Acho Reviews (in English & Spanish)

[SenyorC]

Letshuoer S08

TLDR version on YouTube: TDLR - Letshuoer S08

The S08 have been sent to me directly by Letshuoer in exchange for the publication of my opinions in this review. Letshuoer have not made any requests or comments and I will do my best to be as unbiased as humanly possible in my review, as always.

The official page for the Letshuoer S08 can be found here: Letshuoer S08 Fourth Generation in Ear Monitor Earphone, Dual-coil Cus – letshuoer

As with all links that I share, the above is a non-affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Letshuoer have announced that, to celebrate their 8th anniversary, they will be releasing various new models and the S08 is the first of them.

This model is certainly not the first planar by Letshuoer, with the S12, S12 Pro, Z12 and S15 all being models that are well known in the IEM world. I personally have a soft spot for the S12, as it was the first planar magnetic IEM that I liked enough for it to become my daily driver for quite some time (between review and review that is) and the S15, while a completely different flavour of IEM, was also a set that I enjoyed.

In their pre-launch publicity of the S08, Letshuoer say that they are sure that the S08 will remind people of the other models in the S series of planar IEMs, although they have opted for a completely different shape and also a smaller driver in the form of a 13mm instead of the 14.8mm found on their other models.

While I know that there are already some reviews out there of this IEM, I have managed to not read them or pay much attention to comments, which is how I prefer to review things when possible. I will also say that I am putting together this review before the actual launch of the S08, although it may already be available when I actually publish it, so I can’t confirm the exact price at this moment but Letshuoer did mention it would be under $100, which is always a nice price point for planar IEMs (as long as they are good of course).

Presentation…

The last few products I have received from Letshuoer have all been excellent in the packaging and accessories department. While the S08 is a little more basic than things like the S15, it is still a nice experience and includes a decent amount of content.

The black outer box has a design on it in the form of an 8, with basic text on the front. On the back we get the basic specifications of the IEMs in 3 languages, along with a scratch sticker to prove the authenticity of the IEMs.

Sliding out an opening the inner box reveals the instruction manual and warranty card, underneath which we find the round screw top storage case, something we are used to receiving from Letshuoer lately, along with the IEMs sitting in sponge cutouts above it.

Inside the storage case, we find the cable, a replacement connector for the cable (more on that in a moment) and a disc storing 3 sets of “balanced” ear tips and 2x sets of “vocal” ear tips, plus another set of vocal tips that come installed on the IEMs.

In all it is nothing out of the ordinary but it is a nice set of accessories, all of decent quality, and I have no complaints at all under the 100€ mark.

Build and aesthetics…

As I mentioned in the intro, the S08 opts for a different shape to the previous S line up, with an oval shell that I find to be very comfortable and easy to obtain a seal, with the correct size tips of course. The faceplate has a 3D raised shape that resembles an 8, with Letshuoer engraved into one IEM and a logo into the other.

The shells are made from aluminium and are available in black or silver, with the black being the one I received. The aesthetics are discreet but elegant and, while I haven’t seen the silver model in person, I really like how the black version sits inside the ear without drawing attention to itself.

The included cable is also very nice at the price point that this IEMs sits at (if the sub $100 price is correct). It has interchangeable connections, which is not new for Letshuoer, but in this case there is a ring that screws on to the connector holding it in place. I like the design of the connector and, although I haven’t experienced any issues with the push on connectors in the past, it does add a bit more robustness to the connection. The cables itself is nothing really special, and it does have plastic connectors at the IEM end, but it is not overly thick or thin, and uses a four way braid that looks good in the dark brown colour it uses (at least for the black model).

Overall I am a fan of the aesthetics and the comfort of the S08, finding them to fit easily in my ears with a fit that is deep enough to use my usual size of tips but not be overly intrusive.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Letshuoer teased in their publicity that this would remind people of other S series IEMs and it does, in some ways, but is its own thing in others.

As with many sets that we are seeing lately, at least the sets that seem to be coming across my desk, there is a tendency towards a more relaxed and laid back signature, without as much brightness in the upper end, which makes IEMs need more performance in the detail department to not fall behind the competition, due to the fact that they are not relying on those upper ranges to push forward that (sometimes false) sensation of detail.

