Another brand that I had the delight to be introduced to was a new entrant into the melting pot of IEMs and from Vietnam, Aria Ear, and I found my hands over two of their offerings, the Sylva and Azuri, competing under the $150 mark, which is already a very saturated market where everyone seems to be trying to reinvent the wheel, with most being forgettable. I was curious to see whether their offerings would fold or hold.

This is a review unit, but it was not sent to me by the brand. Instead, it was sent to me by a house of reviewers and enjoyers alike, Aural Cafe. I thank them for the opportunity to review both the Aria Ear Sylva and Azuri, and now I sit with the Sylva.

Unboxing, Accessories, Fit and Comfort

The Sylva comes in a box that is devoid of any waifu shenanigans and instead has the product advertised accordingly. I found the IEM shells nestled inside foam padding, and both the Sylva and Azuri’s faceplates reminded me of an IEM I previously owned, and an IEM I reviewed prior, the Pula PA02 and the Xenns Mangird Top Pro respectively. There’s a box of eartips underneath, three pairs of black clear and three pairs of blue clear silicone, alongside a circular leather-padded case with a cleaning cloth. The cable provided is a standard 3.5mm which seems durable and felt nice, supporting the weight of the IEMs well, but when other brands in the same segment are providing modular cables with great quality, Aria Ear feels lacking in that department.

The Sylva, comparatively, is a larger IEM than I am mostly accustomed to in this price segment, and I had no pressure buildup in my ears even for extended periods, as there was appropriate venting. Further, the IEMs fit me satisfactorily and I didn’t have to wiggle around trying to get the right seal. Enough pitter-patter, here’s the sound.

LOWS

I never expected this IEM to throw me an absolute curveball in terms of its execution and impact of the bass, especially testing it on short stem eartips like the KBear Coffee. In tracks like Rush’s Limelight and The Spirit of Radio, two tracks where the bass camouflages with the drums, the Sylva got down to brass tacks and managed to get the notes of the bass isolated well from the drums, but I had an issue with the decay being cut a bit too short, noticeable in kicks and toms where they sounded full but ended flatter than what should have been, although the bassline remained mostly intact. Geddy’s vocals sounded comparatively thinner, where a bit more juice through his singing parts would have improved the Sylva considerably.

In tracks like Daft Punk’s Get Lucky and Instant Crush, two of my picks to gauge punch and slam, the Sylva starts belting out notes from the basslines like a gunslinger caught in a Mexican standoff, as the beats have a very satisfying punch and impact, and the thump that the drums have is immaculate. Now the vocals sound like they’ve got good body, and tonally, the Sylva leans toward a decent shade of warmth, but not overpowering.

MIDS

In tracks like First It Giveth by Queens of the Stone Age, something which is in a peculiar set key and has an unorthodox snare setup, the Sylva does a good job of not altering the overall sound of the snare, although detail through the snares could have been crisper. Vocals feel comparatively pushed back alongside the cymbals. Timbre stays planted, but the Sylva can be caught hard if pushed harder, as the lack of detail is also complemented by a misaligned priority between separation and imaging. I personally could have lived with less than decent separation, but it disappoints me when the imaging is wonky.

As the Sylva is pushed through tracks like Periphery’s Marigold, Tesseract’s Juno, and Tool’s Lateralus, its confusion across discerning elements from one another can be seen, which reconfirms my observation that the Sylva needed more work on its separation, although I perceived a minor improvement in imaging, especially in Lateralus, where the cymbals had their positioning intact. But across parts, the Sylva definitely had the tendency to smudge up between guitars and cymbals, which dampened the energy toward what seemed to be an improvement arc.

HIGHS

In tracks like PinkPantheress’ Stateside featuring Zara Larsson, tracks where the phonk-style bass and synths arrive in strong pulses, what impressed me outright was how well controlled the bass was, while the synths, despite having the energy, did not feel shouty by any means, and a restrained warm tonality does not, however, eliminate the perceived bloat in parts. Surprisingly, the bass did not come off distorted, and another good thing was the vocals not evaporating out, which surprised my expectations given how my observations were in the midrange.

In tracks like Celine Dion’s All By Myself, Adele’s Easy on Me and When We Were Young, and Whitney Houston’s I’ll Always Love You, the Sylva feels faintly similar to my Cadenza 4, where the notes do scale high, as the climaxes on these tracks, falsettos, straight note sustains, and other voice modulations, did not feel wrong or otherwise, and I didn’t observe any sibilance or pierce. What I would have liked is the notes having a minutely longer decay for the climaxes to land even harder. Timbre through the pianos felt natural, and the rest of the the instrumentals were not ignored while the vocals were being delivered, making the Sylva a somewhat decent performer.

In tracks like Kendrick Lamar’s Alright, the Sylva did a decent job in handling the coherency between the horns, background hums, and the prematurely clipped cymbals, but once again the patchy perceived bloat shows up through the bass. Even though the cymbals came off with a lot of enthusiasm, I wouldn’t say that it sounded shouty or fatiguing, whichever might fit better.

Concluding Notes

The Aria Ear Sylva is a little too late to the very crowded party, which wouldn’t have been the case earlier. In a segment dominated by IEMs like the Truthear Pure, the Juzear Defiant, and the Aful Explorer in the lower end; and sets like the Aful Performer 5+2, Tanchjim Nora, ZiiGaat Lush, Crinear Daybreak, Letshuoer S12 Ultra on the upper end (do you see how crowded that list is), the Sylva simply cannot cut it through with a decent tuning, when the entire segment is trying to one up each other- be it sound, accessories, or the whole package overall. And before I look at the Sylva, I already have a few IEMs with me which do a better job than the Sylva- namely the Twistura Woodnote and the Kotori Audio Zephyr. 

The Sylva is not devoid of strengths- a held back warm tonality which doesn’t overwhelm elements that do not need said warmth, a punchy bass, weighted vocals, decent imaging and fairly extending highs without coming off sibilant and fatiguing, the Sylva sadly cannot cut it with decency. It is a decent IEM, but it is also a forgettable IEM, and if Aria Ear really intends to make its mark in this stacked (to be generously putting it) segment of IEMs, they will need to work significantly harder. 

Something fairly neutral ? Truthear Hexa. Something dark yet decent ? Aful Explorer. Something mildly warm yet does everything else so damn good ? Truthear Pure. Neutral-ish with accessories ? Fission and Nora. Underrated ? Zephyr. Another take on warm and fun and also comes with a fantastic set of accessories ? Woodnote. See ? Not once did I mention the Sylva anywhere, and for an honest effort at sounding great, I could have given the Sylva a B+ but since it has nothing unique going for itself and I genuinely want to see the brand do better in an overfarmed field of Chi-fi, the Sylva gets nothing more than a B- as my final grade. Again, decent but it’s not going to simply cut it.

Will I buy it at retail? No.

Will I buy it used? Will give it a thought.

Sources used

SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus stacked withe xDuoo XD05 Pro running the AKM DAC chips and the Cayin N3 Ultra DAP in classic tube mode, FiiO KA17 and TRN Blackpearl portable dongle DAC Amps.

