set is not heavy and the size is small-medium. It feels like a sufficiently well worked product, without imperfections. Aesthetically it is very much to my liking, with a retro-futuristic or steampunk touch, partly thanks to those side vents that evoke fashions from the 80s.

On the other hand, the cable is simply sufficient and correct for the package price. I appreciate that it is lightweight, but sometimes I suffered tangles while moving or awkward positions behind the ears. Staying at the desk, its behavior was friendlier.

Technical aspects:

-1DD configuration with beryllium-plated diaphragm and polyurethane suspension.
-22 ohms impedance.
-108dB sensitivity.
-Declared response 15hz-37khz.

Nozzles:

Twistura D-Major brings a set of three nozzles to customize the sound. It is an accessory that I always love because it gives versatility to monitor sets.

Red: my reference and the one on which I base the entire analysis of the set. It has a more musical character. It is the nozzle that provides the most presence in the low frequencies and the mids are somewhat more welcoming, less cold, than the other nozzles. The treble is slightly softened, losing part of its aggressiveness. The sound becomes more fun, balanced and comfortable.

Black: of the three it is the one that would remain in the middle. We gain some clarity in the general resolution and lose some color in bass and mids. The soundstage gave me the feeling of becoming larger and locating sound directionality better. Voices, of any type, get closer to what I consider natural. The treble remains energetic, but with more detail.

Blue: the sub bass practically disappears and the mid bass is still there, but with less body. It is a more technical and analytical signature. Voices, especially female ones, and the midrange position themselves at the front of the stage. It can become too sharp and even painful in the treble.

Pairing for the tests:

-Red nozzle.
-Neutral source.
-Gain set to low.
-Stock liquid silicone Eartips.
-Stock 3.5mm cable.

Sound signature:

When we talk about sound, the bass section of the D-Major is not one of those that crush you with strong hits nor that wrap around you too much. The deepest bass has a soft, comfortable texture, with little weight, but that helps the higher frequencies sound clear without the bass covering them. It seems to seek a more mature, less flashy sound.

That said, the mid bass does try to stand out a bit, although without being the center of attention. They deliver a hit that is not exaggerated, but effective, fast and clean. They provide a rhythmic base that feels technical, but without becoming too heavy. In general, the bass of this Twistura model does not overwhelm you with low notes; its main idea is for you to enjoy a controlled sound, that sounds good together, so you can listen in a relaxed and clear way.

In the midrange, the instruments sound natural, and honestly this was the area I liked the most about the entire set. Voices and instruments blend with a touch of warmth, but without losing that neutrality that defines the sound of these earphones. Everything flows continuously and the separation is so good that you hear each thing very defined and with its own space. It invites you to want to dissect each layer, to notice every detail with great precision. The resolution is good, it is sufficient. But, as usually happens with this type of sound, the notes feel a bit light, with less body. It is not that this is bad, because it helps the sound be transparent, but some songs may seem less emotional or fun to you.

Moving to the treble, this is where the D-Major brings out the best of itself, and it was what convinced me to have these monitors. There is a lot of air, brightness and energy. I love how it brings out details that give you a huge amount of information from the sound, and it does so with incredible ease and purity. The treble extends so much that you feel you are facing something super technical and at the same time very intense, so maybe it is not for every ear. Its sound is very direct and focuses on this area, seeking a lot of clarity and resolution, with a huge sense of openness.

Regarding voices, very deep male voices do not feel heavy, they sound clear and well pronounced, without seeming saturated. But they lack a bit of depth and detail that would make you notice them with more body, which is why they feel a bit thin. Normal male voices sound balanced and natural, with a very accurate tone and just enough clarity for you to catch all their details. And female voices are the ones that perform best with this sound, they sound very open, full of life and naturalness.

As for technical performance, the D-Major seems to me to perform very well, especially for its price. The sound space does not feel gigantic nor does it give you a total three-dimensional sensation, but it does have a very convincing openness, with enough air for each instrument to have its place and not everything gathers in the center. The imaging or the way it places sounds in the stage is excellent, it really helps you know where each thing comes from. The separation of the different sounds also pleased me a lot, because it distinguishes them very cleanly and prevents songs with many things happening from becoming a mess. It dissects each part efficiently and makes you feel a lot of space between notes.

Where it is most noticeable that it is a technical set is in how it retrieves details, since small textures and very subtle information appear that normally are not heard with differently tuned IEMs or even competitors with this type of orientation. Maybe it is not the most immersive presentation I have tried, but it does give you a constant and forceful sensation of clarity, control and resolution that in the end I ended up liking a lot.

Single player videogames:

Check the review conditions on my blog.

In moments of a lot of action, the D-Major has a calmer sound, it does not seek that spectacularity you need to feel completely immersed in something very exciting. The sounds of explosions or reverberations do not have as much physical impact to decorate those scenes. However, the good thing is that the mid-bass is so clean, fast and punchy that gunshots or small hits feel good and do not make you lose the rhythm of the game.