This seems to be the aim with the S08, with a frequency response that does remind us of the S15 in some ways but not in others. Here is the graph of the S08 in comparison to my usual preference response:

And here it is in comparison to the S12 and the S15:

Now, moving on to my subjective opinions, which don’t always align with the graphs, I immediately see the resemblance in the lower notes to the S15 and the S12. We have that planar speed that keeps the lowest notes of “Chameleon” clean and clear, yet there isn’t a lot of rumble really. Not that there isn’t presence in the subbass, there is, it is just that, as it is fast and clean, it doesn’t seem to be as present as on other sets.

It is impressive how the S08 can keep up with “Chameleon” without feeling strained or about to lose control, yet it is also a little “polite” in the way it presents this track. The presentation of “No Sanctuary Here” fits the S08 better in my opinion, as it benefits from that slight “politeness” in the lower ranges, making for a track that is present yet not boomy at all.

With my midbass fatigue test, “Crazy” is a little too present in the midbass range but it is clean enough for that reverb to not become fatiguing. One thing I did notice with this song is that the upper mids, which we will talk about in just a moment, do affect her vocals in a negative way. There is a dip in the 3k range that sort of hollows out her voice in that range, putting emphasis on the frequencies just below and just above that range, making her come across a little fragile and also harsh in her upper vocal ranges.

Listening to “Tears In Heaven” I was very impressed by the separation and width to this track, with details being very apparent in the multiple instruments, yet I also got the sensation that the timbre and tonality of the same instruments were not quite correct, lacking a bit of body to them and having an overly emphasized upper range. Much the same as with the vocals in “Crazy”, this lends to a slightly fragile sound.

I do find that the slight dip in the upper minds can affect some tracks much more than others. For example, “Long After You’re Gone” is another guitar plus vocals track and the fragility That I noticed with “Tears In Heaven” is not present, with the track seeming to have plenty of body and a nice fullness to both guitar and vocals.

Listening to “Billie Jean” by The Civil Wars, I once again get that sensation that something is not quite correct with the guitar and male vocal, even seeming a little nasal on occasions, yet the female vocals sound full and present, whereas with other female vocals, I can get that thinness again and slight harshness.

It is not really an issue with sibilance, at least not with the usual culprits such as “Code Cool”, it is more something that appears just when certain vocals or instruments that have a certain presence in that area coincide with the dip and it leaves things a little harsh and thin.

I will say that I am impressed with the detail and the space that these IEMs offer, with good separation both left to right and front to back. There is a wonderful sensation of space between the separate layers of “Strange Fruit” and the location of instruments in “La Luna” is very good.

Treble extension is not the best and can lead to a little sensation of dullness on certain tracks, depending on what the style of recording is. For example, it is much more noticeable with certain instruments such as acoustic guitars and pianos but is not really noticeable with more electronically focused music.

Conclusion…

The Letshuoer S08 is a set of IEMs that leaves me a little confused. With certain tracks they can come across as a little dull, with others, there is no sign of that dullness at all. Certain acoustic tracks seem to have good tonality and timbre to the guitars, whereas others seem to come across as a little fragile and harsh. The same happens to vocals, where a certain female vocal can be fragile and a little spicy, yet another, even in a similar range, has more body and presence.

One thing that I can’t deny is that these IEMs perform well. The planar drivers do what they are good at, they provide speed and detail. They are not the most detailed of IEMs out there but they are still good and will still present the details in a way that is enjoyable. The bass is very well controlled and defined, seemingly coping with even difficult tracks easily.

So it is just the tuning that leaves me a little confused. Now, I don’t speak about EQ in my reviews, at least not usually, because I like to judge things in their stock form, but personally, I think that the S08 are a very good candidate for some EQ tweaking. They perform well and just some slight reshaping of the upper mids makes them come alive and sound much more natural to my ears.

I think that is an important note here, you have a sub $100 set of IEMs that is well built, comfortable (to my ears), looks good (to my eyes) and performs well, so even if you find you are not fond of the stock tuning, a touch of EQ will soon turn it into a very enjoyable IEM.

---

As always, this review is available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

Myer Audio CKLVX D41

TLDR version on YouTube: TDLR - Myer Audio CKLVX D41

The title of this review on my Spanish YouTube channel said that this is a “Fortunate accident” and the reason behind this is that I was never supposed to receive these IEMs.

About a month ago I received a set of IEMs which show the name “CKLVX D41” on the box and I had absolutely no idea what they were or who sent them. I searched online and found next to nothing about them, except for a couple of reviews (that I didn’t watch) and the mention of them on Reddit saying that they could be found under the brand “Myer Audio”.

