I can anticipate I had a very big pleasure in the encounter, and I hope I’ll be able to properly convey my take on the many pluses and few minuses of this set, together with some comparison hints with their lower cost (but not lower quality) sisters IE600 and more.

IE900 currently sell in Europe for € 1499.00 including VAT. Main official product page, with direct purchase possibility here.

At-a-glance Card

Full Device Card

Test setup and preliminary notes

Sources: Questyle QP1R, QP2R, M15, CMA-400i / Lotoo Paw Gold Touch + Cayin C9 / Sony WM-1A / E1DA 9038D, 9038SG3 – INAIRS AIR1 foam and/or JVC SpiralDot silicon tips – Stock cable – lossless 16-24/44.1-192 FLAC + DSD 64/128/256 tracks.

Signature analysis

Tonality

IE900’s general tonality is bright-neutral. The timbre is slightly lean, especially in the mids, and you can tell from the very first audition that this is a product aimed at rendering trebles in the most organic, detailed, engaging at the same time non-distorting way as possible, while in the process never leaving bass less attended to. And – boy! – if they succeeded at this!

From a more tech-involved angle standpoint, what I also very interesting to note is that they chose not to closely follow, let alone chase, any most en vague target curves out there… More on this, maybe, much later on.

Sub-Bass

One of Sennheiser’s 7mm dynamic driver’s qualities – perhaps not the most important one, but the most readily apparent to me for sure – is its extension capabilities, something very hardly heard before on IEMs, at least from my modest hobbyist’s ears.

As a direct consequence of that bass reaches as deeeep as you can possibly hear. You can safely bet the limiting factor in this case is more your hearing than anything else.

In terms of volume some elevation is present, but a modest one at that. IE900 definitely are not made to satisfy so-called bassheads, not even “educated” ones. Even for the tastes of die hard acoustic jazz lovers like me, there are times when I concede to the pulsion to adding a +3dB low shelf at 50 Hz, but that’s really occasional: in most situations IE900 sub bass is just perfect for my (quite specialised – mind you!) library.

I’ll reach even further, actually, and I would say that although not so high in elevation it’s presence is anyhow so consistent and predictable that the net effect is similar to adding a subwoofer to your nearfield setup, keeping it at a modest sound pressure level, just for “background support”, so to say.

Mid Bass

IE900’s mid bass is fast, even sculpted, yet fully textured and very expressive, emotional. This is one of the sets that renders Andrew Cyrille’s kick drum with the highest level of realism I ever auditioned.

This weren’t enough IE900, and very particularly its bass line, scale incredibly well with amping power and quality.

While in general IE900’s sensitivity is not low, so as to make them driveable to already outstanding results by relatively modest powered mobile sources, you will be totally astonished by the difference – emerging particularly in the bass section – when driving them from high quality, much higher specced amp sources.

One inter alia: Cayin C9, which I happen to have access to. Mid bass and low bass notes come up in body, viscerality and slam in a totally surprising way. It all sounds (pun intended) as if you’re sitting in a mixing studios listening to on those high end monitors hanging in there. Really, really, REALLY significant. Oh and by the way: even in such “exalted” situation, mid bass never, ever takes over on the low mids…!

Mids

Mids feel slightly recessed, if nothing else because the other parts around them (bass, and most of all high mids and trebles) come across with even bolder personality, so to say.

On the other hand their general timbre is very good if a bit lean especially in the high part, yet feels spot-on in most if not really all cases for my library.

The passage from middle to high mids easily reminds me what happens on Final’s A3000 – another, much lower tier, single-DD set featuring a remarkable (within its price class) quality single dynamic driver. And, another virtuous example of totally surprising results based on a not so common, off-choir even, tuning curve.

The passage is very smooth, of course consequence of the one driver employed, and also of the sensible taming applied to the 2-4Khz region which, thanks to driver elasticity (and, in IE900’s case, of who knows what other aspects liaised to the triple resonance chamber milled into their housings – more on this below), does not translate into overly tamed feedback in that region, oppositely it delivers a very lively, detailed while unoffensive experience.

As I mentioned before, if one remark the high mids segment calls for is some relative leanness to the notes. I feel some “butter” missing on central piano octaves, and on female vocals, to match my personal perfection. I’m not of course expecting to find the same focus on that region here that you can get from specialised sets like Final F7200 to just name one, yet as I said just a tad more of lipids would have rendered the dish even more flavoury.

Male Vocals

IE900 render baritones and bass humans with organicity and authority, and tenors, too, with just a bit of relative leanness commencing to appear on their higher registers.

Female Vocals

Female vocals are well presented, textured, clean and quite engaging. As mentioned above, they do lack a bit of body to their central notes to be astonishing.

Highs

These, together with some of the technicalities, are evidently the stars of the show on IE900.

The result is so outstanding that you can bet this must be the consequence of something really special the developers had to put in to get there: energy, expression, body, details and air, all together, while never scanting into sibilance, shoutyness let alone zinging.

A wonderful litmus paper test for this is Lee Morgan’s trumpet phrasings from 1 up to to 2 minutes into Art Blakey’s & The Messenger’s monumental 1958 Moanin’ take, from the homonymous album. Morgan instrument’s sound is full bodied yet perfectly textured, but most of all powerful yet not piercing, and far from splashy or shouty.

Such result does vary a bit in accuracy depending on eartips selection (more on this below).

Incidentally, I could only hear one other set doing better to date, but it did so only on this very particular aspect and failed in others in comparison to IE900, bass being first: a German-made multidriver unit. Oh and that’s priced 3X over our today’s reference .

Technicalities

Soundstage

IE900 stage projection is probably the widest I ever heard in an IEM, and while I think about that I would also put all closed-back overears I heard in, for good measure. There’s significant height and good depth, too !

This is another situation where IE900’s huge treble extension shows its good deeds: as many know of course we can hear sounds up to 16Khz (well… when young! ) but frequencies above such mark are not useless at all, as they contribute carrying information about the time it takes for sound to come back (or not come back) from the “walls around the room” – thereby helping on “drawing the stage”.

This is of course only evident when the source digital material does contain such higher frequency information, and the DAC is indeed capable of reconstructing it – which is luckily the case for much of my library, and a few of my sources .

Imaging

Macrodynamics are extremely precise, positioning cues are spot on at all times, along all 3 axes.

Details

Detail retrieval from the high mids and especially from the treble is nothing short than superb, twice as much if again we remember we are in presence of a single DD set.

I like to believe this is one consequence of those Sennheiser’s claimed designs efforts focused on sound modelling obtained via those cavities inside the housings (more on this below).

Let me add that, as an old western-economy industry bear myself, I also like to think that in addition to the positivity on the obtained result this way of proceeding is also much less prone to be “easily replied” by of some of those chifi usual suspects – building practical reproduction hurdles into one’s physical product arguably representing an even more effective method, supplemental to “mere” legal patenting, to better protect one’s industrial invention efforts in our globalised world lacking cohesive governance.

Instrument separation

Layering and instrument separation is another field where IE900 surely excel, once again especially so when considering we are talking about a single driver set.

Even on busiest (acoustic) tracks you never get a sense of congestion or mixture between voicings coming from the same spot on the stage, and the sense of depth is always granted. At times, it seems as if IE900 are able to render virtually infinite layers, such is their capability in keeping overlapping but heterogenous sounds apart from one another.

I could only hear one other IEM set till now able – on equal source gear and tracks, of course – to present me with a superior readability on low volume and/or background sounds, and that’s Softears Turii – which other technicalities, and the tonality before them, are however quite different from IE900’s so I wouldn’t easily cast a better/worse score between the two, frankly.

Driveability

As en passant I previously mentioned, IE900 are quite easy to drive exploiting the power of so many at least decent mobile sources on the mainstream market, most dongles included. Their 123dB/V (corresponding to approx 105dB/mW) at 18 ohm are not a huge requirement in facts, and that’s surely a big plus in terms of crowd accessibility.

On the other hand, IE900’s note body will dramatically improve when the source happens to have the guts to push up on current delivery, this with particular regards to mid bass and mid tones.

While listening to IE900 directly paired to a Lotoo Paw Gold Touch DAP is already a lushy treat – for many reasons, first and foremost LPGT’s quite special proweness on subtle microdynamics reconstruction – you should wait until you’ll hear what you get having LPGT’s output pass through a further amplification stage, e.g. a Cayin C9 mobile set: then you’ll be in for a strong experience … .

Such situation can, and should, be reported both as a pro and as a (relative) limitation of the set.

Physicals

Build

I suspect not to be the only one whose first eye-impression when shown a pair of IE900 has been something like: “inconspicuous”.

Actually handling them such impression – well, at least my impression – changed radically: IE900’s housing are in facts CNC-milled off a solid piece of aluminium, which incidentally is a wonderful material I happen to know the positive properties of due to my professional involvement with it, on a completely different market.

Long story short, IE900’s housings are at the same time extremely solid and sturdy, and very lightweight.

I also do approve the choice for those thin engraving lines on the outside, which – if anything on the aesthetical level – result in a pleasant, if a bit mitteleuropean-industry-flavoured, “unglossy” finish style, and avoid overexposure to fingerprinting.

On the solidity and shock resistance there’s no question: a solid piece of aluminium gives more than the required warranties for this use case. I’m ready to bet that trampling over these ones (with their cable removed) with a car would leave them a bit dirty, but in shape.

Apart from all this, what is surely most interesting is what cannot be appreciated from the outside, and that is the internal shaping given to the housings – always by CNC-milling them – and the specially developed ultrawide range-capable 7mm dynamic driver.

The DD is responsible for offering coverage for an exceptionally wide range of frequencies for a single driver: from 5 to 48KHz.

That being not enough, taken alone, to deliver the wanted sonic result, tonality shaping is carried out by way of tree small resonator chambers, i.e. appropriate “carvings” milled into the very piece of solid AL making the housings, in-between the driver and the nozzle. Furthermore, some specialty shaping and internal surfaces finishing is put in there, to take care of smoothening excessive treble energy – and I must say with excellent results, based on my audition (see above).

Fit

Kudos to Sennheiser also for the just incredibly effective ergonomics they conceived for the shape of their IE series, which includes IE900 of course.

Even if for some reason you wouldn’t tell when seeing that somehow uncommon form for the first time, it takes seconds after wearing (any of) them the first time to vibrantly love them, and the one(s) who designed them.

On the flip – read negative – side two things are worth noting.

One: in some cases – me included – the main housing body may be a (decisive) tad too lean to match those magical proportions which fill your outer ear just enough to gain perfectly stable positioning while never feel like a swollen bean is nagging at you from out there.

It’s of course then evident that you can’t possibly design a one-size solid structure that’s so precisely fitting into everybody’s body, no matter human diversity. And in doubt, of course you’ll have to do it smaller vs bigger ! So this ain’t defect of course, yet it’s definitely an issue to manage, when it arises.

Two: again, in my case, the supply of stock tips (both silicon and foam) for one reason or the other falls short of being adequate.

Stock silicon tips have a very soft umbrella, 100% studied to get the best intended sound out of the IE900. Too bad that on the “mechanical” front it happens that, housings being too lean to stay put in my concha’s, I instinctually tend to regain firmness by pushing them deeper in. When that happens silicon tips’ umbrellas fold on themselves, totally losing the seal.

Sadly, the problem about stock tips falling short of properly fitting my canals (left one in particular) affects foamies too! Again, I suspect that’s liaised with me needing to get a higher stability by pushing shells deeper in, thereby reaching a wider segment of my ear canal, which those foamies can’t adequately fill up, not even the supplied L size.

I shared this issue with Sennheiser, and the answer has been enlightening for the sake of clarifying the origins of this situation.

First and foremost, in Sennheiser’s design intention IE900 tips should ideally “feel as if they disappear” in the ear canal, precisely the opposite of the sensation you get from bullet style IEMs, and/or triple-flanged eartips. Hence, the thinner umbrella the better, of course.

Flipping the coin, however, superlight tips intended for such precise aim will not be the best choice if for whatever reason a user prefers, or needs, to achieve a deeper fit.

I do confirm all : if – disregarding stability for a moment – I wear IE900 in a shallower position, indeed their stock silicon tips do keep the seal, and they deliver a very pleasant “feathery” sensation, or even virtually no sensation at all – as per intention.

And by the way, were it possible and handy for me, I would actually prefer such shallow fit, not being myself a die-hard fan of deep insertion – even when I use bullet-shape IEMs (which nevertheless – Sennheiser friends will forgive me – I don’t find so devilish counter-ergonomic as they reckon).

Be as it may, this finally reveals what the entire real problem is in my case: housings’ stability.

Again, in Sennheiser’s design intention, in cases like mine where the person’s ear structure is a bit too big and can’t grab the housings firm by itself, that’s where those easy-shape earhook sheaths installed on the cable (more on them below, under “Cable”) should do the trick, mechanically retrofitting the set so to say, and delivering the required stability.

So that is precisely where the game fails in my case (and not my one only).

No, to me those shapeable earhooks are super-comfortable, but not resilient enough to compensate for the housings’ eventual wobbling. That’s why I can’t personally “afford” a shallow fit, and rest comes with it.

Curtain fall ? Nevah !

First possible workaround: browsing the internet I found some sort of third party “gel outfits” – of course made some place in China. I call them “gloves”: imagine little-finger sized equivalents to a silicon smartphone back-cover. Or, similar to those winged rings you fit onto TWS drivers to help them stay firm in place. Something like this, but there are others around too.

I tried a friend’s ones and indeed those perfectly fit IE900’s housings, granting them that small body size increment that results into fitting my ear in a perfectly stable and comfortable way. And then, yes!, I can afford shallower fit and the whole stock tips game works as per design in my case too.

Alternative workaround: use third party tips .

Well as you can imagine I would have gone through the long tips exploration session anyhow, but in this case it was let’s say double motivated.

This article is getting already lengthy and I don’t believe that adding further smalltalk to it would make it better so my eighteen readers will I hope understand if I won’t indulge in the full report here about how I found each of the probably 15 different tip models I tried.

Suffice it to say that in the end I’m torn between two options, featuring some differences : INAIRS AIR1 foams, and JVC SpiralDot silicons.

INAIRS offer a firmer fit sensation, and their M size actually well fills my external ear canal up, thereby effectively contributing to hold those slim housings firm(er) in place for me. They also grant me better passive isolation, and a sort of delicate “softening” to some note edges (which, in itself, is not always a welcome addition).

SpiralDots feature stiffer silicon umbrellas compared to stock tips but won’t go as far as mechanically compensating housings movements, so their adoption does require either a deeper fit, or those “gel gloves” I mentioned before. The good news is that they are sturdy enough not to lose the seal when pushed deeper. Their wide bore positively contributes to IE900’s already good bass, and they yield a more crystalline timbre compared to foams.

Runnerup silicon options worth mentioning are Radius Deepmount – even better than Spiraldot on bass definition and speed, but tend to turn trebles a bit too hot – and Final E (strictly CLEAR version – black and other-coloured ones making low bass a bit “hazy”) – which deliver more body in the mids but lose some detail and precision in the treble and bass.

Last but absolutely not least, Sennheiser and their mother company being deeply involved with medical grade hearing aids and technologies, a custom eartips production service is made available – sadly only to German residents for now though .

It’s called Custom Comfort Tips. The rationale seems very simple in its complexity: by realising an elongated silicon tip, custom shaped following your own ear canal shape and size on one end, and perfectly slapping onto the IEM’s nozzles and neighbouring shell part on the other, you get extremely close to eliminate that personal fit variation that makes each one’s sound experience with that particular driver too much “potentially different” from its intended goal.

The program is also very well streamlined in terms of enduser fruition. It’s all centrally managed by Sennheiser, you don’t have to “look for” anything your own: place the order centrally, geoloc the supporting audiologist shop nearest to your location from a link on Sennheiser’s site, take an appointment and have your canals measured there (their service is part of the price paid to Sennheiser), wait for a few days and receive your tips at home.

The very same tips can be swapped onto IE900, IE600 and IE200. The tips’ fee is currently included with the price of an IE900 package, and a discount is offered to IE600 owners.

Those friends (lucky bastards individuals) who, residing in Germany, already could get their custom tips confirm they are indeed absolute game changers. The rest of us need to come to terms with a impatient wait .

Comfort

IE900’s shape is designed for very easy and natural fit and this immediately traduces into supreme comfort even for very protracted period of time.

In case the housing turns out to be a bit too “slim” for one’s ears (like in my case) there’s a chance the consequent instability may be somewhat fastidious. Longer story above about the origins of this. Consequences: compensating instability by reaching down for a deeper fit may turn out to be a bit uncomfy in medium/long sessions; adopting “gel gloves” of appropriate thickness may be the best way to go.

Isolation

When perfectly fitting, IE900 offer good levels of passive isolation – even more if equipped with foam tips.

In “fat concha” situations like my case, the same result is quite easily obtained by outfitting the housings with with “gel gloves” or such (see above).

Cable

It’s certainly pleasing – if after all in line with expectations vis-a-vis the package price, one may say – to find 3 different cables inside the box, each with a different hard-wired termination: single ended 3.5mm, and balanced 2.5 and 4.4mm, covering I would say 99.9% of possible needs.

Also, the freely mouldable TPU sheath applied towards to cables housing’s end allows you to shape them into the most precisely matching and comfortable earhooks you can get, exactly following your ear root line.

It’s the first time I encounter this offering, and it’s a very welcome feat – even if, as reported under “Fit” here above, it does not get as far as solving the problem of housings being too lean for my particular outer ears.

On another important note: Sennheiser’s IE-line MMCX connectors are not “everyday MMCX” fixings in reality. So be prepared: hardly any of your (my!) existing MMCX cables will fit, or safely fit .

Sennheiser’s MMCX implementation (in some documents tagged as “MMCX Fidelity+”) is indeed proprietary. Looking closely, the male connector coming off the tip of the cable has an additional “lip” compared to ordinary MMCX plugs. Such lip, plus a deeper, and more deeply recessed female connector, are responsible for significantly improving on connection firmness.

All good so far, the less good news however being the following two.

One I already mentioned: 99% chances are that you won’t be able to pair your IE900 with any loved individual off your thick existing herd of however good – and expensive! – MMCX cables.

The other is safely identifying the genuinely licensed (!) third parties, which would therefore be in condition to supply reliably compatible cables. Fact: between a few friends of mine and myself we experienced a few 3rd party cables sold as IE900-compatible, most of which turned into wobbly, unreliable connections. Tread lightly when shopping for cables here!!

Specifications (declared)

Comparisons

Sennheiser IE600 (€ 799,00 – currently on sale for € 549,00)

Even if very similar aesthetically, and equally based on a single dynamic driver, IE600 and IE900 are quite different at the technological level from one another.

Sennheiser confirmed to me that the dynamic driver inside IE600 is a different variation (although part of the same main project) from that adopted for IE900. The same applies for the driver inside IE200, by the way.

In addition to that, housings’ builds and their internals are also quite different.

Unlike IE900’s earpieces – CNC-milled from a solid piece of aluminium and featured with 3 specially designed resonance chambers inside – IE600’s housings are 3D-printed from a special zirconium alloy by Heraeus Amloy Tech, and featured with two sets of 2 internal chambers. Such structure internal to IE600 (D2CA: Dual 2-Chamber Absorbers) focuses on treating overlapping notes coming for different instruments at the same time, helping on dramatically improving they separation, and layering.

With all this said, the sound experience offered by IE600 is for some respects similar, for others quite different from that granted by IE900.

Similarities stay in rendering clarity, and in outstanding layering and separation proweness.

The main difference is in the tonality : unlike IE900, IE600 are quite evidently V-shaped, although maybe a “wide V” at that. A more mainstream indulging tuning choice if you wish, vs IE900’s off the choir one.

Bass is equivalently speedy on IE600 and IE900, but on IE600 it is much more evident, elevated, and I refer to mid bass and even more to sub bass here. In spite of such higher elevation, bass is still perfectly readable at all times, very well textured, and stays consistently separated from low and central mids – as it definitely should – in IE600 no less than in IE900.

Another part where the two sets diverge is in the high mids, and – I would say al least in part consequently – in their treble.

IE600’s 2-4K frequencies are way more forward and pulpy, with this bringing guitars and female vocals the “butter” which is a bit left behind on IE900. However an important taming is imposed on 6KHz on IE600, I assume to avoid that their composite output would scant into shouty and/or fatiguing. As a consequence, treble detail retrieval and overall “airiness” is quite obviously less on IE600 vs IE900.

Quitting all this tech talk : choose IE600 for prog rock, hard rock, electronic music and general purpose, while – money not being a hurdle – go blind-eyed with IE900 for acoustic jazz and most of all classical music.

Such separated applicative indications, paired with ultimately equivalent proweness in doing, each one, what they are designed to do, calls for refraining from positioning IE600 and IE900 one on a higher step vs the other, and I rather recommend them as different tools to reach different pleasures, so indeed complementary to each other.

Campfire Andromeda 2020 (discontinued, was € 1099,00)

I feel this is a quite interesting comparison not only due to the reputation Campfire Audio as a manufacturer, and the various iterations of their Andromeda set deservedly conquered over time, but especially vis-a-vis the under many respects opposite design philosophies behind Andromeda and IE900.

As everybody may remember, Andromeda are a full-BA multidriver sets, vs IE900 single-DD choice.

As a further testimony to the successful results obtained by Sennheiser on their sole dynamic driver, I would readily note that if one of the two sets may be found to deliver a tad less bilateral extension that is… Andromeda. Differences on this are small, however.

Other aspects which are very similar between Andromeda and IE900 include treble detailing, and the tuning choice to keep their 2-4KHz regions tamed down to help deliver a smooth, unshouty yet energetic overall highmid+treble section, which is indeed the case on both sets, and probable the key reasons why treble is equally delicious – beyond within some differences – in either situation.

Other similarities, or real equivalences are about stage size and three-dimensionality, with Andromeda being probably a tad deeper but less high and wide, and about layering and separation.

Tonalities are instead quite different: Andromeda is obviously warmer, consequence of some more power impressed onto 2-400Hz and some taken off from 1-2Khz. IE900 offer more airiness up above, not much resulting in terms of better clarity but rather in terms of a more realistic spatial sensation.

The most obvious differences however stay on bass note body and microdynamics: Sennheiser’s model attains to a higher level altogether, especially on the latter part – IE900 microdynamics are a very thick step above Andromeda.

As for driveability Andromeda require much less power to shine at its full potential, but conversely they require so little of that, and at such a low impedance, that many if not most sources will make them hiss, and that will of course be audible through quiet musical passages.

Beware of counterfeiting !

It is sadly worth noting that the market is literally flooded with fake / counterfeited IE900, and IE600, and many other Sennheiser sets – and not since yesterday.

Sadly the criminals involved with this are quite skilled on delivering aesthetically near-identical products (from the boxing down to the actual items), thus posing a serious threat to the casual user when it comes to choosing and giving trust to their vendors, especially considering the important price tags we are talking about.

I happen to have access to a fake IE900 sample, which I could therefore compare with the guaranteed-genuine one coming directly from Sennheiser’s headquarters.

Sound quality wise I must say I expected a much bigger difference between the two sets. What surprised me the most was in particular the fake unit’s remarkable bilateral extension, roughly in the same ballpark as the genuine one – and that’s saying something. In terms of bass definition, note body and microdynamics, however, genuine IE900 are just straight better.

Visual counterfaiting is really staggering for how realistic it is, and how much attention and careful observation was required to discover the clues indicating the two units did not come from the same ultimate source. I took a few pictures, and shared them with Sennheiser personnel to have confirmation of my findings, and here is my report, with the hope that it might be useful to someone to avoid being frauded.

First and foremost, there was no way to spot any difference whatsoever about the printed carton box sleeve, not on the box’s internal structure and elements, the paddings etc. All apparently identical.

By closely assessing product details however some differences started to come up.

1) Cables’ earhook sheaths are not freely reshapeable on the fake unit I checked – they stay much firmer on their pristine curvature for how much you try to model them. Genuine Sennheiser sheaths are pliable almost like plasteline, and they stay in your wanted shape quite reliably while you wear them.

2) Cables’ chin sliders feature a Sennheiser logo sticker. The genuine one carries an S-logo hologram, the counterfeit one is a very obvious flattened, non-holographic, clumsy imitation. Genuine cable is sitting on top in the following picture.

3) Genuine cable’s main sheath features a smooth, uniform, solid external finish. This fake unit’s sheath carries some sort of twisted wires appearance. You can appreciate this difference, too, from the picture above – where, again, the counterfeit cable is the coiled one, below the genuine one.

4) Assessing nozzle ends, genuine IE900 should look “pitch black”, while this counterfeit sample reveals silver colour inside through a wider mesh structure, as shown by this picture.

5) The pinned plastic plate carrying stock tips should show glossy S M L size letters, not matte ones. Furthermore, genuine foam tips have quite flat tops, not bulging ones. Based on this information, try yourself to spot the genuine set in the following picture .

It’s of course worth noting that I could assess just one fake unit, so there is no certainty, let alone guarantee, that the above hints do apply to other cases.

Sennheiser recommends to buy new units exclusively from fully trusted, official Sennheiser distributors – and that’s a no brainer.

For second hand units – while of course remembering that channels like ebay or similar need to be taken with two grains of salt (always better than one) – a good idea is to have the seller send a picture showing the unit serial number in advance, and get in contact with Sennheiser Consumer Hearing support services: they will check if the number is reported as legit.

Considerations & conclusions

I tried to outline the multiple reasons why I believe IE900 are a beyond-outstanding product, particularly suitable for classical, and acoustic music in general, and I feel like adding some considerations at a more general level here.

What is seems from the outside is that Sennheiser did this by going back to the design board, and restart from assessing the wanted target, asking themselves how to reach it – “reinventing the wheel” if need be, and/or using more “usual” parts and competences, purging their minds from “assumed-well-established existing solutions” bias in advance.

Of course I have no real clue about their internal processes and how the real story went, but if it were a plot for a movie about an industrial success story, it might probably go as follows.

IE900’s dynamic driver itself is proprietary, made to deliver a sensibly wider range extension compared to other high quality dynamic drivers on the market. Why? Because multidrivers do struggle with tonal coherence – all of them – and, let’s face it, for good reasons too. On the other hand, existing single drivers are all “short blankets”, so to say.

So point #1 : let’s design a “wiiiiiide blanket” driver. Period. Then we see the rest.

Oh by the way: let’s do it without employing marketing-buzzword-level raw materials.

IE900’s is in the end a plastic membrane driver – such an “obsolete sounding” technology, inn’it? – yet it loops dozens of circles around others made of “newer materials”. Guess why?… .

I must say I feel empathic on these topics as they can’t fail reminding me that within the infinitely more modest scope of the small industrial company I currently serve in as a marketing and sales manager I often listen to my agents recursively pointing at certain innovative-name-sounding products from the competition. Transeat. Back to our plot.

Once you have an eXtra Wide Range transducer, you are still supposed to shape its sound to manage its behaviour, avoid excesses, and bend its tonality to a specific wanted target sound. This is usually done by a mix of shaping IEM shells, adding vents, filters, foams, meshes etc.

As for us: we will primarily “shape the shells” – and good luck to those who will try to precisely copy them.

Inside IEx00 housings there are milled or built (depending on the specific model’s production process) micrometrically formed spaces (“chambers”). They even got as far as studying how wrinkled their internal surfaces need to be to get the right wanted effect on sound waves passing by.

I can only remotely fathom the complexity of such a research, and the level of competences, skills, tools and budgets (!) you need to put on the table to even commence spinning such a project up. Well they did it – and succeeded.

Last but not least: once you have those grand IEMs done, based on a superbly extended driver, and tuned to consistently output the exact wanted timbre and tonality onto… lab measuring equipment (!) how about maximising the chance the same or at least a very similar result is actually appreciated by anybody’s ears – which sadly (for engineers, and luckily for philosophers) are all “guaranteed different” from the most advanced acoustic coupler mockups employed at the lab ?

Yes, you can try closing the gap by filling the commercial package with countless alternative eartips, or…

Our mother company is a leading multinational involved in hearing aids and acoustic implantations. Let’s roll out a custom eartips program!

I presume this very long stream of considerations, and their fictionalized dressings, can be summarised as follows: the old saying “when the game gets tough, the tough get playing” is of course in general an abstraction – it does take for the tough to actually be willing to get playing ! But when they do… .

Sennheiser for decades did deliver undisputed top-class headphone models (do we need to remember that HD600 originally came out in 1997?) yet they flew much lower in the rankings of IEM proposals until recently.

With their IE900 / IE600 / IE200 program they took a wholly-renovated approach to the segment, and results do show.

These 3 models lead their corresponding price brackets, and debating whether they deserve #1, #2 or #3 entry in their specific subclasses is surely very important for Sennheiser’s product marketing, their numbers etc, but for us, the users, it’s now probably just funny, loud coffee bar discussions. IE200, IE600 and IE900 are, all of them, absolute winners, and each one can easily be taken as the sole IEM one may want to own given that budget and/or that musical preference.

IE900 are light years far from being yet-another high quality high priced single DD IEMs. They can and should be narrated as a successful reinvention of the entire IEM experience, instanced onto the specific preferences of classical and other acoustic music lovers.

Sennheiser created a monumental product with IE900, and while its price tag is no doubt demanding, not a cent of it lacks justification in the multifaceted quality it offers.

IE900 is dutifully tagged on our Wall of Excellence.

Our generic standard disclaimer.

The post Sennheiser IE900 Review (1) – Classical Reinvented appeared first on Music For The Masses.

INTRO

Fiitii HifiDots challenge the user right from beginning. They come from the brain child of someone concerned with major ear juice intrusion, who must believe humidity is a major issue to be dealt with by multiple layers of protection.