Eartips Used (ranked in order of performance)

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

Tracks

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

​

Good day, everyone.

So here is my review of a relatively new set of IEMs from Juzear, the Defiant Gamefidelity Edition (1DD, 3BA). First off, a disclaimer: HifiGo did provide these to me for review free of charge, and all they asked for was my honest thoughts in the form of an online review, so take this review with as big a grain of salt as you believe that merits. That said, all opinions here are fully my own, and I have made the attempt to review these as if I had bought them with my own personal money. Also keep in mind all of my opinions are based on the price range unless stated otherwise, so when I say excellent, I mean excellent at the price range. So with that out of the way, I'll continue with the review. These are currently selling on HifiGo's website for $109.99.

Most of this review was done powering them out of my Fiio BTR11, but I also tested them with both the DTC DACs from Dunu, and straight out of the USB C port of my phone.

TLDR: I've never had the chance to try the original Defiant, but if it's anything like this I see why it's often praised so highly in the under 100 price bracket. This iem is excellent and truly slots into the price range quite well by not following the trend of the new meta tuning, while still providing a lively and engaging sound with enough technicalities to compete with its peers.

The unboxing experience is nice but nothing special, the iems come sufficiently protected that I don't think they will have any problems with shipping damage.

As for the accessories package, it's pretty solid for the price range (its strongest competitors, the truthear brothers, as much as I love them, I have to admit come with not very good accessories). It comes with a hard shell leatherette case with a zipper closure. It's a bit too thick and bulky for pocket travel and a bit too small to be a perfect grab and go package but it is sufficient to hold the iems with the cable, and some tips. I also don't particularly like how the mesh pocket at the top is so taut, making it so that the tips just fall out of it and into the main compartment with any sort of movement. This iem comes with 2 sets of eartips and a set of foams. The clear silicone set have a wider bore and a much stouter depth while the black silicone set are narrower in bore and longer in depth, giving you 2 distinct sounds, which is honestly a great thing that not all iems, even more expensive sets do.

One of the main selling points of this iem is the cable it comes with. It's a frankly beautiful blue 4 core, 2 wire twist that splits into 2, 2 core cables past the Y split. It's on the lighter side in terms of weight but feels well constructed and solid. It has some memory and doesn't lay perfectly flat when on a surface but nothing major. It doesn't tangle badly and is soft and supple. On the end it has an interchangeable connector system that is secured by a screwable ring. It can be switched easily and feels solid. I also like how it's not overly large even in comparison to non switchable terminations. The cable is not microphonic. It also has an inline mems microphone that is good enough for calls and gaming, it's not going to replace a dedicated mic but it does its job fairly well. The cable comes with a chin cinch but it's fairly useless as it can't get past the microphone. It also has a button on the microphone that pauses and plays audio. The cable comes with a 3.5 and a USB C connector. The USB C is fairly clean and doesn't really produce any background noise I could complain about. Another complaint I have about the cable is purely aesthetic but it has 2 pins for a iem with a shrouded connection but the iem has a flat 2 pin port, casing it to jut out in an ugly way. This is a little disappointing but unfortunately very common even in multi hundred dollar iems so here its a footnote. All that said this is the best cable I've ever handled in an iem at the price range. The set also comes with a gray microfibre cloth and a little acrylic stand to remind you that this, like the original, is still a collaboration with youtuber ZeosPantera from Z reviews.

Now onto the iems themselves, I think these are incredibly beautiful. The faceplate has an absolutely mesmerizing mother of pearl pattern and some metallic designs like other juzear iems. The MOP faceplates shift from white to greenish blue depending on how the light hits them making them look exceptional. The shell is a 3d printed and CNC finished deal with a semi-custom shape and a metal nozzle . It's a pretty light iem but the nozzle is on the larger side of medium (6 mm according to my ruler). It has a pronounced lip to hold onto the eartips and a metal mesh filter. The inside wing is only very slightly pronounced so while they dont cause any hotspots I cant say they lock in fully. The side of the shell has a very large vent which is probably a response to the controversy the originals had with pressure buildup. These do still build up some pressure but nothing I've not felt in other iems and I can use them for several hours with little to no issues, since I haven't tried the originals I cant say if this is better or worse than they were but given how minor I feel the issue is with these i can say this isn't a problem for me. These have some driver flex, which is always unpleasant but at least in my set it's not very loud and only occurs when I press them while they are already in my ears so I can easily ignore it by simply avoiding touching them.

After doing a round with all the provided eartips, the best sound and comfort combo for me was the black silicone narrow bore tips, they gave me the best bass texture and were the most comfortable, so everything going forward is using those.

Now for sound impressions, keep in mind I would describe myself as an unashamed extreme treblehead, but I will try to keep the impressions as tuning agnostic as possible.

My overall sound impression is very positive, these are a refined take on the v shape, with warm yet clean bass, a serviceable but a bit dry midrange and soft and relaxing treble. While still fun and engaging they do not sacrifice much technicalities leading to a colored sound that is precise enough to satisfy people that are more into the details. Based on the graphs it lowers the treble from the original, which, according to reviews I've read, seemed to be one of its biggest sticking points, meaning that it addressed one of the pain points of an already very well tuned iems. I find the tuning really easy to like and very universal.

Starting from the bass, It's clear and well controlled, it slams more than it rumbles. With the amount it has you would expect some warmth but its transition into the mids is a bit scooped so it doesn't take over the tuning. I wouldn't recommend this iem as a basshead set, it lacks the quantity and physicality of bass for that, but I feel that for the average person the bass will be perfectly satisfactory.

The mids in these are probably the area of the tuning I have the most issues with, they aren't bad by any means, but they do push the vocals a bit unnaturally forward giving instruments a wispy quality that makes them feel a bit hollow. This is most noticeable with male vocals. Overall I've heard better mid ranges at the pricepoint but I've also heard much worse.

The treble of this iem is very smooth and well extended, although it doesn't have the bite I personally love in my iems. It's airy and has no tinnyness to it. Its timbre is honestly quite impressive at the price with its butteriness. In terms of amount it's on a good track to have wide appeal for most listeners and music genres.

In terms of technicalities are ok but nothing groundbreaking, these are sold as gaming iems, so while I don't game to a competitive level I can imagine these provide sufficient precision in positioning and layering to be used for said purpose. The only complaint I have with these is that in very fast or complex tracks they do flatten out a bit and become a bit of a wall of sound rather than a separated stage. As for their soundstage it's actually quite wide for the price range with both good height and depth.

Now for the comparison section, I'll try and compare them to things in a similar price range, but sadly I haven't had the opportunity to try every IEM.

Vs the DUNU Kima 2s: these are 2 very different iems, the kima 2 is a much more relaxed tuning, but it falls behind in fun and engagement for me, especially in the treble area I'd take the defiants GFE over the kima 2s.