After going through the pending IEMs I have for review, I realised that I was missing the Tanchjim 4U that I had been sent by HifiGo. After some more research, it turned out that they had been shipped to me by mistake. I am happy that the mistake was made and that has led to the title of “Fortunate accident”, something that I will discuss as we move forwards.

So, to recap, the Myer Audio CLKVX D41 have been sent to me by HifiGo, no comments or requests have been made by them, and you can find them via HifiGo here: MYER-AUDIO CKLVX D41 1DD+4BA Hybrid In-Ear Earphones — HiFiGo

As always, this is a non-affiliate link.

Apart from the above backstory, I really don’t know much more about these IEMs. I know that they are priced at around 150€ (on HifiGo), that they feature a 10mm dynamic driver along with 4x balanced armature drivers.

Other than that, I know as little about these IEMs as you do, possibly even less.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Presentation…

The packaging and presentation of the D41 is nothing special. It is a simple black box with Cklux on the front and “High performance In-ear monitor” underneath in smaller letters. On one side there is a white sticker with a frequency response graph that simply states Ckvlux model:D41. On the back there is a smaller sticker that shows the address of the manufacturer (Shenzhen Meier Technology Co. Ltd). There is no reference to Myer Audio anywhere on the box.

An even simpler black box slides out from the external cover, also black but with no markings at all, and opens to reveal the IEMs, along with a round storage/transport case, both sitting in sponge cutouts, a user manual and a quality control card that says it is for a Juzear 41T.

At first, as I couldn’t really find any info on the CKLVX D41, I also tried searching for the Juzear 41T, which is a different IEM but coincidentally also uses a single dynamic driver and 4 balanced armatures. I don’t know anything about the 41T but it seems they are made, or at least packaged, in the same factory.

Build and aesthetics…

Once we discard the packaging and start focusing on the product itself, things definitely take a turn for the better. The included storage/transport case is a round faux leather style with a zip and is really quite nice. Inside the case we find the cable which is also much better than I expected, sporting quadruple weave and metal hardware. The cable seems to be of good quality and, while I wouldn’t rush out to buy the cable on its own, I have no issues with it.

Also inside the case we find 3 sizes of silicone tips, in two different styles, along with a single set of red foam tips, plus the ones installed on the IEMs. The tips are not great, especially the red ones that have some stray bits of silicone here and there, but the clear ones are not terrible and I have had no issue using them for this review, opting for the medium size.

The IEMs themselves are a 3D resin printed shell in black, with a polish brown faceplate that actually looks quite nice. While the IEMs are certainly not small, I found them to be comfortable and enjoyed them for long listening periods.

Honestly, while the build and aesthetics are not going to win any prizes, they do look good and seem to be well built.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Here is where I was pleasantly surprised. I obviously had no idea what to expect when I put the D41 in for the first time as I wasn’t even sure of the brand, let alone what it was going to sound like. This is definitely one of those times when I had no preconceived opinions

Before getting to my usual subjective opinions, here is the graph of the D41 in relation to my preference target that I always use for reference. As said many times in the past, this is just a guide and does not mean I will like or dislike a product based on its proximity to my preference on paper.

Starting off with the subbass, it has a very nice presence to it which remains controlled for the most part, although the “Chameleon” test does prove to be a little much for the D41. It is not that it loses control or sounds terrible, but it is not quite as clear as it could be. However, as we know, “Chameleon” is really a torture test and when moving to something more tolerable, like “No Sanctuary Here”, things are a much more defined. It is still not the clearest of subbass ranges, or midbass really, but it is pleasant and gives things a bit of a rounded texture in the lowest ranges.

Speaking of midbass, my fatigue test with “Crazy” again reveals that it is not the cleanest of low ranges. It not overly boomy in the reverb to the point of it irritating me but I would prefer either a bit more clarity or a little less midbass.

As we move into the midrange, things start to improve quite a bit. I find vocals to have a nice body to them, both male and female, with acoustic instruments having decent enough timbre, maybe just slightly too rounded on the lower notes (midbass) with certain recordings.

The thing that is different about the D41 is how it deals with the presence of vocals. There is that thickness in the lowest ranges, such as with Leonard Cohen in “Happens to the Heart”, but in the upper mids, the vocals are not lost but they are not spotlighted either. There is no real boost to the presence of the vocals and they manage to be slightly back but without getting lost. They could be referred to as being slightly dark, yet they are still clear enough to not feel like they need boosting.