The $200 Fiitii HifiDots have high ambitions, focusing on the art of storage, but fall short of dethroning mainstream players in terms of sound qualities. They have good Active Noise Cancellation and a strong midrange centric boost with mild bass lift complimented with a bright sizzling top end.

FIRST IMPRESSIONS

Sometimes building a better mousetrap makes sense, but the Fiitii HifiDots picked the wrong thing to focus on. Upon opening the box the first thing you see is directions on how to remove the earpieces from the case. Not a good sign. Puzzled, I completely ignored it and opened the spaceship styled pod with a satisfying button push to reveal the EarPods.

Trying to pluck them from the pod was the opposite of satisfying, and after fiddling with them I managed to extract them. Now I understood why there were directions just to get them out. For fun For fun, I handed it to my unsuspecting wife who thought the case was “cool” but quickly became frustrated when trying to pull the earpieces out. Fiitii should have stuck to inserting them stem first into the charging case like 99% of the earphones that have stems.

The Fiitii HifiDots come with a sleek charging pod, but heavy like a good lake skipping stone. Fidgeters will rejoice, those nearby will curse and swear them to eternity for messing with the space pod door.

Putting them back in is a chore as well if you do not put the stem in first, and even after doing it the right way does not just drop in place. No idea why they needed to make this difficult, the Fiitii Air 2 was fine.

Eartips have to go, there is some kind of concern about cleanliness of the earphones being gunked up that they are also causing sound from coming out. Perhaps those with surgical skills can cut out the protection portion of the eartip to remove at least one obstacle.

Anyone who has ever used a commercial grade industrial heat gun, the type that you open or close the veins to allow more air in or out to control the temperature…yeah that is what you have here except no control, just blockage.

I did manage to fit the Fiiti HifiDots in the charging pod with different eartips. The latching mechanism keeps the lid closed, but does put strain on eartips and the closing mechanism rubs on the shell when using third party ear tips.

SOUND

Overall the Fiitii HifiDots are midrange centric with presence with a delicate thinner bass profile from the 10mm DLC dynamic driver and a muffled treble from the dual BA driver. Bass notes are soft and gooey with male vocals sounding slim and nimble. Female vocals avoid chestiness and sound distant.

Brassy instruments are kept in check and sound unsteady in the higher registers where the treble is highly hampered by the multiple layers of ear tip and screen. I would recommend to cut out the ear tip screen to improve the treble and even give the bass room to breathe.

Cymbals, triangles, flutes etc all bear the brunt of sounding un-exciting and reminiscent of a worn out cassette tape. There is extra sizzle and crisp but it’s like burning a piece of meat- overcooked and lacking flavor no real definition.

Third party eartips do help, but there is still a coloration in the timbre. Vocals are forward with some lower midrange being pushed to the background. Sony WF-1000xm3 in comparison have an even stage with a softer treble and more grunt in the midbass to midrange transition that gives bass guitars more presence. The Drop Grell TWS also has a softer treble with a shallow stage, but good timbre. Bass is fuller again than the Fiitii HifiDots midbass to midrange region with a much mellowed out and relaxed diffuse field.

TECHNOLOGICAL PROWESS

Fitii Hifidots other claimed features include quick charge2/3 but no wireless charging, ANC and a control app. Aptx lossless is the top codec no LDAC. Multi-point connection did not work. Fiitii App that is supposed to allow the user to change button control, greeting, EQ, etc however does not work either at the time of this review.

Given these currently missing features and functionality, value takes a major hit. I would consider them over-valued at their $200 MSPR.

Charging time is 45min for the earbuds and 1 hour for the case. The case has a 460mAh battery and the earbuds 35mAh battery extending total runtime to 30 hours. Individual runtime is advertised at 6 hours or 4.5hours for heavy ANC use.

ANC was pretty good and worked well in both airplane use and my gas powered lawn mower test, the mild ANC is hard to tell if that means off or if it is still active. The Sony WF-1000XM3 is still my benchmark as the ANC is great and fully adjustable with the Sony app, but the Fiiti Hifidots held their own with only slight high frequency engine noise leaking through exhibited as a faint whistle.

WRAPPING THINGS UP

Fiitii Hifidots have several marks against them in terms of design, functionality, and with less than stellar treble resolution washout. ANC works well enough, IPX rated and alcohol wipe tested as well, they are trying very hard, but just squeak through a passing grade. At $200 for them competition is tough, and they do not have enough redeeming qualities to dethrone the big players.

Disclaimer: We gratefully received these free of charge direct from Fiitii and the opinions here are of my own thoughts.

MANUFACTURER PRODUCT PAGE

https://fiitii.com/product/true-wireless/hifidots/https://fiitii.com/product/true-wireless/hifidots/

Contact us!

DISCLAIMER

Get it from Direct from Fiitii

Our generic standard disclaimer.

About my measurements.

The post Fiitii HifiDots TWS Review – Rube Goldberg Strikes Again appeared first on Music For The Masses.

The KBEAR Rosefinch is your classic $20 V-shaped single dynamic driver iem but without the traditional flaws such as shoutiness.

The $16.99 KBEAR Rosefinch was kindly provided by KBEAR and I thank them for that. You can get it from the KBEAR Official Store.

Introduction

My history with KBEAR goes back almost to their origins – to the “golden times” of this blog, when iem releases were not as frequent as sand on a beach. I even participated in tuning a KBEAR iem (with KopiOkaya, our eartips man), the infamous KBEAR Diamond. It was the grandfather of all “collabs” and got us both censored on Head-Fi…they wanted to extort money from us, their fair share of our profits. The problem was: we did not receive any compensation.

I later fell temporarily out of favour by not pleasing tuner and manufacturer with my account of the KBEAR Believe, that sported a unique Be diaphragm.

Specifications KBEAR Rosefinch

Physical Things

In the box are the earpieces, a cable, a set of eartips, and the paperwork. KBEAR appears to release variations of the same design over and over again. The metal faceplates are quite nice for this budget price but they are essentially a repetition of the KBEAR Lark. The resin shell are also standard.

The cable and the eartips are as basic as it gets.

Tonality and Technicalities

The Rosefinch sounds like a 2018 V-shaped single-dynamic driver in its price category could or should have sounded: slightly warm and without shoutiness or any other unpleasant peaks. It has a surprisingly good midrange imaging and resolution, a reasonably focused bass, and subdued lower treble with some tizzyness in the uppermost registers.

Sub-bass extension is quite good and bass lines are reasonably well defined. We have had this many times before in this class. The low end is a bit on the strong side – but not as prominent as the graph implies – which may sometimes congest the lower midrange a bit and narrow the stage. But it is by no means hard on my sensitive eardrums.

Vocals are surprisingly well rendered – but don’t expect magic – though they could be a bit more robust. Midrange clarity is best in bass-poor passages. There is no shoutiness, rather the opposite, which has a slightly muffling effect occasionally.

Cymbals are also a bit behind and they get some splash from the upper harmonics. Overall, the treble is quite tame. Timbre is what you are used to from this kind of driver in resin shells – ok, but nothing out of the ordinary. Staging, separation, and layering also take over where the other $20 iems have left off. They are alright, but not exciting.

One thing to note is that the Rosefinch has a low sensitivity and benefits from amping, which is odd for a $17 iem, but not unheard of (see all these VE earbuds).

Concluding Remarks

The KBEAR Rosefinch is another feelgood iem for the budget aficionado and newbie, but it does not offer anything new for the experienced hobbyist. KBEAR did a reasonable job learning from their previous mistakes. There is nothing wrong with this iem – and listeners on a limited budget may be quite pleased even. The price is certainly right.

Until next time…keep on listening!

The post KBEAR Rosefinch Review – Average Guy? appeared first on Music For The Masses.

Since all digital cables are sonically identical (aren’t they?), AudioQuest products protect our health whereas cheapos may lead to premature death. Here‘s why we cannot afford the latter…

Introduction

It is well known that all digital cables sound the same as they only transport zeros and ones. You don’t believe me? You do?

Where I got my information from? I had simply followed the advice of the audioquestsciencereview.com blog. It is the one where the Emir of SINDBAD measures cables and DACs etc.

He always comes to the same conclusions: all cables (digital and analog), DACs, and amps sound the same, as long as they measure the same. And his followers agree.

The pragmatic budget audiophile therefore buys a cheap DAC and gets their cables from the dollar store, saves a lot of money…and laughs at these rich old bearded men who hang out at audio shows. You know, those graveyard blondes who can’t let go of Dire Straits, Pink Floyd, and Toto.

And that’s where my problem started: the dollar store. Spending so little on quality cables left me plenty of funds for junk food: cookies, chips, chocolate, pop, etc.

Unfortunately, my increasing knowledge of budget audiophilia was positively correlated with my blood-sugar levels, which resulted in insulin resistance. I also got fatter. Yep, I was moving steadily towards type 2 diabetes.

While my physical shape kept pace with that of the aging members of Dire Straits, Pink Floyd, and Toto, my doctor gave me the choice between Ozempic injections [what’s Ozempic?] and AudioQuest cables as a last resort. I chose the latter – and lost 14 kg in a few months.

My blood values are now normal and I can wear pants again that had been catching dust in the basement for years. No more danger of type 2 diabetes. No more risk of heart attacks and stroke.

How I did that? I purchased an AudioQuest USB-A to Lightning cable, model “Cinnamon”. Not that cinnamon would be rich in antioxidants, antibacterial properties, or reduce the effects of bad cholesterol (all of which is true)…no, it was simply pricey for a dollar-store customer like me.

AudioQuest, in contrast to audioquestsciencereview.com, promotes the idea that not all (digital and analog) cables sound identical. The company offers a wide variety of product covering the whole market spectrum.

Does the AudioQuest Cinnamon Lightning to USB-A cable make a Difference?

I purchased the 0.75 m AudioQuest Cinnamon USB-A to Lightning cable for personal use (and not for review purposes) from the company and thank them for their discount. You find it in the spice aisle of your local supermarket and on the AudioQuest website.

My first test related to clean power. After charging my iPhone through the AudioQuest Cinnamon cable, Apple’s music player sounded better. Brass instruments and violins emitted rounder notes…and there was lot more transparency.

This was not measurable, but had to do with the cable’s insulation, which absorbed energy. This absorption re-aligned the dilithium crystals in uniform order.

As a side effect, the display of the battery charger appeared brighter and sharper.

Non-Health Aspects: Sound

You may have noticed that the writeup so far has been an April Fools’ Day joke. Getting serious, I plugged my iPhone with the AudioQuest Cinnamon Lightning cable in the Marantz SA8005 SACD player (see title photo) that was connected to a Luxman L-410 amp (via AudioQuest Sydney RCA interconnects) and Heybrook HB1 speakers.

In comparison to my Amazon Basics Lightning cable, the Cinnamon contributes a tad more richness, warmth, and more rounded notes. The question is whether one cares.

Subjectivity vs. Subjectivity

The difference between these digital cables will have different impact on different people with different attitudes. The measurement-guided enthusiast will not bother, the tight-fisted aficionado will not care either, but the more fine spirited soul (with deeper pockets) will.

To me, such nuances add up and will make a substantial cumulative difference over time. I treasure the fact that the sound will be improved with this cable every time I listen to the music.

An example of cumulative benefits: I like the AudioQuest DragonFly Red and Cobalt dongle DACs – and have used them for a couple of years now. I hear a huge difference between the two, the Cobalt is just richer and rounder playing whereas the punchier Red has some shrillness in the upper mids (which can be tamed to some extent with the JitterBug). Therefore, the Cobalt gets way more eartime than the Red.

Measurement-guided analysts Archimago and a friend could not hear a difference between these two dongle DACS that justified their $100 price difference. Sound-guided analyst Steve Guttenberg begged to differ.

In the end all of us are right: each person decides what is good for themselves because it is their ears – and their wallets.

A problem arises when one group mobs those who disagree, backed by “objectivity” claims of measurements. This is invalid as any measurement setup is subjective and no correlation between quantitative measurements (“observation”) and qualitative sound (“interpretation”) has been established. The self-proclaimed objectivity is in reality just “internal consistency”, which is of limited usefulness.

In order to get around this logical fallacy, one has to subscribe to a belief system. Herd mentality is added to boost each other’s confidence resulting in a carnival of bullying know-it-alls.

It is actually grotesque that anybody refuses to use their ears for evaluating sound.

But the world is not black and white. On the other hand, cable companies such as Kimber and AudioQuest also come up with unsubstantiated correlations between physics and sound….the physics may be correct but may not influence the sound at all. Paradoxically, their cables may sound as good as claimed, but for the wrong reasons.

This fallacy is principally not any different from the previously mentioned one and I wonder whether these claims are just defence mechanisms against the “measurement crowd”.

At least, the “quality crowd” keeps to themselves and does not feel the need to impose themselves on others…except perhaps bore us with endless discussions of cable break-ins and the “critical period between hours 150 and 200 on the way to the recommended 500 hours” (yes, I read that).

From my own experience: I once helped tune the KBEAR Diamond earphone. After we got the frequency response (used as a guiding tool to record differences) to our liking, I received the final pre-production prototype. And it sounded offensively bad to my ears. But all the company had done was exchange the cable.

Luckily, the original cable was also in the package – which fixed the sound for my ears. The difference between the two cables? The offensive one had an OCC wire, the preferred one was made of oxygen-free copper.

Both were $15 cables, therefore cost was not an issue. The Diamond yielded the same frequency response graph with either cable.

In summary, the sound of music cannot be characterized by (quantitative) measurements of sine waves. That’s apples and oranges. On top of that, quantity and quality are not correlated in a linear manner. We have to use our ears…and it may take trial and error…which can be pricey.

Concluding Remarks

We at www.audioreviews.org are all keen on trying things out. We principally don’t believe any claims before we have tested and verified them, which includes the use of our ears without prejudice. Our blog offers many examples of dismissing unjustified hype generated by companies and influencers.

We also consult measurements but refrain from overinterpreting them. We use every available line of evidence to arrive at a coherent, meaningful interpretation. And we are open to learning.

We are also aware that quality audio is not black and white, and that there is snake oil out there…but our approach minimizes our risk falling for that. In the end, the controversy does not matter as the quantity crowd stays away from the (pricier) quality, and the quality crowd frowns upon dollar-store Hifi. They simply don’t mix – and only one of them barks up the tree of the other, sadly.

I personally enjoy the Cinnamon and my weight loss (the 14 kg and the pre-diabetes are real). And I can use this cable with generations of iPhones over years to come [unless Apple changes over to USB-C], which makes it a worthwhile acquisition in the long run.

Now let’s get some chips from the dollar store to celebrate the day. Potato chips that is, not DAC chips.

Please check your blood pressure regularly!

Until next time…keep on listening!

The post How An AudioQuest USB Cable Saved My Life appeared first on Music For The Masses.

Durwood nailed the essence of these as midrange centric, with “small bookshelf” bass which serves only not to detract from the higher frequencies. They are certainly lovely to look at, and do well with the technicalities, in the sense of having quick transients, good imaging and coherence and a very detailed, highly resolving treble.

However, I don’t like them nearly as much as Durwood—the barely-there low end makes these sound clinical and incomplete, like studio monitors in need of a sub, and the high end can get hot and metallic-sounding at louder volumes.  

In the same price bracket, single DD offerings from Ikko or Moondrop provide a much fuller, more rockin’ take, albeit at the expense of some high-level nuance, while the hybrid Shozy Rouge matches or surpasses the Idun’s high end reproduction without sacrificing the bottom octaves.

Which is not to say that these will not appeal to the bass-averse trebleheads among us, but to my ears the lack of thump and somewhat artificial tonality keep me from recommending.

Borrowed from Durwood.  HifiGo provided this review piece free of charge You can purchase it here.

SPECIFICATIONS Kinera Golden (Idun 2.0)

PACKAGE CONTENTS

• One pair of Kinera Idun Golden ( Idun 2.0 ) in-ear monitors.
• One 0.78 2 pin 8 cores OFC + OFC with silver plated cable.
• Modular Adapter 4.4mm & 3.5mm
• K-07 Balanced Eartips ( Red, Green, Yellow Colour ) : Sound balanced and stereo
• K-285-02 Vocal Eartips ( Skin Colour ) : Release high frequencies, pleasant vocals
• Two pairs of Foam tips.
• PU Case with inner velvet protection.
• 3.5mm to 6.35mm adapter.
• User Manual

GRAPHS (from Durwood)

• Left vs Right
• Small bore vs Wide Bore eartip
• Impedance Plot

Contact us!

DISCLAIMER

Get it from HifiGo Store

Our generic standard disclaimer.

About my measurements.

The post Kinera Idun Golden (Idun 2.0) Review 2 – Snarky (But Brief) Second Opinion appeared first on Music For The Masses.

INTRO

Something a little different came across the hands of the audioreviews crew, the Ampapa A1 Phono preamp and headphone amp. Ampapa, founded in Seattle Washington, USA appears to be short for Amplifiying All Passions.

They seem be related to another company Nobsound, parent company of brands Douk Audio, One Little Bear, and now Ampapa. I have to admit they have not been on my radar at all. They have a sort of steam punk design aesthetic across many of their products.

While my collection of vinyl is thin, I can appreciate the attachment to technology of the (g)oldendays and forming a bridge to today’s technology. It seemed like a nice departure to experience something that can color the sound rather than always focusing on the transparency of other products.

The Ampapa A1 priced at $139 is one such device, and my expectations were open. It is a solid and well constructed piece reminiscent of a pro-audio effects device, that is free from hiss but not of coloration. Let’s dive in.

Disclaimer: Sent to me through Amazon direct from Ampapa, they had no strings attached to acceptance of this freely provided gear. Will pass onto to Loomis for further abuse.

TOTAL PACKAGE

The Ampapa A1 arrived in an easy to open box about the size of a small child’s shoe box. Inside was the unit, a 12Vdc power adapter, a set of flexible RCA cables, a cleaning cloth for the tubes, a manual and the tubes packaged separately in their own boxes to prevent damage.

The Ampapa has some heft to it housed in an aluminum enclosure with sharp easy to read lettering, solid metal toggle switches, and knurled aluminum knobs that feel great to turn and are free from play and noise. There is the standard bass and treble knobs to the left of the volume knob.

Surrounding the perimeter is a selected array of orange or green LED lighting that also lights up the vacuum tubes. Looking only at pictures one might assume there were separate lights, but instead uses a light pipe and internal lights to create this glowing switched effect so as not to appear overly bright adding additional cost for a cosmetic feature. There is also the option to turn if off altogether.

What is missing is a gain switch and it appears to play nice with 50-100ohm headphones. Not enough juice for the 300ohm or greater, but it will drive them to acceptable listening levels.

SOUND

Tested with SMSL C200, LG G8, Headphones Philips Fidelio H2XR, Drop Sennheiser HD6XX, Drop JVC HA-FDX1

Initially I paired the Ampapa A1 for use as a headphone amp with the recently reviewed Aoshida Audio SMSL C200 as the DAC preamp. With the Bass and Treble set to zero, the Ampapa A1 sounds rather unexciting and perhaps a bit dull. That’s ok, because this unit is designed to color so I found a few clicks ~+2 on the bass and treble let it come life.

It is clean sounding bass has a warm tinge but not exactly punchy. Midrange proves to be clear and concise but the treble takes on a bit of a brittle glassy nature. Even if I turn the treble back to zero it still exhibits this characteristic. I am a bit surprised as the headphone circuit uses the NE5532 op amp which is a staple excellent opamp for preamps and headphone amps, so perhaps this is the vacuum tube sonic signature. I lack experience in this area, so I can only report on this particular device.

SOUND (PHONO PREAMP)

I connected my vintage Technics SL-1500Mk2 turntable to the phono preamp of the Ampapa A1. Note it is only designed to work with MM cartridges and not MC. In this connection I noticed a bit more background noise that is probably due to the age of the turntable and the different circuitry required for phono preamps. In other words, I fully expected extra noise.

The Ampapa A1 has built in RIAA equalization to properly even out the shortcomings of the vinyl playback system. This is where the Ampapa A1 tends to strut its stuff. I found the brittle glassiness of the top end melt away and become an ally instead of a villain. With the bass and treble knobs at zero it sounds very analog, warm and comforting. It still helped to add some bass and treble to liven it up, but it did not feel as necessary as it did when using it strictly as a line-in preamp or headphone amp.

Another note, the volume knob controls both the preamp output and the headphone output at the same time. Beware of leaving high sensitivity headphones plugged in if also feeding the line-out to an amplifier speaker setup.

TECHNICAL MERITS

While it’s harder to rate something that is purposely designed to alter the sound, the Ampapa A1 does had good separation and clarity for tube preamp. It presented good depth and spacing so as not to sound flat or too low-fi.

It doesn’t have the gusto to drive a pair of Sennheiser HD6XX, but it pairs well with 50-100ohm headphones. In ear monitors are perhaps a bit too sensitive for this. As an example the Drop JVC HA-FDX1 was only able to utilize volume below 3 before it started to become unbearably loud. There is no gain switch, so choose wisely.

Just like opamp rolling which is a novelty or in some cases can cause instability in circuits if you select poorly, the Ampapa A1 allows the tuner to play with other tubes and they make some recommendations (6J1, 6K4, 6J5, GE5654W, 6*1N, 6*2N, 6J5, 6A2, etc). Of course the ones they have selected (JAN5654) are superior if we are true believers. I will not pretend to know or disagree since tubes are not my expertise.

THE END

The Ampapa A1 was a well constructed fun to play with phono preamp. I cannot recommend it as a line-in preamp/headphone amp as it has a narrow use and the treble was too sharp and glassy. However, if you want to use it primarily for phono preamp, this appears to be in its wheelhouse and I can get behind it.

SPECIFICATIONS

Contact us!

DISCLAIMER

Get the Ampapa A1 from Amazon or the DoukAudio Store or other distributors.

Our generic standard disclaimer.

The post Ampapa A1 Vacuum Tube Phono Preamp/Headphone Amp (Review) – What A Knob! appeared first on Music For The Masses.

Additionally, Arylic also sent me a pair of their RK30 Satellite speakers, to be assessed with the A30+ of course. You can find them too on Arylic site, costing $149,00 on their own, or on Ali Express again.

At-a-glance Card

Features and description

Externals

A30+ is a small (13x8x3cm) and lightweight device. Its enclosure is metallic, and comes with an external 18V/4A non-audio-grade PS.

The front panel offers on the left side a quite big colored led light indicating the current selected input (more on this later). On the right side there’s the (invisible) IR receiver for the handheld “classic” battery operated remote control.

On the back panel instead we can find the connectors for 2 antennas (one for wifi one for BT), an RJ45 ethernet connector marked LAN, a USB-A female connector marked “USB”, a micro-USB female connector marked “micro-USB”, a 3.5mm audio connector marked “AUX”, a green block connector marked “SPEAKER” and the female barrel connector marked “DC 18V/4A”. As a complement, the back panel also includes a “RESET” button.

Internals

Arylic offers a quite wide range of wireless audio devices, both in form of ready-to-use turnkey (sub)systems like this A30+ I’m assessing, and in terms of DIY or at least macro-DIY components, basically populated PCB boards which one can more easily integrate into his/her own audio infrastructure project.

Inside the A30+ there’s a board which is also sold separately under the name “Up2Stream Amp V4“. Simply put, think to it as a SBC-class computer (e.g. a raspberry pi), coming with a certain kit of communication subdevices (the ethernet chip, usb chip, etc), and of course the audio related ones. The board is apparently competently engineered and realised, and most if not all the components involved are “customised” so it’s not easy to “recognise” standard chips on it.

One very important thing to note on the features side is that in spite of its tagline (“Wireless amplifier”) A30+ is not a mere amlifier but a DAC – AMP too, which if course scales its applicative flexibility up a lot!

Connectivity

From the hardware input standpoint, A30+ can connect to music sources in 4 main ways: ethernet (both wired and wireless), bluetooth and USB for digital input, and 3.5mm single ended cable for analog input.

Wired ethernet connectivity is 100base-T grade, via an RJ45 connector. Wireless ethernet connectivity is 2.4G only, quite stable indeed. USB connectivity is USB2-grade, and Bluetooth connectivity follows BT5.0 standards.

On the hardware output side, A30+ offers just one option: connective a pair of passive speakers. It supports both 4 and 8 ohm speakers. There is no preamp output, no s/pdif, no bt out option to connect onto active speakers.

In terms of control input, A30+ obviously does not offer any physical commands on its main chassis. The way for the operator to interacti with it is solely by accessing its sw by remote control.

A30+ offers 3 remote control “channels: 1) a physical “tv-style” battery operated remote control, intended to select inputs, setting volume and tonal control, and little else; it works, although the range is nothing to write home about 2) a web page published by the device’s internal firmware, and accessible by means of a normal browser from any active device (phone or pc) on the same logical network; I was totally unable to make this work – all my browsers on all platforms got stuck on the home page very likely due to some insecurity rejection; 3) an android App (called 4Stream, free to download) allowing full control of the system; the GUI is quite basic so is the UX, but it works solidly, and it’s therefore “the” way to use the A30+

Last but not least, by means of its sw A30+ can be configured as a part of a multi-point Arylic system – for example to obtain multi-room simultaneous playback, or multi-speaker rendering. This is set via the controlling App.

Sound inputs

Input capabilities are no doubt A30+’s strong point, both their number and their apparent reliability.

A30+ can be set up as a system to play music coming from a plethora of online musical streaming services including Tidal, TuneIN, Qobuz, Deezer, Amazon Music and others. No MQA support for Tidal though. No support for Apple Music.

To use any of such services you simply provide your service credentials once via the App. The trick is that the app calls the provider’s own authentication service, and once you log in there the A30+ gets authenticated as a remote device. The good thing is that your credentials don’t (or at least don’t seem to) ever be known let alone saved into the A30+ itself.

Apart for active accounts on the relevant services, prerequisite to this is obviously ethernet connectivity with internet access – no matter if wired or wireless of course. Also: once the configuration is done, the entire operation happens autonomously. You need a phone or a table with Arylic’s app to browse music and play it, but the same phone / tablet may well not have the original service’s own app installed, nor any other phone or pc is required to be linked to A30+ on the same network for this to work.

In addition to the above, A30+ offers DLNA / UPNP connectivity. This means that you can both use the 4Stream App to browse any DLNA-capable NAS or Media Server accessible on the same A30+ network and “pull” tracks in and play them as if they were resident on the A30+ itself, or you can use UPNP-capable applications on Windows (e.g. Foobar, or Musicbee or many others) or Android (e.g. BubbleUPNP) to “see” the A30+ as an eligible “music card”, basically as if it were an active speaker system connected to the same host device.

Intersting to note at this point: on its back panel A30+ carries a USB-A port allowing for the connection of a pen drive, or a hard disk. Once that’s done, the 4Stream App will be able to browse through the tracks saved on that drive and play them out. This to this as a way to avoid DLNA connectivity to a LAN-connected NAS, and just “plug the disk directly onto the player”.

To complete the ethernet picture, A30+ also offers AirPlay1 and Spotify Connect compatibility, together with QPlay which is however not useful outside China .

In terms of Bluetooth connectivity, A30+ makes it quite straightforward to pair a host – provided on remembers to switch to “Bluetooth” input from the 4Stream App in advance. Basically, when A30+ is set to one of the other modes, BT connectivity gets switched off. I found it out the hard way Supported BT protocols are SBC and AAC only. No APTX nor LDAC are offered.

As I guess you got at this point, A30+ is mainly thought as a small box you put someplace in your sitting room (or kitchen? or bathroom, why not!), just “visible” enough to facilitate wireless connectivity if need be. Once turned on it will act as a wireless gateway between mutiple digital music sources (a home nas, online services, and/or personal mobile devices) and the speakers. That said, A30+ offers some further wired connectivity options, too.

One is a micro-USB port, allowing for the connection to a wired host (a PC, Mac, Linux machine, or a DAP / Transport with USB-out capabilities). When connected this way, A30+ behaves as a “desktop DAC with integrated speaker AMP” – nothing more nothing less. To use it you need to switch over to “USB DAC” input on the 4Stream App, then control volume and tone as you wish.

The last connectivity option is the 3.5mm analog (Line) input. That’s to receive input from a preamp, or a DAC with single ended analog output, or the TV’s AUX OUT for example. Similarly to the above, when connected this way A30+ behaves as a “desktop speaker AMP”. As you guessed by now, to use it this way you need to switch over to “Line In” on the 4Stream App.

When A30+ receives digital input (which is pretty much always, with the sole exception of the analog Line In option) it processes the data with its internal DAC first, then amplifies it out on the speakers. The DAC accepts only PCM formats (FLAC/MP3/AAC/AAC+/ALAC/APE/WAV), no DSD is allowed. Maximum PCM resolution is 24bit / 192KHz, which is consistent with the maximum connectivity speeds allowed by A30+’s ethernet and usb interfaces.

Sound output

A30+ can exclusively output to passive speakers.

Either 4 or 8 ohm speakers are allowed. Of course on 4ohm speakers a double output power (35W max) will be deliverable compared to 8ohm speakers (18W max).

Sadly A30+ required passive interconnects to be screwed into a block-connector, so it was not straightforward to test A30+ with my existing Roth Oli RA1 speakers, which of course I did anyway by taking off the existing bananas from them.

RK30 Satellite speakers

These RK30 Satellite speakers impressed me very positively.