But where it does an excellent job is in achieving immersion and giving life to the environment. Small background noises that you normally would not even notice become quite present here. The clarity of its mids helps them not get lost in the stage: creaks, footsteps, leaves, the wind… all of this comes forward and ends up giving a special touch to your gaming experience, adding extra realism.

As for dialogues, although the voices are a bit thin, they are heard quite well even in scenes with many sounds, they do not get lost among all the chaos and do not make you lose the thread of the conversation. In general, they sound natural, with good nuances and are perfectly understandable. Only in very deep voices did I notice they lacked a bit of body, but in the end I was happy with how they sounded in most scenes.

The soundstage is not gigantic, but it is quite balanced in all directions. The D-Major performed better in closed places than in open spaces, where I felt everything a bit too close or cramped. Despite that, the positioning greatly compensated for that lack of stage width, being super clear, precise and direct. It is very easy to know where each sound comes from, whether it is something static or moving.

Another thing I loved about these earphones is how well they handle difficult situations, when there are many sounds at the same time. Instead of sounding like a bunch of incomprehensible noise, the D-Major separates each sound layer with great precision, shows it individually and this gives you a sensation of order, clarity and space.

To finish, yes, there are effects with sibilance, especially metallic or crystal-like ones, and sometimes it may become a bit tiring. It is a set that has a lot of brightness and gives you a lot of information.

Final conclusion and personal evaluations:

In summary and already as a personal opinion, the Twistura D-Major is very honest from the beginning. It does not try to impress you with super powerful bass nor with a spectacularly attractive and fun sound. Its objective is rather to sound clean, clear and always very orderly. It feels very airy, sounds are well separated and it is easy to understand what you are hearing, as if there was always plenty of space left to focus on small details effortlessly. It has a very lively and detailed personality, but without becoming completely cold sounding.

What I liked the most was precisely that transparency it has. The way it lets voices and instruments breathe makes listening to music very pleasurable. That continuous sensation of sharpness and openness is fabulous, especially with female voices, instrumental music and videogame environments, where small noises gain a lot of life and presence.

Even with all this, the D-Major knows very well what type of experience it wants to deliver. If you are looking for a more powerful, warm or more physical feeling sound, you will surely notice that it lacks some body and that emotional spark in some moments. It is also not very friendly with recordings that already sound very bright, because its way of being so direct and clear always seeks to bring out all the information.

Special mention to the included accessories. Twistura has always taken care of this (except Delta). The quantity and quality it offers is of great value. Of enormous value rather.

For me, it is designed for people who like a clean, open sound with many details, who prefer clarity and good separation over strong hits or a very warm sound.

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

Disclaimer:

This monitor set has been sent by Twistura. I sincerely appreciate the opportunity to be able to try one of their products at no cost and that no condition has been imposed when making 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.

My sources:

-FiiO K11 for music and videogames on the main PC.
-NiceHCK Octave while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO Airlink + Iphone 16 Pro Max for wireless listening on the street.
-CCZ CM01 3.5mm.
-FiiO Jiezi 4.4mm.
-Shanling M0 Pro 3.5mm/4.4mm.
-Apple Music.
-Local FLAC and MP3 files.

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.

Here you can get free DSD, WavPack and Dolby Audio stuff too.

https://www.reddit.com/user/Spirited_Young_8829/comments/1t0x1jy/new_updated_link/

Hello , Today’s review is about CCA Xyraa - a gaming hybrid iem priced around 20$

Disclaimer : This unit was sent out to me by the CCA Brand in exchange for an honest review. Everything is my own impression / experience and is not influenced by the brand or any other person. Thanks to Garcia Kate from CCA for sending me this unit.

About

CCA Audio (Clear Concept Audio) is a Chinese high-fidelity audio brand which used to be sub-brand of KZ (Knowledge Zenith). Founded in 2014 in Dongguan, China, CCA operates with its own R&D labs and manufacturing facilities, focusing on engineering precision and modern design. The CCA Xyraa is a hybrid IEM featuring a 10mm dynamic driver and a customized 30118 balanced armature driver. It has a mild V-shaped sound signature , now lets get into the finer details.

Pros :

~ Good Detail retrieval

~ Sounds sharp and fun to listen to

~ Fits comfortable in my ears

~ Imaging is good

~ Love the bass

~ Treble’s spicy, I like the energy.