The upper ranges are very smooth, especially for a set that is using 4 balanced armature drivers without being more specific about how they are using them. I would have expected the upper ranges to have some of that harshness that is found on so many balanced armature upper ranges when not done properly, but that is not the case. I suppose some could find them a little lacking in the upper frequencies but, to be honest, I grew quite fond of the smoothness for a lot of music.

There is no issue at all with sibilance or other harsh appearances and, while the details are not really the forefront of the show, they manage to provide a sensation of things being tied together and nothing really taking a front seat.

I enjoyed listening to a lot of tracks that feature strings and/or brass sections, songs that are not the easiest to listen to on other sets became a smooth and enjoyable listen on the D41.

Conclusion…

I didn’t even know what these IEMs were when I first listened to them but I am glad I did. I can’t say that they are the best IEMs I have ever heard and that everyone should run out and buy them (I would never say that anyway) but I have found them to be an unexpected pleasurable experience.

There are many reasons why I would not recommend these IEMs, in fact, there are many reasons why I would say that they aren’t for me, yet I have really enjoyed listening to them. They are not the best in the bass department, they are not the best in the vocals department, they don’t excel at details and they aren’t exactly great in the treble, but for some reason… I really like them.

I had no idea who Myer Audio were before these IEMs, I still don’t to be honest, but if this is their first set of IEMs, colour me impressed at them managing to do something a little different that just works. It shouldn’t, but it does.

__
As usual, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

[SoundEater]

I’m currently listening to them and I can say that they blow much more expensive IEMs out of the water. So that…

[SenyorC]

Price is only an indication of how much it costs

I’m glad that there are sets out there in the wild.

[SoundEater]

[SenyorC]

I guess this is a way of saying you don’t agree with my personal opinions on the D41?

Or am I missing something?

[SoundEater]

[SenyorC]

Simgot Supermix 4

TLDR version on YouTube: TDLR - Simgot Supermix 4

The Supermix 4 have been sent to me by Simgot in exchange for the publication of this review. Simgot have not requested anything or made any comments and, as always, I will do my very best to be unbiased in my review of these IEMs.

There doesn’t seem to be an official page for the Simgot Supermix 4, at least I haven’t found one, but they are available from the usual online stores. A quick search online will bring back plenty of results to choose from.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

I have to start off by saying that I am very happy to review these IEMs. As I mentioned in my last Simgot review, and probably in other reviews of Simgot IEMs previous to that one, I have really wanted to like a set of Simgot IEMs.

By that I don’t mean that I don’t think that Simgot make good IEMs, all of the IEMs I have received from them have been good, but I have struggled with all of them to some extent or another. The EA500LM, my last Simgot review, was the set that I have enjoyed the most to date but, even then, I would still not say that they are for me.

I have to give credit to Simgot for reading each of my reviews, saying thank you and moving on without a single complaint. It is not that my reviews of Simgot have been negative but there are a lot of brands who take offense with comments that are not along the lines of “these are the best ever” and no longer contact me to review their IEMs. That is something that Simgot have never done, in fact, they have continued to send models until we are where we are today.

Now, looking at the tuning of the Supermix 4 on paper, I would have said that these IEMs are probably the tuning from Simgot that I would most dislike out of all of them. I know I am jumping the gun here, I will get to audio impressions in a moment, but this is another one of those cases that proves that my preference target is nothing but a squiggly line that has no impact on whether I will like or dislike the sound of an IEM. But anyway, more on that in a moment, let’s first mention briefly what the Supermix 4 are.

Featuring four drivers in a hybrid set up, consisting of a dynamic driver, a balanced armature, a planar magnetic driver and a piezoelectric driver, there is a lot to go wrong when trying to make all of these play together in a coherent way.

According to the publicity, they are using the 10mm DD for the low frequencies, the BA is being used for the mids and the Planar+PTZ are being used for the higher frequencies. They are priced at around 140€, a price that I feel is more than reasonable for what you get, so let’s see what it is that you actually get.

Presentation…

While the outer box is not the usual style we get from Simgot, the packaging and contents certainly are. The outer sleeve is green and shows an x-ray style image of the IEM on the front, with the frequency response graph and the specs shown on the back.

Removing the sleeve reveals an inner box with a flip open card style lid, something very common on Simgot packaging, which opens to show the IEMs in foam cutouts and the usual accessories box below. Underneath the IEM section, we get the second box which contains the included tips.