We’re talking about 8 ohm passive “satellite-class” speakers, which means by design their Frequency Response does not take bass and sub bass into account (specs indeed specify a 120 Hz minimum frequency). This should of course be imperatively considered when putting them to work. Taken alone, they can do a good job for “piped music” type airing, or for voice-centric applications as audio/video conferencing and such. For musical applications, they obviously need to be included in a wider system, at the very least a 2+1 one (being the “+1” a companion subwoofer of sort).

Neither the A30+ nor my current desktop speaker amp (an Allo Volt+) can directly manage a subwoofer, so my auditioning of the RK30 Satellites has been “surgical” in a sense. More on this below.

On the structural level, RK30 Satellites are well built. They can be wall-mounted and oriented by means of a turn-tilt base. Very interestingly, their housings are IP66-grade so they can bear rain and moderate watering – which means they can be installed in the garden or on the balcony too.

Sound

A30+

As reported above, A30+ is fundamentally a DAC/AMP offering a very wide range of digital input options.

When used in such capacity, in terms of “audiophile expectations” A30+ delivers very, very modest results. The DAC in particular offers just very basic performances: extension is limited at both ends, presentation is clearly mid centric and fundamentally dull, soundstage is intimate to be generous, and totally bidimensional (lacks depth and height); there is no significant layering / separation capability that I could spot.

Simply put: A30+ is a very nice flexible “low-fi” wireless renderer. Nothing less, but nothing more.

For completeness, the output quality situation gets a bit better when I test the A30+ as a mere AMP, i.e. by pairing its Line In port with one of my existing DACs. In this case A30+ is by far not the best 130$ amp I auditioned, but believe me not the absolute worst either. I am ready to bet, for example, that by simply swapping the IT-grade power supply coming within the package with an at least entry-level Audio-grade PS clarity and dynamic range would furtherly go significantly up.

RK30 Satellite speakers

As I previously already mentioned, RK30 are Satellite speakers not offering (by design) a full frequency range coverage: low-mid-bass and sub-bass are totally absent. What is not supposed to be there in the first place cannot be called “bad” of course.

When auditioned for what the offert, RK30 are actually quite nice inexpensive speakers. Considering what I reported above regarding A30+’s modest sound reconstruction quality, I mainly tested these RK30 with my Allo Volt+ and I must say they do not leave tooooo much to desire on the mid and treble ranges when compared with my Roth Oli RA1. Mid range in particular is quite sweet, with good body and clarity.

Specifications recap

A30+

RK30 Satellite speakers

Considerations & conclusions

From a nice little device like the A30+ offering such a well designed and working (!) host of different input options costing well less than 150$ one cannot reasonably expect top sound performances, and this is indeed the reality.

Very simply put, A30+ should not be scored within the audiophile-grade devices market, as that would be quite unfair to begin with. Taken as a non-audiophile-grade device (a “low-fi” wireless dac/amp, if you wish), A30+ is a very nice electronic gadget helping anyone to obtain pleasing sound output easily, coming from an impressive host of different possible sources.

Arylic RK30 Satellite speakers are within their category even better than A30+: when properly integrated with a good subwoofer companion in a 2+1 or 4+1 configuration than can surely offer some good sound quality for a modest budget.

Our generic standard disclaimer.

The post Arylic A30+ Network Amplifier And RK30 Satellite Speakers Review – Nice Low-Fi appeared first on Music For The Masses.

Much like its predecessor, the $160 KBEAR Believe (as well as the cheaper KBEAR Diamond and KBEAR KB04), the mid-focused, $170 KBEAR Aurora scores high on the technicalities—low end is well-sculpted and meaty, coherence between  frequencies is seamless and layering and imaging are impressive, even if the soundstage is fairly narrow.

However like its brethren the KBEAR Aurora’s tonality is just a little bit off—for lack of a better description, everything sounds “recorded” and slightly unnatural. Acoustic guitars, in particular, lack shimmer and crispness and sound more like electric, while drums show something of a cardboard box effect and miss some snap, depth and resonance.

High end is smooth and tasteful but, as others have opined, rolls off too early and misses some of the high-level microdetail you’d expect at this price point. By no means a bad IEM—these would have considerable appeal to fans of vocal-oriented material or to the treble averse—but I prefer KBEAR’s cheaper offerings.

KBEAR Aurora Specifications

• Driver configuration: 10mm Nano Titanium Plated Diaphragm
• Frequency response: 20 Hz – 20kHz
• Impedance: 18 Ω
• Sensitivity: 105 dB/mW
• Cable: 2 Pin (0.78mm), OFC Silver plated cable
• Tested at $169 USD

Disclaimer

Borrowed from Durwood. These were sent to him gratis via Keephifi.

Get the KBEAR Aurora from Keephifi.

Our generic standard disclaimer.

Contact us!

Headphone Reviews

The post KBEAR Aurora Review (3) – More Comments From The Peanut Gallery appeared first on Music For The Masses.

Instead of first impressions, we offer completely flavour-neutral optical treatments before following up with our exhaustive reviews of the products’ performances.

Current Photography

1. BQEYZ Autumn vs. BEQYZ Summer (Jürgen Kraus)
2. Hidizs MM2 (Jürgen Kraus)
3. IKKO OH2 vs. IKKO OH1S (Jürgen Kraus)

Vintage Photography (prior to March 2022)

1. AME Custom Argent Hybrid Electrostatic (Jürgen Kraus)
2. Anew X-One (Jürgen Kraus)
3. Blon BL-05 Beta (Jürgen Kraus)
4. Blon BL-05 Beta (Jürgen Kraus)
5. Blon BL-05 MKI & MKII (Jürgen Kraus)
6. BQEYZ Spring 1 (Jürgen Kraus)
7. BQEYZ Spring 2 (Durwood)
8. CCA CA16 (Durwood)
9. Drop + JVC HA-FXD1 (Jürgen Kraus)
10. Fidue A65/A66 (Jürgen Kraus)
11. FiiO FD1 (Jürgen Kraus)
12. FiiO FHs1 (Jürgen Kraus)
13. Hill Audio Altair • RA (Jürgen Kraus)
14. iBasso IT01 V2 (Jürgen Kraus)
15. Hilidac Atom Pro (Jürgen Kraus)
16. Ikko OH1 (Jürgen Kraus)
17. KBEAR Believe (Jürgen Kraus)
18. KBEAR Diamond (Jürgen Kraus)
19. KBEAR hi7 (Jürgen Kraus)
20. KBEAR KB04 (Jürgen Kraus)
21. KBEAR Lark (Jürgen Kraus)
22. Kinboofi MK4 (Jürgen Kraus)
23. KZ ASX (Jürgen Kraus)
24. KZ ZSN Pro (Slater)
25. Moondrop Crescent (Jürgen Kraus)
26. Moondrop Illumination (Jürgen Kraus)
27. Moondrop Kanas Pro Edition (Jürgen Kraus)
28. Moondrop SSP (Jürgen Kraus)
29. Moondrop SSR (Jürgen Kraus)
30. Moondrop Starfield (Jürgen Kraus)
31. NiceHCK Blocc 5N Litz UPOCC OCC Copper Earphone Cable
32. NiceHCK Litz 4N Pure Silver Earphone Cable (Jürgen Kraus)
33. NiceHCK NX7 (Jürgen Kraus)
34. NiceHCK NX7 Pro (Jürgen Kraus)
35. Queen of Audio Pink Lady (Jürgen Kraus)
36. Revonext QT5 (Slater)
37. SeeAudio Yume (Jürgen Kraus)
38. Senfer DT6 (Slater)
39. Sennheiser IE 300
40. Sennheiser IE 500 PRO
41. Shozy Form 1.1 and Shozy Form 1.4
42. Shozy Form 1.4 (Jürgen Kraus)
43. Shozy Rouge (Jürgen Kraus)
44. Simgot EM2 (Jürgen Kraus)
45. Simgot EN700 Pro (Slater)
46. Smabat ST-10 (Jürgen Kraus)
47. Tin Hifi T2 Plus (Jürgen Kraus)
48. Tin-Hifi T4 (Jürgen Kraus)
49. TRN-STM (Jürgen Kraus)
50. TRN V90 (Jürgen Kraus
51. TRN-VX (Jürgen Kraus)
52. Whizzer Kylin HE01 (Jürgen Kraus)

The post Photography appeared first on Music For The Masses.

Once I “got” its purpose though I found it so usefeul, and so effective, that it became a fundamental part of my audio toolbox. Indeed I even own 2 units! In Europe they can be bought for € 59,00.

While the technical reasons behind IEMatch utility are quite tricky for a neophite, this article will try to share my experience in simple and practical terms. I will add references to some more technical material for those who feel keen (and prepared) to acquiring more in-depth information.

At-a-glance Card

Some common issues

Audible noise floor

Every audio amplifier produces some “noise”. The reasons for this are multiple but in maximum simplicity such noise mainly comes from the amp’s power circuits, and of course the higher the power the higher the noise to be tamed by the designers.

Low noise on high power amps is mainly obtained by adopting very sophisticated power circuits – which have the bad habit of being expensive and physically big. Which is why the cheaper & physically smaller an amplifier is, the more prone it fatally is to have an audible “Noise Floor”, and the more so if we long for a small and powerful amp.

The noise floor is like a sort of feeble “unwanted music” generated by the AMP itself. Not very sensible headphones will “not hear that”, that’s because the noise signal is feeble enough to not being able to move their drivers and produce sound. Sensible headphones / earphones, instead, will catch that and produce a sort of “background hiss”.

Such noise is indeed annoying but quite modest, and stays fundamentally unchanged when we raise the amp’s volume control. Unless the amp is really awfully engineered, it will in facts not amplify its base noise but only the signal received on its input. Which means that beyond a certain volume knob position our amp will make real music “loud enough” to overcome the Noise Floor level. However, the Noise Floor will stay as a background dirt polluting all notes, and will re-emerge on silent passages of course.

Excessive volume sensitivity

Suppose you own a very powerful Headphone amp, designed to muscularly feed your little-sensitive, power-hungry planar cans. Now suppose you plug your low impedance, supersensitive IEMs (a pair of CA Andromeda, for example?) onto that same amp. You’ll be forced to keep the volume knob very low, as already at 10, maybe 15% of its excursion your IEMs will start yelling unbearably loud.

And worse than that, you’ll notice that moving the volume knob by just a tiny angle makes Sound Pressure Level change quite substantially on your ears. The volume control gets “too sensitive”, in a sense.

This is of course bad for two reasons. One: you seriously risk to damage your hearing at anytime by inadvertedly turning the knob. Two: you can’t finetune SPL, as no matter how delicate you are on turning the knob, SPL varies by “too big steps” up or down.

Digital volume control quality

The overwhelming majority of the portable DAC/AMP systems out there have either no volume control, or a digital volume control. This is due to cost and size compression priorities of course.

As naming suggests, a “digital volume” control actionates upon the digital stream, i.e. on the 0’s and 1’s while and before they get into the DAC, while an “analog volume” control actionates upon the analog stream, i.e. on the result of the DAC’s job, just before it is sent to the headphones (or the speakers).

Opposite of the most common semanthics, from the sound quality standpoint “digital” volume control is in this case a “less quality” choice. You can find many online resources explaining why, at various technical depth levels. One good compromise between technicality and vulgarity is this article by iFi Audio if you wish.

Very synthetically said: the Dynamic Range is the range going from the feeblest audible note to the loudest audible note in a signal (a note). The wider the Dynamic Range, the more articulated, detailed and smoother the music is. Actionating upon a digital volume control means to move the loudest audible edge of the signal up or down. At 100% digital volume the edge is the highest allowed, so we’ll have the widest possible Dynamic Range. As we reduce the digital volume position, we lower the upper limit, consequently making the Dynamic Range smaller (“compressed”).

For completeness: an analog volume control operates on the DAC’s output, changing the signal overall amplitude, not its contents. Assuming the DAC operated at 100% digital volume, it will have carried its job out on the full available Dynamic Range, and the subsequent analog volume control is bound to operate on an “unhampered quality” analog wave. Perfect, or not? Sadly the world is not perfect, nor analog volume controls are: as any circuitry, they add noise! High quality (highly clean) analog volume controls require physically big and economically expensive components. This is why most mobile budget sources need to bend their necks on the digital volume quality compromise.

The (low) impedance riddle

I know by experience that this is a difficult topic for the non-technical amateur to grasp. There is of course a lot of ready-made resources online which you can tap to get various levels of technical information. I find this video by Hans Beekhuyzen quite nice for example.

Again, I’ll try to explain in even more vulgar terms here.

One of the electrical specifications attached to our headphones / IEMs is called “impedance”, and is measured in Ohms. 150 / 300 / 600 Ohms are “high” impedance values, typically found on overear headphones. 30 / 50 Ohm are medium impedance values, also typically found on overear headphones, often when equipped with so-called “planar” drivers. 20 / 16 / 12 / 8 are low or very low impedance values, typically found on IEM drivers.

Amplifiers (and DAC-AMPs too of course) also have an impedance feature, called “output impedance” in that case. For the sake of its output’s high quality, the lower the amp’s output impedance the better. 1 / 2 / 8 Ohm are to be considered relatively high values. 0,5 / 0,2 / 0,1 Ohm are decent values. Higher end systems carry values like 0,0[…]01 Ohm, to give you an idea.

As you may guess, designing distortion-free low output impedance amps is not a joke, it requires competence, additional physical circuitry, and more money. Which is why the mobile+lowcost devices market is flooded with non-superlow output impedance devices, and/or with devices speccing into low nominal output impedance values but delivering a sound quality which I wouldn’t write home about, and/or with devices accompanied by let’s say… not very accurate spec sheet figures.

Ok but why is this a riddle?

It is because – I won’t explain here technically why – there needs to be a certain minimum proportion between the amp’s output impedance and the headphone / IEM / speaker (called “loads”) own impedance.

By the way, when the proportion is mantioned the other way then how I just did ( load impedance divided by amp output impedance) then it goes by the name of “Damping Factor”. Just a name convention, the concept is always the same.

Some – probably the most competent and experienced – argue that the situation is not really black/white, the ideal minimum Damping Factor does not always need to be 8 according to them. They offer a range of potentially good values between 2.5 and 10, to be verified basically on a pair by pair basis.

Specific numbers apart, what’s important for us now is that when (let’s say) “a certain” minimum ratio is not respected, there will be some distortion in the frequency response of the headphones / IEMs. Typically, in the bass region (but not only).

So for example a 16ohm IEM connected to a 1ohm DAP is good (DF =16). A 12ohm IEM connected to the same DAP should be good too.

Or is it? Well… not always. (Told you it’s a riddle…)

Why? Because supplying enough current to low impedance IEMs is not a joke for mobile and/or cheap-design amplifiers – again, I won’t articulate on “why” here.

So, even when the Damping Factor is arithmetically OK, your amp may have a serious hard time “feeding” a very low impedance IEM, especially if that also carries a very low sensitivity. The very same amp would have a much less hard time getting a vivid amount of current flowing if – on equal low sensitivity – that IEM had a higher impedance. This is amongst the reasons why – in addition to output impedance – some AMP / DAC-AMP spec sheets also report a “minimum recommended / supported load impedance”.

Summarising: 1) make sure headphones / earphones have an average impedance “a few times higher” than that of the amp / dac-amp you want to connect them too; 2) make sure your IEM don’t undercut on your source’s minimum supported / recommended load impedance.

IEMatch description

IEMatch is a device aesthetically similar to one of those plug format adapters – those short cables used for example to connect a 2.5mm plugged earphone onto an amp’s 4.4mm output port. The difference is that there is some extra circuitry inside the housings.

Operatively, you plug its male connector onto the Amp, and you plug your headphones / IEMs onto the female connector.

Different versions of IEMatch are available to accomodate for 3.5 / 2.5 / 4.4mm plugs, but they also have some electrical differences. Let’s talk about those later not to lose focus on the main concepts, give me some rope here.

When it is plugged in by its male connector, IEMatch always presents the Amp with the same “load impedance” – being 16 Ohm – regardless of the actual impedance of the headphones / earphones plugged onto its female connector.

At the opposite end, IEMatch always presents the Headphones / Earphones connected onto its female connector with just two possible Output Impedance values – being either 1 or 2.5 Ohm, user-selectable by flipping the switch on the female connector barrel – regardless of the actual Output Impedance of the amp the opposite, male connector is plugged onto.

Thirdly, IEMatch also acts as an attenuator. In practice it acts as the opposite of an amplifier: it introduces a “negative gain”, it reduces (instead of enhancing) the strength of the analog signal passing through it. The attenuation is applied in the value of either 12 or 24dB, user-selectable by flipping the switch on the female connector barrel, the same used to select IEMatch’s Output Impedance.

As I mentioned above, iFi markets 3 different IEMatch versions, carrying some differences in these values but I’ll report and recap them all later on. For now let’s focus on the most common product version called IEMatch+.

The available choices on IEMatch+ are: 2.5 ohm output impedance and -12 dB attenuation (“High” setting), or 1 ohm output impedance and -24 dB attenuation (“Ultra” setting).

How it solves our problems

As it should be clear by the description here above, by plugging an IEMatch in between our AMP and our ‘Phones we get 3 fundamental “things”, at the same time:

1. “Fake” our AMP into believing our IEM has a 16 ohm impedance, whatever its real impedance is (even much lower!)
2. “Fake” our IEM into believing our AMP has either 2.5 or 1 ohm output impedance, whatever the real value at the AMP connector be
3. Again, “fake” our AMP into believeing our IEM is much less sensible then it actually is – so much so that on even power level output by the amp the resulting Sound Pressure Level onto our ears will be 12 or evel 24dB less loud

Clear until now? Good. Now let’s see how this contributes to solve or at least reduce our issues mentioned in the first section.

Noise floor cancelling

Recall: low impedance, high sensitivity IEMs are prone to make high power amp’s Noise Floor audible in form of a continued background hiss. This is because, for how feeble the noise signal is, it’s enough to move our supersensible IEM’s transducers.

Plug IEMatch in the middle. Its attenuation features practically mean that our IEMs will present a much lower sensitivity to the AMP than their real one. The feeble Noise Floor signal will basically be unable to “overcome” the extra “resistance” offered by IEMatch (even its lower -12dB setting is more than enough), and the hiss will not be audible anymore.

Smoother volume control

Recall: plugging low impedance, high sensitivity IEMs onto high powered AMPs designed to adequately cope with higher impedance and/or lower sensitivity cans results in being stuck at the lowest end of the amp’s volume excursion, and in excessive sensitivity vs volume control variations.

Plug IEMatch in the middle. Same as above, IEMatch will “present” a higher sensitivity to the amp. Unlike when the IEM is directly plugged onto the amp, now we will need to turn the amp’s volume knob quite a sweeter bit up in order to obtain “loud” sound off our IEMs. Even more importantly, now a tiny variation in the amp’s volume knob position will not result in a “big” SPL change anymore, but we’ll have a much “smoother”, more normal SPL control.

Reduced digital volume quality loss

Recall: digital volume controls – extremely common on mobile DAC-AMP / DAPs – can pass the original digital file full resolution along to the DAC only when set at 100% volume position. When operated at intermediate positions, as it happens during normal auditioning, they apriori cram the available Dynamic Range. Such depletion is the stronger the lower the volume is set at (i.e. the higher the pre-attenuation is applied to the digital data).

Put IEMatch in the middle. Again same as above, IEMatch will “drain” quite a lot of the power coming from the amp before it reaches our IEMs. Which means that to get the same Sound Pressure Level out (i.e. the same musical loudness into our ears) we will need to “turn the volume more up”, and being this a digital volume, the higher the volume position, the smaller quality loss we will have.

In other words: if you apply attenuation to the signal after the DAC job is done, you can afford not to apply the same attenuation to the digital signal before sending it to the DAC, thus better preserving the final result quality.

Clear till now? Good. Then let’s consider a couple of caveats.

Please note: 3dB attenuation corresponds to hearing music 50% less loud. So 12dB attenuation is a lot, and 24db is a huge lot!

So, first: there may be cases where your source has to work at 50% volume position or less when your IEM / HP is directly connected to it, but it will reveal to be not powerful enough to compensate even for IEMatch’s lower -12dB attenuation setting when we plug that in, and even pushing your source at 100% volume, you won’t have a satisfactory loudness coming out of your drivers. In such case well… too bad: IEMatch can’t help you.

Furthermore: suppose your source is not much overpowered vs your IEM / HPs, and IEMatch’s -12 dB attenuation setting makes it bring the volume control near its ideal, fullscale position, while still getting loud music and vivid dynamics out of the drivers. But… the -12dB attenuation requires the “High” setting which comes with a 2.5 ohm output impedance presented to your IEM / HPs. Should that be too high, for example because you are using a very low impedance IEM, then you might be forced to use IEMatch’s -24dB attenuation setting (“Ultra”), featuring a much lower 1 ohm output impedance. If, of course… your source doesn’t run out of juice now, like for the previous caveat case!

Impedance adaptation

Recall: you should always make sure your HP / IEM’s impedance is at least a few times (many say 8 times) bigger than your source’s output impedance – otherwise you will hear some unwanted tonal changes in the ouput. Furthermore, even when the “8X rule” is met, your HP / IEM’s impedance should not be lower than the lowest recommended impedance mentioned on the amp’s literature.

This means for example that you won’t likely get good sonic results by pairing a 12 ohm IEM with an amp offering 2 ohm output impedance. Nor by pairing the same 12 ohm IEM with an amplifier offering 0.5 ohm output impedance, but recommending loads above 16 ohm anyway.

Put IEMatch in the middle.

Firstly: the AMP from its own standpoint will “sense” 16 ohm on its output connector, and will effectively behave accordingly, even if our IEM is 12 ohm (or less). This will make the amp “work within the manufacturer’s recommended range”, which is of course a first fundamental good thing.

Secondly: whatever the actual AMP’s output impedance is, the IEM from its own standpoint will exclusively sense IEMatch’s output impedance, which is as low as 1 ohm – so perfectly viable in terms of damping factor even the IEM carries 8 ohm or less of internal impedance.

The same power-related caveat mentioned about the previous point applies of course: especially if we need to pair IEMs with 16 or less ohm impedance, we’ll need to operate IEMatch on its Ultra position, which “costs” -24dB attenuation. Our amp gotta be really powerful to be able to counter that.

IEMatch models

IEMatch is currently offered in 3 different variations.

(*) S-balanced is the name iFi assigned to a special wiring scheme which is at the same time full compliant with a single-ended connection, and with a balanced ended connection. Considering there are very few if any balanced architecture devices around equipped with 3.5mm TRRS ports, this feature in practice means that IEMatch+ can be paired with any regular Single Ended 3.5mm phone port, and that it will pass-through iFi’s S-Balanced connectivity when paired to most of iFi’s mobile AMP / DAC-AMPs.

While the difference between IEMatch+ and IEMatch 2.5 is only about Single Ended / Balanced cabling support, it’s worth noting that IEMatch 4.4 is not a mere pentaconn-plug variation of the 2.5 model, but it comes with different electrical data.

IEMatch 4.4 is intended to be used it with high(er) powered balanced-ended AMPs. The much higher (up to 50 ohm vs 16 ohm) impedance it presents to the source will force the AMP to work at a higher “volume” level, thus at a higher voltage.

On the flip side IEMatch 4.4 offers a minimum output impedance of 3.6 ohm (significantly higher then its siblings’ 1 ohm)

Questions and curiosities

Won’t a much cheaper impedance adapter be enough?

Simply put: no.

An “impedance adapter” is a simple resistor, which is plugged in series between two devices – typically a dac and an amp, or a preamp and an amp.

The most evident difference between a mere “impedance adapter” and an IEMatch is that the IA will present the same impedance on both its ends.

Some may be tempted to use impedance adapters (e.g.) when plugging a low impedance IEM onto a certain phone, or budget dongle, to “trick” the source into sensing a higher impedance load (IEM) connected, and “switch to high impedance mode” delivering more output power.
Or, to “cancel” the hiss on low impedance IEMs.
Or, to help an amp better cope with the power requirements of lower-than-minimum-supported-impedance IEMs (read above).

From the amp’s (i.e. the phone / dongle) standpoint that’ll be ok: using (say) a 32ohm IA the phone will sense a 32ohm load and will behave accordingly. E.g. it will switch to high(er) output voltage swing. So far so good.

From the IEM’s standpoint though, that’s far from OK – the IEM will now sense the IA’s value (in our example: 32ohm) as the source’s “output impedance” – which is a very high value.

In more technical words, the IA will screw the pair’s damping factor (read above), and this will be very hearable in terms of frequency response, the earphone presentation will be skewed.

If you want, the adjective “adapter” applied to a common “impedance adapter” turns out to be quite deceiving in the above scenarios

Won’t IEMatch actually make my damping factor worse?

If your amp has an output impedance below 1 ohm, then a IEMatch with its 1ohm (or more) impedance will surely reduce the damping factor. But on IEMatch typical applicative scenarios this very rarely if ever will be a problem – most times it will be an improvement.

First and foremost: while you need a certain “minimum” Damping Factor to avoid FR skewing, it is conversely NOT true that the higher the damping factor the better (I omit the explanation here).

Secondly let’s consider a classic example: a Campfire Andromeda (12 ohm impedance) connected to a sub-1ohm output impedance source. DF is above 12, good. Too bad the Andros are also extremely sensitive and pick up hissing from that amp.

Plug IEMatch in between. Output impedance will now be 1 ohm, so the DF will be “just” 12, which is nevertheless absolutely OK. And, we won’t have hissing (as explained above)

Considerations and conclusions

If we consider the situations where IEMatch makes itself useful we notice they all have to do with pairing low impedance and/or high sensitivity drivers (typically: IEMs – hence, evidently, the product’s name) with sources optimised for high(er) impedance and especially (much) low(er) sensitivity.

Looking at the consumer / pro-sumer audiophile market higher quality, higher powered amplifiers are typically optimised for pairing with high impedance dynamic drivers, or low impedance planar drivers – and plugging most of IEMs on them reveal a number of shortcomings, such as the ones we talked about today.

If we want to be true to ourselves, we should serenely acknowledge that each should be given its own: big cans require a certain “type” of source, IEMs work best on a different type.

So do we have to duplicate our stacks ? Maximalistically speaking: yes. And honestly speaking, I did – with great results !

For the less purist, IEMatch helps close the gap. And, it still proves useful in a number of situations to “double stackers” like myself.

A very final note: I recently came accross iFi’s Micro iDSD Signature, a really remarkable mobile DAC-AMP which I truly appreciated as I tried to outline on my piece about it.

I reckon that today’s article about IEMatch may make it even clearer why – amongst the multiple benefits offered by Micro iDSD Signature – the one that totally stunned me is its provision for an easily user-selectable “ECO” (read: reduced power) amplification mode. Micro iDSD Signature is the sole one device I encountered to date which offers uncompromised optimal amping for both cans and IEMs in the same product.

iFi offers such feature both on Micro iDSD Signature and Diablo. That’s such a logical and winning choice for mid/high end mobile devices like those ! Wish more quality manufacturers get involved on this soon…

Our generic standard disclaimer.

The post iFi IEMatch Review – Must Have appeared first on Music For The Masses.

With this spirit I’m assessing a pair of Smabat Proto 1.0 modular IEMs which I got from the manufacturer for this purpose. Their street price is currently $79,00 – so not one of those excessively cheap chifi thingies – and you can find them on their website, besides multiple distributors on AE as always.

At-a-glance Card

Modularity for everyone

Extensive modularity on a finished product like IEMs is commercially a very interesting idea, clinging to all those who feel enticed by DYI but (right or wrong) look at themselves as impaired or more simply too lazy to take that route. With them in mind, Smabat Proto 1.0 is the closest thing to a Lego project box.

With Proto 1.0 you can:

Swap the main dynamic driver transducer.

You can take the transducer coming with the main package, and replace with a different version, sold separately, supposed to deliver a different sound presentation.

The housings can easily be opened and closed by bare hands, revealing that the driver’s cabling features a small plug/unplug fixing.

Sadly I only got the basic package, in particular I got none of the alternative drivers to check.

Add a filter onto the main sound output nozzle, to tune trebles behaviour.

The default being “no filter”, inside the box a blue little item is available which is supposed to be optionally plugged onto the nozzle to smash highmids and treble frequencies flat down by a whopping -7dB (!!). Not a small nudge at all, rather a dramatic intervention on the entire upper part of the presentation.

Roll another filter, installed directly on the housing, to tune bass behaviour.

By default a gold-colored little cap is installed, which is part of the house-tuning so to say.

Inside the box 2 alternative cap pairs are provided, carriying different mesh filters, and distinct by their colours: silver ones are supposed to smash mid and low frequencies (from 1KHz down) down by -6dB, while red ones are supposed to kick them way up by the same, opposite sign amount: +6dB. Again: a major intervention, not at all a fine tuning thingie.

Comments

Before getting to the sound analysis, I feel a few comments are in order here about Proto 1.0’s modular design.

Housing dampeners are very difficult to take out, the more so with the bundled tweezers, which I suspect are more aimed at facilitating plugging/unpligging the main driver’s connector. My wife’s “professional” eyebrow tweezers helped better with those colored dampeners. I suggested Smabat to finetune their design.

Proto 1.0 come equipped with a 10mm Titanium Diaphragm, 16 ohm impedance driver. According to Smabat, such driver is supposed to offer a warm, mid-centric presentation, good but not overly powerful bass, and rich and clear high frequencies. As you will read further down, this is not entirely true – but that’s not the point here.

As previously mentioned, both treble (nozzle) and bass (housing) dampening filters apply a nothing short of brutal variation to the “default” tuning. It’s quite evident that a lower-impact version of such filters would be very interesting to test. Questioned about this, the manufacturer commented “Regarding the silver damper, we will add some bass in subsequent adjustments”.