Cons :

~ Treble might not be for everybody

~ Staging is average, feels narrow at times

~ slight unnatural timbre

~ Cheap packaging and accessories (nitpicking)

Sources used

Snowsky echo mini

Ipod 5th gen

Aiyima h1 amp

Fosi Sk02 desktop dac/amp

Build and Technical Specifications :

The Xyraa is built with a resin plastic shell and a zinc-alloy “liquid metal” faceplate. The faceplate is high-pressure injection molded, it has a mirror-like finish that looks premium. The shell is opaque, so there’s no driver sneak peek happening here, just a clean, sleek look with a distinctive circular design on the face plate that looks fancy. You could see the inside via the side and the back as it is transparent. Ergonomics are good for my ears, fits like a charm and feels no pressure or discomfort during listening. The stock eartips seal well, I didn’t see any reason to change the eartips for fit purposes, but tips like dunu candy or final ear type e might be good pairing to even out the slight harsh upper region. The nozzle is of standard size and gets the job done. the typical KZ “Meh” cable that everyone knows. It’s not that bad, but it’s nothing to talk about either. The QDC 0.75mm 2-pin connector is standard, the ear hooks are okay. Overall, Xyraa is built sturdy, looks premium and has a solid feel to it. Xyraa consists of a Hybrid 10mm Dynamic + 30118 Balance armature driver and a Polymer-Laminated Metal Diaphragm known for its fast response.

Frequency Range - 20 Hz – 40 kHz

Impedance - 27 Ω

Sensitivity - 110 ± 3 dB

Box contents :

• 1× CCA Xyraa IEM (1 Pair)
• 3× Eartips (S/M/L)
• 1× High-Purity OFC Dual-Parallel
• 1x User Manual

Sound profile :

Bright, detailed and energetic set. Average staging , good imaging and detail retrieval is on point for the price range. Sounds a little narrow / slightly in your face at times. But the separation capability is something that actually makes CCA Xyraa stand out for its price. I played CODM and BGMI ( PUBG ) and the placement of footsteps or gunfire were very accurate and though the sound signature being on the brighter side, didn't cause me any discomfort or pierce my ear, I wouldn’t call this warm / soft - but its not as shouty either. The only thing I dislike here is the slight artificial timbre / sound, it sounds good but not tonally pleasant for me.

Lows

Sub-bass is very well extended, rumbly and enjoyable. but lacks the composure or grip. It’s better described as “Quantity over Quality”. The Mid-bass has decent texture and impact to it without feeling bloated, it is controlled and sharp to listen to. The powerful bass presence is very fun and engaging to listen to.

I wanted to explore new music and I stumbled upon Too Old To Die Young by Brother Gege, an American Folk song which was used in Quentin Tarantino’s Django unchained, it is such a powerful track with deep bass throughout the track and clean solo vocals placed well within the mix. I am really pleased with Xyraa’s Bass attack here, it’s thunderous, rumbly and doesn't overdo it too much to hollow out vocals. Vocals sounded crisp, nothing was veiled or recessed here.

Midrange

Mids are well done, You could hear things well without them feeling dull / veiled. Even though the bass has a impactful presence, there is minimal bleed into the mids and doesn’t soup out the mix generally, but it does have slight trouble in presentation due to slightly narrow soundstage, feels a little more like in your face rather than around you. Both the female vocals and male vocals have enough note weight to not sound thin, but female vocals can be a bit sibilant at times depending on track you are listening to. The vocals are on the good side of this iem, vocals are sharp, clean and sits well within the mix without being shoved way backward. The upper mids do get a little noisy and feels chaotic / clustered all over the region in some energetic tracks that have too much going on in the background, but the imaging is fine. You can identify the instruments and place them quite easily. Apart from the overall tonality - which is a bit unnatural, there is nothing that bad here.

I am listening to Brain Stew by Green day and the guitars at the beginning sound so clear and the drums are snappy. But there is slight distortion at the volume I am listening to ( slightly above mid volume ), I had to turn down the volume to listen comfortably or clearly. It’s not overly shouty but just bright. The instrumental separation is good, distinguishable. After 2 minutes in the track, everything is slightly mixed up. This part does sound a bit worse usually in this budget segment iems which are tuned for the masses to be warm or safe, but Xyraa did it decently well, due to its good separation ability and bright tone, the sound seemed less confusing and more forward / open than i expected.

Treble

This is where things get interesting, this is where Xyraa is different to usual to usual iems in this budget, treble here is sparkly and lively. I wouldn’t call this smooth and I felt the sibilance to be volume dependent, on a moderate volume which is listener’s comfort spot , the treble isn’t piercing or hurting, but when volume is increased, it sounds shrill. While being Sparkly, it doesn’t noise out the entire upper frequency. It has good detail and airiness with a good energy that is engaging and fun to listen to. But the sound in general can get fatiguing over time in longer listening sessions. for someone who wants a smoother or more neutral listen, can occasionally cross into sibilance territory ( again, volume dependent ). It’s not as airy but quite sharp, people with sensitive ears might have a problem with high volume, but in lower volumes, I find it to be okay. It doesn’t sound that thin in lower volume either. So, listenable at moderate volume. Energetic treble, not a refined one. It’s lively and present, but don’t expect it to be smooth, push it with the wrong tracks and the roughness will show up.

Chandelier by Sia, is the track I am listening to right now. Sia’s voice reaches into upper registers frequently, and the Xyraa’s sibilance tendency makes this a tricky listen at higher volumes. At moderate volume the airiness and detail in the treble actually do her vocals justice , present it forward without completely crossing into harshness.