Vs the Moondrop Aria 2s: its bass is more flabby and less well controlled but its mids are more natural, it also falls behind in terms of technicalities, I also don't like how they look, another win for the defiant GFE.

Vs the Pula unichrom: similar to the kima 2s these are a warm set but the bass is better than the defiants GFE, slammier and more full bodied, their timbre is not as good as the buttery smoothness of the defiants GFE, nor is it competitive in terms of technicalities, so Id take the defiants GFE over these.

Vs the Truthear Hexas: still, after all these years my favorite iem under 100 dollars, although I understand why some people really dislike it. Its bright neutral tuning is very different from the defiant GFE, which is more “fun” and colored, while being less anemic in the bass region. Personally I feel it's a sidegrade but I suspect most people will prefer the defiants GFE over the hexas.

Vs the Truthear Pures: These are what I suspect is the biggest competitor to the defiant GFE, I put them a slight step below the Hexas in terms of how much I like them, and I recommend them much more often because the warmer neutral of the new meta tuning is incredibly easy to like. The Defiants GFE have a different character than these more neutral iems so although I think they are a sidegrade as well, they are a very solid alternative for the people for which the new meta tuning just doesn't work for, which is a surprisingly large amount of people from what I've seen.

In conclusion I think these have made their claim in the price range and have formed a trinity with the Hexas and the Pures, all of which are at a similar level for me but have enough variation in tuning to be a purely preferential choice which one you go for, meaning I can heartily recommend these.

Songs I use to do preliminary tests on IEMs (I listen to much more if I have the time, but these are a minimum before I solidify my opinion.)

ALI WILD SIDE

Tuki HYURURIRAPAPPA

Ski mask the slump god Faucet Failure

Beelzebub's Cathedrals of Mourning

Aliceband Wolf

Fukashigi no carte

An Unkindness Fragments

Big wild City of Sound

Antonio Banderas Canción del Mariachi

Malcura Gerudo Valley

Berlioz deep in it

Thank you guys for your time; I'll be happy to answer any questions or pass on any suggestions to HifiGo. Good day!

Whats ur thought on this.

I didn’t have a lot of idea about FiR Audio, and I had only briefly heard its name and a bunch of diehard fans, with their picks being the Redux6, the RN6 and likes. I got to know very recently, that the main people behind FiR Audio were some of the computing power and innards of 64Audio, another maker that I really like, so I had to give it a shot. Especially for $2799.

One of my patrons visited my city for a quick vacation, and left me a bunch of his trinkets- amongst which I pick up the Project K, and I am going to be kind to myself for not knowing them earlier. This is not a full set, and I only have the IEM in its stock cable. 

The Project K has to be one of the most well built IEMs I have had the opportunity to try, where the shells are small enough to fit most ears. The less I say about the faceplate, the better and I shall reserve my pictures for it. Cutting to the chase, here’s the sound.

LOWS

This is an IEM which behaves like a completely different beast with short stem eartips, and especially if one wants the bass to have a healthy edge in slam and punch, which is where I pick up Daft Punk’s Get Lucky and Instant Crush. The attack on these tracks is quite fast to my ears, and the decay is excellent in terms of delivery, just that the sustain is cut off a wee bit too quick. The bass line plows through with great tenacity, I simply could not see it slip, and the beats land with excellent precision. The quantity is great but, shockingly, it does not feel bloated. Pharrell’s vocals on Get Lucky should sound thin, but the Project K gives them enough oomph in terms of weight, where they run parallel with the bass lines for the entire sound to come off as cohesive as it can get.

In tracks like Rush’s Limelight and The Spirit of Radio, two of my picks to gauge technical prowess as the bass lines and drums are the highlight, the Project K cranks the detail up on these tracks, which diminishes my complaint to a nitpick, and the way the vocals cut through across the bass lines is very satisfying. From a tonal aspect, it is indeed pleasantly warm, not really coming off as balanced. The way the toms and kicks synchronize with the bass for a full send of sorts in terms of bass impact brings a wide smile to my face. The Project K simply does not falter when it comes to cutting through the excess and presenting detail, fast attack, and crisp decay right in front of my face, while still having a gentleman’s restraint in not being overly aggressive.

MIDS

On tracks like Queens of the Stone Age’s First It Giveth, a roller coaster with an unorthodox snare setup and unusual key progression, the abundantly warm tonality that the Project K has is a blessing while still not affecting timbre. I could perceive the bass mellowing out in favour of the guitars and cymbals to shine, and unlike most sets that I have heard where the cymbals either feel veiled, too pushed back, or washed, the Project K angles them right alongside the vocals, kind of like slinging a line out and fishing the salmon of your dreams at one go. The Project K simply cannot be held back. While I enjoyed the vocals and cymbals, the guitars were one element which genuinely surprised me on the Project K, as I expected them to be laid back. Instead, they came off meaty and heavy, with solid weight and body, yet detailed enough for the string work across passages to shine through effortlessly.

When the Project K is pushed towards busier tracks where my picks are Tool’s Lateralus, Periphery’s Marigold, and Tesseract’s Juno, this IEM has an excellent grip over its imaging capabilities. Elements that fall in the realm of micro detail, like the string sections on Marigold, come off delightfully warm while remaining smooth, detailed, and free of scratchiness. I could hear everything going on in these tracks with equal emphasis, be it the cymbal hits with next to zero sibilance, the ghost notes across the snares, the panning from kicks to toms, or the vocals sitting dead centre. Guitars, once again, have some serious body and separation, and timbre is also one of the areas that the Project K excels in, although the cymbals can faintly lose some weight in certain passages.

HIGHS

In tracks like PinkPantheress’ Stateside with Zara Larsson, tracks with a lot of pulsating phonk-style bass and synths, the Project K has a crazy smooth refinement. I was prepared for the synths to have some shoutiness to them, but instead I was greeted with an incredibly polished presentation, while the bass acts like the pulse of an Olympic marathon runner: potent hits with zero distortion and absolutely no signs of anemia. The vocals, which once again should have sounded thin, are accurately reproduced, where Zara’s section in this track does not have the warmth spilling over excessively, which shows the Project K being warm yet keeping itself in check.

In tracks like Florence + the Machine’s Never Let Me Go and Celine Dion’s All By Myself, two tracks which are performance masterclasses with a lean pitch, the Project K lets the climax ride out fabulously with one of the least bright yet non-fatiguing deliveries out of an in-ear I have had the fortune to experience. Notes scale incredibly high, yet when the falsettos come in, I could hear the oscillation without any fatigue or piercing sensation, while the instrumentals kick in to complement the vocals instead of overshadowing them. On All By Myself, the sustain through the climax comes through without any piercing quality. Timbre and tonality are flawless. In short, the Project K is one of the best sets I have heard when it comes to being a spectacular all-rounder while going all out on vocals.