When I got this sample unit a few weeks ago on their Ali Express shop Smabat advertised 3 alternative drivers:  a Beryllium Plated Diaphragm (32 ohm) supposed to offer a “levelled presentation accross the entire frequency spectrum”, a Fiber Membrane (16 ohm) driver supposed to offer a more V shaped alternative, and a Dome LCP (22 ohm) supposed to offer a bright-enhanced alternative.

I obviously asked for those to be sent to me for a direct comparison, particularly the Beryllium Plated one (why that? simply because the default Titanium one is too warm, missing sub-bass and dominated by awfully bloating midbass – so I’d like to check how one which tuning is defined “levelled” in Smabat’s language would sound).

Sadly, the manufacturer’s answer was: “Other drives will be delayed, we are still testing to confirm. You can publish your assessment first.”

It’s worth noting that after a couple of weeks I checked again on Smabat website and there was no mention for a Beryllium Plated Diaphragm spare driver anymore, whilst a Titanium Plated Diaphragm (20 ohm) spawned in its place. Who knows if at least the range is to be considered final now, and when will those, or at least a few of them, be actually ready for shipping ?

Lastly, in addition to the two “user side” main vent openings (the main nozzle, and the other hole near the nozzle supposed to be equipped with bass-tuning dampeners), there is a third small vent opening on the housings’ back plates. Being a backside vent that is of course impacting on bass behaviour. Looking on the inside part of the removable backplate I can see a small white filter is installed. Oddly enough, Smabat does not offer spare / alternative filters to be rolled on that position. Why ?

All’n’all, everything seems to suggest that “Proto 1.0” is a quite meant naming for this product: it’s a prototype, and the first version thereof too!

Enough intro, let’s listen.

Full Device Card

Test setup

Sources: Apogee Groove / Apogee Groove + Burson FUN + IEMatch / Questyle QP1R / Cowon Plenue 2 – final E clear tips – Stock cable – lossless 16-24/44.1-192 FLAC tracks.

Signature analysis

Technicalities

Physicals

Specifications (declared)

Considerations and conclusions

Smabat Proto 1.0 is first of all a nice idea. Not a totally new one for Smabat, which indeed applied the same concept to their M-series earbuds before (a full review of Smabat M2s Pro will drop ReallySoonNow(tm)…), but at least to my knowledge this is the first time I see this applied to IEMs.

As I very quickly mentioned at the top, Smabat 1.0 is the closest thing to a Lego-project-box applied to IEMs. Let me add: it is so both in the pros and the cons. As for the pros, those are totally obvious: you really can “build your own IEM”, and you can even separately order “alternative” pieces to develop variations of your project to experiment with.

There are cons too, though. First of all, such alternative items are still somewhat work in progress at Smabat. I’m a positive thinker, and I want to believe this is just a temporary situation. What’s more serious, instead, is that the output sound quality – at least that coming out of the stock elements I got with the package – is not competitive with the best (non-modular) alternatives on the same price range. Without getting too far, a pair of final E3000 cost sensibly less, and run circles around Proto 1.0’s stock titanium drivers, for how hard you may try and combine filters on that.

Proto. Like “Prototype”, I guess. And even the first version of it (1.0). A first attempt. Good, as an appetizer. Now let’s wait for the main course.

Our generic standard disclaimer.

The post Smabat Proto 1.0 – Work In Progress? appeared first on Music For The Masses.

This article has had 151,367 views as of 2023-12-28.

The eartips are listed in alphabetical order.

Latest Additions

March 2024 additions: SoundMAGIC Silicone Eartips (Pumpkin-shape), ICE CLEAR Earphone Plug, Azla SednaEarfit XELASTEC II, Azla SednaEarfit Max ASMR (Standard), Azla SednaEarfit Foamax (Standard), INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone and graphene), INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone), Nfiter Variety Dot IE45Pro Short for TWS (Black), Nfiter Variety Dot IE45Pro Short for TWS (Clear), INfiter WS38 for TWS (Clear white), INfiter WS43 for TWS (Clear blue).

February 2024 additions: Azla SednaEarfit ORIGIN for In-Ear Monitor & TWS, Jomo Audio ONYX Double Flanges Premium Silicone Eartips (For IEMs), Penon Audio Liqueur Silicone Eartips (Black), Penon Audio Liqueur Silicone Eartips (Orange).

January 2024 addition: Z Reviews Render Eartips.

Testing Parameters and Disclaimer

The following tests of silicone eartips are based on my evaluations and listening observations. All test are conducted in a quiet listening environment. Fit is ensured such that eartips are properly inserted and seated into the ear canal with good seal. I have to elaborate, your experiences may vary.

Associated equipment list: Sources – Luxury & Precision W4, Questyle M15 and Sony WM-A105. IEMs – 7Hz Timeless, 7Hz Salnotes Zero, 7Hz Sonus, Tanchjim Oxygen and Moondrop Blessing 2.

Disclaimer: All scores are subjected to change without notice. I may update or add new scores every few months when I acquire new eartips.

NOTE: I don’t have favorite eartips but if I want neutrality, SpinFits CP-145 is my first pick usually. For IEM tuning, I always use reversed KZ Starline, follow by stock eartips from the manufacturer. 

A

Acoustune AEX07

Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.00

For neutral tonality with emphasis in midrange. The AEX07 sounds closer to AET07a than AET07. Improved overall tonal texture and clarity over the latter. Note weight is is denser than AET07a however it sounds less congested than AET07. A good middle-ground between its two predecessors. My new favorite Acoustune eartip.

Purchased from MTMT Audio, Hong Kong.

Acoustune AET06
Bore size: double flange, regular
Stem length: extremely short
Feel: firm and sturdy
Bass: 5.0
Midrange: 5
Treble: 4
Soundstage: 3.75
Vocal presence: 5
Similar to AET08 in many ways but with an even tighter bass punch. Vocal is bodied and three-dimensional
Purchased from MTMT Audio, Hong Kong.

Acoustune AET06a (Enhanced comfort)
Bore size: double flange, regular
Stem length: extremely short
Feel: firm and pliable (slightly softer than AET06a)
Bass: 4.75
Midrange: 5
Treble: 4.25
Soundstage: 3.75
Vocal presence: 5
Virtually identical to AET06 with a hair bit cleaner and more sparkling upper-midrange and treble. Feels softer than AET06 thus less pressure inside the ears.
Purchased from MTMT Audio, Hong Kong.

Acoustune AET07
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4
For neutral tonality with emphasis in midrange. Similar to SpinFit CP-145 in many ways but with better bass texture and vocal presence.
Purchased from Japan through a friend

Acoustune AET07a
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
Slight improvement over Acoustune AET07 in texture, detail, tonal purity and vocal clarity.
Purchased from MTMT Audio, Hong Kong

Acoustune AET08
Bore size: regular
Stem length: regular
Feel: firm and sturdy
Bass: 4.5
Midrange: 5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 5
For vocal, midrange and solid bass
Purchased from Japan through a friend

Acoustune AEX07

Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.00

For neutral tonality with emphasis in midrange. The AEX07 sounds closer to AET07a than AET07. Improved overall tonal texture and clarity over the latter. Note weight is is denser than AET07a however it sounds less congested than AET07. A good middle-ground between its two predecessors. My new favorite Acoustune eartip.

Purchased from MTMT Audio, Hong Kong.

Acoustune AEX50

Bore size: wide
Stem length: regular 
Feel: soft and sturdy
Bass: 1.50
Midrange: 2.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 3.50

Acoustune AEX50

Bore size: wide
Stem length: regular 
Feel: soft and sturdy
Bass: 1.50
Midrange: 2.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 3.50

What was Acoustune thinking when they came out these?! 

These eartips are “directional” (meaning you must wear them in a certain way) and a pain in the butt to put on. You need lots of patience and time to get them to sit well inside the ears. Getting the proper “ear seal” is nearly impossible. There is literally zero isolation. The design adopts a WW2 helmet-like umbrella shape with double “wings” design. The wide wing is to face the inner-part of the entrance to the ear canal, and the narrow wing facing out (see attached photos). 

Unfortunately, I couldn’t get them to fit in my ears properly not matter how hard I tried. Although made of soft memory polymer, they become uncomfortable, irritating and warm inside my ears after a while.

Sound-wise, these eartips thin the sound so much that they make your TOTL IEMs sound like 1950s transistor radio. Everything sounds distant, lean and sibilance. 

Purchased from MTMT Audio, Hong Kong.

Acoustune AEX70
Bore size: regular
Stem length: regular
Feel: soft and pliable
Bass: 3.50
Midrange: 4.50
Treble: 4.25
Soundstage: 4.25
Vocal presence: 4.00

Another addition to the new Acoustune AEX family. To me, these sound the most open and airy among the AEX members. Tonality and note weight are lighter than AEX07, as well as the older AET07. Overall, the AEX70 sounds cleaner and clearer than both AEX07 and AET07.

Purchased from MTMT Audio, Hong Kong.

ADV Eartune Fidelity U Elliptical Silicone Eartips (horizontal fit)
Bore size: small (4mm)
Stem length: short
Feel: flexible, soft and pliable
Bass: 3.5
Midrange: 4
Treble: 3.5
Soundstage: 2.5
Vocal presence: 3.5
An interesting elliptical eartip which fits two ways and can affect sound. The not so interesting part is it projects a smaller soundstage and vocals get thrown backwards. In both fittings, I experienced quite significant treble roll-off and details lost. Isolation is NOT GOOD!
Sample from ADVSound, courtesy of co-blogger Baskingshark.

ADV Eartune Fidelity U Elliptical Silicone Eartips (vertical fit)
Bore size: small (4mm)
Stem length: short
Feel: flexible, soft and pliable
Bass: 3.0
Midrange: 3.5
Treble: 3.5
Soundstage: 2.5
Vocal presence: 3.5
An interesting elliptical eartip which fits two ways and can affect sound. The not so interesting part is it projects a smaller soundstage and vocals get thrown backwards. In both fittings, I experienced quite significant treble roll-off and details lost. Isolation is NOT GOOD!
Sample from ADVSound, courtesy of co-blogger Baskingshark.

AKG Anti-allergenic Sleeves for K3003
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4.25
Midrange: 5.0
Treble: 4
Soundstage: 3.75
Vocal presence: 5.0
Yes, it is called “anti-allergenic sleeves”. If you can find these at your local earphone stores, GET IT! These sound extremely close to Azla SednaEarFit XELASTEC but at half the cost. If you are not used to the grippiness or tackiness of the XELASTEC, AKG is the best alternative. Vocal is forward with very good dimension and ambience. 3D. Best of all it doesn’t affect bass and treble.
Purchase from a friend who bought from AKG outlet in Germany

ALPEX Hi-Unit HSE-A1000
Bore size: wide
Stem length: short
Feel: soft and pliable
Bass: 4.25
Midrange: 4.25
Treble: 4.50
Soundstage: 4.0
Vocal presence: 4.25
These wide bore eartips bear an uncanny resemblance to JVC Spiral Dot in look but they don’t sound alike. The HSE-A1000 is brighter, more open and livelier. Midrange has more sparkle and life. The bass is cleaner, tighter and more textured. Best of all, they cost only a fraction of the JVC. I am surprised how good these are. What a hidden gem!
Purchased from Amazon Japan

Audiosense S400 Soft Silicone Eartips
Bore size: regular
Stem length: short
Feel: flexible and firm
Bass: 4.25
Midrange: 5.0
Treble: 4.0
Soundstage: 4.0
Vocal presence: 4.5
Both Baskingshark and Vannak Pech are fans of this eartip. It adds “round-meatiness” (a.k.a smoothness and body) to the music without clouding the low-mids. Vocals can be a tad forward but still very pleasant. I would rank its sonic signatures between SpinFit CP-145 and Final Audio Type E eartips. Similar to SpinFits, it has a pivoting cap design.
Purchased from Audiosense Official Store on AliExpress

Audio-Technica FineFit ER-CKM55M
Bore size: small
Stem length: regular
Feel: soft and flrm
Bass: 4
Midrange: 4.5
Treble: 3.5
Soundstage: 3
Vocal presence: 4
Bassy eartips that accentuates on vocal. Soundstage is smaller than most tips.
Purchased from Stereo Electronics (Singapore)

Azla SednaEarFit Crystal (Standard)

Bore size: regular
Stem length: regular
Feel: soft, grippy and sticky
Bass: 3.5
Midrange: 5.0
Treble: 4.25
Soundstage: 4.0
Vocal presence: 5.0

Another pricey eartip offering from Azla. Feels just like XELASTEC. Both XELASTEC and Crystal excel in the midrange and vocals. Their most obvious differences are in the upper-mids and mid-bass range where Crystal adds a touch more instrument presence, separation and space. Mid-bass is cleaner and clearer than XELASTEC yet doesn’t sacrifice warmth and body. It is good to note that Crystal does not have the upper-midrange “ringing” that plagues XELASTEC.
Purchased from Amazon Japan

Azla SednaEarfit Crystal (for TWS)
Bore size: regular
Stem length: short
Feel: soft, grippy and sticky
Bass: 3.5
Midrange: 5.0
Treble: 4.25
Soundstage: 4.0
Vocal presence: 5.0

Another pricey eartip offering from Azla. Feels similar to XELASTEC but with a shallower in-ear fit. Both XELASTEC and Crystal excel in the midrange and vocals. Their most obvious differences are in the upper-mids and mid-bass range where Crystal adds a touch more instrument presence, separation and space. Mid-bass is cleaner and clearer than XELASTEC yet doesn’t sacrifice warmth and body. It is good to note that Crystal does not have the upper-midrange “ringing” that plagues XELASTEC. Can be used for both IEM and TWS.

Purchased from MTMT Audio, Hong Kong

Azla SednaEarfit Foamax (Standard)
Bore size: wide bore with Waxguard.
Stem length: regular
Feel: medium density firmness and spongy

Bass: 4.50
Midrange: 5.00
Treble: 4.00
Soundstage: 3.50
Vocal presence: 5.00

I came across the SednaEarfit Foamax ear tips and was intrigued by users who claimed they were a superior alternative to the significantly more expensive Sony EP-NI1000M. If these claims hold true, Azla could have a major success on their hands.

In terms of sound quality, the SednaEarfit Foamax offers a crisper and clearer soundscape compared to the Sony. Vocals are more prominent and detailed, and the treble boasts a touch more vibrancy. However, the bass performance and soundstage are largely comparable between the two.

The SednaEarfit Foamax feels softer and plusher than the Sony, thanks to its slow rebound foam that regains its shape completely within 30 seconds. Additionally, the built-in mesh avoids causing any discomfort to the ear canal, unlike the Comply’s own Waxguard.

So, is the SednaEarfit Foamax better than the Sony EP-NI1000M? While I believe they offer a compelling alternative at a significantly lower price point, I personally favor the Sony’s more balanced sound signature. Nevertheless, considering they cost slightly more than half the price of the Sony, SednaEarfit Foamax is definitely worth considering.

Purchased from Amazon Japan

Azla SednaEarfit Max ASMR (Standard)
Bore size: narrow bore with Waxguard, short cap
Stem length: regular
Feel: firm and flexible

Bass: 4.50
Midrange: 4.50
Treble: 3.50
Soundstage: 3.25
Vocal presence: 5.00

This eartip, the narrow bore version of the SednaEarFit Max, offers a distinct variation within the family. Compared to its sibling, SednaEarFit Max ASMR tightens the sound, resulting in a smaller perceived soundstage. However, it compensates with a more precise and focused sonic image. Additionally, it delivers superior tonal density, improved textural clarity, and richer vocals. As the name suggests, vocals are emphasized and brought forward in the mix, creating a sense of intimacy. However, there is a trade-off in the form of reduced treble extension and a lack of high-frequency sparkle. This translates to a smoother and more natural but potentially less detailed listening experience overall.

Purchased from Amazon Japan

Azla SednaEarfit ORIGIN for In-Ear Monitor & TWS
Bore size: regular, tapered to a wide opening
Stem length: long
Feel: firm and flexible

Bass: 5.00
Midrange: 4.50
Treble: 3.50
Soundstage: 4.00
Vocal presence: 4.75

The ORIGIN eartips are, without a doubt, the most bass-forward I’ve ever encountered. But fear not, bassheads, because this is a good thing! They deliver a satisfying low-end rumble that’s surprisingly free from bloat and muddiness. While they might not pack the same punchy, dynamic punch as the Penon Audio Liqueur black eartips, the ORIGIN compensates with a smooth, fluid presentation for vocals, offering a truly captivating listening experience. However, there’s a catch. While the lower frequencies are a feast, the upper treble frequencies exhibit a slight roll-off, meaning they lack some sparkle and airiness. So, if you crave razor-sharp highs, these might not be your best bet. Overall, if you’re a bass aficionado who values smooth vocals, the ORIGIN eartips are definitely worth considering. They excel at creating a rich and immersive listening experience, but may not be the ideal choice for those seeking a more analytical or balanced sound signature. Perfect eartips pairing for Simgot IEMs especially with EA1000.

Purchased from Amazon Japan.

Azla Sedna EarFit (Regular)
Bore size: wide
Stem length: long
Feel: sturdy and very firm
Bass: 4
Midrange: 4.5
Treble: 4
Soundstage: 3.75
Vocal presence: 4.5
For long nozzle good midrange
Purchased from Amazon Japan

Azla SednaEarFit Short

Bore size: wide
Stem length: regular
Feel: sturdy and very firm
Bass: 3.75
Midrange: 4.50
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.50

Imagine the SednaEarFit Regular but with the stem chopped down a bit. These shorter SednaEarFits bring the music closer to your ears, making everything sound crisper, clearer and a bit more forward. They offer a similar experience to the SednaEarFit Light Short but with a delicate overall sound.

Purchased from Amazon Japan.

Azla Sedna EarFit (Light)
Bore size: wide
Stem length: long
Feel: sturdy and very firm
Bass: 3.75
Midrange: 4
Treble: 3.5
Soundstage: 3.75
Vocal presence: 4.25
A “lighter” version of the regular Sedna EarFit. More balanced-sounding overall.
Purchased from Amazon Japan

Azla SednaEarFit (Light) Short
Bore size: wide
Stem length: regular
Feel: sturdy and very firm
Bass: 3.75
Midrange: 4.25
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.5
A “short-stem” version of SednaEarFitLight. Both nozzles are brought closer to the eardrums thus enhancement in overall clarity and vocal presence, which means stereo image and presentation are slightly more forward.
Purchased from MTMT Audio, Hong Kong

Azla SednaEarFit Max (Standard)

Bore size: wide (with waxguard)
Stem length: regular
Feel: sturdy and firm

Bass: 4.50
Midrange: 3.50
Treble: 3.50
Soundstage: 3.00
Vocal presence: 3.50

Another highly-requested eartips from the audiophile community. However, just like its TWS sibling, these are not my favorite! First of all, their fitting is awful. It is too short for my ear canal. Second, I am not a fan of having waxguard inside the nozzle. And finally, why people like these are the main reasons for my dislikes. They introduce too much bass and mid-bass boost. The treble clarity and extension are suppressed and restricted. Vocals have a thick nasally undertone and are pushed forward. Overall, these present an average tonality that is surpassed by many cheaper eartips. If you haven’t purchased these, save your money. Azla SednaEarFit (Light) Short is better. It is another déjà vu moment for me with SednaEarfit Max series.

Purchased from Amazon, Singapore.

Azla SednaEarFit Max (for TWS)

Bore size: wide (with waxguard)
Stem length: regular
Feel: sturdy and firm
Bass: 4.50
Midrange: 3.50
Treble: 3.50
Soundstage: 3.00
Vocal presence: 4.00

I was “urged” to review these eartips and I can understand why so many people like it. However, these are not my favorite! First of all, their fitting is awful. It is too short for my ear canal. Second, I am not a fan of having waxguard inside the nozzle. And finally, why people like these are the main reasons for my dislikes. They introduce too much bass and mid-bass boost. The treble clarity and extension are suppressed as well. Vocals have a thick nasally undertone and are pushed forward. Overall, these present an average tonality that is surpassed by many cheaper eartips. If you haven’t purchased these, save your money. Azla SednaEarFit (Light) Short is better in my opinion.

Purchased from MTMT Audio, Hong Kong

Azla SednaEarFit Vivid Edition

Bore size: narrow 
Stem length: regular
Feel: sturdy and very firm
Bass: 4.25
Midrange: 4.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.75

At first glance, these look like colourful version of SednaEarFitLight Short. Upon close examination, they are very different in looks, feel and sound. SednaEarFit Vivid Edition feels softer and plusher. It has a narrower bore and sounds livelier than SednaEarFit Light Short. Bass is punchier, better texture and definition. Vocals sound cleaner, clearer and slightly forward. Upper-registers are brighter and slightly more extended than SednaEarFitLight Short. This eartips definitely deserve the “Vivid Edition” title. Not suitable for bright or shouty IEMs. 

Purchased from MTMT Audio, Hong Kong

Azla SednaEarFit XELASTEC
Bore size: regular
Stem length: regular
Feel: soft, grippy and sticky
Bass: 4.0
Midrange: 5.0
Treble: 3.75
Soundstage: 3.50
Vocal presence: 5.0

The most expensive eartip in my collection. Isolation is impeccable. If you love vocals, THIS IS IT! Vocal presence is extremely 3D. Best of all it doesn’t affect bass and treble. Projects soundstage a bit narrower than regular SednaEarFit.

Azla SednaEarfit XELASTEC II
Bore size: regular, with Waxguard
Stem length: regular
Feel: firm and grippy

Bass: 4.00
Midrange: 5.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 5.00

Compared to its predecessor, XELASTEC II offers a less sticky, dust-resistant surface. The flexible Waxguard improves the sound with smoother treble and reduced upper-midrange glare, all while preserving the core strengths of the original. For fans of the original XELASTEC who prefer a less sticky feel, XELASTEC II is the perfect choice.

Purchased from Amazon JP

B

BGVP A07 Eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
Suspiciously similar to Acoustune AET07. Heck… It sounds closer to AET07a than AET07. Neutral tonality with emphasis in midrange and top-end sparkle. I find this eartip to have better bass texture, dynamics and vocal presence than SpinFit CP100 and CP145. The A07 is often labeled as “vocal” eartip for most stock tips offering.Purchased from BGVP Taobao store

BGVP A08 Eartips
Bore size: regular
Stem length: regular
Feel: firm and sturdy
Bass: 4.5
Midrange: 5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 5
Suspiciously similar to Acoustune AET08, this eartip adds thickness to bass and midrange. However, unlike Acoustune AET08, I find it a speck bright. The A08 is often labeled as “bass” eartip for most stock tips offering.Purchased from BGVP Taobao store

BGVP Electric Blue “ArtMagic VG4” Silicone Vocal Eartip
Bore size: regular 
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5.0
Treble: 4.25
Soundstage: 4.0
Vocal presence: 4.0This eartip comes stock with BGVP ArtMagic VG4, ArtMagic V12 and DH3, labeled under “vocal” eartip. Highly-praised by Singaporean audiophile Reza Emmanuel as his standard reference, I must say this eartip is extremely comfortable, literally fatigue-free for long listening sessions.

Sound is clean, tight and very well-textured. Bass and low-mids are detailed, punchy and dynamic. Midrange is clear with excellent separation. Upper-mids and treble are smooth and extended with good amount of air and spacial cues. Vocal position is ‘just nice” – that is neither too forward nor too laid-back. Soundstage is realistically wide without sounding too spread-out. Similar to SpinFit, this eartip comes with a pivoting umbrella/cap.
Specially-ordered from BGVP Taobao Official Store as they do not sell this eartip individually. 

BGVP E01 Eartips
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4
Looks identical to Final Audio Type E eartips it has a balanced sound that tames harshness. I find it lacks the smoothness of original Final Audio Type E eartips. This style of eartip is often labeled as “balance” eartip for most stock tips offering.Purchased from BGVP Taobao store

BGVP S01 Eartips
Bore size: Very wide with narrow opening
Stem length: regular
Feel: firm and sturdy
Bass: 3.25
Midrange: 5
Treble: 5
Soundstage: 3.0
Vocal presence: 3.0
A very interesting eartip with an exceptionally wide nozzle and narrow opening. Treble is vastly emphasize with a hint of bass and midrange. Works very well for dull-sounding earphones but make sure you can fit it 6.5mm diameter bore.
Purchased from BGVP Taobao store

BVGP W01 Eartips
Bore size: wide
Stem length: short and stubby
Feel: short and flexible
Bass: 4.0
Midrange: 4.25
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.5Short stem and wide bore brings nozzle closer to the eardrums thus enhancement in overall clarity and vocal presence, which means stereo image and presentation are slightly more forward. A slight boost in mid-bass is noticeable. 
Purchased from BGVP Taobao store

BGVP Y01 Eartips
Bore size: Very wide with narrow opening
Stem length: regular
Feel: firm and sturdy
Bass: 3.75
Midrange: 5
Treble: 5
Soundstage: 3.0
Vocal presence: 3.0
A very interesting eartip with an exceptionally wide nozzle and narrow opening. Similar to BGVP S01 but with a smidgen more bass. Works well for dull-sounding earphones but make sure you can fit it 6.5mm diameter bore.
Purchased from BGVP Taobao store

C

Canal Works CW Dual Nozzle (CWU-DECM)
Bore size: wide / short cap
Stem length: short
Feel: soft and pliable
Bass: 3.25
Midrange: 4.5
Treble: 4
Soundstage: 3.5
Vocal presence: 3.75
For neutral tonality with slight bass reduction and laid-back vocal compared to SpinFit CP-145. Otherwise both sound quite similar.
Purchased from Japan through a friend

Canal Works CW Dual Nozzle 《肉球》”Nikukyuu” (CWU-GDECM)

Bore size: wide / short cap
Stem length: short
Feel: soft and pliable
Bass: 3.50
Midrange: 4.50
Treble: 4.00
Soundstage: 3.50
Vocal presence: 3.75

This eartip is basically Canal Works CW-DECM with silicone “gel” infused to the inner-cavity of the cap. For neutral tonality with improved bass weight, otherwise both the “gel” and “non-gel” versions sound quite similar.

Purchased from Amazon, Japan

Canal Works CW Single Nozzle (CWU-ECM)
Bore size: small
Stem length: short
Feel: sturdy and firm
Bass: 4.25
Midrange: 5
Treble: 5
Soundstage: 4
Vocal presence: 4.25
Eerily similar to Radius Deep Mount but with slightly less vocal presence and less transparent. Not suitable for bright earphones.
Purchased from Japan through a friend

Canal Works CW Single Nozzle 《肉球》”Nikukyuu” (CWU-GECM)

Bore size: narrow
Stem length: short
Feel: sturdy and firm
Bass: 4.75
Midrange: 5.00
Treble: 5.00
Soundstage: 4.00
Vocal presence: 4.50

This eartip is basically Canal Works CWU-ECM with silicone “gel” infused to the inner-cavity of the cap. Improved bass and lower-midrange over the “non-gel” version. Not suitable for bright-sounding earphones.

Purchased from Amazon, Japan

Canyon Silikon-Eartips ET400 (Bass)
Bore size: wide
Stem length: short
Feel: soft and firm
Bass: 3.50
Midrange: 3.25
Treble: 4.0
Soundstage: 4.50
Vocal presence: 3.0
Canyon is a German company however these eartips are made in China. Interestingly, I find these eartips very pleasing, especially in staging. The ET400 is laid back yet retains imaging scale and focus very well. Although the packaging says “bass”, the ET400 isn’t bassy or rumbly. I would classify it as balanced with a touch of midrange warmth.
Purchased from Canyon Official Taobao Store.

CleanPiece Anti-bacteria Silicone Eartip
Bore size: narrow
Stem length: short
Feel: soft and flexible
Bass: 4.25
Midrange: 4.0
Treble: 3.0
Soundstage: 3.75
Vocal presence: 3.0
An interesting audiophile’s “sanitary” product from Japan, and made in Japan. How true is the anti-bacteria, anti-microbial and anti-virus properties I don’t know (it comes in a plastic “petri dish”) but I do know these eartips roll-off treble and thicken bass and mid-bass. You lose clarity but gain body and smoothness. Recommended for bright and harsh sounding IEMs.
Purchased from Amazon.jp

D

ddHiFi ST35 Silicone Eartips (Standard)

Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4.75
Midrange: 5.00
Treble: 3.50
Soundstage: 3.50
Vocal presence: 5.00

A slightly more bassy version of Acoustune AET08. The ST35 has solid and punchy bass, full-bodied midrange and good vocal presence. Nonetheless, it has a slightly rolled-off treble. Similar to the AET08, soundstage and stereo imaging are average. Instruments and voices are tad front forward but non-offensive. It has a pivoting umbrella just like SpinFits. Comes in a nice plastic storage case with 3 pairs of your chosen size.

Purchased from ddHiFi Official Taobao Store

Divinus MOCHI TIP (for IEM/TWS)
Bore size: wide
Stem length: very short
Feel: soft, elastic and pliable
Bass: 3.50
Midrange: 5.00
Treble: 4.50
Soundstage: 5.00
Vocal presence: 4.50

These eartips have an extremely shallow fit due to their noticeably short stem. They produce a very midrange-forward sound with suppressed mid-bass and forward vocals. The soundstage is open and airy. They remind me of Moondrop Spring Tips with a sturdier cap and shorter stem. Vocals can sound sibilant and piercing when matched with bright earphones, so be very careful with your pairings.