Comparisons :

GK kunten :

Very good textured mid-bass, rumbled and tight with punchiness. Doesn’t feel muddy or overly boosted. GK Kunten is the closest rival to the Xyraa in treble character, but with a rougher edge. Its treble can sound grainy or sibilant. The Xyraa is more refined than the Kunten’s treble the Xyraa has sparkle and airiness while the Kunten trends more toward gritty brightness. Both are energetic, but the Xyraa handles it with more composure.

GK Streak :

GK Streak is the most technically accomplished set here. Fun U-shaped tuning with real bass authority, cleaner lower mids than expected, and treble that stays lively without getting harsh. Better in almost every technical way. But vocals are flat and treble is dull compared to Xyraa.

Tangzu Waner Sg 2 :

Tangzu Waner SG2 is the safest and most refined here. Well-balanced with vocal-centric mids, controlled bass that avoids muddiness, and smooth treble that avoids sibilance and fatigue. Wide and deep enough soundstage with well-done instrument positioning. It lacks the Xyraa’s excitement but beats it in vocal naturalness, staging, and long session comfort. The go-to recommendation for most people.

7hz x Crinacle Salnotes Zero 2 :

7Hz Zero 2 is the warmest and most relaxed of the group. Bass-boosted with natural tonality, smooth gentle treble, and assertive but not dominant vocals. Surprisingly spacious soundstage that punches above its weight class. Less exciting than the Xyraa but more forgiving and easier to live with daily. Great all-rounder.

KZ Castor Bass improved bass edition :

CCA Xyraa sits closer to the Castor than the others in terms of fun factor, but it’s a very different kind of fun. Where the Castor is warm and smooth, the Xyraa is bright and sparkly. The Xyraa has more treble energy and detail, better imaging, and vocals that sit more naturally in the mix. The Castor has more raw bass quantity and a more fatigue-free listen. For long sessions the Castor wins, for engagement and detail the Xyraa wins. Neither has an impressive soundstage and both feel intimate and in your face, though the Xyraa edges slightly ahead in imaging precision.

In one line each - Xyraa is exciting, Waner SG2 is safe, Zero 2 is warm and easy, Kunten is raw value, Streak is technically the best, Castor is for bass-heads.

Final Thoughts :

When I got this unit, I didn't expect much from it as it being a gaming iem, I thought its just going to be flat or tuned to be average / dull. But Xyraa surprised me, They weren’t lying about the “Dual scene Acoustic Tuning” part. For something that’s gaming oriented, this does the job well musically too, Gaming wise you would want your earphones to be open and revealing, and CCA Xyraa does that pretty good. Musically, the energizing sound is quite engaging and fun to listen to. And I really like the fit, it’s very comfortable in my ears. i find this to be a very fun set to listen to, the bass is very good, the vocals are good, the staging is good, technically everything feels right except for the slight treble harshness which does help the iem sound open and detailed. If you are looking for something that’s sharp enough to sound energizing, fun and not too sharp that it cuts your pocket ( 20$ ) this is the way to go. its a Solid choice. if you want something warm or safe sounding - this is not it for you.

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!

Hi everyone, a few weeks ago I decided to buy this Samsung S10e to use as a DAP, with LineageOS 23 (Android 16), and everything works perfectly, except for one thing: Android resamples everything to 48kHz.
I’ve done some research and realised that the only way to get round this is to use apps like UAPP, but I’d prefer to use it with Spotify. The problem is that I notice this resampling; especially at low volumes, it introduces a slight hiss and some rather annoying audio artefacts that don’t occur at all with my Apple devices! If anyone has found a solution, it would be a great help, thanks

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.

Bought from TAS . 👊.. first impression Good soundstage and Detail revealing is promising for me. 😇. Fit is Ergonomic , perfect to the ears. Will post detailed review after 3 weeks. 🤗.

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!

Hello Community!

The protagonist of today is a set that catches attention at first sight, a very characteristic wooden touch of the Sivga house: it is the QUE model, released in 2024 but still very much relevant.

Price: 75$-64€

Link

Pros:

• Great gateway into the hobby
• Very high-quality accessory package: cable, ear tips, case.
• Build, ergonomics and design unbeatable.
• Its sound is one of the easiest to enjoy: pleasant, natural, spacious.
• Bass with presence
• Smooth and coherent mids.
• Treble with sufficient clarity.
• Great vocal presentation.

Cons:

• In general terms, it is not the most detailed set.
• The soundstage is compact.
• It is not a very fast dynamic set.

Accessories:

• Two shells.
• Two sets of ear tips sizes SML.
• Cable with 0.78mm termination and 3.5mm connection.
• Carrying and storage case.
• User manual.