The tips are the usual ones that Simgot includes, nothing extraordinary but I have, as always, used them for this review. The included cable is rather nice, with an outer texture that is a little rubbery to the touch but nowhere near like cables from other brands. It is stated to be an oxygen-free copper silver-plated cable, if you are interested in that kind of thing. All I know is that it works and is quite nice.

The storage transport case is also the typical oval shaped non-branded case we have seen in other Simgot packages, again nothing special but more than enough to protect the IEMs when storing or transporting.

In general, the contents could be considered a little sparse at the price point in comparison to other brands but it is the usual content from Simgot (except for no additional nozzles with this set, something I am actually happy about ) so it is no worse (or better) than other options from the brand.

Build and aesthetics…

The shells are simple black 3D printed shells with a dark grey metal (I think it is metal) faceplate. The faceplate has a simple circle on it in a goldish colour, depending on light, making them very simple overall. These are not the typical fingerprint magnets from the brand, no mirror finish which can look great but also be a curse if you are someone who hates fingerprints. Here we have something that does not show signs of use at all, at least in the time I have been using them.

The size is around average, not overly large but certainly not small and the fit is comfortable for me personally, being light weight also. Due to the length of the nozzles, I have found that I can use both medium and large size tips with these IEMs, getting a seal with both. After some listening, I found that I preferred the larger option with the IEMs getting just a couple of mm less insertion but both work.

The cable, as I said above, is quite nice and has metal hardware that matches the faceplate of the IEMs, so, while nothing extraordinary, I am quite happy with the overall aesthetics of the Supermix 4.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

If you read the intro, then you already know that this section is going to be positive. However, before getting to the subjective bit, here is the graph of the Supermix 4 in relation to my personal preference target:

Ok, so I enjoyed using these for general listening for the week I used them but let me share my opinions on these IEMs while sitting down with my usual test track list and focusing on specific tracks and performance.

As always, let’s start with the “Chameleon” subbass torture test. There is a lot of subbass here and, to be honest, it can become a little much unless you are someone who likes a lot of rumble. The driver does a good job of presenting the track, although I do feel that it is a little overwhelmed by the brutality of the bass when it is in full swing. By this, I don’t mean that it sounds bad, far from it, it proves to be a very capable driver in the lows, it just suffers slightly when driven to the limits.

Moving on to something that is still bass but in a much more sensible way, “No Sanctuary Here” sounds very good on the Supermix 4. There is plenty of subbass and midbass without ever getting the sensation that the driver is suffering at all. There is a very nice cleanliness to the bass hits, while not really over shadowing the rest. Yes, there is an emphasis on those lower notes but they are not stealing the show from the rest of the track, they just sound very full and capable.

The low end reverb in “Crazy”, something that easily fatigues me if overdone or not 100% clean, on the Supermix 4 sounds very clean and pleasant. There is again a sensation of the low end having a great “body” to it but without seeming overdone and keeping it clean and articulate. There is also no harshness or sibilance to Daniella Andrade’s voice in this track, something that does appear on a lot of sets. While there is definitely a bit of a focus on the lows and the upper mids, I find the track to sound very pleasurable on this set of IEMs.

Even though there is that V shaped response to these IEMs, it does not overpower the mids completely and I find it does an excellent job of reproducing “Sun Is Shining”, where the electronic bass is definitely the strong point but the rest of the track is still clean and by no means eclipsed at all.

Another track that shows the capability of these IEMs to reproduce a good low end without taking away from the clarity of the rest of the song is “Elephants on Ice Skates”. The bass plucks are clean and articulate, the brass sections are not overpowering and the the actual low bass notes are full and smooth.

There is a nice sensation of treble extension and air without it sounding artificial. While the Supermix 4 may not be the most detailed of IEMs, it doesn’t try to artificially create a sensation of being more detailed than it actually is, meaning that there is no overly pushy upper treble that tries to make the details stand out. That doesn’t mean that they are lacking in detail, they do a more than respectable job, they are just not something that is focused on making detail the forefront of the experience.

The soundstage is not huge but there is a nice separation between the instruments and vocals inside that stage. That also goes for the layers of vocals in things like “Strange Fruit”, where they different voices are identifiable but are not really separated, more of a chorus effect than individual vocals.