Purchased from Audion Shopee Store (Indonesia)

Divinus Velvet Eartips (Standard)
Bore size: tapered, narrow to wide
Stem length: short
Feel: smooth and soft
Bass: 4.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.25
Vocal presence: 4.50

If you don’t look closely, this eartip looks almost identical to Radius Deep Mount. It has the Beefeater bearskin shape which is wide on top and narrow at the bottom. Quite a transparent sounding eartip I must say. Sounds brighter than Deep Mount with slightly less bass. Korean Radius Deep Mount? Not suitable piercing or lean sounding IEMs.

Purchased from e*earphone, Japan

Divinus Velvet Eartips (for TWS)
Bore size: wide
Stem length: very short
Feel: smooth and soft
Bass: 3.00.
Midrange: 5.00
Treble: 5.00
Soundstage: 3.50
Vocal presence: 5.00

A shorter version of standard Divinus Velvet Eartips with very noticeable bass and low-mids reduction. Comfortable but unsuitable for earphones or TWS with short nozzle.

Purchased from e*earphone, Japan.

Dunu Candy Eartips
Bore size: regular
Stem length: regular
Feel: soft and pliable
Bass: 3.25
Midrange: 4.00
Treble: 4.00
Soundstage: 4.50
Vocal presence: 3.50

I am neither impressed by its lightweight nor its relaxed presentation. Vocal is a tad too recessed for my liking. Nevertheless, stage is spacious and airy. Goes well with forward-sounding IEM.

Purchased from Dunu Official Taobao Store

Dunu S&S Eartips
Bore size: regular
Stem length: regular
Feel: rubbery and elastic
Bass: 4.00
Midrange: 4.50
Treble: 4.00
Soundstage: 5.00
Vocal presence: 4.00

The first time I tried these eartips was when I auditioned the Dunu Talos. The S&S eartips was part of their stock accessories. I immediately fell in love with these eartips. It presents clean yet balanced sound signature with a large soundstage, both width and depth, and good imaging. Perfect match for planar IEMs (these are attached permanently to my Timeless and Timeless AE). My only complain is they have an awkward fit and can be uncomfortable for some people. Comes in a plastic storage case with 3 pairs of your chosen size. Good stuff!

Purchased from Dunu Official Taobao Store

E

EarrBond Barreleye Blue 
Bore size: regular
Stem length: regular
Feel: soft with sturdy core
Bass: 3.5
Midrange: 4.25
Treble: 4.5
Soundstage: 4.5
Vocal presence: 4.0
Different from EarrBond New Hybrid series, Barreleye eartips use a sturdy silicone core which give an surprisingly good seal without the squishy feel of foam. Similar to the New Hybrid series, sound is laid back. Barreleye Blue has better clarity, instrument separation, treble extension, stage depth and layering than Barreleye Green and New Hybrid.

However due to its emphasis in the upper-midrange and treble regions, Barreleye Blue isn’t suitable for bright, sibilant or harsh sounding earphones. Group member Vannak Pech described the sound as if “when you apply contrast filter to your image…”.
Purchased from MTMT Audio (Hong Kong)

EarrBond Barreleye Green
Bore size: regular
Stem length: regular
Feel: soft with firm core
Bass: 4.0
Midrange: 4.0
Treble: 4.25
Soundstage: 4
Vocal presence: 4.5
Different from EarrBond New Hybrid series, Barreleye eartips use a firm silicone core which gives an surprisingly good seal without the squishy feel of foam. Similar to the New Hybrid series, sound is laid back. Barreleye Green adds body and bass punch but it lacks the clarity, instrument separation, treble extension, stage depth and layering of Barreleye Blue. 
Purchased from MTMT Audio (Hong Kong)

EarrBond EBT New Hybrid Design Eartips with Metal Core (CU) Copper

Bore size: regular, with copper insert
Stem length: regular
Feel: soft with semi-firm core

Bass: 4.25
Midrange: 4.00
Treble: 4.00
Soundstage: 4.25
Vocal presence: 4.25

At US$50 for two pairs (mimimum order quantity is 2 pairs), these hybrid eartips are one of the most expensive eartips in my collection. Equally as comfortable as original EarrBond EBT eartips and feels softer than Pentaconn COREIR Brass eartips. Isolation is exceptional. Are they worth US$25 a pair? Frankly, no! Performance is on par with silicone eartips such as Final Type E and Divinus Velvet. However, if you are looking for foam-level isolation with upper-midrange clarity, look no further. The difference between copper and stainless steel is copper eartips sound warmer and fuller. The vocals are more intimate also.

Safety concerns: Since the metal cores are inserted halfway into the nozzle. It may accidentally slipped out and leave inside the ear canal… Let’s say I am paranoid.

Purchased from MTMT Audio (Hong Kong)

EarrBond EBT New Hybrid Design Eartips with Metal Core (SS) Stainless Steel

Bore size: regular, with stainless steel insert
Stem length: regular
Feel: soft with semi-firm core

Bass: 4.00
Midrange: 4.25
Treble: 4.25
Soundstage: 4.25
Vocal presence: 4.50

At US$50 for two (mimimum order quantity is 2 pairs), these hybrid eartips are one of the most expensive eartips in my collection. Equally as comfortable as normal EarrBond EBT eartips and feels softer than Pentaconn COREIR Brass eartips. Isolation is exceptional. Are they worth US$25 a pair? Frankly, no! Performance is on par with silicone eartips such as Radius Deep Mount and Acoustune AET08. However, if you are looking for foam-level isolation with upper-midrange clarity, look no further. The difference between copper and stainless steel is the latter sounds brighter and has a more sparkly top-end. Vocal sounds livelier as well.

Safety concerns: Since the metal cores are inserted halfway into the nozzle. It may accidentally slip out and leave inside the ear canal… Let’s say I am paranoid

Purchased from MTMT Audio (Hong Kong)

EarrBond New Hybrid Design
Bore size: regular
Stem length: regular
Feel: soft and spongy
Bass: 3.5
Midrange: 4.25
Treble: 4
Soundstage: 4
Vocal presence: 3.25
EarrBond is softer and more squishy compared to other hybrid eartips, thus more comfortable for long-listening sessions. The moment you put them on, they simply disappear into your ear canals. Furthermore, they isolate well too. Sound-wise these are a bit too laid back for my taste. Also, I could detect some sibilance on a some female vocal tracks. In term of wearing comfort and isolation, this win hands down.
Purchased from MTMT Audio (Hong Kong)

Elecom Spare Ear Cap (EHP-CAP10)
Bore size: wide
Stem length: short
Feel: soft and flexible
Bass: 4
Midrange: 4.5
Treble: 4.5
Soundstage: 4.25
Vocal presence: 4.25
The brand Elecom is relatively unknown outside of Asia. These eartips surprised me with their exceptionally good sound and budget-friendly price. For ￥250 or US$2.50, you’ll get 4 pairs of eartips consist of X-Small, Small, Medium and Large sizes. Sound-wise, it is neutral tonality with emphasis in upper-bass and midrange regions (which adds body) as well as in vocals. I rank these higher than SpinFit CP-145 and on-par with Final Audio Type-E (black) eartips. Everybody should get these eartips if they ever come across it.
Purchased from Amazon.jp

Elecom Spare Ear Cap (EHP-CAP20)
Bore size: narrow
Stem length: regular
Feel: sturdy and firm

Bass: 4.50
Midrange: 4.75
Treble: 4.00
Soundstage: 4.00
Vocal presence: 4.50

I will like to thank Jeremy Phua for bringing this eartips to my attention. Japanese consumer electronics brand Elecom is relatively unknown outside of Asia. But even in Singapore (where I live), Elecom products are uncommon.

Some online rumours claimed that Tanchjim includes this as the stock eartips with some of their IEMs. I have the stock eartips from Tanchjim Tanya. After comparing both, my conclusions are they look “quite” similar but sound different.

Nonetheless, this eartip sounds energetic but balanced overall. My only gripe is that vocals can sound a bit strident and nasally. Not as refined as Acoustune AET07 or SpinFit CP-100.

Purchased from Amazon.jp

Eletech Baroque Luxury Hi-Fi Eartips

Bore size: wide
Stem length: short
Feel: smooth and soft

Bass: 3.75
Midrange: 5.00
Treble: 4.25
Soundstage: 4.50
Vocal presence: 4.75

These eartips are so soft and smooth, they feel like luxury! The texture is similar to Divinus Velvet eartips. They suppress the mid-bass and bring the midrange and upper midrange forward, making them perfect for warm or muddy sounding IEMs. The soundstage is wide, deep, and tall, giving a sense of space around every instrument and artist.

My only gripe is that the silicone material feels thin, which affects the ear seal and isolation.

Compared to Azla SednaEarFit (Light) Short eartips, the Azlas have better low-end punch, vocal clarity, and airiness. The Baroque eartips sound smoother overall.

Compared to Moondrop Spring Tips eartips, the Spring Tips have more vocal presence and are clearer and cleaner. However, the Baroque eartips sound more organic, have better tonal weight, and are less fatiguing.

Overall, the Baroque is a great addition to any eartip collection.

Purchased from Element Technology (Singapore)

Epro Horn-shaped Tips
Bore size: cone-shaped, tempered (4mm nozzle end, 5mm bell end)
Stem length: regular
Feel: soft and flexible
Bass: 4 25
Midrange: 4.5
Treble: 4
Soundstage: 3.75
Vocal presence: 4.25
Made of graphene and unlike most eartips, Epro has a cone-shaped tempered bore of 4mm at nozzle end to 5mm at the bell. It adds warmth, body and texture to vocals It tames harsh and peaky treble exceptionally well too. It DOESN’T roll-off highs and kills the air and ambient like some other foam tips. What I really enjoy about the Epro is that it adds a buttery smooth to the overall sound which make harsh-sounding earphones, such as the KZ ZS6, listenable again.
Purchased from Treoo Singapore

Epro Horn-shaped Tips (EP01)
Bore size: a cone-shaped tempered super widebore (5mm nozzle end, 8mm bell end)
Stem length: short
Feel: soft and flexible
Bass: 3.50
Midrange: 4.50
Treble: 4.25
Soundstage: 4.50
Vocal presence: 4.50

Epro Horn-shaped Tips EP01 has a cone-shaped tempered bore of 5mm at nozzle end to 8mm at the bell. These eartips have the widest bore I have seen. But unlike conventional wide bore eartips, which usually makes everything sound thin and clear, EP01 adds body and texture to the overall sound. Just like its sibling the EP00, these eartips tame sibilance and peaky treble exceptionally well. However, it DOESN’T roll-off highs and kills the air and ambience like some other foam tips. Epro EP01 adds smoothness to the overall sound which tames harsh-sounding earphones. The best eartips to have if you want clarity, smoothness and note weight at the same time.

Purchased from Amazon US.

Epro Horn-shaped Tips Truly Wireless (for TWS)
Bore size: cone-shaped, tempered (4mm nozzle end, 5mm bell end)
Stem length: Short
Feel: soft and flexible
Bass: 4.00
Midrange: 4.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.50
Made of graphene and unlike most eartips, Epro has a cone-shaped tempered bore of 4mm at nozzle end to 5mm at the bell. It adds warmth, body and texture to vocals, It tames harsh and peaky treble exceptionally well too. It DOESN’T roll-off highs and kills the air and ambient like some other foam tips. What I really enjoy about the Epro is that it adds a buttery smooth to the overall sound which make harsh-sounding earphones listenable again. This short nozzle version has more vocal presence and less mid-bass bloom than regular Epro Horn-shaped Tips.

Purchased from Treoo Singapore

EPZ Eartips (double flange)
Bore size: narrow
Stem length: very short
Feel: soft and pliable
Bass: 4.00
Midrange: 4.50
Treble: 4.50
Soundstage: 3.00
Vocal presence: 4.00

Do take note that these eartips fit smaller than normal (I am wearing Large instead of my usual Medium). Extremely short and narrow nozzle that I have tough time trying to put them on. Although double-flanged, they did not fit inside my ears properly. Nonetheless, a comfortable set of eartips if they fit you. I find the soundstage narrow and compressed.

Purchased from EPZ Taobao Store

EPZ Eartips (short cap)
Bore size: regular
Stem length: short
Feel: soft and pliable
Bass: 3.75
Midrange: 4.50
Treble: 4.50
Soundstage: 4.00
Vocal presence: 4.50

Do take note that these eartips fit smaller than normal (I am wearing Large instead of my usual Medium). Neutral tonality with a clean and clear overall presentation. My only gripe is the short cap which makes this eartip unsuitable for earphones with short nozzles.

Purchased from EPZ Taobao Store

F

FAudio “Vocal” Premium Silicone Earphone Tips
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 3.25
Midrange: 4.75
Treble: 4
Soundstage: 4
Vocal presence: 5
Accentuates on vocal and midrange but it also makes sibilance more noticeable. My favorite vocal eartip is still the SednaEarFit XELASTEC.
Purchased from MTMT Audio, Hong Kong

FAudio “Instrument” Premium Silicone Earphone Tips
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 5
Midrange: 4.75
Treble: 3.5
Soundstage: 4
Vocal presence: 4.25
Very punchy, fun, musical-sounding eartips. Sub-bass is exceptional. Vocal and mids are laid-back. Soundstage is average.
Purchased from MTMT Audio, Hong Kong

Fender SureSeal Tips
Bore size: tapered widebore
Stem length: short
Feel: soft, grippy and sticky
Bass: 4.25
Midrange: 4.0
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.5
Vastly similar to Azla SednaEarFit XELASTEC, Fender SureSeal offers a more laid-back presentation with balanced sound. Mid-bass is a tad fuller. Soundstage slightly wider than XELASTEC but imaging is less precise. SureSeal does not suffer from the upper-midrange ring that plagues XELASTEC especially with DD-based earphones. Expect dust-magnet. All thermoplastic elastomer eartips require regular washing and sanitizing to prevent ears infection.
Purchased from Amazon.jp.

Feaulle Latex H570 For General Earplugs
Bore size: wide
Stem length: regular
Feel: plush and grippy

Bass: 3.50
Midrange: 5.0
Treble: 5.0
Soundstage: 4.75
Vocal presence: 5.0

These “latex” eartips remind me of TRI Clarion. So, if you enjoy TRI Clarion, you will definitely love these. Overall tone is bright and lean. Vocals are sibilant but give very good enunciation. Stage and imaging are quite good. Resolves very well. Fit and comfort are good. These don’t feel sticky or attract dust like Azla SednaEarFit XELASTEC.

Purchased from Feaulle Taobao Store.

FiiO Silicone (Balanced Ear tips)
Stem length: regular
Feel: soft and flexible
Bass: 3.25
Midrange: 4
Treble: 3.5
Soundstage: 4
Vocal presence: 3.25
Nice sounding eartips with a toned down bass and treble.
Purchased from FiiO store on Taobao (Mainland China)

FiiO Silicone (Bass Eartips)
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4
Midrange: 3.5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 4
This is similar to many stock tips like those from TRN.
Purchased from FiiO store on Taobao (Mainland China)

FiiO Silicone (Vocal Eartips)
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 2.5
Midrange: 4.25
Treble: 4.25
Soundstage: 4.25
Vocal presence: 5
These tips cut bass drastically!
Purchased from FiiO store on Taobao (Mainland China)

Filter H270 TPE Eartips
Bore size: regular with grille
Stem length: short
Feel: soft and firm
Bass: 4.0
Midrange: 5.0
Treble: 4.5
Soundstage: 4.0
Vocal presence: 5.0

Is this US$7 per pair Chinese-made TPE eartip comparable to Azla SednaEarFits XELASTEC and Fender SureSeal? I am sorry to say the H270 eartip doesn’t feel and wear like a TPE eartip. Thus, I do suspect it isn’t made of TPE at all. Probably made of silicone at best. Nonetheless, H270 is a very lively-sounding eartip. Bass is quite punchy.

Sub-bass rumble is good. Midrange is crisp and clear. Treble extension is very good. Soundstage and imaging are good. If you can overlook the fact that this isn’t made of TPE like they claimed, this is a pretty decent eartip. In terms of sound, it is closer to SureSeal than XELASTEC. Both eartips have accentuated upper-mids and treble.
Purchased from Filter Taobao official store

Filter H370 Latex Eartips
Bore size: elliptical-shaped, regular with grille
Stem length: short
Feel: soft and firm
Bass: 2.0
Midrange: 3.75
Treble: 3.0
Soundstage: 3.0
Vocal presence: 3.5

This Chinese Filter H370 does remind me a bit of ADV Eartune Fidelity U Elliptical eartip but performs far worse… Yup, in my encyclopedia of eartips this one is pretty bad. First thing you will notice is how boomy and wooly the bass is. It is so bad that it bleeds into the mids. Upper treble is rolled-off, thus lacking a sense of space and openness. All-in-all, the H370 is a dark-sounding eartip with poor technicalities. Comfort-wise is quite good though. What a pity!
Purchased from Filter Taobao official store

Final Audio Type A
Bore size: narrow
Stem length: regular
Feel: soft and firm
Bass: 3.75
Midrange: 5
Treble: 4.0
Soundstage: 4. 8
Vocal presence: 4
Less common than Type E. Let’s call this Type E with a slightly boosted treble and thus lesser bass. As a whole it gives better clarity. The overall tonality remains quite balanced.
Purchased from Amazon.jp.

Final Audio Type B
Bore size: regular
Stem length: regular
Feel: soft and plush
Bass: 4.25
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4
Less common than Type E. Let’s call this Type E with a slightly boosted bass. Overall sound is more round robust as well. My favorite eartips for diffused-field oriented earphones
Purchased from Amazon.jp

Final Audio Type E
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4
For balance sound. Tame harsh earphones
Purchased from ConnectIT (Singapore)

Final Audio Type E (Clear, Clear/Red) 2020 Edition)
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 4.25
Soundstage: 4 25
Vocal presence: 4.5
Sounds cleaner, clearer, brighter and tighter bass than conventional black Final Audio Type E eartip. Improved vocal lucidity. Tonally more accurate as well.
Purchased from Amazon Japan

Final Audio Type E (Canjam Singapore 2023 Edition)
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4.00
Midrange: 5.00
Treble: 4.25
Soundstage: 4 25
Vocal presence: 4.50

It comes in various colours, as well as glow-in-the-dark green. Sounds cleaner, clearer, brighter, and tighter bass than conventional black Final Audio Type E eartip. Improved vocal lucidity. Tonally more accurate as well.

Raffled from Project Perfect Pte Ltd (DITA) booth at Canjam Singapore

Final Audio Type E (for TWS)
Bore size: wide
Stem length: short
Feel: soft and sturdy
Bass: 3.25
Midrange: 5.00
Treble: 4.75
Soundstage: 4.50
Vocal presence: 5.00

Quite the opposite of regular Final Type E eartips sonic-wise, These tips intensify upper-mids and treble, which unfortunately, introduces sibilance to female vocals and makes cymbals sound tinny. This can be unpleasant especially when used with bright earphones. Staging and ambience are better than regular Type E. Use with caution!

Purchased from Final Audio Official Taobao Store

Final Type E Silicon Eartips for True Wireless (clear)
Bore size: regular
Stem length: short
Feel: soft and pliable
Bass: 3.25
Midrange: 5
Treble: 5
Soundstage: 5
Vocal presence: 4
Overall, similar to Final Type E True Wireless (black) but with slightly less bass.
Purchased from MTMT Audio, Hong Kong

FiiO HS18 Silicone Ear Tips
Bore size: regular
Stem length: regular
Feel: soft and light
Bass: 4.50
Midrange: 5.00
Treble: 4.00
Soundstage: 4.50
Vocal presence: 4.50

The FiiO HS18 is extremely thin and I was afraid this might affect its seal and isolation… Well, I worried too much. The HS18 is soft, lightweight and comfortable. Seal and isolation are good. Neutral tonality with very “bouncy” bass. Midrange is smooth and laid-back. Treble is crisp and sparkly however its presence is not emphasized (which is a good thing in general). Soundstage is very open and airy. One of the better eartips I have tested in 2022. Yes, the FiiO HS18 can rival some of the pricier offerings from SpinFit, Acoustune and Azla. For the record, I hardly, almost rarely, praise a FiiO product.

Purchased from FiiO Taobao Official Store

I

ICE CLEAR Earphone Plug
Bore size: wide
Stem length: regular
Feel: grippy but firm
Bass: 3.25
Midrange: 5.00
Treble: 4.50
Soundstage: 5.00
Vocal presence: 5.00

These eartips, likely made by TPE (thermoplastic elastomer), offer surprising competition to the Azla SednaFit Crystal eartips. At only $10 for three pairs, they deliver performance that rivals the Crystal’s, with just a slight decrease in the emphasis of bass and sub-bass notes. However, the true strength of these TPE eartips lies in their exceptional clarity, resolution, and ability to create a wide soundstage. My one complaint is that the material feels a bit too rigid and produces a cracking noise whenever I move my jaw

Purchased from 德海基业数码专营店 (Dehaijiyeshuma) Taobao store

INfilter Variety Dot Ear Tip
Bore size: wide
Stem length: short
Feel: pliable and firm
Bass: 4.25
Midrange: 3.75
Treble: 3.00
Soundstage: 3.75
Vocal presence: 4.00

A JVC Spiral Dot clone but more bassy and a tad smoother. Midrange details are a little smeared, resolution lacking. Unfortunately, this still can’t replace the good ol’ Spiral Dot.

Purchased from Focus Audio Taobao Store

INfilter Variety Dot Pro Ear Tip
Bore size: wide
Stem length: short
Feel: pliable and firm
Bass: 4.25
Midrange: 4.00
Treble: 3.50
Soundstage: 3.75
Vocal presence: 4.00

A JVC Spiral Dot clone. Sounds almost identical to the Variety Dot but with cleaner and more open upper-registers. Personally, I will choose this over the original Variety Dot.

Purchased from Focus Audio Taobao Store

INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone and graphene)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 4.00
Midrange: 4.25
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.50

The Infiter IE45 eartips are designed primarily for True Wireless earbuds, but they can also be used with traditional In-Ear Monitors. They are known for their smooth, balanced sound signature that prioritizes clarity. The IE45 eartips deliver a smooth and balanced sound experience that is pleasing to the listener. They avoid harshness or excessive emphasis on any particular frequency range. These eartips prioritize clarity, ensuring that vocals and instruments are well-defined and easy to distinguish within the mix. The graphene-infused version of the IE45 eartips further enhances the smoothness and reduces listener fatigue. This is achieved through the unique properties of graphene, a material known for its excellent damping properties. The IE45 eartips offer good value for the price. They provide a significant improvement in sound quality for both TWS earbuds and IEMs, without breaking the bank.

Purchased from INfiter Taobao Store

INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 4.00
Midrange: 4.00
Treble: 4.00
Soundstage: 4.50
Vocal presence: 4.50

Originally designed for True Wireless earbuds, the Infiter IE45 eartips are also compatible with In-Ear Monitors. Known for their smooth, balanced sound, these eartips prioritize clarity, making them ideal for listeners who prefer a clean and accurate listening experience. Vocals are clear and well-defined, making it easy to understand lyrics or dialogue. The smooth, non-harsh treble ensures a pleasant listening experience without any fatiguing sharpness. The Clear version offers an open and airy soundstage, creating a wider and more immersive listening experience. They provide a decent overall sound, with a focus on clarity and comfort, making them a suitable option for value-conscious listeners who prioritize comfort.

Purchased from INfiter Taobao Store

INfiter Variety Dot IE45Pro Short for TWS (Black)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 3.25
Midrange: 4.20
Treble: 4.50
Soundstage: 4.50
Vocal presence: 5.00

Originally designed for True Wireless earbuds, the Infiter IE45Pro eartips can also be used with In-Ear Monitors. They are known for their smooth, balanced sound signature that prioritizes clarity, making them a good choice for listeners who prefer a clean and accurate listening experience. The Black version is made from a soft, comfortable material that allows for extended wear without fatigue. Vocals sound clear and well-defined, making it easy to understand the lyrics or dialogue in your audio. The treble is also smooth and free of harshness, ensuring a pleasant listening experience without any fatiguing sharpness. The soundstage offered by the Black version is open and airy, creating a wider and more immersive listening experience. They provide a decent overall sound experience with a focus on clarity and comfort, making them a suitable option for listeners who prioritize comfort and good value.

Purchased from INfiter Taobao Store

INfiter Variety Dot IE45Pro Short for TWS (Clear)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 4.00
Midrange: 4.00
Treble: 3.75
Soundstage: 3.50
Vocal presence: 4.25

While primarily advertised for TWS earbuds, the Infiter IE45Pro eartips can also be used with traditional IEMs. They offer a smooth and balanced sound signature that prioritizes clarity. The Clear version delivers a smooth and non-fatiguing sound profile. However, certain listeners might find that vocals, especially female vocals, can take on a slightly nasal quality. The treble range lacks a bit of sparkle and vibrancy, which can make the sound feel a bit dull or veiled. The soundstage feels somewhat compressed, meaning the instruments may not seem as spacious or separated as with other eartips. Despite the mentioned limitations, IE45Pro Clear offers good value for the price. They provide a decent overall sound experience.

Purchased from INfiter Taobao Store

InFiter TPE Eartips (PT37-TWS)
Bore size: wide bore
Stem length: short
Feel: soft, grippy and sticky
Bass: 3.00
Midrange: 5.00
Treble: 4.25
Soundstage: 5.00
Vocal presence: 5.00

Although these are stated for TWS, they can be used on normal IEMs but with a caveat. This eartip is a fine example of why TWS eartips aren’t so appealing for high-fidelity use. Because of their short stem, many TWS eartips have the tendency to push vocals and upper midrange too forward, making them shouty. Sub-bass, bass and mid-bass take a back seat. Good match for muddy-sounding earphones. Do take note that TPE eartips are dust and dirt magnet. They will deform and lose its shape over time.

Purchased from InFiter Taobao Store.

InFiter TPE Eartips (PW-10)
Bore size: wide bore
Stem length: regular
Feel: soft, grippy and sticky
Bass: 4.00
Midrange: 5.00
Treble: 4.50
Soundstage: 4.00
Vocal presence: 5.00

A leaner-sounding version of Azla SednaEarFit XELASTEC. Bass is less impactful. However, midrange preserves most of the characteristics of XELASTEC. Soundstage seems wider and more open as well. Nonetheless finishing is nowhere close to Azla’s.

Purchased from InFiter Taobao Store.

InFiter TPE Eartips (PW-20)
Bore size: 7mm superwide bore
Stem length: regular
Feel: soft, grippy and sticky
Bass: 4.75
Midrange: 5.00
Treble: 4.25
Soundstage: 4.50
Vocal presence: 5.00

A clearer version of Azla SednaEarFit XELASTEC. You’ll get 70% of XELASTEC performance at a fraction of the cost. Is it worth a try? Sure… But take note these are TPE eartips (just like XELASTEC) thus they are dust and dirt magnet. They will deform and lose its shape over time. Finishing-wise not as beautiful and smooth as Azla’s. Great value for money if you don’t want to pay the XELASTEC price.

Purchased from InFiter Taobao Store

INfiter WS38 for TWS (Clear white)
Bore size: wide with short cap
Stem length: very short
Feel: thin and soft

Bass: 3.00
Midrange: 4.50
Treble: 5.00
Soundstage: 4.50
Vocal presence: 5.00

These eartips are constructed from very thin and soft silicone and unfortunately these contribute to a poor fit. They struggle to stay securely in place and are prone to flipping over during use, compromising both comfort and sound quality. The thin material significantly impacts the sound signature. The overall sound comes across as bright and lacking in body. Bass frequencies are noticeably suppressed, resulting in a weak and underwhelming low-end experience. The lack of “punch” and “noteweight” refers to the absence of impact and definition in the bass notes, leaving the sound overall thin and hollow. Not recommended.

Purchased from INfiter Taobao Store

INfiter WS43 for TWS (Clear blue)
Bore size: wide with short cap
Stem length: very short
Feel: thin and soft

Bass: 3.00
Midrange: 4.50
Treble: 5.00
Soundstage: 4.50
Vocal presence: 5.00

These eartips are identical to the INfiter W38 model but come in a light blue color. While constructed from soft, thin silicone for comfort, this material unfortunately contributes to a poor fit in the ear. They struggle to stay secure and tend to flip out during use, negatively impacting both comfort and sound quality. The thinness of the material also significantly impacts the sound signature. The overall sound becomes bright and lacks body, with noticeably suppressed bass frequencies. Overall, due to the poor fit and compromised sound quality, these eartips are not recommended.

Purchased from INfiter Taobao Store

Intime iReep 01
Bore size: wide (reversed cap)
Stem length: short
Feel: soft and pliable
Bass: 3.75
Midrange: 4.00
Treble: 4.00
Soundstage: 5.00
Vocal presence: 4.00

An incredibly unique eartip that resembles a whiskey barrel with the entire stem fully concealed within the reversed cap, which forms a dome. It is extremely comfortable, isolates and seals very well. Because sound is reflected into the dome, it has an echo (reverb) effect. This presents a wide soundstage with particularly good height and depth. Unfortunately, this echo effect causes vocals, female voices especially, to sound nasally and wheezy. As if the singer is singing with his or her nose pinched. Without a doubt, the iReep 01 is the most unusual eartip in my collection.

Purchased from e*earphone, Japan

J

Jomo Audio ONYX Double Flanges Premium Silicone Eartips (For IEMs)
Bore size: double flange, very wide
Stem length: extremely short
Feel: soft, thin, and springy

Bass: 3.00
Midrange: 4.25
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00
Double-flange eartips with wide bores are a rarity. The Acoustune AET06 series is another example of such eartips that I’ve reviewed. In comparison, the ONYX double-flange eartips deliver a brighter, clearer, and more open sound signature. However, they also significantly reduce low and mid-bass frequencies, sacrificing dynamics in the process. While this is ideal for those seeking to reduce bass bloat or muddiness, it makes them less suitable for bright or lean-sounding IEMs. The thin flange material tends to curl upwards when removed from the ears.