Comfort, design and build:

The QUE model, to the touch, feels like an IEM that is tremendously well finished and built. Its CNC-machined metal body conveys a much higher value than its price reflects. The design is exquisite: original, elegant but not extravagant, restrained but lustrous. The wooden front plate adds the touch of personality characteristic of the brand. The shells, despite being metallic, feel light once placed in the ear.

In terms of ergonomics, it is hard to find a set that reaches the values of this one. Its rounded shape avoids discomfort at all costs, fitting perfectly into your ear concha despite having a medium size. Insertion toward the eardrum is smooth, without pressure, with a well-achieved depth and the stock ear tips facilitate a seal and comfort sufficient so you do not need to look for others.

The cable also seemed like a success to me, even though I classify it as desktop cables due to its thickness. Despite this, I did not experience any discomfort, pulls, or snags that caused imbalances in my ears. It is well built, feels high quality, and presumably can be an accessory that lasts you forever.

Technical aspects:

• 1DD configuration of 10mm coated in beryllium.
• Impedance 32 ohms.
• Sensitivity 108 dB.
• Declared response 20hz-20khz.

Pairing for testing:

• Neutral source for music.
• Warm/neutral source for single player video games.
• Gain set to medium.
• Stock white ear tips.
• Stock 3.5mm cable.

Sound signature:

Starting with the lowest frequencies, the Sivga Que has a bass that is very easy to enjoy. It does not try nor does it manage to impress you with an exaggerated amount of sub-bass nor to sound constantly aggressive, but instead it opts more for a punch with body and a warm, welcoming and pleasant sensation.

The midbass has presence and that makes the music feel full, with weight and rhythm. It is not a particularly dry or fast bass, but precisely there lies much of its charm, since it transmits a relaxed and very musical sensation.

In the midrange is personally where I find the greatest enjoyment in this set. It sounds natural, smooth and quite cohesive. There is a sense between frequencies of smooth flow that causes nothing to stand out for sounding unnatural. The sound has density and a certain warmth that makes listening very comfortable and seems designed so that music comes in easily, without fatigue and without the need to adapt to the sound.

It has a quite mature way of presenting music. It does not try to constantly attract attention nor exaggerate an excess of resolution to seem more technical than it really is. It prefers to offer a more relaxed and organic experience. That makes even more aggressive recordings sound quite pleasant. There is a small smooth touch in the contours that helps a lot to maintain a calm and very stable listening.

Another point that I like quite a lot is that I never perceived a hollow or thin sound in my listening sessions. Everything has some body and a very consistent warm sensation, very coherent. It may not be the most transparent IEM in its range, but I do think it is one of those that manage to sound natural effortlessly.

Finishing with the treble, it follows exactly the same general idea of the tuning of this Sivga model. There is enough clarity and air so that the music breathes well, but without falling into annoying peaks or excessive brightness. They are smooth, controlled and quite pleasant during long sessions. Perhaps some people may want a bit more sparkle or a sense of extreme definition up top, although honestly I think the Sivga Que gains a lot precisely by maintaining that moderation.

Speaking about vocals, with low male vocals I notice quite a lot of body and a smooth, well-textured and articulated presentation. Normal male voices maintain naturalness and good presence within the mix, without sounding dry or artificial. In female vocals I find a smooth and controlled presentation, avoiding uncomfortable sibilance or excess energy. In general terms I was quite satisfied in this aspect, where I cannot highlight anything negative, rather the opposite: I found a very well balanced set for songs with strong vocal presentation.

On a technical level I think the Sivga Que perfectly understands its focus. The soundstage is not huge, although it does maintain quite coherent and correct spatiality. Imaging does a satisfactory job when it comes to placing sounds easily, although without that sense of high precision. Layering remains orderly even when the mix gains complexity and I rarely notice real congestion.

In detail retrieval it also does not try to turn each song into a constant technical demonstration. Details appear naturally within the mix, prioritizing more musicality and coherence than a too revealing resolution.

Single player video games:

Always seeking the most cinematic experience possible, tested in narrative and action-intensive titles. Consult my blog to see specific games and the conditions of audio analysis in video games.

In this field, I was able to enjoy the games a lot because it has a very entertaining presentation with quite a lot of weight. When intense scenes begin, explosions, impacts and powerful effects have enough punch to give emotion to the gameplay without becoming exaggerated or tiring quickly.

Dialogues are heard clearly and with good presence, so following the story is comfortable even in moments with quite a lot of noise around. I also find it a very rewarding IEM for getting lost inside the game environment, since many small sounds from the stage remain present and help everything feel more believable and immersive.

Separation maintains a good balance and normally the effects do not end up mixing too much with each other. The width also does not try to sound gigantic artificially, but it does offer enough space so the environment has air and does not feel closed.

In addition, the treble is quite well controlled, avoiding certain effects or voices becoming annoying after long sessions.

In terms of positioning, it responds quite well for immersive experiences and allows distinguishing movements or directions in a fairly natural way, but as I said above, it is not among the most precise you can find.