Conclusion…

This is the review that I have been hoping to do of a Simgot product. I have been wanting to really like a product of theirs and the Supermix 4 is finally it. For once my conclusion isn’t “they are good… but…”

The fact that I have been wanting to like something from Simgot may mean that there is some subconscious bias on my behalf, which I have tried to avoid but can’t guarantee that it isn’t there. Saying that, I also wanted to like previous models and it has taken until the 6th model I have tried to actually get there, so a “thank you for your patience” goes to both Simgot and you, the reader!

I find the Supermix 4 to be a very pleasurable IEM that I wouldn’t say is the best at anything in particular, but it does a good job at everything. It is a set that I have really enjoyed using, no matter what music I have decided to listen to, and feel that it is certainly something that those looking for a general all round set to enjoy music should take a look at.

---

As always, this review is available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[jmwant]

Excellent review. I have the ea500lm. Great set.

[SenyorC]

Tanchjim 4U

TLDR version on YouTube: TDLR - Tanchjim 4U

The Tanchjim 4U have been sent to me by HifiGo in exchange for the publication of this review. HifiGo have not made any specific requests and I will do my best to be as unbiased as humanly possible in my review.

The Tanchjim 4U are available from HifiGo here: TANCHJIM 4U DMT-4 Ultra Double-chamber Dynamic Driver In-Ear Monitors — HiFiGo

As always, this is a non-affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

It has been quite some time since I listened to a Tanchjim set of IEMs, since 2022 to be exact. The models I tried back then we probably more to my preference than to that of many others, due to a quite tame low end (except for the Tanya, which was quite elevated in the mid bass), and I found the performance at their respective price points to be a positive.

The 4U is a set that comes 2 years later but still aims at the reasonably priced category, available for just under 65€, featuring what they call a DMT-4 Ultra LCP Diaphragm dynamic driver.

What is a little different on this set is that they feature a 4-way dial that lets you choose between 4 different tunings, or rather 4 different bass levels, something that I will mention under the sound section.

Presentation…

Not much has changed since the last set I reviewed as far as packaging and contents. The outer white sleeve shows an image of the IEM on the front, with FR graphs and specifications on the back. This slides away to reveal a grey interior box with the Tanchjim logo on the top, almost identical to that of the Ola that I reviewed over 2 years ago. That is not a negative, the packaging is simple and elegant, so I am not complaining.

Opening the box reveals a sheet of anime stickers of a character named Asano, although I have no idea who it is, nor have I investigated Inside the box we get the IEMs, 6 sets of silicone tips (3 sizes of two types, large and small core), the cable, a small screwdriver to adjust the tuning selector and a small drawstring bag.

Again, almost identical to the contents of the Ola (except for the screwdriver and the stickers).

Build and construction…

The IEM construction also stands out to me as Tanchjim, even though it is a different shape to other models from the brand. It is a metal construction, using matte aluminium shells along with a shiny faceplate that sports the Tanchjim logo.

The shape I find is comfortable, they are fairly lightweight and they seem to be well built, something that I feel is the case with all Tanchjim products, at least those that I have seen.

The included cable is a simple lightweight 2 core braid that splits into individuals at the metal splitter. All the hardware is metal and matches the matte aluminium finish of the IEMs.

The rest of the contents are basically those that were included with the Ola, which is not to say that they are bad. They are not great but acceptable.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

When I first started listening to the 4U and playing with the tuning selector, the question that sprung to mind was “Why?”.

I understand that they want to give the users options, the same as other companies that include multiple nozzles or filters, and in this case, the fact that it is a dial that turns makes it a lot easier to change between tunings. However, the question of “Why?” Is more related to the tuning options they offer on this set.

As a picture is worth a thousand words (although I will probably still rack up a thousand words in this review), here is the graph of the 4 tuning options in relation to my usual reference:

As we move from FWD to UP to BCK to DWN, the tunings make less sense to me. I am actually quite fond of the FWD tuning, which I will comment on in just a moment, but the other tunings just give me the same sensation as losing a seal, with the bass just dropping off more and more as we go.

Now, you probably all know that I am not a fan of overly emphasized bass, as you can see from my preference target, although there are many sets with more bass than my preference and I still find to be great. In this case, I am quite happy with the presentation of these IEMs in the FWD position but I can’t say that I would choose to use them in any of the other modes. That doesn’t mean other people won’t, just that, for me personally, the FWD tuning would have been plenty.