In tracks like Adele’s When We Were Young and Easy On Me, two emotionally charged baritone ballads, the passages simply flow while the Project K effortlessly balances the pianos and bass with her vocals. When the climaxes hit on these tracks, timbre stays warm yet FiRmly within control, details remain top notch, and vocal notes carry commendable weight and body. The bass does not come off as intrusive as the vocals soldier on, nor do the pianos sound off in any way. This simply reafFiRms that the FiR Audio Project K is one of the very best when it comes to flat-out maximum performance at the highest level.

Concluding Notes

The FiR Audio Project K beautifully fills the void that I had when the Elysian Apostle 2026 left my desk, it shares a lot of its characteristics with that IEM. While rotating between other IEMs like the Icelab Spectrumica, CampFiRe Bonneville, Noble Agis 2, Empire Ears Raven and the 64Audio Volur, I dare say that the Project K outshines a lot of them in their own game, and the key to beating them is not being better than these in specific departments, it’s the character of balancing everything in moderation that gives the Project K a seat in my list for one of the best that I have heard till date. It may not have the dramatic impact, execution and punch in the lows like the Raven, Spectrumica or Apostle, but it delivers where it needs to. The midrange is as open as warm leaning sets like the Volur have, but the Project K excels in imaging and detail. And through the highs, the Project K just sounds exactly how it looks- luxurious, for the lack of a better word.

Safe to say, that even with a price tag, I am going to recommend the Project K to people who have the means to collect a few trinkets in that range, and just because it does everything so well cohesively, I will rank this an S. Even if you are not buying and FiR Audio interests you, give the Project K a listen.

Will I buy it at retail? Absolutely.

Will I buy it used? Absolutely.

Sources used

 SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus stacked withe xDuoo XD05 Pro running the AKM DAC chips and the Cayin N3 Ultra DAP in classic tube mode, FiiO KA17 and TRN Blackpearl portable dongle DAC Amps.

Eartips Used (ranked in order of performance)

Penon Liqueur Black, KBear Coffee, Divinus Velvet Narrow Bore, Spinfit Omni, JVC Spiral Dots

Tracks

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

Apologies in advance for the extremely long read. I couldn’t quite think of a way to split these further without losing comparisons and context that is needed. Please feel free to search and skip to sets that you are interested in or jump to the summary at the end. I wish I had taken better photos but, in the bustle and excitement of the event, I often forgot. I have previously published my impressions of more affordable headphones and you can read those by clicking this link. I also intend to publish my impressions of the electrostatic headphones and the IEMs that I tried soon!

I am condensing my impressions of more expensive headphones (> 50K INR / 500 USD) that I tried at HeadphoneZone Connect. I heard these sets at the event in Chennai (Jan 31^(st) and Feb 1^(st)) and Bangalore (April 19^(th)). Last year, I simply struggled to tell a difference between most of the flagships. They were all impressive but I couldn’t for the life of me tell apart two ZMFs or a ZMF from a STAX. This time, I could much more easily, quickly and confidently hear the differences between sets.

Since my re-entry audiophilia last year, I have acquired and used the Sennheiser HD600 extensively. With that as my benchmark, I tried to evaluate most headphones with a diverse playlist that I know like the back of my hand. The wonderful rich mids and timbre on the 600 have set an almost impossible benchmark for me. The DCA E3, Mezes and HD600 on tubes were tested later at the Bangalore event but I did try the HD800S at both events.

I have mentioned the source and connector used for each can and if it is my first time hearing them. Unfortunately, I didn’t note down the pads used or mesh for sets that come with multiple options. Kindly excuse the half-assed photos, I forgot to take better pictures People blasting open backs like loudspeakers, the limited time (~15 minutes) with each set, and my complete lack of prior experience reviewing cans are three big reasons to take everything with a big spoonful of salt.

I must thank my friend u/mournfulmonk for pushing me to go in with an analytical mindset to train my ears and for the extensive guidance in penning down my thoughts.

Testing Tracks – YouTube Music | Apple Music

 

Sennheiser HD800S (Cayin HA-2A + Gustard R26, 6.35mm)

Last time round, I only got to try Bohemian Rhapsody on the 800S as the event was winding down. Those few minutes were enough to impress me. Enthralled by the balance of tonality and technicality of the HD800S and Cayin’s mesmerising analogue dials, I could’ve ignored the other sets. Alas, the demand for this set was high so I did have to move on. This set is less like a headphone and more like a pair of ear speakers. The cups are deep and massive enough to fit any ear. The clever use of materials to produce a premium yet lightweight build that delivers supreme comfort is much appreciated.

The HD800S has a well-balanced tonality with slightly warm mids and smooth treble. The lower treble is relaxed and the rest of the treble is about as bright as the HD600 to my ears. These are arguably the first set that is not a downgrade in timbre of the mids from the HD600. The bass extends deeper but it doesn’t have the same rumble of the planars. The midbass is simply delectable with a good balance of texture and quantity. Well mastered tracks are presented naturally with excellent separation and layering. While a few other cans had comparable or even better imaging and resolution, the soundstage is truly holographic and astounding.

Even on poorly mastered tracks, the tonal balance on a capable tube amp like the HA-2A makes this set a rhapsodious delight. It is the benchmark against which boutique flagship offerings from the likes of Meze, ZMF, Focal and Audeze seem extremely overpriced. It matches their technical prowess and offers an unmatched spaciousness with a mature and refined tonality. I completely understand why this is often the first expensive headphone to enter the collection and also the last to leave.

 

Meze

Meze Strada (TRN Black Pearl, 4.4mm)

The Strada is the new mid-tier closed back from Meze. It is built well but it is proof that even Meze can miss the mark sometimes. The military green just doesn’t mesh with the beautiful wood and copper yokes. It is as though someone wrapped an elegant Rolls Royce Phantom’s hood with carbon fibre vinyl. Comfort is excellent but still a step behind DCA’s self-adjusting suspension strap for my head and ear anatomy.

The Strada has a smooth treble and it brings this to my attention first. Although there is no bloom or bloat like other Meze closed backs, the quality of the bass is a sacrificed for more quantity. There is a steep drop off at 150hz which should lend it a clean timbre. However, the lower mids are boosted while the upper mids are still recessed in classic Meze fashion. It fares much better than prior Meze sets and this downward tilt imparts a warm timbre to the mids tastefully. Vocal and strings have better energy than the other planar Mezes and those who preferred a relaxed upper mids and lower treble may enjoy this.

Coming from the HD600 however, overall tonality sounds off and detail is lacking. Backing vocals in certain tracks are buried. The boosted air region lends some energy to cymbal attacks but the initial bite of drums is missing in the lower treble for my preferences. Stage is great for a closed back but imaging, layering and presentation are average. The Strada may graph quite close to neutral targets but the DCA Noire X hits the mark more accurately. However, I can see those with a preference for more subbass, warmth and relaxed upper mids choosing this Meze.

 

Meze Liric II (TRN Black Pearl, 4.4mm)

This is Meze’s flagship closed back planar magnetic and the design and build is par with Meze’s elegant and elevated standards. For some reason that I can’t quite pinpoint, the headband comfort is worse than other Mezes I’ve tried. It does look classier than its younger sibling, the Strada.