Final conclusion and personal evaluations:

This set ended up growing on me the more time I spent with it. It is not the typical earphone that tries to hook you by exaggerating sensations from the first minute, since its charm, its character, appears little by little, in long and calm sessions, when you start realizing how comfortable and natural it is to listen to practically anything with it. It has a warm presentation, with good body and a very pleasant smoothness that makes everything flow without effort.

That constant feeling of stability is what ended up convincing me. I never felt that the sound wanted to draw too much attention or push certain elements in an artificial way. Everything maintains a very pleasant coherence and that makes both music and video games enjoyable in a relaxed and very immersive way. Even after several hours in a row, it still transmits a light and easy listening experience.

It also seems to me a quite honest set with what it wants to offer. It does not try to compete by seeking extreme resolution or an ultra-analytical sensation. It prefers to focus on musicality, comfort and maintaining a friendly sound in almost any situation. There will be people who want something more aggressive, brighter or with a more impactful presentation, but I think the Sivga Que works especially well for those who value a warm, organic and very enjoyable long-term experience.

If you have reached this far, thank you for reading.
More reviews on my blog.
Social networks in my profile.
See you in the next review!

Disclaimer:

This set of monitors has been sent by Sivga. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when carrying out this analysis.

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

My sources:

-FiiO K11 for music and video games on the main PC.
-FiiO KA13 while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO BT11 + iPhone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm.
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

Hello Community!

I want to introduce you to a dongle DAC from the brand CCZ. It is the CM01 model and, honestly, it surprised me in a good way. Let’s see why.

Price: 16€-19$

Link

Technical aspects:

-MAX97220 amplifier chip.

-CX31993 DAC chip.

-3.5mm SE input.

-63mw u/32 ohms output power.

-Maximum sampling 32b@384khz.

-124dB signal-to-noise ratio.

--95dB harmonic distortion.

Package contents:

-Dongle DAC.

-USB-A to USB-C adapter

Compatibility:

-Windows & MacOS.

-Android, IOS, iPadOS.

-No native APP.

-Not compatible with Walkplay.

-No DSP function.

Construction, design and quality of life (QoL):

CM01 seems to me like a dongle DAC that enters more through the eyes because of its striking design than because of the comfort it could offer. That transparent window exposing the inside, its white cable in contrast with the black and the golden USB-C connection give CCZ’s dongle quite a striking touch.

It is well designed for daily use and yes, it is comfortable: the cable is strongly braided and covered with a translucent plastic that sits at the perfect point between rigidity and elasticity.

At the construction quality level, it surprised me. I have quite a few dongle DACs from more renowned brands at the same or even higher price that have not taken such good care of these parameters.

The connections are firmly secured and the body, where the earphones connect, made from some kind of lightweight metallic alloy, feels robust and reliable.

Overall, I can say that after almost daily use for a couple of weeks, it has more than delivered in terms of comfort and I can bet a beer that, because of the level of construction it offers, it can turn out to be something very durable.

The feeling it gives me in hand, to the touch, is that it is not something that feels cheap but rather closer to something that sits slightly above its price.

Personally, the inclusion of a USB-A adapter is a success for those people who do not have more modern connections and, the lack of compatibility with DSP or WalkPlay, personally, I do not care at all, it is not something I use but I must leave it stated so that those interested know the information.

Sound quality and power:

CCZ CM01 and I matched on the first try, just a few minutes after starting to analyze the sound it delivers. I have to be honest, but also get as close as possible to objectivity despite being delighted with it.

It is not one of those devices that try to exaggerate bass or make everything sound more spectacular artificially. Instead, it feels clean and pleasant, like a simple and very evident improvement over the typical audio of many phones or conventional Jack connections. The music sounds clearer, with better instrument separation and a slightly more open feeling.

Something I liked a lot is that it has quite a natural sound, in a certain way slightly, but very slightly warm and rounded in the high frequencies, but without hiding its technical capabilities or showing resolution and detail.

I have spent a long time listening to music or playing videogames without noticing fatigue or that metallic touch that some cheap dongles have, even ones with higher monetary value. In addition, in normal use it feels clean, without weird noises or annoying interference, which is exactly what I expect from something designed to carry around every day.

About the power, which is 63mw, I think it performs too well for the size it has and for what the competition offers. With the IEMs and over-ear headphones I usually use, I have never felt that it falls short or that I have to push it too much. Obviously, do not plug in something 300 ohms because it is not going to lift the volume. With my Beyerdynamic DT 770 Pro, 80 ohms, the achieved volume was insufficient for me but, with Audio-Technica ATH-M50x, I could savor all its splendor without complications.

Final conclusion and personal ratings:

Everything works very comfortably with the CCZ CM01 and without complications: connect, play music and forget about it.

One aspect I really like is that it does not heat up nor give sensations of forcing the machinery to offer high listening volume.

Overall, I see it as one of those easy-to-recommend dongles because it does not try to impress with weird things. It simply does its job well, sounds clean and is comfortable to use day to day, which in the end is the most important thing in a device like this, without neglecting construction quality and, of course, giving a convincing sense of reliability and durability.