So, starting off with the subbass, you can probably already guess that there isn’t a huge amount of rumble going on with this set. If you are someone who likes a deep rumbling bass, then these are not the choice for you, even in FWD mode.

However, where they do perform well is in the clarity and presentation of the midbass. I find them to lend themselves more to acoustical performances than electronic based music, with things like the bass on “No Sanctuary Here” being a little tame for those that seek a hard hitting low range. Again, that doesn’t mean it does it badly, the bass is there in quality, just not in quantity.

“Crazy” is pretty well balanced in the low ranges, with the reverb not being an issue as far being bloated or overly boomy. There is plenty of clarity and it fills in the low end of the rack nicely but without being the focus at any point. There is a little emphasis on Daniela’s voice in this track but it is clear and not harsh or too spicy, something that I am pleased to hear.

Listening to “Hotel California (acoustic)”, I would say that the guitar could do with just a little more body and warmth, but it is once again clear and nicely defined. With “Elephants On Ice Skates”, there is more focus on the plucks of the bass than on the low notes, yet the low notes are still there, the track doesn’t come across as “empty”, just a different presentation to that of so many other sets lately.

“Seven Nation Army” by Zella Day does seem to have a little more warmth in the body of the guitar but once again, the focus is shifted more towards the vocals. I actually find female vocals to be very enjoyable on the 4U, with them taking the centre of the stage but without becoming overly present or thin. They also deal fairly well with sibilance. There is still sibilance in the intro of “Hope Is A Dangerous Thing” but I find “Code Cool” to be slightly tamed in this regard, at least in comparison to what I would expect from this kind of tuning.

I find the upper mids to be smooth and enjoyable which moves into upper ranges that are not the smoothest but are certainly not a negative on this set, again, taking into consideration the tuning that the 4U are going for. There do seem to be some peaks that try to increase the sensation of detail, which is a shame because they can give a slight hint of being artificial at times.

The stage width is not huge but there is enough space for things to spread out a little, like the vocal layers of “Strange Fruit”, which are easily identifiable, although the main voice is slightly overpowering to the background vocals on occasions. With “La Luna”, the location of the instrument has space between them but they are not placed far away and the rear left guitar does seem to be more left than rear, but once more, not bad.

Conclusion…

It has actually been refreshing to listen to something that is a break from the majority of tunings lately, that seem to be aiming more for a warm and laid back signature. In the case of the Tanchjim 4U, it goes for a brighter more up front signature. There is more emphasis on vocals, especially female vocals, but they don’t become overly harsh or thin sounding.

I still have the same question though… why? I really don’t feel that the 4U needed that those extra positions that we get from the tuning selector. I could maybe understand positions 1 and 2, but I feel that 3 and 4 are unnecessary. In fact, I don’t think that even position 2 is necessary as those that are looking for this kind of signature will already enjoy the basic “FWD” position.

I think that if that tuning selector had been omitted, then maybe these IEMs would have dropped under the 50€ mark that I consider ultra budget and they would have been an easy budget recommendation for those looking for a tuning of this kind.

I am not saying that these are expensive, they are only 65€, and they are certainly a step forwards from the Ola, I just think that we are getting something that wasn’t really necessary. They aimed for a specific tuning and performance and got it, why add more bits that become redundant?

__
As usual, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

Meze Audio Alba

TLDR version on YouTube: TDLR - Meze Audio Alba

The Meze Alba have been loaned to me by DeCine, the official distributor for Meze Audio in Spain. DeCine have not made any requests and have in fact been quite patient as I have been inundated with work lately, so the review has taken longer than I expected. I will, of course, do my very best to be as unbiased as humanly possible in my review.

As DeCine does not sell direct, here is the link to the official page of the Meze Alba: ALBA

As always, this is a non-affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Meze Audio are a brand that I have a lot of respect for. I can’t say that I have loved the tuning of all their products but I also cannot say that I have been able to complain about them. They make elegant, well built, high quality headphones and IEMs. However, except on rare occasions, they also come with a price tag that is a reflection of that quality and elegance.

In the case of the Alba, I believe that this is their most budget friendly set of IEMs to date, coming in at around 159€ here in Spain. Now that is obviously not an “ultra-budget” price, something that I consider under 50€ IEMs to be, but it is a very interesting price for those who are interested in picking up their first set from the Romanian brand.

So, for what can be considered the entry price to Meze, what are we actually getting in the Alba and is it worth the price of admission?

Presentation…

I would have been surprised if the packaging and presentation of the Alba was not well thought out and elegant… I wasn’t surprised.