Purchased from Let’s Go Audio Online Store, Hong Kong

JVC Spiral Dot (Regular)
Bore size: wide
Stem length: short
Feel: soft and pliable
Bass: 4
Midrange: 4
Treble: 3
Soundstage: 3.5
Vocal presence: 4
For balance sound. Tame harsh earphones
Purchased from Japan through a friend

JVC Spiral Dot SF (Short Flange / Shallow Fit)
Bore size: regular
Stem length: short (shallow fit)
Feel: soft and flexible
Bass: 3.5
Midrange: 5
Treble: 4.5
Soundstage: 4.5
Vocal presence: 4.25
These eartips are meant for true wireless earpieces. These have more bass and vocal presence than SpinFit CP-350 and CP-360. Comparable to Final Type E True Wireless (black) but sound less open and less treble extension.
Purchased from Amazon.jp

JVC Spiral Dot++ (EP-FX10)
Bore size: wide
Stem length: short
Feel: supple and grippy
Bass: 3.5
Midrange: 3.75
Treble: 3
Soundstage: 3.5
Vocal presence: 4
For balance sound. Tames harsh earphones. Cleaner but lesser bass and midrange compared to regular Spiral Dot. Very comfortable for long listening sessions.
Purchased from Amazon Japan

JVC/Victor EP-FX2 (Poor men’s Spiral Dot)
Bore size: wide
Stem length: short
Feel: soft and grippy
Bass: 3.5
Midrange: 4
Treble: 3
Soundstage: 3.5
Vocal presence: 4.25
You get 80% performance of Spiral Dot at 30% of its price. Comfortable for long listening. Good value for money.
Purchased from Amazon Japan

K

KB EAR 10 Silicone Eartips
Bore size: wide
Stem length: short
Feel: soft and flexible
Bass: 3.5
Midrange: 3.75
Treble: 3 5
Soundstage: 3.75
Vocal presence: 4
For balance sound. Tames bass-heavy earphones. Smooth tonality suitable for long listening sessions.Purchased from KB EAR Taobao store

KB EAR A07 Eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
Suspiciously similar to Acoustune AET07. Heck… It sounds closer to AET07a than AET07. Neutral tonality with emphasis in midrange and top-end sparkle. I find this eartip to have better bass texture, dynamics and vocal presence than SpinFit CP100 and CP145. The A07 is often labeled as “vocal” eartip for most stock tips offering.Purchased from BGVP Taobao storePurchased from KB EAR Taobao store

KB EAR A08 Eartips
Bore size: regular
Stem length: regular
Feel: firm and sturdy
Bass: 4.5
Midrange: 5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 5
Suspiciously similar to Acoustune AET08, this eartip adds thickness to bass and midrange. However, unlike Acoustune AET08, I find it a speck bright. The A08 is often labeled as “bass” eartip for most stock tips offering.
Purchased from KB EAR Taobao store

KB EAR “Columbia” Eartips
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4.5
This eartip is worthy of the title “Sony clone”. Sounds virtually identical to Sony EP-EX11M eartip, which my sensitive ears couldn’t tell them apart. For neutral tonality with slight treble roll-off.
Purchased from KB EAR Taobao store

KZ Starline
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.5
Midrange: 3.5
Treble: 4
Soundstage: 3
Vocal presence: 2.75
Purchased from KZ store on Taobao (Mainland China)

These stock KZ eartips come in two versions. The older version was included with KZ ZS3 and KZ ZS5, etc, were no longer available. They are softer and more pliable compare to current ones. Sound-wise, co-blogger Slater prefers the former. They give smoother midrange and cleaner treble. The ones tested here are the current/ new version.

KZ Starline (reverse)
Bore size: wide
Stem length: long
Feel: soft and grippy
Bass: 3.25
Midrange: 3.5
Treble: 5
Soundstage: 4*
Vocal presence: 3
For bright, clear and crisp sound
*soundstage has more depth and height than width
Purchased from KZ store on Taobao (Mainland China)

KZ Whirlwind Silicone Eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 2.0
Midrange: 4.50
Treble: 4.25
Soundstage: 4.0
Vocal presence: 4.50
Similar to Tennmak Whirlwind, these eartips reduce bass and mid-bass significantly. Projects vocals forward with good presence.
Purchased from KZ Official Store on Taobao

L

LIZER LAB JIJUFIN Earpiece
Bore size: regular
Stem length: not applicable
Feel: sturdy and firm
Bass: 4.00
Midrange: 5.00
Treble: 4.75
Soundstage: 5.00
Vocal presence: 4.75

The most unique and unusual eartips in my entire collection. From the Land of the Rising Sun, LIZER LAB eartips feature a patented metal phase-plug which promise to “reposition” your music to sound as if music is coming from the front, rather than from inside and above your head. LIZER LAB claimed their eartips to give the listener an “out-of-head localization” concert and live performance experience. Is this snake oil or real? Does it works? My conclusion is it depends. The effects on some earphones are prominent while others are not as outstanding.

Nonetheless, vocal is extremely clean. Bass is slightly recessed (compared to conventional silicone eartips such has Final Audio Type E), nonetheless still sounds full and weighty. Treble extension is good. Soundstage and stereo imaging are exceptional. Pairs well with neutral-warm sounding earphones.

LIZER LAB JIJUFIN eartips don’t come cheap. A pair will set you back 3,880 Japanese Yen or around US$28. Nonetheless, it gives the listener a unique experience and definitely a conversation piece among audiophile friends.

Purchased from Amazon Japan

LIZER LAB JIJU-JET Earpiece
Bore size: regular
Stem length: not applicable
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 4.75
Soundstage: 5.00
Vocal presence: 4.75

The most unique and unusual eartips I have used. From Japan, LIZER LAB eartips feature a patented metal phase-plug which promise to “reposition” your music to sound as if music is coming from the front, rather than from inside and above your head. LIZER LAB advertised their eartips to give the listener an “out-of-head localization” concert and live performance experience. Is this snake oil? Does it works? My conclusion is it depends. The effects on some earphones are prominent, while some are not as outstanding.

Nonetheless, vocal is extremely clean. Bass is suppressed but not rolled-off. Treble extension is good. Soundstage and stereo imaging are the stars of the show. Compared to JIJUFIN, JIJU-JET sounds leaner and crispier. Dynamics and impact are snappier and sharper. Pairs well with dark-sounding earphones.

LIZER LAB JIJU-JET eartips don’t come cheap. A pair will set you back 3,680 Japanese Yen or around US$26. Nonetheless, it will give the listener a unique experience and definitely a conversation piece among audiophile friends.

Purchased from Amazon Japan

LIZER LAB JIJU-JET2 Earpiece
Bore size: regular
Stem length: not applicable
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00

The most unique and unusual eartips I have seen. From Japan, LIZER LAB eartips feature a patented metal phase-plug which promise to “reposition” your music to sound as if music is coming from the front, rather than from inside and above your head. LIZER LAB advertised their eartips to give the listener an “out-of-head localization” concert and live performance experience. Is this snake oil or real? Does it works? My conclusion is it depends. The effects on some earphones are prominent, while some are not as outstanding.

JIJU-JET2 is the revised version of original JIJU-JET. Vocal projection is brought forward creating a better 3D-effect on human voices. Soundstage has better depth and instruments have more breathing space around them. Similar to its predecessor, bass is suppressed but not rolled-off. Treble extension is excellent. However, I do notice a slight metallic timbre which makes female voices sound a tad cold and steely. Pairs well with dark-sounding earphones.

LIZER LAB JIJU-JET2 eartips don’t come cheap. A pair will set you back 3,780 Japanese Yen or around US$27. Nonetheless, it will give the listener a unique experience and definitely a conversation piece among audiophile friends.

Purchased from Amazon Japan

M

Marunana 七福神 silicone eartips
Bore size: narrow
Stem length: regular
Feel: soft and pliable
Bass: 4.25
Midrange: 5
Treble: 4
Soundstage: 4Vocal presence: 4.25
Marunana eartips is recommended by a friend who discovered it from a native Japanese audio enthusiast. These eartips are surprisingly affordable (880¥ for 12 pairs!). Great midrange texture and vocal presence. My only nitpick is they tend to cloud the mid-bass a little but it adds body to lean earphones.
Purchased from Amazon Japan

Moondrop Spring Tips
Bore size: wide
Stem length: short
Feel: soft with pliable stem
Bass: 2.50
Midrange: 5.0
Treble: 3.75
Soundstage: 3.50
Vocal presence: 5.0
These originally come stock with Moondrop KATO. First impression is how suppressed the bass and mid-bass are, which thins the overall note-weight and body. Midrange is textured with good details. Vocal is forward with very good presence.

Treble has good sparkle and crisp, however it lacks that last bit of extension and airiness. Great match for earphones with too much mid-bass or has bleeding mid-bass. The caps are too soft in my opinion. They flap over every time I remove them from my ears, which is very annoying.
Purchased from Moondrop Taobao Official Store

N

New Bee Olive Replacement Earbud Tips
Bore size: semi-wide
Stem length: regular
Feel: Firm and stiff
Bass: 4.25
Midrange: 5.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 5.00

These eartips rival most “vocal” eartips I have tried for under US$10. Very good bass punch and dynamics as well. My only gripe is they feel a bit too stiff for my ears.

Purchased from Yongse Taobao Official Store

NF Audio MS42 IEM Silicone Ear Tips
Bore size: regular
Stem length: regular
Feel: firm and supple
Bass: 4.00
Midrange: 4.50
Treble: 3.50
Soundstage: 3.50
Vocal presence: 3.75

These are probably the smoothest eartips I have tried. Its relaxed and delicate sound is neither harsh nor strident. Low-end has good body and punch. Midrange has that silky “tube-like” tonality. Upper-registers are fluid and gentle. Soundstage and imaging are average. Boy… It feels like I am having a head massage every time I listen to these. Very comfortable both in sound and in fitment. Highly recommended!

Purchased from NF Audio Official Taobao Store

Nostalgia Audio Extra Wide Bore XWB Eartips
Bore size: very wide
Stem length: short
Feel: flexible but firm

Bass: 4.00
Midrange: 5.00
Treble: 4.50
Soundstage: 4.50
Vocal presence: 4.00

Hailing from the vibrant city of Hong Kong, Nostalgia Audio is an IEM brand that has quietly carved its niche in the audiophile world. Their XWB eartips mark their debut in the realm of eartips, and let me tell you, these little wonders are a pure delight for any audio enthusiast seeking a touch of extra sparkle in their upper registers without compromising the depth and richness of the low end.

Compared to the Eletech Baroque eartips, the XWB eartips stand out with their sturdier and more substantial cap material, offering a sense of reassurance and durability. And when pitted against the Divinus Velvet eartips, the XWB eartips emerge victorious with their ability to inject a dash of extra zing into the treble, resulting in a livelier and more energetic listening experience.

In a world of eartips, the XWB eartips shine as a star of their own, offering a unique blend of clarity and vibrancy that elevates your music listening experience to new heights. If you’re seeking a touch of extra sparkle without sacrificing the fullness of your sound, the XWB eartips are your perfect companion.

Purchased from Super King (Hong Kong)

Nuarl Block Ear+ Antibacterial Silicon Earpiece
Bore size: wide (5mm)
Stem length: short
Feel: soft and pliable
Bass: 4.00
Midrange: 4.25
Treble: 4.50
Soundstage: 3.75
Vocal presence: 4.25

If you like the comfort of JVC Spiral Dot++, you will enjoy this. A crispier and more sparkly version of Spiral Dot++. Not suitable for bright-sounding earphones. Comes in multiple sizes of Small, Medium-small, Medium, and Large.

Purchased from Amazon Japan

Nuarl Block Ear+ 6 Antibacterial Silicon Earpiece (for 6mm bore)
Bore size: wide (6mm)
Stem length: short
Feel: soft and firm
Bass: 4.25
Midrange: 4.25
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.00

A firmer version of Nural Block Ear+. Slightly bass-boosted and mid-bass feels more thumpy than Nuarl Block Ear+. Smoother treble and more luscious midrange. Comes in multiple sizes of Small, Medium-small, Medium, and Large.

Purchased from Amazon Japan

Nuarl Block Ear+ 7 Antibacterial Silicon Earpiece (for 7mm bore)
Bore size: wide (7mm)
Stem length: short
Feel: soft and firm
Bass: 4.25
Midrange: 4.50
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.50

Same as Nural Block Ear+6 but with a 7mm bore diameter. The bigger opening presents a more forward midrange and vocals. Comes in multiple sizes of Small, Medium-small, Medium, and Large.

Purchased from Amazon Japan

O

Openaudio Studio 003 Earfits
Bore size: regular
Stem length: regular
Feel: very soft and rubbery
Bass: 3.00
Midrange: 4.25
Treble: 5.00
Soundstage: 4.00
Vocal presence: 4.50

Do take note that these eartips fit smaller than normal (I am wearing Large instead of my usual Medium). The “003” on the case does remind me of something that is also rubbery and made of latex. Nonetheless, this eartip has a clear and sparkly presentation especially in the upper-mids and treble. Bass and midbass are attenuated. Unsuitable for bright and lean sounding earphones.

Purchased from Openaudio Studio Taobao Store

Ostry OS100 Tuning Eartips (Blue)
Bore size: regular
Stem length: short
Feel: firm and sturdy
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.25
Vocal presence: 3.5
Sounds 90% identical to SpinFit CP145 but with a touch more bass and narrower soundstage.
Purchased from Ostry Official Store on Taobao (Mainland China)

Ostry OS200 Tuning Eartips (Red)
Bore size: regular
Stem length: short
Feel: firm and sturdy
Bass: 4
Midrange: 5
Treble: 3.25
Soundstage: 3
Vocal presence: 3.5
Similar to Ostry OS100 but with a tad more bass and less crisp in the treble. Quite a balance-sounding eartip. Narrows soundstage.
Purchased from Ostry Official Store on Taobao (Mainland China)

Ostry OS300 Tuning Eartips (Black)
Bore size: regular
Stem length: short
Feel: firm and sturdy
Bass: 5
Midrange: 4.75
Treble: 2.5
Soundstage: 2.5
Vocal presence: 3.5
The most bass-heavy Ostry tuning eartips of all. Also rolls-off treble the most. It adds tightness and punchiness to the overall sound. However, I find them a bit too forward for my taste.
Purchased from Ostry Official Store on Taobao (Mainland China)

Ortofon silicone eartips
Bore size: regular
Stem length: regular
Feel: very soft and pliable
Bass: 2.5
Midrange: 5
Treble: 5
Soundstage: 4.5
Vocal presence: 4.25
For good midrange, best female vocal, tames bass and brightens treble
Purchased from Ortofon direct (Denmark)

P

Penon Audio Liqueur Silicone Eartips (Black)
Bore size: wide
Stem length: regular
Feel: grippy and rubbery

Bass: 4.00
Midrange: 4.50
Treble: 4.50
Soundstage: 4.50
Vocal presence: 4.00

Penon Audio Liqueur eartips stand out from typical TPE options like the SednaEarFit XELASTEC due to their dust and lint resistance. This unique property, stemming from their non-stickiness, makes them a practical choice. The Black version offers a cleaner, clearer, and brighter sound signature compared to the Orange version. However, it sacrifices some punchy bass in favor of increased clarity and transparency.

Purchased from Penon Audio Online Store

Penon Audio Liqueur Silicone Eartips (Orange)
Bore size: regular
Stem length: regular
Feel: grippy and rubbery

Bass: 4.75
Midrange: 4.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 3.50

Penon Audio Liqueur eartips stand out from typical TPE options like the SednaEarFit XELASTEC due to their dust and lint resistance. This unique property, stemming from their non-stickiness, makes them a practical choice.
In terms of sound presentation, these vibrant orange eartips deliver the most dynamic and punchy performance I’ve encountered thus far. The bass extension, elasticity, and textural detail are truly exceptional, exceeding any other eartips I’ve tried.

However, it’s important to note that vocal clarity and treble extension suffer slightly compared to the Black version of the Liqueur eartips. Despite this, the overall sound remains fun and engaging, making them a compelling option for listeners who prioritize bass impact and energy.

Purchased from Penon Audio Online Store

Pentaconn COREIR Nickel-plated Brass core Eartip (PTM01) 

Bore size: wide 
Stem length: long
Feel: firm, sturdy and gripy

Bass: 3.50
Midrange: 5.00
Treble: 5.00
Soundstage: 3.50
Vocal presence: 4.75

At 3,850 Japanese Yen (US$35) for 2 pairs of eartips, the COREIR is currently the second most expensive eartip in my collection right now (most expensive is the Sony EP-NI1000M). However, is it worth the high-price it is asking for? Personally, I say “no” and here are the reasons… 

I find the COREIR eartip only suitable for certain types of IEM, particularly those with a very warm, very fully low-end and a recessed midrange, such as the Acoustune HS1650.

When used on Harman-tuned IEMs such as the Tanchjim Oxygen, Salnotes Zero or TangZu Wan’er, the COREIR thins midbass, pushes the midrange and vocals a tad too forward to my liking. Also, occasionally it can sound shouty and nasally especially on female vocal tracks. 

Because of its forward presentation, I find the soundstage a bit narrow. Air and separation around the instruments isn’t as spacious  or as defined as I expected.

Comfort-wise, COREIR falls in between Moondrop Spring Tips and Azla SednaEarFit XELASTEC, although not as grippy as the latter. However, because of the brass core, having the correct fit is crucial… More than ordinary silicone eartips in fact. Just like many TPE eartips, these can heat up the inner-ear and cause discomfort. 

I was disappointed to be honest… But some of you may find good use with the COREIR. I know quite a few reviewers like it. 

Purchased from Fujiya-Avic, Japan. 

Q

Queen Lab Hybrid Silicone Memory
Bore size: wide
Stem length: short
Feel: sturdy and very firm
Bass: 3.5
Midrange: 5 
Treble: 4.25
Soundstage: 4
Vocal presence: 4 5
Exceptionally good vocal presentations for hybrid. Tighter bass and clearer midrange compared to Symbio W. My favorite hybrid eartip. 
Purchased from MTMT Audio (Hong Kong)

R

Radius Deep Mount
Bore size: small
Stem length: regular
Feel: sturdy and firm
Bass: 4.25
Midrange: 5
Treble: 5
Soundstage: 4
Vocal presence: 4.5
Just like the company’s slogan – Pure Comes True, Deep Mount is the most transparent of all eartips I have tested. Not suitable if your earphone is already bright.
Purchased from Bic Camera (Osaka, Japan)

Radius Deep Mount Clear (Antibacterial)
Bore size: small
Stem length: regular
Feel: sturdy and gripy

Bass: 4.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.25
Vocal presence: 4.75

Thank you Jeremy Phua for bringing this eartips to my attention. I didn’t notice Radius came out with a clear version of their ever popular Deep Mount until he mentioned it.

These sound a smidgen cleaner and clearer than the regular black version. Soundstage is a bit better. I could hear more air and separations around the vocals and every instruments.

Regardless of colours, Radius Deep Mount still remain as one of the most transparent eartips I have tested.

Purchased from Amazon.jp

Raptgo Adaptive Ear Tips

Bore size: regular
Stem length: regular
Feel: pliable and firm
Bass: 4.25
Midrange: 5.0
Treble: 4.0
Soundstage: 4.0
Vocal presence: 4.25

These eartips from Raptgo come with pivoting cap design similar to that in SpinFit. They add “round-meatiness” (a.k.a smoothness and body) to the music without clouding the lower-midrange. The vocals are forward but still very pleasant. I would rank its sonic signatures between SpinFit CP-145 and Final Audio Type E eartips. Same as Audiosense S400.

Purchased from Raptgo Official Taobao Store

RHA dual density silicone eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.5
Midrange: 5
Treble: 4.5
Soundstage: 3.75
Vocal presence: 4.5
These eartips enhance details and stereo imaging extremely well. Tighten bass. Projects midrange and treble frequencies more than some eartips. Not recommended for bright earphones.
Purchased from RHA in UK

Rose Technics QT Series Eartips
Bore size: wide
Stem length: short
Feel: soft and pliable
Bass: 4.00
Midrange: 4.00
Treble: 4.50
Soundstage: 3.50
Vocal presence: 4.25

A very typical wide bore eartips. Nothing special or unique I find. It is a very comfortable set of eartips nonetheless.

Purchased from Rose Technics Taobao Official Store

S

Sennheiser Momentum Eartips
Bore size: regular with “sound beam”
Stem length: very short
Feel: soft and flexible
Bass: 4.5
Midrange: 5
Treble: 4.0
Soundstage: 3. 5
Vocal presence: 3.5
This is the stock eartip from Sennheiser Momentum series of earphones. It has a bold, thick and robust sound signature with buttery-smoooth upper-midrange and treble. Can sound overly warm and muddy when used on dark-sound earphones. Clarity, soundstage, imaging, and details are average.
Purchased from Sennheiser Singapore

Simphonio Diamond Earfit
Bore size: wide
Stem length: regular
Feel: soft and flexible
Bass: 2.50
Midrange: 5.0
Treble: 4.50
Soundstage: 5.0
Vocal presence: 5.0
This eartip has rhombus patterns stamped around the cap (or umbrella) thus the name “diamond” Earfit. This eartip bears some resemblance to Moondrop Spring Tip, however Diamond Earfit is a bit shorter height-wise. Vocal is forward with very good presence. Midrange and treble feels more open and livelier than Spring Tips. Just like Spring Tips, Diamond Earfit thins bass and mid-bass, reduces note-weight. Skip if you prefer bassier eartip.
Purchased from RoadRunner Taobao Store

Softears Liquid Silicone Ear TipsBore size: regular
Stem length: regular
Feel: soft and grippy
Bass: 3.0Midrange: 5.0Treble: 4.50Soundstage: 5.0Vocal presence: 5.0
Very pricey eartips from Softears. Appearance and texture feel just like SednaEarfit XELASTEC, although it says “Liquid Silicone”. Frankly, I have no clue what liquid silicone is other than those used in aesthetics surgery.

However, I find these eartips sound very much cleaner, clearer and airier than both XELASTEC and Crystal. Midrange and vocal presentation are outstanding. Softears Liquid Silicone does not have the upper-midrange “ringing” that plagues the original XELASTEC eartips. Unfortunately, these eartips attracts dirt and dust just like XELASTEC, so clean them regularly if you decide to try.
Purchased from Softears Taobao Official Store

SonicMemory Cup Tips
Bore size: cone-shaped, tempered (4mm nozzle end, 5mm bell end)
Stem length: short
Feel: medium soft and pliable
Bass: 3.5
Midrange: 4.25
Treble: 4.25
Soundstage: 4.0
Vocal presence: 3.75
An alternative to Epro Horn-shaped Tips. It has an overall softer yet balanced tonality. Bass not as impactful and robust. Vocals don’t stand out as much. Nonetheless, I do enjoy the “air” it gives to the sound. Also, these eartips present slightly wider soundstage and more spacious than Epro. Comes with antibacterial properties added, which is a good thing if you don’t have sensitive skin.
Purchased from SonicMemory Taobao Official Store

SonicMemory Fungus Tips
Bore size: regular
Stem length: regular
Feel: soft with a sturdy stem
Bass: 4.0
Midrange: 4.0
Treble: 4.0
Soundstage: 3.50
Vocal presence: 3.50
These eartips look like little pink champignon mushrooms thus the name “fungus” tips. A balanced-sounding eartip with emphasis in bass and low-midrange. Vocals sound slightly nasally and laid-back. Treble lacks air and extension. Soundstage is of average width. If you prefer an open and airy sound with wide-staging, do consider its sibling the SonicMemory Cup Tips. Infused with antibacterial properties.
Purchased from SonicMemory Official Store on Taobao

Sony Clear White
Bore size: regular
Stem length: regular
Feel: pliable and soft
Bass: 4.0
Midrange: 5.0
Treble: 3.5
Soundstage: 4.0
Vocal presence: 4.5
I consider the Clear White an improvement over Sony Triple Comfort. This enhances overall clarity and vocal presence without sounding overly bright or harsh. Top-end sounds more airy. Bass texture improved as well. My only gripe is it isn’t as smooth as I would prefer but this is a small trade off in my opinion.
Purchased from Amazon.jp

Sony EP-NI1000M Noise Isolation Earbud Tips

Bore size: regular
Stem length: regular
Feel: spongy and sturdy
Bass: 5.0
Midrange: 4. 5
Treble: 3.75
Soundstage: 4
Vocal presence: 5.0

This is the most expensive eartips in my collection as of October 2021. These tips retail for US$20 A PAIR! Yes, you hear that right… Two Hamiltons for a pair of eartips!

Deemed to be a replacement for Sony Triple Comfort (EP-TC50), these are eartips with an attitude. They sound like silicone but seal and isolate like a good pair of foam tips. Extremely comfortable and stable fit.

Are they better than XELASTEC? All I can say is both are very different. If you are always a “foam person”, the EP-NI1000 sounds more lively and open than, say, Comply or Dekoni.

Heard from a friend that these eartips don’t last long, so it is better to keep them dry and away from heat. Purchased from Amazon, Japan

Sony Spare Earbuds EP-EX10A / EP-EX11

Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4.5

Neutral tonality with warm mid-bass and slight treble roll-off. Midrange is smooth and laid-back. Ideal choice for bright and lean sounding earphones.
Purchased from ConnectIT (Singapore)

Sony Triple Comfort
Bore size: regular
Stem length: regular
Feel: spongy and sturdy
Bass: 5
Midrange: 4
Treble: 3.25
Soundstage: 4
Vocal presence: 4.25
For similar to Sony Hybrids but with boosted bass
Purchased from Bic Camera (Osaka, Japan)

Sony Hybrid (discontinued)
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4.5
For neutral tonality with treble roll-off
Purchased from ConnectIT (Singapore)

SoundMAGIC Silicone Eartips (Bowl-shape)
Bore size: wide
Stem length: short
Feel: firm and supple
Bass: 4.00
Midrange: 4.50
Treble: 4.00
Soundstage: 4.00
Vocal presence: 4.25

These wide-bore eartips unlike many do not introduce and add glare or brightness. They remind me of JVC Spiral Dot but with a slightly more forward vocal presentation and wider staging. Good stuff if you love JVC Spirial Dot but hate its high price.

Purchased from SoundMAGIC Official Taobao Store

SoundMAGIC Silicone Eartips (For Sports)
Bore size: wide
Stem length: short
Feel: firm and supple
Bass: 2.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.50
Vocal presence: 4.00

Similar to TFZ “Pumpkin”, these eartips are shaped like jack-o’-lanterns. They suppress bass and sub-bass like nobody’s business. Their “enhanced” upper-midrange and treble are the two main reasons why people would buy them. Then again, these look more like Halloween novelty items than proper audio products. The soundstage is open and airy but lacks depth and dimension. Great eartips to sabotage your basshead friend.

Purchased from SoundMAGIC Official Taobao Store

SoundMAGIC Silicone Eartips (Bullet-shape)
Bore size: very narrow
Stem length: short
Feel: firm and supple
Bass: 3.00
Midrange: 3.00
Treble: 3.50
Soundstage: 3.50
Vocal presence: 3.50

Very mediocre eartips. They congest bass and low-midrange so much, making the lower-registers sound murky and blurry. On a positive note, they feel comfortable and seal well in my ears.

Purchased from SoundMAGIC Official Taobao Store

SoundMAGIC Silicone Eartips (Pumpkin-shape)
Bore size: wide
Stem length: regular
Feel: soft and pliable

Bass: 2.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.50
Vocal presence: 4.50

These pumpkin-shaped eartips dramatically reduce bass and sub-bass frequencies. Their emphasis on upper-midrange and treble frequencies is the primary selling point. While their unique design might suggest a novelty item, they offer a surprisingly open and airy soundstage, though lacking some depth. Overall, their sound transparency is excellent.

Purchased from SoundMAGIC Official Taobao Store

SPEAR Labs nFORM XTR SERIES 500
Bore size: regular
Stem length: regular
Feel: spongy and sturdy
Bass: 4.5
Midrange: 4.5
Treble: 3.25
Soundstage: 3.75
Vocal presence: 4.25
An alternative to Sony Hybrids (EP-TC50M). Compared to the Sony, nFORM has a clearer and tighter bass, with forward midrange. Human voice can sound nasally (a common problem with foam-based eartips). Soundstage is narrow and stereo imaging less distinctive and precise. Nonetheless, nFORM is extremely comfortable for long listening sessions. Suitable for bright and lean sounding earphones.
Purchased from MTMT Audio, Hong Kong

SpinFit CP100
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5
Treble: 4
Soundstage: 4
Vocal presence: 3.25
For neutral tonality with emphasis in midrange.
Purchased from Stereo Electronics (Singapore)

SpinFit CP100+
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5.0
Treble: 3.75
Soundstage: 4.0
Vocal presence: 3.75
Slight improvement over the original CP-100 especially in the midrange and upper-midrange. However, I feel the top-end is less airy than CP-100. Bass also lacks a bit of punch and dynamics. The “plus” addendum probably comes from the better portrayal of the human voice. True enough, vocals sound slightly more forward and crispier.