Bass punch and impact is great with good texture but it is less controlled than other planars. The transition from mid bass to lower mids is done well and retains warmth without too much bloat. The timbre is certainly not natural but the warmth is brilliant for male vocals. I thoroughly enjoyed my recently discovered Coke Studio tracks. Female vocals and strings sound harsh with excessive mid treble energy while sounding recessed in the upper mids. Pianos sound thick and heavy while lacking bite. The mid treble is pulled back above 6khz and air is boosted lending a peaky and unnatural timbre profile. Yet again, this affects cymbals and drums.

The Liric II is the larger sibling in height and width of stage and it packs a greater punch in the bass to boot. Despite its appearance, it has the reserved and warmer personality. However, it is still the traumatised child that is rough around the edges and lacks emotional balance in the treble. Most people would prefer the smaller and uglier, yet pampered and refined (and cheaper) little sibling that is the Strada. Unfortunately, the criticism doesn’t end there. As is the nature of Indian families, these Mezes will be compared by the parents (I have become what I swore not to be) to the overachieving distant cousins and family friends. The DCA Noire X and E3 are the perfect siblings that excel at every metric – academics, sports, extracurriculars. Their only fault – they can be too vanilla and high strung for some. To add salt to the open wounds, the Mezes are not even the coolest kids in the apartment. The rich and spoilt brat, that is the ZMF Boked Closed, parties harder and its wonky tuning is embraced with zero conflicts.

 

Meze Poet (D&A Alpha Pro, 6.35mm)

Meze’s latest open back is an absolute delight to hold in the hands at look at. It is exquisite and classy in design while being comfortable. I still marginally prefer the DCAs and 800S for comfort but this is a toss-up based on your head and ear anatomy. The D&A Alpha Pro is the most unique and modern looking source I’ve seen. The design, build and user interface all form a cohesive, premium and smooth experience. I am looking forward to more (hopefully affordable) releases from this brand.

Immediately, I notice the recessed vocals and that it sounds like yet another V-shaped Meze. Once I focus on the bass though, I realise it is lacking the quantity that usually accompanies Meze Closed backs. As expected of an open back, the rumble is subdued, but the mid bass bloom remains lending the mids a warm tonality. Naturally, timbre and detail of the mids take a hit and this flaw alone would be salvageable. Unfortunately, Meze has also pulled back the upper mids as is characteristic of their planars. This is what ruins the energy, detail and presentation of the vocals. Strings and violins, in particular, lacked energy. I understand this choice was made to improve stage but even HiFiMAN manages to balance this trade off better.

Upper treble and air is boosted lending transients of cymbals a tad too much energy. The balance of upper mids and lower treble with the higher frequencies affects the resolution of the set quite a bit. Stage is quite good but imaging and separation are average. The Dan Clark Audio E3 may be bright-leaning in comparison but it nails the fundamentals. For this reason, I find it difficult to recommend the Poet if what you want is natural timbre and neutral tonality. If you want fun, Meze’s own lineup has bassier options.

 

Dan Clark Audio

Dan Clark Audio Noire X (4.4mm) vs Dan Clark Audio Noire XO (XLR)

Before you dismiss me as a madman for comparing an open and closed back, let me just say that DCA is brilliant at resolving the issues that have traditionally plagued closed backs and bringing them on par with open backs. Both these sets have a sleek and sturdy industrial design with substantial heft but excellent comfort. I thoroughly appreciate that most of their sets fold up to be genuinely portable. Both sets were powered by the SMSL VMV P2 amplifier and the SMSL VMV D2R DAC. I watched a few reviews prior to the event last year and the Noire X was rated quite highly. The first set I tried was the Noire X and every aspect of the set absolutely stunned me last time. To say I had high expectations from these sets would be an understatement (particularly as the E3 was not available at the Chennai event).

The differences between both sets tonally is quite minor but certainly noticeable when heard back-to-back. The XO sacrifices rumble and midbass impact for a wider stage that offers a bit more separation. The XO is also smoother overall in the treble but I preferred the Noire X’s presentation and tonal balance a bit more. It could’ve also been the better isolation offered by the X that made the difference ultimately. If you took the HD600 and added sub bass extension these are very close to what you would get. They lack a little warmth in the lower mids and the upper mids to lower treble region is elevated. The rest of the treble was not as smooth and refined as I would’ve liked. I am particularly sensitive to this 2kHz elevation that can make the set a bit shouty. Mid treble is a bit more emphasised than the 600 but this is tastefully done.

These sets are just second to the Sony MV1 in comfort and the DCA’s self-adjusting suspension strap is a brilliant design. Technical performance is excellent and they handily outperform the Mezes and Bokeh Closed. The ZMF however offers punch and warmth and joy that is unparalleled. If you want brilliant neutral tonality and natural timbre with emphasised upper mids, these sets can be endgame for most. It is genuinely the first closed back that is worth stepping up to from the FT1. I am eager to try out the 620S and hot out of the oven 480 Pro and change my recommendations at the 300 to 500 USD price range.

 

DCA E3 (Denafrips Ares 15th + Burson Audio Conductor GT4, 6.35mm)

Prior to attending last year’s Connect, I watched a few reviews and a tier-lists that unanimously proclaimed the DCA E3 to be the best closed back set. Lo and behold, one of the few empty chairs when I arrived at the venue the next day was at the DCA booth. After convincing myself that it would be wise to try the cheaper Noire X first, I was thoroughly impressed. I stared at the beautiful black metal yokes and glass cups of the E3 wondering how anything could sound better. The fit and comfort is like a custom-tailored suit; I didn’t have to fiddle with unwieldy adjustment mechanisms or adjust the set once it was on my head.

I will never forget how incredibly tight and fast the snare and kick bass hits on Caravan were; I felt like I was the drummer sat in the middle of the kit. Mountains by Hans Zimmer builds up with incredible dynamics and contrast between silence and music. The E3 engulfed me in a massive tsunami and its backwash dragged me headfirst into the sea of audiophilia. I walked into the room with much uncertainty as to the value of expensive gear and left wondering if I could save up for an E3. Unfortunately, the E3 was not available this year at Chennai and my disappointment was immeasurable. However, I had a chance to attend the Bangalore Connect and the instant I spotted the E3, I had to abandon all other plans. I have already praised the neutrality of this set and compared it with everything else so let me stick to impressions from songs.

In Adele’s Easy on Me (NRJ Awards Live Version), her vocals resonate with energy and the timbre is absolutely dead on. The speed and texture of the bass guitar is balanced perfectly with the volume of the impact. The piano can often sound either too bright with no body or too warm with no bite but again it is tonally perfect. This track is incredibly simple with just three elements and no complex effects but it requires solid tonality. In Limelight by Rush, Alex Lifeson’s guitars have the crunch and bite that is expected. The expansive stage width and depth is revealed immediately by the intro fill. As the verse kicks into gear, the excellent imaging and separation articulate every note of Geddy Lee’s vocals and each hit of Neil Peart’s sticks.