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 test one of their products free of charge and that no conditions were imposed when preparing 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:

-PC Windows.

-MacBook Air M4.

-iPhone 16 Pro Max.

-Dunu 142.

-Simgot EA1000.

-Twistura Woodnote.

-Beyerdynamic DT 770 Pro.

-Audio-Technica ATH-M50x.

Use this site for Indians Perspective :

https://judge.me/reviews/stores/theaudiostore/products/earacoustic-sta-hi-end-series-iem

Hello Community!

The new release from GK is called Streak. Will it be another market breaker? I’ll tell you below.

Price: €20-$22

Link

Pros:
-Good depth in the bass
-Pleasant tonality across the entire spectrum.
-Technically very competent for its price.
-Warm, pleasant sound, easy to enjoy.
-The treble is sufficient and controlled, no fatigue at all.

Cons:
-Mids are somewhat recessed.
-It may seem somewhat dark for many people.
-The stock accessories could be greatly improved.

Accessories:
-Two shells.
-A set of ear tips in SML sizes.
-Cable with QDC 0.78mm connection and 3.5mm termination.

Comfort, design and build quality:
The truth is that in this aspect there are more negative points than positive ones, but then, for the umpteenth time, I remind myself of the value of the product and I understand many things although, little by little, the industry is growing in the added value of higher quality products in this price range.

The cable is annoying and both sitting at my desk and walking around, the cable takes uncomfortable positions, with the latter situation, being in movement, suffering some pulling that caused adjustments issues in my ear.

On the other hand, the ear tips, although they achieved a correct seal and fit, are still of questionable quality. As with the Kunten, the accessories do not do justice to the well-tuned sound.

The good news about all this is that it is a set that I believe deserves to be upgraded with higher quality accessories. GK has cables and tips available, which I have not yet received due to an error in the warehouses, however, I will try to receive them.

As for ergonomics, they are medium-large sized shells, with a classic oval shape that does not create pressure points and I can assure that I have spent several 6-hour sessions with this set in my ears.

The insertion into the ear canal is deep but not exaggerated. Once the appropriate ear tip size is chosen, the fit is very firm. As I said above, the in-ear comfort would improve with softer and more elastic materials.

In terms of construction, it is nothing out of this world: a resin body according to the manufacturer, although to me it seems like plastic, which allows you to see the interior of the IEM, and a faceplate that the brand advertises as CNC-machined metal and which honestly, I struggle to recognize as that material. It is correctly finished, without edges or impurities, and the nozzle has a paper filter with micro holes.

Aesthetically it is minimalistic, not very flashy, but that matters the least.

Technical aspects:
-1DD+1MP configuration.
-32 ohms impedance.
-111dB sensitivity.
-Declared response 20hz-40khz.

Pairing for the tests:
-Warm/neutral source.
-Gain set to low.
-Stock ear tips.
-Stock 3.5mm cable.

Sound signature:
The low end has quite a lot of presence and it becomes noticeable quickly. The bass comes in with weight, with a warm and wide but smooth punch, generating a sensation of a full and fluid foundation. It adds energy without becoming too brute. The sub-bass also has a certain elasticity that makes it feel more immersive and physical depending on the genre. It is not the driest nor the most disciplined bass in the world, but honestly I think that is part of its charm, because it never gives me a cold or boring sensation.

The mids follow a fairly relaxed line and coherent with the rest of the signature. The instrumentation has a smooth and pleasant tone, with considerably acceptable thickness which leads us to a presentation that feels comfortable since it is not aggressive at all or too forward although in a certain way, they are somewhat behind in the stage. The vocals are not constantly pushed forward searching for unnecessary protagonism; instead they appear integrated within the mix, showing naturalness.

I do notice that in busy songs some elements could have much more separation or definition, but the Streak normally prefers to maintain a fluid presentation rather than sounding analytical. To this day and after several weeks, I still debate with myself whether that is favorable or a disadvantage considering the driver configuration chosen for the set.

Up top, in the treble, is where it surprised me the most for the price. I expected the typical somewhat messy and uncontrolled treble from some budget IEMs, but here I found an example of liveliness and space. There is brightness, there is sparkle and enough energy for small details to appear gracefully, although without entering too much into sharp territory. I do appreciate this, even though I prefer more strength up top most of the time.

The frequencies and even small textures have presence and help the music breathe better. Evidently it does not reach the level of refinement of more expensive models, but I also do not feel that it tries to pretend to be something it is not. It has a fairly clear way of presenting treble, always maintaining a light and dynamic sensation.

With deep male vocals I perceive quite a lot of body and a very pleasant warm texture, somewhat recessed for my taste and not entirely the timbre with which I could say they are completely natural. However, normal male vocals do maintain good balance and naturalness, although at times they can feel slightly soft. In female vocals I find quite a lot of freshness and energy, bringing emotion and air without becoming excessively intense.