Imaging, focusing, instrument and vocal separation definitely improved over its predecessor. Personally, CP-145 is still my most favourite SpinFit.
Purchased from Amazon.sg (Singapore)

SpinFit CP145
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5
Treble: 4
Soundstage: 4
Vocal presence: 3.5
For neutral tonality with emphasis in midrange and vocal
Purchased from ConnectIT (Singapore)

SpinFit CP155
Bore size: regular
Stem length: long
Feel: soft and flexible
Bass: 4
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
1 mm longer than CP-100 and CP-145, the additional length and bullet-shaped caps of the CP-155 allow deeper insertion to bring more bass and fuller vocal. 
Purchased from ConnectIT (Singapore)

SpinFit CP220
Bore size: regular
Stem length: regular (double flange)
Feel: sturdy and firm
Bass: 4
Midrange: 5
Treble: 4.5
Soundstage: 4
Vocal presence: 4
For neutral tonality with emphasis in bass, midrange and vocal. For clarity and bigger soundstage, choose CP-240.
Purchased from ConnectIT (Singapore)

SpinFit CP240
Bore size: regular
Stem length: regular (double flange)
Feel: soft and sturdy
Bass: 3.75
Midrange: 5
Treble: 5
Soundstage: 4.5
Vocal presence: 4
Exceptional clarity with good treble extension. Soundstage is one of the biggest I have heard. Vocal presentation is forward. Can get sibilant when matched with bright earphones.
Purchased from Stereo Electronics (Singapore)

SpinFit CP350
Bore size: regular
Stem length: short (shallow fit)
Feel: soft and flexible
Bass: 2.0
Midrange: 5
Treble: 5
Soundstage: 4
Vocal presence: 3.5
These eartips are originally meant for TWS wireless earpieces but a friend of mine suggested they are very good at cutting down bass and midbass. Indeed, these are the “Diffuse Field Target-equivalent” of eartips. They clean up the bass.

Reduces mid-bass bloat or muddiness. Upper-midrange is sparkly and treble extension is one of the best I have heard among universal eartips. Vocal is forward with good clarity. NOTE: SpinFit CP-350 has a very shallow fit. Make sure the earphone nozzle length is at least 5mm in order to fit securely.
Purchased from Stereo Electronics (Singapore)

SpinFit CP360
Bore size: regular
Stem length: short
Feel: soft and flexible
Bass: 3.0
Midrange: 5
Treble: 4.75
Soundstage: 4
Vocal presence’ 5
These eartips are meant for true wireless earpieces. If you find SpinFit CP-350 too short, this one fits between regular CP-145 and CP-350. Bass and low-mids are stronger than CP-350. Vocal is forward with good clarity.
Purchased from ConnectIT (Singapore)

SpinFit CP500
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 4.25
Midrange: 5
Treble: 4
Soundstage: 4
Vocal presence: 4.0
A lesser known SpinFit model. CP-500 gives tighter, punchier bass, better vocal presentation than the popular (and common) CP-100 and CP-145. May add sibilance and harshness to bright-sounding earphonesPurchased from MTMT Audio (Hong Kong)

SpinFit OMNI
Bore size: tampered, narrow to wide
Stem length: regular, with dual layered core design
Feel: soft and flexible
Bass: 3.50
Midrange: 5.00
Treble: 4.50
Soundstage: 4.25
Vocal presence: 5.00
SpinFit OMNI is the direct successor to the CP-360, with a longer nozzle stem and the distinction of being the first SpinFit product to offer “in-between” sizes, which are common among eartip brands such as JVC Spiral Dot and Azla SednaEarFit.

Compared to the CP-360, the OMNI delivers a thumpier bass response with heavier note weight, forward vocals with good clarity, and treble extension that is slightly less pronounced.

Compared to the W1, the OMNI has a shallower fit and does not provide as good of an ear seal. The low end of the W1 is also more substantial. However, the OMNI offers better vocal clarity, cleaner and crispier highs, and a slightly deeper soundstage.

TAKE NOTE: OMNI will not fit nozzle diameter larger than 5.5mm.

Purchased from Amazon (Singapore)

SpinFit W1
Bore size: regular
Stem length: regular
Feel: soft and grippy

Bass: 3.75
Midrange: 5.0
Treble: 4.50
Soundstage: 4.75
Vocal presence: 4.50

The SpinFit W1 is probably the most anticipated silicone eartip release from the Taiwanese company in recent years, and they certainly deliver. If you like Azla SednaEarFit XELASTEC but dislike its “dust magnet” and tacky properties, SpinFit has answered your prayers with the W1. A hybrid between XELASTEC and Moondrop Spring Tips, SpinFit W1 gives superb clarity, improves soundstage and stereo imaging and cleans up bass and mid-bass. However, I find it unsuitable for bright or harsh-sounding earphones. May exaggerates metallic timbre if and when implemented incorrectly.

Purchased from Amazon US.

Symbio Orange Peel
Bore size: regular
Stem length: short
Feel: sturdy and very firm
Bass: 4
Midrange: 3
Treble: 4.25
Soundstage: 4.25
Vocal presence: 3.5
Good midrange. Punchier bass, better treble extension and more open-sounding compare to Symbio W.
Purchased from Symbio direct (Hungary)

Symbio W
Bore size: regular
Stem length: short
Feel: sturdy and very firm
Bass: 3.25
Midrange: 4.75
Treble: 3 75
Soundstage: 4
Vocal presence: 3.5
For good midrange, slight treble roll-off
Purchased from Symbio direct (Hungary)

Symbio Eartips Wa
Bore size: regular
Stem length: short
Feel: sturdy and firm
Bass: 3.25
Midrange: 4.75
Treble: 3 75
Soundstage: 4.00
Vocal presence: 3.50

This is Symbio W with a softer stem. Because of this, I feel that Symbio Wa doesn’t put as much pressure in the ear can thus slightly more comfortable than other oranges. Sonic-wise, both are similar.

Purchased from Symbio direct (Hungary)

Symbio Eartips Wn
Bore size: regular
Stem length: short
Feel: sturdy and very firm
Bass: 3.25
Midrange: 4.75
Treble: 4.00
Soundstage: 4.00
Vocal presence: 3.75

Barely 1mm taller than Symbio W, the Wn sounds a bit more vocal forward otherwise it is identical to the W in every aspect.

Purchased from Symbio direct (Hungary)

T

Tanchjim T-APB Air Pressure Balance Silicone Eartips T300T (Treble Enhancing)
Bore size: wide
Stem length: regular
Feel: sturdy and firm
Bass: 4.5
Midrange: 4.5
Treble: 4.5 
Soundstage: 3.75
Vocal presence: 4What’s is T-APB? Simply put it, a hexagonal-shaped internal wall of the nozzle that Tanchjim claims “enhance the comfortness (is there such a word?) by evenly balancing the air pressure inside the ear canal, thus to prevent swelling of the ear canal caused by prolonged use of earphone”

… Marketing aside, the T300T (Treble Enhancing) eartip does pushes some high frequency through but it causes the entire bass spectrum and low-mids to “muddle up”, resulting in a loss of texture and low-end details. Does not go well with “thick-sounding” IEMs but good match for leaner-sounding ones BUT be very careful as it might brighten sound too much. 
Purchased from Hifigo

Tanchjim T-APB Air Pressure Balance Silicone Eartips T300B (Bass Enhancing)
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 4.0
Midrange: 4.5
Treble: 4
Soundstage: 4
Vocal presence: 3.75What’s is T-APB? Simply put it, a hexagonal-shaped internal wall of the nozzle that Tanchjim claims “enhance the comfortness (is there such a word?) by evenly balancing the air pressure inside the ear canal, thus to prevent swelling of the ear canal caused by prolonged use of earphone”

… Marketing aside, the T300T (Treble Enhancing) eartip is surprisingly neutral despite the “Treble Enhancing” name tag. I find the vocal slightly laid-back and lower-mids a tad muffled. Otherwise, a good choice for IEMs with diffused-field tuning, such as those from Tanchjim and Moondrop.
Purchased from Hifigo

TangZu Tang Sancai (唐三彩) Advanced Eartips (Wide Bore)

Bore size: extra wide
Stem length: regular
Feel: firm and pliable

Bass: 3.75
Midrange: 5.00
Treble: 4.50
Soundstage: 4.75
Vocal presence: 4.50

Tang Sancai (唐三彩), known as “Tang Dynasty three-color ware,” refers to a type of glazed ceramic pottery that originated in China during the Tang Dynasty (618-907 AD). The term “Sancai” (三彩) translates to “three colors” in Chinese, which refers to the typical color palette used in this type of pottery. Characterized by its distinctive tricolor glaze, Tang Sancai pottery consists of a combination of yellow, green, blue, and white colors, which explains why these eartips come in yellow (Small), green (Medium), and blue (Large).

These eartips are upper midrange forward with a sense of clarity and space, without sacrificing tonal weight. I prefer this to Tang Sancai balanced eartips. Compared to my reference – the SpinFit CP-145, Tang Sancai wide bore sounds cleaner, clearer and has more texture. Treble extension is much better, providing more space around the instruments.

Compared to the crowd favorite – TRI Clarion, Tang Sancai wide bore sounds less open and not as crisp. Soundstage is a tinge narrower as well. However, it has a heavier note weight than Clarion.

The final comparison is with Moondrop Spring Tips. Here is where both eartips share more similarities. Both eartips are upper-mid forward but Tang Sancai wide bore sounds a tad smoother and less sibilant. It also seals better in my ears but fit is subjective.

Do take note that my audiophile buddy broke one of his Tang Sancai wide bore eartips while trying them the first time. Be very careful when swapping tips.

Purchased from Angelears AliExpress Store.

TangZu Tang Sancai (唐三彩) Advanced Eartips (Balanced)

Bore size: wide
Stem length: regular
Feel: firm and pliable
Bass: 4.50
Midrange: 5.00
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.50

Tang Sancai (唐三彩), known as “Tang Dynasty three-color ware,” refers to a type of glazed ceramic pottery that originated in China during the Tang Dynasty (618-907 AD). The term “Sancai” (三彩) translates to “three colors” in Chinese, which refers to the typical color palette used in this type of pottery. Characterized by its distinctive tricolor glaze, Tang Sancai pottery consists of a combination of yellow, green, blue, and white colors, which explains why these eartips come in yellow (Small), green (Medium), and blue (Large).

These eartips are vocal forward, full-bodied, and bass-heavy, with an average soundstage projection and a slight top-end congestion. Compared to my usual reference, the SpinFit CP-145, Tang Sancai sounds bassier, more robust, and fuller. Vocals are pushed forward with a bit of nasal undertone, especially on husky female vocals, such as Patricia Barber. Treble extension is much better on the CP-145, providing more space for instruments to breathe.

When compared to Acoustune AET07 and its 07 variants, both eartips become more similar. However, to my ears, AET07 sounds cleaner and clearer. On the other hand, Tang Sancai sounds bolder, with thumpier bass and smoother overall sound.

The last comparison is with Final Audio Type-E. To me, Final Type-E is like a glass of smooth, rich, and creamy oak-aged whiskey. Tang Sancai’s full-bodied presentation can’t match Type-E’s. However, Tang Sancai excels in vocal projection, has slightly better treble extension, and delivers a snappier mid-bass thump. In terms of soundstage, Final Type-E is better but not by much.

Purchased from Angelears AliExpress Store.

Tennmak Whirlwind
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 2
Midrange: 4.5
Treble: 4.25
Soundstage: 4
Vocal presence: 4.5
Reduces bass and mid-bass significantly. Let vocal shines through.
Purchased from Tennmak Store on AliExpress

TFZ “Pumpkin” Silicone Ear Tips
Bore size: wide
Stem length: regular
Feel: soft and pliable
Bass: 2.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.50
Vocal presence: 4.50

Shaped like a white pumpkin, these eartips suppress bass and sub-bass like nobody’s business. Their “enhanced” upper-midrange and treble are the two main reasons why people would buy them. Then again, these look more like Halloween novelty items than proper audio products. Soundstage is open and airy but lacks depth. Overall, sound transparency is surprisingly good. Great eartips to sabotage your basshead friend.

Purchased from TFZ Taobao Official Store

TRI Clarion
Bore size: wide
Stem length: regular
Feel: soft and pliable
Bass: 3.00
Midrange: 4.50
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00

These are probably the most sibilant eartips I have tested so far thus avoid using them on earphones that sound bright and tizzy. These eartips reduce mid-bass and sub-bass to the point whereby there is very little bass rumble. Vocals are pushed forward. Of all the traits, what impresses me most is the huge soundstage they project.

Purchased from KB EAR / TRI AliExpress Official Store

TRN Silicone Eartips
Bore size: regular
Stem length: regular
Feel: flexible with firm stem
Bass: 3.5
Midrange: 3.25
Treble: 3.0
Soundstage: 2.50
Vocal presence: 3.0
Listening to these eartips is like having a thick veil covers the entire frequency spectrum. They simply muffle sound! Bass is clumpy, lacks texture and details. Midrange and upper-registers cover by a layer of haze. Vocal is lackluster and lifeless. Staging is flat and narrow. Imagining is fuzzy. One of the worst eartips I have tested so far.
Purchased from TRN Official Store on AliExpress

TRN T-Ear Tips

Bore size: regular
Stem length: very short
Feel: soft and pliable
Bass: 3.75
Midrange: 4.50
Treble: 4.50
Soundstage: 4.75
Vocal presence: 5.00

These onion-shaped eartips fit smaller and shorter than, say, SpinFit. Overall tonality is upper-midrange and treble emphasis, with a hint of boosted bass. Vocal presence is good but forward and sibilant, so be careful when pairing with bright-sounding IEMs. Soundstage is spacious with good depth and height.

Review sample from TRN.

U

Unique Melody Liquid Silicone Ear Tips (Standard)
Bore size: wide bore
Stem length: extremely short
Feel: soft and grippy
Bass: 3.00
Midrange: 5.00
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00

Made of the same transparent liquid silicone material as Softears UC eartips but at a lower cost. I find these tulip-shaped eartips sound clean, clear and airy. Midrange, vocal presentation, and soundstage are outstanding. Bass and mid-bass are on the lean side. Unfortunately, these eartips attract dirt and dust, so clean them regularly if you use them frequently.

WARNING: Due to its EXTREMELY short stem, DO NOT use earphones with short nozzle.

Purchased from Unique Melody Official Store

Unique Melody Liquid Silicone Ear Tips (Vented)
Bore size: wide bore
Stem length: extremely short
Feel: soft and grippy
Bass: 0.00
Midrange: 5.00
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00 (SHOUTY!!!)

It isn’t a typo error. The bass score is 0.00, meaning ZERO bass. Vented means no seal. Without a good ear-seal, bass disappears. There is no noise isolation as well. Other than vent holes on the cap, it is the same eartip as standard Unique Melody Liquid Silicone Ear Tips with SHOUTY upper registers!

WARNING: Due to its EXTREMELY short stem, DO NOT use earphones with short nozzle.

Purchased from Unique Melody Official Store

Whizzer Easytips ET100 (natural)

Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 3.75
Midrange: 4.0
Treble: 4.0
Soundstage: 4.5
Vocal presence: 3.5

W

A very interesting eartip that looks like a toilet plunger. The shape may be odd but the sound isn’t. Balanced, clean and clear tonality that is neither too bright nor too bassy. Seals and isolates well too.
Purchased from OperaFactory Taobao Official Store

Whizzer Easytips SS20 (soundstage)

Bore size: wide
Stem length: regular
Feel: soft and pliable
Bass: 3.5
Midrange: 4.25
Treble: 4.25
Soundstage: 5.0
Vocal presence: 3.5

As the title implies, this eartip improves soundstage, and this isn’t a gimmick. It really adds dimension to sound, giving it a more spacious presentation.
Purchased from OperaFactory Taobao Official Store

Whizzer Easytips VC20 (vocal)

Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4.0
Midrange: 3.75
Treble: 4.0
Soundstage: 2.5
Vocal presence: 2.5

Not very good. This eartip clouds midrange and boosts low-mid a bit too much for my taste. Resolution is poor as well. Everything just sounds stuffy and dull. Perfect for bright-sounding IEMs though.
Purchased from OperaFactory Taobao Official Store

Z

ZhuAudio (竹林鸟) Bamboo Rhyme (竹韵) Latex Bamboo Tips
Bore size: wide
Stem length: regular
Feel: plush and grippy
Bass: 4.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.75
Vocal presence: 5.00

These latex eartips remind me of FEAULLE H570 latex eartips but cost a fraction less and come in 3 size-pairs per box. Overall tonality is bright and lively. Bass is girthier than H570 with a good thump. Vocals are sibilant but give particularly good enunciation. Stage and imaging are quite good. Resolves nuances very well. Fit and comfort are good. These don’t feel sticky or attract dust like Azla SednaEarFit XELASTEC.

Purchased from ZhuAudio Taobao Store.

Z Reviews Render Eartips
Bore size: wide
Stem length: short
Feel: soft and spongy

Bass: 4.75
Midrange: 4.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 4.50

Zeo’s Render hybrid eartips offer a compelling combination of comfort and exceptional isolation, surpassing the softness of Symbio W tips. Their bass performance takes center stage, delivering a punchy and satisfying low-end without the mid-bass bloat common in many foam eartips. In terms of sound signature, they closely resemble the very expensive Sony EP-N1000M, albeit with a slight compromise in upper-midrange clarity. Compared to Zeo’s other favorite, the Dekoni Bulletz foam tips, the Render eartips offer a significant boost in clarity, vocal presence, and bass impact.

Purchased from HiFiGo Online Store.

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RELATED…

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The post Tweaking Tips – A Simplified Guide To IEM Silicone Eartips UPDATED 2024-03-30 appeared first on Music For The Masses.

Cons — Boomy, texture-less bass
– Lack of sub-bass rumble at the extreme end
– Scooped lower-mids, male vocals sound muffled
– Treble sounds harsh when listening to higher volumes
– Imaging/staging/resolution are average at best
– Compressed dynamics

INTRODUCTION

KZ is perhaps the most popular chi-fi manufacturer and in terms of sheer number of models available I think they got everyone beat. I did not keep up with their hectic release schedule for the better part of the year, but the KZ ZEX did catch my attention. Why, you ask? The EST (Electrostatic) buzzword, of course.

Most IEMs in the budget range go for a single-dynamic or a balanced-armature hybrid setup, so the ZEX is a refreshing change of pace. Let’s see if the sound quality is as good as it’s supposed to be.

Note: the ratings given will be subjective to the price tier. KZ sent me the ZEX for evaluation.

Sources used: Hidizs AP80 Pro
Price, while reviewed: $25. Can be bought from KZ’s Official Website.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging is no-frills but has all the necessities. You get 3 pairs of Starline tips (white) and a 2-core SPC wire. The cable itself is rather nice, especially given the price and how some manufacturers cut corners here. I wish there was a carrying case, but I am nitpicking here.
4/5

BUILD QUALITY

The KZ ZEX have plastic shells (including the nozzles) with a metal backplate. The finish is good with no visible seam between the plastic shell and the metal backplate. At the bottom of each earpiece you’ll find the 2-pin port (protruted ones, sadly). There are no vents which is surprising given the existence of a dynamic driver inside. A pretty generic build overall but it’s well-executed.
4/5.

COMFORT, ISOLATION, AND FIT

Due to their lightweight nature and lack of vents, the KZ ZEX are very comfortable to wear and they isolate well. There is some pressure build-up but it only occurs occasionally. Not bad for a vent-less shell design.
4/5

SOURCE AND EARTIPS

The ZEX is very easy to drive and shouldn’t need any special source to sound its best. For the review I primarily used the Hidizs AP80 Pro. As for tips, I used the stock tips and they worked well.

DRIVER SETUP

KZ ZEX is a dual-driver hybrid, with a 10mm dynamic driver in charge of the lows and mids, and a 6.8mm “electrostatic” driver in charge of the highs. In reality, the electrostatic driver is a magnetostatic one and operates similarly to the principle of electret mics (just reverse-engineered). Despite the misleading marketing, the driver combination is quite rare in the budget realm and warrants a closer look.

TONALITY AND TECHNICALITIES

The KZ ZEX has a V-shaped signature with the mid-bass bloom dominating the sound signature.

I usually start my sound section with the bass and then I go upward, but this time I’ll change things around a bit. The treble will be the highlight here for me because the KZ ZEX has a quite interesting treble response. In moderate listening volumes (around 70dB or so) the treble has a nice attack and sounds crisp without being overbearing or fatiguing. However, as you push the volume up, the treble becomes even more peaky ~5KHz and loses its composure.

I believe that this particular electret/magnetostatic driver is not suited for high SPL listening. So perhaps this is something to take note of when auditioning the ZEX. As for the midrange – it is not well-tuned. I am not a fan of the scooped out male vocals. Moreover, the upper-mids sound suppressed in high-pitched vocals, resulting in a boxy vocal reproduction.

The bass response, meanwhile, is mostly mid-bass focused and sub-bass rumble is not prominent. Bass lacks texture and has slow decay so bass notes can smear into each other. The emphasis on the upper-bass is a bit too much (rising from 700Hz almost) and this masks lower-level detail.

Speaking of detail, the ZEX isn’t particularly resolving even for the price. Dynamics sound compressed due to aforementioned upper-bass boost. Soundstage is below-average whereas imaging is basically left and right. Not much to write home about here.

Bass: 3/5
Midrange: 2/5
Treble: 3.5/5
Staging: 2.5/5
Imaging and Separation: 2.5/5
Dynamics and Speed: 2/5

KZ ZEX FREQUENCY RESPONSE GRAPH

SELECT COMPARISONS

vs BLON BL-03

The BLON BL-03 have been one of the few hype-trains that did not get derailed. It’s been a couple of years now that the BL-03 has remained the de-facto budget IEM recommendation.

In terms of overall build, comfort, accessories – the KZ ZEX are superior to the BL-03. The BLONs require a cable and tip change as the stock ones are horrible. When it comes to sound though, these IEMs go for different direction.

BLONs go for a slightly V-shaped tuning with warm mids and slightly rolled-off treble. The KZ ZEX on the other hand goes for a more pronounced treble response. In terms of midrange tuning and timbre, the BL-03 trounce the ZEX. I do think the ZEX has more sparkle in their treble. BL-03 bass is also more textured and doesn’t sound as smeared as ZEX.

Staging is middling on both whereas imaging is better on the BL-03. BL-03 also sounds more dynamic and less compressed than the ZEX. So apart from the treble, the ZEX is not really an upgrade over the BLON in most factors. Rather the opposite is often true.

CONCLUDING REMARKS

The most interesting part about the KZ ZEX are their driver configuration and their treble response (in moderate listening levels).

Sadly, the midrange tuning isn’t up to the mark with overly recessed male vocals, and the bass is just slow and texture-less. The treble itself can get grainy once the volume is pushed up, so the ZEX have caveats all around.

The KZ ZEX falls victim to poor tuning decisions in the bass and mids despite having a fairly novel driver configuration. I hope KZ goes back to the drawing board and fixes the tuning issues in the upcoming model. For now, I cannot recommend the KZ ZEX.

MY VERDICT

2.5/5

Interesting driver configuration let down by questionable tuning decisions.

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DISCLAIMER

Get it from KZ Official Store

Our generic standard disclaimer.

PHOTOGRAPHY

You find an INDEX of our most relevant technical articles HERE.

The post KZ ZEX Review (1) – Patchwork appeared first on Music For The Masses.

Intro

The Questyle CMA Twelve (how dare anyone substitute a 12) DAC and Headphone amp combo is a solid hunk of amp with a very premium feel and a 2019 premium-ish price tag at $1499. All sorts of options up and down the scale. In my house the closest competitor is a whooping $200 stack of compact DAC and no frills headphone amp Liquid Spark + JDS Labs Atom.

Questyle has a wonderful track record for art and design however there is some not so happy thoughts on their customer service follow-through. The Questyle CMA Twelve DAC and Amp combo naming celebrates a whooping 12 year history in the headphone world. It’s a wonderful piece of machinery with a few minor near misses.

They claim a patented Current Mode Amplification technology sit inside cuddled up to Class A amplification. Sonically it does everything a premium product should do, powerful amplification, transparent noise-floor, butter smooth presentation with exceptional precision, I think I am in love.

Disclaimer

Let me first thank Audio46 for the opportunity to test this out in my home sanctuary. This is outside of the realm of equipment I usually consider so not a whole lot of equivalent equipment to compare it to. This audition audio tour sponsored on Head-fi set me back $20 in shipping, a small 1 week rental fee, how lovely.

Good Traits

• Solid Construction
• Excellent midnight black noise floor
• Resolution and clarity
• Input voltage for the masses, selectable 110/220V

Opinionated Commentary

There are only minor imperfections on the Questyle CMA Twelve

Low volume channel imbalance. It goes away after a few clicks up from 0 and is present on my normal setup as well. It should not a be a deal breaker, unless it exhibits this at listening level someone would actually use. There is also some electromagnetic feedback static induced into the circuit because it is motorized. Just more analog character charm.

The other strange thing I do not understand is if their claim to fame is the current mode amplifier running in their controlled/auto Class A bias mode, why is it not an option to toggle to headphone amp only mode with input from another DAC on the Questyle CMA Twelve?

A proprietary wireless receiver input that is not standard bluetooth. This is Apple thinking that the consumer will buy into a Questyle Ecosystem.

The last oddity is placement of the gain switches, there are 4 since they are independent for each channel (balanced). They are underneath. I understand from a circuit design perspective they wanted to keep it clean, but from a user experience it’s a tad annoying. If you never plan on using this with highly sensitive IEM’s no worries to be had.

Cosmetic Package

The design of the Questyle CMA Twelve has a geek side something that satisfies the more mature crowd without overly bright flashy displays, but instead goes for an engineer’s idea of a piece of lab testing equipment.

The indicator lights are not overbearing and very sharp looking. The toggle switches feel dainty, but my experience with these in my day job will no doubt prove to last a long time.

Power Consumption Tests

Seems silly to care but climate change anyone? No really my curiosity wanted to know how much extra power is used when switching into high bias setting on the Questyle CMA Twelve.

0.14/0.17A Standard vs High Bias
0.16/0.19A after warmed up
12W/15W Volume/load has no measurable bearing on this as expected for a Class A amp.
14W/16W after warm

Sound

The Bias switch does make a difference, I am glad they allow you to switch it on/off just to see the effect-show and tell. Bass has a little more haptic while the treble portrays everything more dimensionally.

Similar to going from a more dead room to a lively room, extremely subtle but still noticeable. The question is does this add coloring or remove coloring? I cannot answer but I would love to believe it makes it more expansive without coloring.

Testing the DAC output to my JDS Labs Atom, there was also a slight improvement in the separation of instruments, but as expected it is the total combination of the DAC and amplifier that are musical and organic.

The Questyle CMA Twelve treble comes off smoother and yet still more detailed. I found myself missing that extra little seismic information that it extracts when I went back to my Atom. Going from memory, I prefer the Questyle CMA also over the SMSL SH-9 due to the sterile cleanliness and the more analog volume control.

Power output should be plenty to drive almost anything, I don’t have anything besides the Sennheiser HD6XX that really needs the super power, but the Oppo PM-3 and JVC HA-FDX1 also benefited from the extra headroom. I pretty much used it in standard gain mode with everything since it was annoying to flip it over to make changes.

Other Fun Features

I am not really equipped to test these functions out but they are part of the Questyle CMA Twelve package for those interested.

• 4.4mm Pentacom or 4Pin XLR balanced output. I don’t have any cables to utilize.​
• Balanced output into an amplifier as a standalone DAC. I have no 2 channel system that would do it justice.​
• Proprietary 5Ghz wireless receiver input.​
• DSD playback, not my thing​
• Studio output, not a music producer/mastering engineer so no gear.​
• The Remote, probably more useful in DAC only mode. Buttons appear to be fuzz magnets.​
• Optical Digital Input
• SPDIF IN/OUT Composite
• AES/EBU input

Final Remarks

The Questyle CMA Twelve is a wonderfully sounding DAC amp combo that extracts the microdetails, plenty of connection options minus the ability to use it as a headphone amp only being the only drawback. If I had the desire to purchase gear over $300-400, this would be on my short list.

Since this product was released in ?2019 it doesn’t utilize the newest DAC chips or boast over the top SINAD numbers, yet it still sounds more musical and more transparent than my limited sampling. A caveat-I don’t want to pile on, but there have been some past complaints about support, and as you go up in price tiers the support is something you hope to never have to use.

Perhaps they will be more responsive if there is an issue, but this is something to consider with any brand in such a niche market. With that out of the way, overall excellent sounding DAC/Amp combo.

Specifications

DAC+Headphone Amplifier Section

Outputs:
4.4 mm balanced headphone jack
4PIN balanced headphone jack
6.35mm headphone jack

Max Output Power(Po):
247mW @ 300Ω; 900mW @ 32Ω(6.35mm headphone jack)
825mW @ 300Ω; 2W @ 32Ω (balanced headphone jack)

THD + N:
0.00070% @Po=100mW, 300Ω
0.00167% @ Po=50mW, 32Ω

Frequency Response:
DC-20kHz(+0, -0.4dB)@0dBFS, 24Bit, 192kHz
DC-80kHz(+0, -3dB)@0dBFS, 24Bit, 192kHz

SNR: 112dB, non-weighting

DAC+Pre-Amp Output Section

USB Type B Input:
Support 44.1kHz-384kHz/16Bit-32Bit PCM and DSD Native DSD64, DSD128, DSD256, as well as DSD64, DSD128, DSD256 of DoP format
(Note: support Win XP, Vista, Win7, Win8, Win10 and Mac OS)

Digital Input & Output:
SPDIF input and output, Optical input, AES/EBU input
Support 44.1kHz-192kHz/16Bit-24Bit PCM

Pre-Amp & DAC Section:
Balanced XLR x1 pair, unbalanced RCA x1 pair
STANDARD 14dBu: XLR: 5.084V RCA: 2.549V
STUDIO 20dBu: XLR: 8.887V RCA: 4.475V
THD+N@STUDIO 20dBu: XLR: minimum at 0.00085% RCA: minimum at 0.00115%
SNR: XLR:>112dB RCA:> 109dB (non-weighting)
(Note: FIX/ADJ: Fixed Output Mode or Adjustable Output Mode of the pre-amp.)