In Manavyalakinchara by Agam, Harish Sivaramakrishnan’s vocals sound absolutely heavenly and is presented beautifully. The choir with its wonderful harmonies is often lost in the mix but this is not the case here. The layering of this wonderfully mixed but busy track really showcases the strengths of a neutral tuning. The detail in the treble is astounding all while maintaining a fine balance between energy and sibilance. In All by Myself, Celine Dion’s vocals are another example of the deft treble that delivers the energy and detail required without a pinch more than demanded.

Listening to Pneuma by Tool on the E3 has undoubtedly redefined my expectations from any headphone that I will try in the future. I typically need to watch the live video to completely grasp Danny Carey’s brilliance. With the E3 however, I can clearly image every piece of his kit and hear subtle nuances and dynamics that I had never picked up before. The attack, decay and release of each strike is so nimbly presented. Any effects added to the track such as echo or decay are crystal clear. The double kick bass is absolutely precise. For my next song, Giriraja Sudha by Shakti, the only two words I have written down are – just brilliant.

I considered spitting this long writeup into closed and open back parts but the E3 has taken on the challenges posed by a closed earcup and resoundingly crushed them. You only notice that it is a closed back due to the isolation that lends it a pitch-black canvas upon which it masterfully recreates anything you feed it with insignificant deviation. I may tone down the lower treble by a dB or two and add a smidge for sub bass for prolonged listening sessions. I may have to plan a ride to the Kochi Connect just to get some more time with this masterstroke from DCA.

 

ZMF

ZMF Boked Closed (TRN Black Pearl, 4.4mm)

The ZMFs are all absolutely stunning and built like tanks. The Bokeh is heavy and large but the cups are massive and very comfortable once you adjust it properly. The bass, particularly the kick drum, is so tight and punchy. The double kicks from the ending of Caravan from the Whiplash soundtrack are simply delectable. Despite the copious amounts of bass on offer, the mids do not sound muddy. Rather, male vocals and electric guitars sound rich and lush. Cymbals are great and snare hits in particular are brilliantly executed. Celine’s vocals on All by Myself are quite good without sounding sharp.

Strings are among the few places where the Bokeh falters on the timbre front. Imaging, layering and resolution are all decent, but the stage is simply excellent for a closed back. I don’t quite remember which pads were attached and which mesh was attached. The customisability offered with different pad and mesh combos is great for personalisation of comfort and tonality. This set gets you to head bang along with your music and abandon all intentions to analyse music critically. Hearing this set brought back my impressions from last year, Unfortunately, it is not a set that I reminisced days or weeks after the event either year. That yearning is held in reserve for the Dan Clark Audio sets. If not for the E3, this set would be the finest closed back available.

 

ZMF Caldera 2024 (6.35mm) vs ZMF Atrium (XLR)

Since I heard both sets back-to-back and contrasted them in my notes, I am presenting them as a comparison. Both were powered by Burson Audio Conductor Voyager and some version of perforated lambskin pads were attached. The Caldera and Atrium are both incredibly expensive sets that do not disappoint on the build and comfort as is expected from ZMF. The customisability in terms of pads and meshes is against commendable. They both leak quite a bit of sound to the surroundings and aren’t the most isolating open backs. Last year, I tried all the ZMFs and left entirely confused whether there was any audible difference at all. This year, armed with a notebook and a gear testing playlist, I was determined to see if what I heard lined up with graphs and reviews.

Both are quite punchy and have a lot of impact for open backs, however they do not match the rumble of the Bokeh Closed. I find the Atrium to be the punchier sibling and personally, it is a bit too much midbass. The bass texture and timbre as a result take a hit and the Caldera is brilliant here. The Caldera’s airy upper treble gives crashes and hits on the kit a wet shimmer that the Atrium lacks. Note weight on both sets is thick and syrupy but the bloom meant male vocals and guitars suffered to an extent. Female vocals and horns are energetic and a smidge better on the Caldera while stringed instruments sound more natural on the Atrium.

The Atrium takes the edge on transients, particularly those of vocals. Both sets stage incredibly well but the Atrium is a pinch wider while the Caldera effortlessly demonstrates better imaging and resolution. The layering and separation are not consistently good but rather very track dependent. Those looking for a fun, engaging set should consider a ZMF and both these sets will certainly deliver. Despite the massive price range, I think a quick demo with your favourite tracks will point you towards the right ZMF for you. I thoroughly enjoyed the fun, coloured tonality of the Bokeh Closed.

 

HiFiMAN

HiFiMAN HE1000SE (FiiO K19, 4.4mm) vs HiFiMAN HE1000 Unveiled (Topping DX9 Discrete, XLR)

Let me start by saying I was incredibly hard pressed to hear a significant difference between both these sets. The Unveiled is warmer and had marginally smoother treble. This difference could even be down to the sources. For this reason, it would be incredibly stupid to pay 1000 USD extra for the Unveiled. I would rather spend the money on the beauty that is the DX9 Discrete. The intricate circuitry lit by the orange lights through the massive transparent top is captivating to admire while the HE1000SE engulfs you in your music.

The suspension strap design makes these quite a bit more comfortable than the XS. The cups are yet again large enough to avoid any contact with your ear. It is difficult to describe how this set sounds to someone who hasn’t heard it before. Imagine the difference between watching a Christoper Nolan film on your laptop and in a theatre. The laptop is the average non-audiophile headphone. The Edition XS is your local multiplex with a decent laser projector. The HE1000SE is a bright, crisp and massive IMAX screen.

I genuinely think I could pick out different cymbal sizes and brands with a bit of practise. The speed of the bass makes it tight and controlled though I would definitely EQ in a bit more quantity. The attack, decay and release of notes is much better balanced than the XS. Strings are particularly brilliant with unparalleled texture and resolution in Yo-Yo Ma’s prodigious Bach Cello Suites and Hilary Hahn’s masterful Mozart Sonatas. It brings into plain view the entirety of every note you’ve heard with nuance you’ve never heard before. This is executed superbly for every element in every track I threw at it. Not only does it offer tremendous detail, it presents them on a stage that is wide in all directions with pinpoint imaging and standout layering. The HE1000SE shines brighter if you feed it the fuel of busier tracks like those of the remarkable Hans Zimmer.

Just as your eyes adjust to the bright screen in the theatre, your ears will likely adjust to the energy of the HE1000SE given some time. Though you will be immersed and impressed analysing your music, this is not a fun set. This is a screen showing a neutral picture without any undue contrast, saturation or vibrance. If you wish to gaze at a vivid picture as one often does, you should look elsewhere. However, this set is easily the resolution benchmark that will mock more expensive headphones.

 

HiFiMAN Arya Organic (FiiO K19, XLR)

Overall tonal balance is very similar to the HE1000SE. It is a tad bit harsher and brighter in the treble. The bass is not as controlled and textured in its impact. The perceived technicalities are a step down particularly stage width and imaging performance. Whether the marginal improvement the 1000SE offers is worth double the asking price is a question your wallet must answer. I am very eager to try out the more affordable and supposedly smoother Arya Stealth when I get a chance.