On a technical level, it seems more competent to me than I expected considering its price. The soundstage does not try to create a gigantic scene, but it does achieve enough width for the music to breathe comfortably. The imaging responds quite well and allows me to locate sounds easily, especially in tracks with good production while the layering also leaves good impressions because the main layers rarely overlap chaotically, although when the mix becomes too complex it is noticeable that it prioritizes musicality over absolute precision.

Finishing with detail retrieval, it maintains a similar line: it does not chase obsessive microdetail nor does it seek to analyze every minimal nuance, but even so it manages to retrieve enough information for the experience to feel rich, dynamic and very enjoyable for hours.

Single player videogames:
Always seeking the most cinematic experience possible, tested in narrative and action-intensive titles. Check my blog to see the specific games and the audio analysis conditions in videogames.

In this field, this set has a fairly entertaining way of getting you into the match without feeling excessively cinematic. In action scenes I notice hits, explosions, reverberations and rumbles with quite a lot of presence. I do not feel it is a dry sound, but rather wider and with a certain vibration that makes scenes feel intense and dynamic.

Dialogues remain clear most of the time, with voices close to naturalness and easy to follow even when the game begins filling the scene with effects. For my taste, somewhat behind, but nothing dramatic or that ruins the experience.

However, where I liked it the most was in immersion: small environmental sounds, distant echoes, wind or residual footsteps constantly appear in the background, making the game world feel more alive without the need to force details and while feeling great and sweet listening comfort.

Layer separation works better than I expected for an IEM in this range. When there are several simultaneous effects I can still distinguish gunshots, music and voices without everything ending up converted into a confusing mass.

The stage has enough width, so in that aspect nothing can be reproached: the accuracy of the representation of the scale of the worlds where I tested the Streak was reasonably sufficient.

In addition, I really appreciate that the sibilance is relatively controlled; sharp effects such as glass, gunshots, metallic hits or certain voices do not end up tiring me quickly.

Positioning also leaves good impressions because the sounds maintain fairly coherent and easy to identify directions.

Multiplayer videogames:
Always seeking the most analytical possible experience of the stage, tested in competitive shooter titles. Check my blog to see the specific shooter games and the audio analysis conditions in videogames.

In competitive multiplayer, it left me with a curious sensation: it is not a set that analyzes the environment and captures every sound element and places it clinically, but even so it maintains a fairly competent spatial reading.

In Counter-Strike 2 I can identify footsteps and lateral positions with enough precision to react quickly, although in extremely busy scenarios the soundstage becomes somewhat more compact.

In Apex Legends it feels especially fun because the bass adds energy to abilities, explosions and movements without completely destroying the clarity of the environment.

In Call of Duty: Warzone the performance is fairly solid thanks to good spatial coherence, allowing me to distinguish directions and distances in a relatively natural way.

Where I felt most comfortable was in Battlefield 6, because it manages general chaos quite well, separating gunfire, vehicles and ambience with relative and sufficient order so as not to easily lose important information during matches.

Final conclusion and personal evaluations:
With GK Streak something curious happened to me: at first we did not connect well but the more time I used it, the less desire I had to analyze it and the more I ended up simply enjoying it. It has a very clear personality and, instead of chasing that obsession of sounding ultra technical or excessively precise, it bets on a much more relaxed, dynamic and easygoing experience for hours.

What I value the most is the coherence of its character. It has energy, space and enough liveliness to always maintain a dynamic sensation, but without losing that warm and comfortable character that allows me to use it for hours without ending up fatigued. I never felt that it sought unnatural protagonism, instead it conveys a fluid and very easy to enjoy sensation, something that over time ends up having enormous merit.

I also like that it maintains a certain lightness even when the sound gains intensity. There is a constant sensation of width and air that helps everything breathe better, providing immersion without the need to exaggerate details or force technicalities.

Evidently, in especially complex situations it could offer a somewhat cleaner or stricter reading, but honestly, I think prioritizing musicality and comfort was the right decision for a set with this philosophy. Besides, dear readers, we are talking about a €20/$ set.

For me, it is very directed at those who seek an entertaining, comfortable sound that can appeal to the masses. On the other hand, those who prefer an extremely clinical presentation or focused solely on precision probably will not connect the same way with its proposal.

If you made it this far, thank you 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 GK. I sincerely appreciate the opportunity to test one of their products at no cost 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.

My sources:
-FiiO K11 for music and videogames on the main PC.
-FiiO KA13 while I work.
-FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.
-FiiO BTR13 + FiiO BT11 + Iphone 16 Pro Max for wireless listening on the street.
-FiiO KA11.
-FiiO Jiezi 3.5mm/4.4mm
-Shanling M0 Pro 3.5mm/4.4mm.
-Tri TK3.
-Apple Music.
-Local FLAC and MP3 files.

Any inputs that help to me.

Before buying this.

Previous IEMs are : Tangzu Waner SG, 7hz Elua ultra, BLON BL03