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Disclaimer

Since Audio46 loaned this out, you can check out the QUESTYLE CMA TWELVE at their storefront. No affiliate links, no kickbacks.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post Questyle CMA Twelve – Blissfully Biased appeared first on Music For The Masses.

• Small and light, good build.
• 3 modes for more versatility – music, gaming and movie modes.
• Innovative detachable magnetic cable system.
• Plug and playable, compatible with desktops/laptops, apple and android phones (there is an option to get Lightning versus USB C connectors).
• Very low output impedance, suitable for low impedance IEMs. No hiss.
• Neutralish, with a slight bass boost to add some fun.
• Volume controller.

Cons

• Gets slightly warm.
• Volume may jump when switching between modes – best to mute device/lower volume first.

Executive Summary

The IKKO Zerda ITM01 is a swiss army knife of the budget dongle DAC/AMP arena. It has a music, gaming and movie mode, making it quite versatile. It also has volume controls and boasts a very innovative magnetic cable system. There is good power on tap, yet this set can still drive low impedance type IEMs because of its low output impedance.

Specifications

• DAC uses ESS’s high-performance ESS9298 chip
• PCM supports up to 16Bit/384kHz
• DSD supports up to DoP128
• Adopts ikko’s custom anti-interference magnet thread connection method
• SNR: 118dB@32Ω (A-weight)
• Frequency response range: 20Hz-40kHz (-0.5dB)
• Output impedance: <0.8Ω
• Adaptation impedance: adaptive 16ohm – 600ohm
• Output level: 2V @ 32Ω (125mW @ 32Ω)
• Distortion: < 0.001%
• Decoding ability: Simulation (multiple sound optimizations)
• Size: 58x22x11mm
• Output: 3.5 mm
• Tested at $59 USD

Accessories

• 1x Ikko ITM01 Dongle
• 1x USB A cable
• 1x Type C or lightning cable (you can choose either option at order).

The USB A cable is very long, so no worries of a too short cable limiting your usage. In fact I found it too long and dangly, and had to tie up the cable when using it with my laptop. This cable is cloth braided and there is an included faux leather strap to tie the USB A cable.

A second cable is included, this is either a Lightning or USB Type C connector, depending on which one you choose at ordering. Well that depends if you are of the Apple or Android persuasion, but this cable is very much shorter.

These 2 included cables feature a very nifty and innovative magnetic connector to attach the cable to the DAC/AMP device. The magnetic end of the cable locks on easily and can be used in either direction; this may lessen wear and tear for frequent cable changing.

Contrary to the impressions that a magnetic connector can cause an easy dislodgement of the cable from the DAC/AMP, it is actually not easy to remove this magnetic clamp once the cable is inside, and I had no issues with dislodging the cable on the go.

This cable is unfortunately proprietary. I do appreciate that this DAC/AMP dongle’s cable is detachable, as a non-detachable one may be a point of failure down the line. In this current year of 2021, it is really not excusable to have a non-detachable cable for these dongles (unless we are talking about an ultra-budget set), as a non-detachable cable is one awkward yank away from being a white elephant.

Build

The ITM01 is made of plastic, but is sturdy yet light. As mentioned above, the detachable cable definitely should prolong its lifespan.

Measuring in at 58 x 22 x 11 mm, this set can easily fit into a jeans pocket on the go.

This set has a 3.5 mm output (single ended) and has no balanced option.

Functionality

The IKKO Zerda ITM01 is a plug and play set, and is compatible with desktops/laptops, apple and android phones (depending on the cable type you order), without any need to install drivers.

Disclaimer: I am not an Apple fanboy and do not own any Apple products, so I opted for the USB C version and tested this set on Android phones and a Windows laptop. Please check with others who have bought the Lightning version if they have any issues with Apple products.

The volume buttons work as advertised on the IKKO Zerda ITM01, they can be pressed down with a satisfactory click. I appreciate that the volume steps in the ITM01 are quite fine, unlike the Tempotec Sonata HD Pro, which have huge volume levels in between each volume step.

Pressing the middle button once (short press) pauses or starts the music. This middle button also controls the mode if pressed for 3 seconds: music (yellow LED), movie (blue LED) and game mode (purple LED).

Technical Aspects

The IKKO Zerda ITM01 can support PCM up to 16Bit/384kHz and DSD up to DoP128.

I did not note any RF interference when putting the IKKO Zerda ITM01 through its paces. Neither did I hear any hiss nor clicking with changing tracks midway. There is a bit of a clicking noise however, when changing modes.

On the music mode (yellow LED), the IKKO Zerda ITM01 essentially is neutralish with a slight bass boost. This keeps it from sounding sterile and adds a little bit of fun to the equation. The background is pitch dark with highly sensitive IEMs.

In fact with the advertised <0.8Ω output impedance, this set is perfect for multi driver low impedance IEMs (rule of eights in audiophile teachings). I’ve tried some 9ish ohm low output impedance sets like the Audiosense T800 and TRI Starsea on this DAC/AMP without any issues.

With very high impedance earbuds and cans eg ~ 300 ohms, the IKKO Zerda ITM01 faired well and could drive such gear adequately. When paired with some power hungry IEMs, eg KBEAR BElieve/Final E3000 (low sensitivity) and TRI I3 (planar tribid), these all sounded good, with a lot more headroom to spare.

On the movie mode (blue LED), the soundstage was compressed a tinge, with a boost in the upper mids region, giving more clarity to voices. This gave a spherical blob of soundstage with the head as the reference point, and there was some loss in instrument separation.

I didn’t get a “surround sound” vibe with this mode though. The volume cap is also much higher here than on the music mode, and the volume levels may jump from the music mode when playing an equivalent track (so beware).

On the gaming mode (purple LED), the soundstage became unnaturally wide (it may not be suited for music listening as such), but this might aid in placement of gun shots and footsteps, especially for FPS players. Instrument separation does take a hit compared to the music mode.

Likewise, the volume cap here is also much more than on the music mode, and the volume can also jump suddenly compared to the music mode, while on the same test track.

Hence, when changing modes to the gaming/movie mode, as they have a different volume level/cap, my advise is to mute the volume of your device and put the source (eg phone/laptop) volume to zero, and slowly increase incrementally, in case of any sudden jumps in volume between the modes.

The IKKO Zerda ITM01 does get a bit warm with prolonged usage, but I’ve definitely had other dongle DAC/AMPs that go much hotter.

Comparisons

Compared to the Tempotec Sonata HD Pro, the ITM01 has about comparable sound quality, but the ITM01 is more fun sounding in view of a bass boost, compared to the rather neutral Sonata HD Pro; the Sonata HD Pro can sound a bit more boring as such.

The Sonata HD Pro also has weaker driving power, and can’t drive some more demanding gear, eg 300 ohm cans. Having said that, there are some mods (eg BHD firmware mod, or using a 3.5 mm to 3.5 mm adapter) to get the Sonata HD Pro to output more juice, but the volume steps on the Sonata HD Pro are also bigger, so fine tuning volume levels on the Sonata HD Pro isn’t as reliable.

Compared to the E1DA 9038D, the ITM01 has poorer soundstage and technicalities, but that is not surprising considering the E1DA 9038D is around double the price (the 9038D is not better by twice for sure).

Driving power on both sets are good for a single-ended dongle, but the E1DA 9038D drains more battery and gets noticeably warmer. The E1DA 9038D is also very neutral and may sound more boring and analytical than the ITM01.

Conclusions

The IKKO Zerda ITM01 is a swiss army knife of the budget dongle DAC/AMP arena. It has a music, gaming and movie mode, making it quite versatile. It also has volume controls and boasts a very innovative magnetic cable system. There is good power on tap, yet this set can still drive low impedance type IEMs because of its low output impedance.

This DAC/AMP dongle (on the music mode) features a neutral signature with some slight bass boost to add a bit of fun to the music. Soundwise, the ITM01 definitely holds its own at the budget segment, and at $59 USD, has really quite good price to performance ratio. Recommended!

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Disclaimer

I would like to thank Rebecca from IKKO for providing this review unit. It can be purchased here: https://www.ikkoaudio.com/products/ikko-zerda-itm01-portable-audio-dac-detachable-magnetic-cable-adapter

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Nice build and good comfort. Beautiful shells.
Organic timbre.
Pleasant tonality.
Big bass yet with good quality and speed.
2 pin connector, better lifespan than MMCX in general.
Adequate accessories at this price bracket.
Easy to drive.

Cons

Below average isolation.
Shells may be a fingerprint or scratch magnet.
Not the best microdetails.
Not the most extended treble.

EXECUTIVE SUMMARY

The KBEAR Aurora is a lush harmanish single DD set. It features a beautiful shell, organic timbre and great tonality. This set generally scores good marks across most departments, only perhaps lacking in treble extension and microdetails.

SPECIFICATIONS

• Driver configuration: 10mm Nano Titanium Plated Diaphragm
• Frequency response: 20 Hz – 20kHz
• Impedance: 18 Ω
• Sensitivity: 105 dB/mW
• Cable: 2 Pin (0.78mm), OFC Silver plated cable
• Tested at $169 USD

ACCESSORIES

The Aurora comes in a nice packaging featuring an Aurora Borealis motif.

Included are:
1) SPC blue cable (ties in nicely with the Aurora snowfield motif) – The cable is well braided, no microphonics, very thicc and substantial. The blue colour may be a bit too showy for some though.
2) Silicone tips of various sizes. Do tip roll to see what suits you sonically and for fit/isolation.
3) Carry case – faux leather, similar to the case seen in other KBEAR products
4) Cleaning cloth
5) Cleaning brush

The accessories provided are par for the course for a $100 USD range set.

I liked that KBEAR is using a cable with a 2 pin connector, I had my fair share of mishaps with MMCX type connectors after switching cables once too often, they ended up like spinning windvanes.

For the purposes of this review, the stock tips and stock cables were used, so as not to change the sound signature with aftermarket gear.

BUILD/COMFORT

Build wise, the Aurora has a shiny mirror like finish, akin to the HZSound Heart Mirror or Moondrop KXXS. The Aurora is quite light and smooth, it is well built with no funny edges to poke the ear. Comfort is very good. But due to the mirror like finish, this set may be finger print or scratch magnet, so do be careful with em.

The shells are quite a looker, while using them on the subway for isolation tests, a few curious commuters kept looking at the Aurora earpieces.

I didn’t have driver flex on my set, but this is partially related to ear anatomy an types of tips used, so YMMV.

ISOLATION

Unfortunately, the Aurora’s isolation is below average. I lost quite a lot of the bass frequencies when using them on a subway (bass is generally the first frequency lost in a noisy place). This skewed the sound to be a bit shouty in the upper mids/treble. So personally, I think the Aurora’s ideal sound is to be gotten when using them at home or in a quiet area.

DRIVABILITY

I tested the KBEAR Aurora with a Khadas Tone Board -> Schiit Asgard 3 amp, Khadas Tone Board -> Topping L30 amp, Sony NW A-55 DAP (Walkman One Plus v2 Mr Walkman Mod), smartphone, Shanling Q1 DAP, Tempotec Sonata HD Pro, E1DA 9038D, and a Khadas Tone Board -> Fiio A3 Amp.

The Aurora are relatively easy to drive, but scale well when amped, in the areas of bass tightness, soundstage, dynamics etc. They are definitely easier to drive than their older sibling the KBEAR BElieve.

SOUND & TECHNICALITIES

The KBEAR Aurora is a harmanish warm set. The Aurora Borealis icy motif may give an impression that this is an ice cold set in terms of tuning, but far from it be. The Aurora is actually warm and lush and leans towards analoguish, rather than a sterile frosty wintery wonderland.

The bass of the KBEAR Aurora is midbass focused, it is north of neutral but not at true basshead levels. Subbass extends well, you will get your rumble for the subbass frequencies.

Despite the copious bass, the bass speed is quite agile, note weight is on the thicker side, yet with very minimal midbass bleed. Listening to some of the faster bass movements on songs such as Sting’s “Englishman In New York” (interlude portion), some slower DD drivers can make the bass notes sound like a nebulous haze, but the Aurora passes this test.

Bass is not as fast as BA bass though, but not many sets manage to get a good mix of bass quantity/note weight and bass quality (speed, without bleed). Timbre and texture in the bass is quite good, in keeping with its DD roots.

The KBEAR Aurora’s lower mids are slightly depressed (not overly so). There is a boost in the upper mids, but they have an upper mids that is a few dB lesser than a traditional harman IEM. So generally, they manage to thread a fine line of having a forward upper mids without going too much into shouty territory. Perhaps there is some upper mids glare if one uses them outdoors (poor isolation kills the bass and overly emphasizes the upper mids/treble), or on some poorly recorded tracks or at louder volumes (Fletcher Munson curve).

But by and large, this set doesn’t have the usual banshee upper mids seen in CHIFI tuning, the pinna gain here is around 10 – 11 db. Vocals are forward compared to instruments, and timbral accuracy for vocals is rather organic. I would describe the mids in the Aurora to be on the lusher and thicker side, but it may not have the best transparency or clarity. Think of an analoguish signature like the BLON BL-03 but with better technical performance.

The KBEAR Aurora has moderate treble extension, though it may not be as airy as some multi BA types. So sparkle is a bit tamed, cymbal and high hat hits are a bit muted with the tuning, but consequently, I don’t find the Aurora fatiguing. Some slight microdetails are lost as such. Sibilance is very mild.

In technicalities, the KBEAR Aurora have above average soundstage (in height, depth and width). Imaging and instrument separation are also above average at this price bracket (for a single DD set), though clarity and microdetails are not the best. Those multi driver/hybrid types at the $100ish bracket might be better at technicalities, but some of them have timbre or coherency issues. So different strokes for different folks, pick your poison.

Timbre on the KBEAR Aurora is very good. In fact, I’d say the Aurora have better timbral accuracy than the KBEAR BElieve and some other similarly priced single DD sets. Acoustic instruments like brass, woodwind and stringed instruments all sounded organic. Considering the KBEAR Aurora use a titanium driver, I was pleasantly surprised by the timbre (my past experiences with titanium drivers IEMs wasn’t the best when it came to timbre, eg DUNU DM480, Audiosense AQ7).

COMPARISONS

I have compared the KBEAR Aurora with a few single DD at the upper budget-midfi segment. Hybrids and pure BA types were left out of the comparisons as they have different pros and cons among the different transducer types.

KBEAR BElieve ($159 USD)

Compared to the older KBEAR BElieve, the Aurora is much easier to drive, and it has more subbass extension than the BElieve. The BElieve has more upper mids and treble, and also has better technicalities and resolution. The Aurora has better bass speed, especially at the midbass, whereas the BElieve’s midbass could be quite nebulous, especially when underpowered.

Timbral accuracy is better on the KBEAR Aurora, and it isn’t as hot in the upper mids either.

The KBEAR Aurora and the BElieve are kind of sidegrades, each have their pros and cons as such.

The KBEAR BElieve is no longer in production, but word on the street is that the Vento Conductor T-500 Pro is very similar to the BElieve, or might be an OEM of sorts. So if you are still looking for the BElieve, perhaps consider getting the T-500 Pro.

Tanchjim Oxygen ($269 USD)

The Tanchjim Oxygen is one of the benchmark single DD sets in midfi CHIFIdom. The Oxygen has a more extended treble and air and it also has all round better timbre, better technicalities and a better bass quality (better timbre, texture and speed). The Oxygen has a slightly thinner note weight though, when compared to the more analoguish sounding Aurora.

Definitely the Oxygen is the superior set, but it is $100 USD more expensive.

TForce Yuan Li ($119 USD)

The TForce Yuan Li is a bit less V shaped than the Aurora. The Aurora has bigger bass quantities and more subbass extension. Timbre is better on the Aurora, with the Aurora also having a not so hot upper mids region. Technicalities are also better on the Aurora.

Both sets have a very nice shell and accessories, but if you can top up the $50 USD or so, the Aurora is a marginal upgrade.

CONCLUSIONS

The KBEAR Aurora is a lush harmanish single DD set. It features a beautiful shell, organic timbre and great tonality. This set generally scores good marks across most departments, only perhaps lacking in treble extension and microdetails.

The “Aurora borealis” naming convention here is quite a good choice, as this set melds good looks and sound in a nice little package, like the northern lights.

Definitely the Aurora is a set that single DD lovers and timbre lovers should consider!

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You find an INDEX of all our earphone reviews HERE.

DISCLAIMER

I would like to thank KBEAR for providing this review unit. It can be gotten at https://www.aliexpress.com/item/1005003109134536.html

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You find an INDEX of our most relevant technical articles HERE.

The post KBEAR Aurora Review (1) – Aurora Borealis appeared first on Music For The Masses.

Cons — Smoothness and richness reduced in revised tuning; still lacks treble extension; still needs strong amplification.

Executive Summary

The TRI I3 Pro remains a unique sounding planar-magnetic earphone that now features more bass and upper midrange which results in improved transparency, clarity, liveliness, and dynamics, at the expense of richness and note weight.

Introduction

KBEAR released their original $169 TRI I3 in late 2019. It was the cheapest planar magnetic earphone on the market and received lots of attention. We analyzed it to death – here the takes by KopiOkaya, Baskingshark, and myself – and also addressed the pros and cons of planar-magnetic drivers.

The original was plagued by channel imbalance, lack of nozzle lips (any eartips were stuck in my ears after each use), the earpieces were “sumo sized” (Baskinghark), the cable did not harmonize sonically, and some say the tips didn’t either. All of these (except the eartips) have been addressed in the Pro model.

Regardless, the original’s sonic offerings were so appealing to the users that the model prevailed until recently – almost unheard of in this genre.

Specifications

Physical Things and Usability

In the box are the earpieces, 2 sets of eartips, cable, pleather pouch (known from Diamond and Believe models), cleaning cloth (!), cleaning brush, and paperwork.

The aluminium alloy earpieces, although shrunk by 26% compared to the original, are still not the smallest lightest but they are (still) very comfortable for me. Build and haptic are premium. The 5N OFC (oxygen-free copper) cable works sonically, has no microphonics, is pliable but a bit on the heavy side. Optically, it is nothing special. in terms of comfort, I had no problems listening through a double CD. Isolation remains average.

The grey stock eartips are fine for me, I cannot not find any better alternatives after some tip rolling. Amplification is required for the I3 Pro to shine, and the more the better. Regular dongles were ok, but the EarMen TR-amp worked best in releasing the sonic details.

Physical Differences between TRI I3 Pro and TRI I3

As you can see from the 2 photos, the shell size has been reduced in volume by 26% (the number is from the product page) without changing shape. You further recognize the nozzle lip added to the Pro.

Tonality and Technicalities

Equipment used: MacBook Air + EarMen TR-amp. Hidizs S9 Pro, Earstudio HUD100, AudioQuest Dragonfly Redw. JitterBug FMJ, AudioQuest DragonFly Cobalt, Astell & Kern PEE51; grey stock eartips. Worked best with the most powerful TR-amp.

KBEAR have addressed a few concerns about their original I3 but kept the principal sonic character. The changes are rather tonal nuances of the original packed into smaller shells.

The I3 Pro is still a warm (but to a lesser extent) iem with that special planar-magnetic timbre that is so different from the rest of the competition – a unique feature of this earphone.

As you can see from a graph comparison, the I3 Pro received boosts at the low end and in the upper midrange, which pronounces the original model’s U-shape. But instead of the vocals being pushed back, they are actually moved forward. This means that the upper midrange wins the balance game over the low end.

In the big picture, the TRI Pro has become brighter, faster (at least perceived so), more dynamic, but also a bit leaner however cleaner in the midrange.

Although the low end has been boosted (and the pinna gain is still at an acceptable 11 dB), it is somewhat compensated for by the elevate upper midrange so that the bass perception is only marginally stronger compared to the original. It is still a bit on the slow side as it is typical for planar-magnetic drivers. It ain’t fuzzy but could be tighter. Because of the changes in the mid frequencies, the bass appears faster than it probably is. Extension into sub-bass is average.

The lower midrange has moved forward and lost a bit of richness and weight. It is leaner, brighter, and more forward. This is probably the biggest sonic difference to the original. And I am not sure it is better for everybody, but it makes for more midrange clarity and dynamics. And it leaves the impression of more sparkle and bite but the Pro is also more prone to be fatiguing to some.

Treble has essentially remained the same. The rolloff is too early at the expense of sparkle and air. That’s probably the reason for raising the upper midrange. 

Soundstage has been deepened because of the increased U-shape which makes for improved spatial cues and transparency. The stage has become more three dimensional. Co-blogger Larry records a loss of width, he claims the more forward presentation (I add: increased depth) gives the impression of a narrower stage. One could say, the original I3’s stage is flatter and wider. I find the increased three-dimensionality an improvement, but such perception may vary individually.

The technicalities also remain mostly the same, that is average. Instrument separation, resolution are all good but not outstanding. Midrange clarity and air as well as dynamics have been improved.

Since the I3 Pro is so unique, it is pointless comparing it to other models in this price segment. Take it or leave it.

Concluding Remarks

The TRI I3 Pro is an upgrade over the 2019 original in many respects and a sidegrade in others. 

Upgraded were the size of shells and therefore comfort, added nozzle lips, included cleaning cloth…and the price, too :). Sound has become brighter, livelier, more transparent, and more dynamic, but the at the cost of richness and note weight, and it digs into that famous ChiFi peak, at least marginally.

Nevertheless, the TRI I3 Pro remains a completely different beast because of its unique sonic appeal, and therefore competitive, even at the upgraded price. Sadly, I observe such raises throughout the ChiFi community, lately.

When starting comparing original and Pro version, I first favoured the former. But with increasing A/B-ing, I find the Pro version better as livelier sounding. The IE3 Pro is still one of the lowest priced planar-magnetic iems on the market and should remain an audio enthusiasts’ favourite.

Until next time…keep on listening!

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Disclaimer

The TRI I3 Pro were provided from KBEAR for my review and I thank them for that.

Get the TRI I3 Pro from KBEAR Official Store

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You find an INDEX of our most relevant technical articles HERE.

The post KBEAR TRI I3 Pro Review – Children Of The Evolution appeared first on Music For The Masses.

Cons — Overall generic U-shaped sound; poor cohesion between bass and midrange; thick, slow low end compromises the overall impression; lacks treble extension; adds nothing new, Beryllium just an advertisement gimmick?

Executive Summary

The NiceHCK Lofty earphone is as middle of the road U-shaped sounding as it gets, with a thick bass, lean, sharp midrange, and lack of lower treble. But it offers excellent haptic and build.

Introduction

Iems with Beryllium drivers have been a novelty for some time. Beryllium is a rather stiff material that should deliver a tighter, faster and cleaner bass response compared to conventional dynamic drivers. We expect a natural-sounding midrange, fuller with exceptional details and texture. With the rigidity and elasticity of beryllium, the treble can be extend even further without harshness or grain, resulting in a transparent, crisp sound that is comfortable for long listening sessions (KopiOkaya).

Beryllium drivers are expensive in production and very difficult to implement properly. The two earphones that work well with this driver type are the Dunu Luna ($1700) and the Final Audio A8000 ($2000), but this comes at a price. For example, one Dunu driver allegedly costs $150 in production. So, a Beryllium iem at $240 sounds like a great deal. But will it work as expected?

KBEAR went the Beryllium route with their hyped and now discontinued “Believe” model, which, priced at $159, appeared too good to be true – and it created a loss for the company. And while some really like(d) it, I found that it did not feature the traits you’d expect from a Beryllium diaphragm.

The bass was not tight but rather thick and boomy, and the midrange was overly lean. I speculate that diaphragm was so stiff and fast that filters had to dampen it to a level so that the Beryllium character got lost. I still have a prototype that is sounding speedier than light…very aggressive.

Now, NiceHCK are trying their luck. The company stands for excellent earphone cables at competitive prices, but they also dabble in earphones and earbuds. We have reviewed quite a few of their models, which are hit and miss sonically, while always built very well.

Specifications

Physical Things and Usability

The Lofty comes in a fancy blue leather container with 2 different sets of eartips (S/M/L), a high-quality 6N OCC cable, and the usual paperwork.

The “N” number in 6N refers to degree of copper purity. 6 refers to six nines as in 99.9999% pure copper (5N would mean 99.999% and so on).  OCC stands for “Ohno Continuous Casting”. It refers to a method of copper refining developed and patented by Professor Ohno of the Chiba Institute of Technology in Japan.

The blue cable is textile coated, rather thick, and on the heavier side, reminiscent of a small rope. It has some microphonics.

The earpieces are of very high quality, too: CnC-machined airplane grade aluminium. They are a somewhat big and heavy, but they fit me well and are quite comfortable. No problems, though they could be smaller for a single DD iem. Isolation is soso, but this depends on the individual ear canals.

The tips are NiceHCK’s standard fare, there was no attempt made to harmonize tips and earpieces, which constitutes a lack of attention to detail imo. None of the stock tips worked for me sonically.

The Lofty’s low impedance and high sensitivity do not require a particularly powerful source. A phone works just fine.

Tonality and Technicalities

Equipment used: MacBook Air, iPhone SE (1st gen.); AudioQuest DragonFly Cobalt, Hidizs S9 Pro; Earstudio HUD 100, several eartips.

TL;DR: the NiceHCK is pretending to be special with its Beryllium driver but it shows a rather conventional U-shape. Its bass is slow and almost vulgar, which spoils the rest of it. You would expect a Beryllium driver to be fast.

I followed the instructions and broke the earphone in for >100 hours.

So, yes, the low end, that is always the first thing my ears record. I tried different tips: both kinds of stock tips, Azla SednaEarfit, SpinFit CP145, and generic short-stemmed wide-bores. They all contribute to slight sonic differences which remain nuances.

First, the low end does not dig deep enough, there is simply something missing, Second, the low end is not composed or focused, it is slow and therefore loose and rubbery sounding. It lacks tightness, layering, and speed and is just the opposite of what you expect from a stiff Beryllium diaphragm: thick! Nevertheless, it has a decent slam which keeps hammering fuzzy mediocrity against my eardrums.

The fact that NiceHCK supply their standard eartips does not speak for a well thought-out design. I have the best success with the SpinFit CP145 as they push the low-end slightly back…and therefore the low midrange forward….but they cannot fix the lack of speed.

You can twist and turn it as you want, that bass spoils the party (considering the price tag).

The midrange is heavily influenced by the low-end variations from the eartips. The stock tips partially congest but also rein-force the vocals and deepen the stage. The less low-end you admit by your tip selection, the more do the vocals move forward. Vocals are a bit sharp and could be fuller bodied, but you can’t get that rubbery, fuzzy character out of the vocals department, which lacks clarity.

Good that the bass balanced the upper midrange peaks, they do not introduce any fatigue to my ears but the occasional shoutiness. In summary, thick, fuzzy bass and lean, sharp midrange do not fit well together, cohesion is somewhat lacking.

And the treble?

Which treble? A sharp rolloff occurs at 5 kHz and the treble disappears into oblivion. Lower treble missing in action. Cymbals may be crisp, but the challenge is to hear them.

As to technicalities: stage is not very wide and can be deep depending on eartips used. Resolution, separation, and microdynamics are not worthy of a $240 unit, not by a long shot. Timbre is ok. The NiceHCK Lofty is just ordinary and devoid of finesse.

NiceHCK Lofty Compared

The Lofty, when run side-by-side with the $250 JVC HA-FDX1, experiences its limitations, in particular its lack of balance. The JVCs are much more homogenous sounding whereas the Lofty has a finetuning issue between its thick bass, its lean, sharp midrange, and its modest treble. Their vocals and bass simply don’t fit together. The JVCs are not congested, and offer a wider but less deep soundstage. The Lofty really brings out the JVC’s qualities.

The $60 VE BIE Pro sound flatter than the Lofty, they lack depth in comparison, also have bass problems (peak too low in FR creates a blunt kick), and are not as dynamic.

The $350 Sennheiser IE 400 PRO are the smoothest, warmest, and most inviting of the lot. And they are also much better balanced and cohesive sounding than the Lofty.

The discontinued KBEAR Believe was another ~$200 Beryllium-driver earphone, which failed my analysis based on its overly thick low end and dramatically lean midrange. I gave it away and therefore cannot compare it with the Lofty.

The $180 NF Audio NM2+ has a tighter bass than the Lofty, and also a brutally harsh 4-5 kHz peak that blows it out of any contention. Also note its much better treble extension.

Concluding Remarks

The Lofty is NiceHCK’s jump on the Beryllium bandwagon. However, its signature is a rather conventional U-shape and the sound lacks speed and fine tuning, and therefore finesse to the point that I have doubt the driver is really made of stiff Beryllium. A London record label once excelled with the slogan: “if it ain’t stiff, it ain’ worth a f…” ‘nough said.

The Lofty offers nothing new but rather takes us back 2-3 years. The broadly comparable $250 JVC HA-FDX1 is the far better option.

If the NiceHCK Lofty was an $80 iem, I would laud it for its good staging and immersive character. But considering its $240 price tag, the Lofty’s overall performance is rather unimpressive and just ordinary. But at least it it not fatiguing.

Until next time…keep on listening!

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All Our 280 Earphone and Earbud Reviews (with Links)

Disclaimer

The NiceHCK Lofty was provided unsolicited from NiceHCK Audio Store for review and I thank them for that.

Get the Lofty from the NiceHCK Audio Store

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You find an INDEX of our most relevant technical articles HERE.

Gallery

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