 

Audeze LCD-5 (Burson Audio Conductor GT4, 6.35mm)

The entire LCD series requires some serious neck strength to hold up the heft. I found the LCD-5 to not have deep enough cups for my ears. This issue with fit may have affected the seal so take my impressions lightly. The vocals, male or female, are wonderfully rich and lush. The timbre and texture in mids are excellent and reminded me of my HD600. The bass is tight and punchy with absolutely no bloom or bloat. The perceived technicalities do not compete with some sets half the price. The asking price and the comfort is the reason I would pick so many of the competitors over the LCD-5. Unfortunately, the entry level Audezes were out of order at this Connect. I am eager to try them after my struggle to notice any differences within the lineup last year.

 

Focal Utopia 2022 (Chord Dave, 6.35mm to XLR)

Last year, I spent most of time trying the new DCA E3 and a plethora of top-of-the-line ZMF, Meze, Audeze and STAX sets. I never got around to trying any HiFiMAN or Focal sets. Unfortunately, unlike the sprawling lineup of HiFiMANs this time, Focal only had the Utopia 2022 for demo. I grabbed the empty seat and told myself to move on in 10 minutes to the ignored IEM section. The comfort is good although I found the clamp a tad loose. The build is beautiful but it did not feel as solid in the hand as the competitors; the notorious Focal headbands made me quite nervous. The Chord Dave is a robust, large and eccentric looking DAC. Despite the frustratingly complex controls, I must admit adjusting the volume with the metal ball is incredibly satisfying. Certainly not justified at 13 lakhs for I could buy a super sport instead.

The first characteristic of the Utopia that struck me is its wonderful warmth and thick note weight. The bass is balanced with just the right amount of impact and texture. It threads the line between bloomy and controlled perfectly, but I would prefer an extra sprinkle of subbass. The vocals are placed forward with lush timbre. I found female vocals to be a bit more energetic but certainly not sibilant. The rich tone of violins, cellos and most other stringed instruments transforms my diverse playlist into velvety goodness. Percussion instruments, particularly tablas, are just simply brilliant. Cymbal and other brass kit decays are a bit lacklustre. Stage is good and layering and overall presentation is among the best I’ve heard. Imaging, detail and fine textures are not great especially considering the steep asking price.

By the time I was testing the Utopia, Giriraj Sudha by Shakti had become my defacto track to test timbre, tonality, resolution and layering with the beautifully recorded and mastered ensemble of vocals, guitar, violin, tabla and ghatam. The HE1000SE unearthed incredible detail and realistic texture while imaging and staging the instruments so fabulously that it transported me to the middle of the concert stage, right at the epicentre of these maestros. On the other hand, the Focal wholly lacks this technical prowess. It is like a cup of decadent hot chocolate while curled up in a cozy blanket after a long day. It is like the sunrise the next morning, vivid and joyful without any undue harshness. Thirty minutes later, I realized this set teleported me away from the harsh, monotonous and real chair of analysis into a smooth, enthralling and surreal place. A place where the mellifluous music meanders like a clear river flowing down from glacial, snow-capped peaks. Simply put, a utopia.

 

Conclusions

With the diverse and capable options available under 300 USD, it is truer now than ever before – you do not need to break the bank to get good sound. However, if you are willing and able to spend more you will find gems that push the boundaries of what is possible with just a pair of drivers and earcups. You will find better technical prowess, exquisite designs and more robust build quality in general as you pay more. What you will not necessarily find as you up the budget is a more natural or neutral tuning and this is entirely fine. I can appreciate the exciting and coloured experience offered by Audeze, ZMF and maybe even Meze if I am in a weird mood. However, the headphones that not just played but resonated my music to life will linger in my memory as mighty, almost unfair, benchmarks for every other set to come. These sets that I yearn for and hope to eventually add to my collection are – the E3 for balance and precision befitting a prodigious ballerina; HD800S for the separation, layers and presentation of a freshly baked croissant from a Michelin-starred kitchen; the HE100SE for resolution and detail surpassing an IMAX screen; and finally, the Utopia for effortlessly enabling music to do what it does best – teleport one through time and space.

Photo taken outside of exhibition hall, 10/10 experience meeting with the man himself

Pros: 

• Snappy, simple and intuitive UI with a clean play/pause button and volume rocker
• Tube mode genuinely adds a layer of warmth and lushness that makes bright IEMs more listenable
• As a basshead I find the tube character really enjoyable
• Excellent power output for a dongle at up to 550 mW at 32 ohms
• The side tube windows with their subtle glow look fantastic
• PC use is essentially flawless for me

Cons: 

• Cannot use this with a phone over regular WiFi or LTE without hearing an annoying scratch in the audio
• Detail heads may find the upper treble layer over-smoothened in tube mode
• The interference essentially rules this out as a truly portable phone dongle

The Onix Beta XI2 is a dual CS43198, dual JAN6418 tube dongle DAC from Shanling's ONIX sub-brand, and it occupies a genuinely interesting niche: a portable tube hybrid that brings warmth and musicality to your listening chain without asking you to carry a box around. I have been using it primarily with my PC setup and I have to say it has been one of the more enjoyable listens I have had in a while. But there is a caveat that phone users absolutely need to be aware of before buying, and I will get to that.

Disclaimer:​

A huge thanks to SushiiFi for providing this unit for review. All thoughts and opinions are entirely my own.

Design and Build​

The Beta XI2 is pretty thick, but it still qualifies as a pocketable dongle. The metal body feels solid and well put together, and the two side windows that reveal the glowing JAN6418 tubes are a genuinely nice visual touch. It adds a certain personality to the device that I appreciate.

The OLED display shows playback format, volume, and gain information clearly. The UI is where I was happily surprised: it is very snappy and responsive, with a simple play/pause button and a volume rocker that just work without any lag or fidgeting. Coming from other dongles that have made me fight with their controls, this felt refreshing.

Technical Specs:​

Spec	Value
DAC Chipset	Dual Cirrus Logic CS43198
Amplifier	4x BUF634, 2x OPA1662
Tube Stage	Dual JAN6418 (visible through side windows)
Output Power	Up to 550 mW at 32 ohms (balanced)
Display	0.87-inch OLED
Hi-Res Support	PCM 32-bit/768 kHz, DSD512
Dimensions	69.8 x 39 x 14 mm
Weight	45.3 g

Sound Impressions​

This is where the XI2 earns its keep for me. The tube mode is not just a gimmick: it genuinely adds a layer of warmth and lushness to the presentation that I find very enjoyable. IEMs that teeter on the sharper or brighter side become more listenable and musical in tube mode, which is exactly the kind of tonal shift I want from a source device.

Bass​

The low end feels weighty and textured in tube mode. As a basshead I find the added warmth gives the bass a more satisfying, fuller body without it ever getting loose or uncontrolled. It is not an exaggerated bass boost, more like the low end just feels more present and enjoyable to sit with.

Mids​

The mids carry that ONIX house sound: balanced, natural, and with a hint of warmth that keeps vocals sounding smooth and lifelike. In tube mode especially, the midrange feels lush and easy to listen to for long sessions.

Treble​

This is the one area where I acknowledge tube mode may not suit everyone. The upper treble feels over-smoothened to some degree, and detail heads who want air and sparkle may find that the tube is doing a little too much rounding off up top. For me personally this is not a problem, but it is worth flagging if you are treble-forward in your preferences.

The Phone Interference Issue​

I want to be very direct about this because it is the most important thing for a potential buyer to know. The RF interference in tube mode when a phone is nearby is not subtle. If my phone is anywhere near the XI2 while it is in tube mode, I hear an annoying scratch in the audio. If my phone is on top of it, it is even worse. WiFi and LTE signals are the main culprits, and the only real fix is airplane mode. My personal solution was to use it exclusively with my PC, and in that context I had zero interference and a wonderful listening experience. But if your plan is to attach this to the back of your phone and stream music on the go, you will be frustrated.

Final Impressions​

The Onix Beta XI2 is a genuinely wonderful dongle DAC for the right use case. The tube mode is real, the warmth is real, the power is real, and the UI is a pleasure to use. For PC or laptop use where your phone is not in the picture, this is easily in the top tier of what I have heard. The 0.5 deduction comes entirely from the RF interference issue that makes phone-based listening a frustrating experience rather than an enjoyable one.

Who is this for?

• PC or laptop users who want tube warmth and lushness without the noise penalty
• Bass enjoyers and warm-signature lovers who want smooth, musical listening
• People with brighter IEMs that could benefit from the tube's smoothing character

Who is this not for?

• Phone users who want a portable dongle for on-the-go streaming
• Detail heads who want maximum treble air and upper extension
• Anyone not willing to deal with RF interference management

Hello, i want something better than my airpods pro, something with good bass and for music only

​

The guys over at hifigo have told me that the revamped juzear defiant gamefidelity edition is ready to launch by next week and is currently available to buy on hifigos website, and AliExpress (and will be available on Amazon next week). I have a review on it coming next week as well, so if there is anything you guys would like to ask me or hifigo about them, or anything that you would like me to mention in my review I'm happy to hear it.

Hey, can i change the cable for this one? I really like the color, but im not sure if cable has some performance too

Pros

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

Cons

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

Sources and ear tips used in the review

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

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

Disclaimer

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

Accessories, Comfort, and Build

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

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

Sound

Sound Signature

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

Bass

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

Midrange

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

Treble

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

Technicalities

Soundstage and Separation

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

Final Thoughts

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

I have no clue if this earphone will be a success or a criminal failiure, but I'm curious to see the next episodes...

Hello, i want some iems only for iphone, want some with better bass and i want them to be pink/purple/blue/emerald, maybe some translucent design, something like on the photo and i dont want them to be worse than my airpods pro 2023

Recently, budget IEMs are getting launched one after another from different brands with different tuning and presentation approach. Following this, NiceHCK has introduced the new budget IEM - NiceHCK Tears, priced around 30$, claiming to have some interesting features like DSP and openback design at this price point. I recently had the chance to try them out and let's see how it performs and whether if it is worth the price.

UNBOXING, BUILD & ACCESSORIES

Unboxing is pretty simple and straight forward with things kept inside a compact square box with magnetic top. For the accessories they provide a set of normal silicone eartips (5 pairs), a soft leather pouch, 2pin Type C cable along with a cable tie.

The build is fully plastic and the shells are so lightweight that I didn't feel them when they're on my ears. Comfort wise, they really fit me well and I didn't have any pressure issues either. The cable quality is good considering the price, and this Type C variant has inline mic support along with playback control button.

SOUND

The overall sound is slightly V-shaped and somewhat warm. The sound is smooth and easy to listen to, with enough energy to avoid being dull. The Tears is a more musical than analytical performance, making it suitable for long sessions and mixed playlists.

Bass

Bass is decently controlled and clean and provide decent rumble on tracks when needed. Mid-bass has decent punch and stays disciplined without bleeding, keeping the sound clean without bloat.

For the price, the bass quality is better than you would expect in terms of control and natural decay. The texture and dynamics do feel good enough for the price.

Mids

The mids are smooth, natural and easy to enjoy. Vocals sit in a good position, neither too forward nor too distant. Male voices have reasonable body while female voices sound clear and lively without being harsh.

There is a slight warmth in the lower mids that helps many instruments sound more full-bodied and rounded. The upper mids are clearer and more open. While certain recordings may sound slightly thin and coloured in the upper midrange, the overall mids are pleasant and well-balanced.

Treble

Treble is tuned on the safer side, with enough crispness to keep details present without becoming sharp. Higher notes sound clean, and the overall top end stays smooth even during longer sessions.

Detail retrieval is decent and doesn't have the most extended or airy treble presentation, and very busy tracks can expose slight grain or reduced refinement. Still, for everyday listening, the tuning is forgiving and easy to enjoy.

TECHNICAL PERFORMANCE

Technical performance is quite acceptable considering the price. Imaging is fairly accurate, instrument separation is clean enough, and the soundstage has a decent sense of width but lacks depth. Resolution is good for the price, though not standout against stronger competitors.

I'm not fully sure that this IEM gains from the advertised open-back design, but I personally felt that sonically it works like any other normal IEM.

APP SUPPORT & DSP

The best part about this IEM is their "NiceHCK App" support as the Type C version has inbuilt DSP. The app feels clean, straight forward and easy to use. Unlike some other apps, such as Roseselsa’s RoseLink, this app does not require creating an account to access its features.

Coming to the DSP features, there are three official EQ presets available to choose from - Pop, Balanced & Rock. There is also a 8-band PEQ with adjustable gain to play with and these can be saved and applied under the 'Custom' section. I personally liked the Balanced EQ and carried out my testing with that preset.

One unusual thing I noticed was that whenever I tried changing the EQ value, I heard a popping sound at the moment when the EQ is applied. Sometimes it felt concerning, so I have reported it to the NiceHCK team.

FINAL THOUGHTS

The NiceHCK Tears feels like a product that was tuned with everyday listening in mind. While it may not be the most technical or exciting option in its range, it delivers a solid overall experience with very few obvious weaknesses. Additionally the Type C DSP features gives more room to play with the EQ, so I would suggest choosing the Type C variant rather than 3.5mm termination as it adds up more value to the purchase.

As mentioned earlier, this price bracket also includes IEMs like the Tanchjim Bunny DSP and GK Kunten, which add tough competition in the segment. In the end, it comes down to the listener choosing the right IEM based on their personal sound preference. It is great to see budget IEMs improving so much with new launches, making this category more interesting day by day.

Disclaimer: This unit was provided by NiceHCK for review. Neither the brand nor any individual person has influence over my review and this isn't a paid review. These opinions are completely subjective.

Thank you for your time and let me know if I can improve any further in my upcoming reviews with your suggestions and feedback.