While the actual contents are pretty basic, the packaging is elegant and gives the feeling of having purchased a high-end product. The box is white, with a silver design on the top and the logo of Meze underneath, with nothing much else other than Alba written on one side.

Opening the box reveals an interior that follows the same white and silver colour scheme, with the IEMs sitting at the top and a small, oval storage case sitting underneath. Opening the case we find the included cable and tips, once again matching the white and silver theme. As far as tips, we only get 4 sizes of white silicone tips but I found them more than enough to use them for this review.

Apart from the main box, we also receive a Meze Audio dongle, at least I did. As far as I can tell from all the listings online, this dongle DAC is included with all the purchases but please forgive me if I am wrong on this.

In general, I find the presentation of the Alba to be simple and elegant. It may not seem to be the most extensive as far as contents but we do get everything that is needed, plus the dongle DAC, so I can’t find anything to complain about, especially when we move into the build and aesthetics of the contents.

Build and aesthetics…

As soon as I see the name Meze, I automatically think it is going to be well built and look good. Obviously beauty is in the eye of the beholder but in my eye, they once again look great. The design of the IEMs is basically the same as that of the Advar although this time the colour combination is white and silver, rather than the black and copper of the Advar.

My first impression (apart from “these look great”) was that they seem smaller than I remember the Advar being. However, looking at photos online (as I no longer have the Advar), they seem to be the same size, so I guess I am just remembering wrong.

The quality of construction and finish of the IEMs is identical to that of the Advar, which is to say a 10 out of 10. They are no doubt a well built product and there is the same attention to detail as with all Meze products.

As far as comfort, another very personal thing, these are a shape that I find extremely comfortable. They are such a small size and the shape just fits my ear perfectly, making them disappear when I wear them.

The included cable is a little on the thin side but it is not a bad cable at all. It uses metal hardware except for the connectors to the IEMs, which are transparent, but in this case, the Alba opts for 2 pin connectors instead of the MMCX found on the Advar. This is going to be a positive for some and a negative for others but I personally prefer 2 pin over MMCX.

The transport/storage case is small but is large enough to hold the IEMs and the supplied dongle and has a nice soft interior. The colour of the storage case matches the IEMs, white with silver logo, which has the benefit of looking great but the drawback of not staying white for long if you use it to transport the IEMs.

I have to say that, as usual, it’s Meze. I have nothing but praise for the build, comfort and aesthetics.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

I think that the vast majority will agree on what I have said about Meze products so far but where there is division is in the sound department, as is to be expected. In the case of the Alba, I am sure that there will also be those who like the sound signature and those that don’t. I personally fall into the first category.

Before getting on with my subjective impressions, here is the graph of the Alba in comparison to my usual preference target for reference:

Ok, so starting off in the subbass zone and using the usual “Chameleon” torture test, the Alba holds up pretty well. There is a slight emphasis on the subbass over the midbass which is nice and it helps keep the low end from becoming overloaded with this track. Now, I can’t say that the subbass is overly detailed (I’ll comment more on detail shortly) but it manages to hold it’s own. It is neither overpowering nor under delivering in the low end, at least for my personal tastes.

With something a little less dramatic, such as “No Sanctuary Here”, the low end does seem cleaner, with a nice thump to the midbass along with a smooth rumble in the subbass. Again, not overpowering but plenty for my tastes, although I do still get the sensation that the bass ranges are not the most detailed, they are more of a smooth and enjoyable sensation than an impressive boosted low end. I don’t think that bass heads would choose this model, yet those who look for a nicely balanced low end should find the Alba enjoyable in this regard.

With my fatigue test for midbass, “Crazy”, I find that there is a lovely sensation of reverb without it ever becoming the dominant factor in these ranges. It is not boomy, nor is it excessive, it performs at a level that I find nicely balanced, filling in that low end without taking anything away from the rest of the track.

With “Elephants On Ice Skates”, I find that the bass plucks lack a little excitement yet they are once again very well balanced with the rest of the track, making for a very musical presentation rather than a “wow” presentation.

Focusing on vocals, “These Bones” has a very smooth balance to it, without the deep vocals becoming the centre of attention of the acapella track in general and allowing the harmonizing vocals to fill out the soundstage and sound very natural. Once again I find that the focus is more on the overall presentation than showing off any detail.

With female vocals, I found that some vocals could seem to be a little too smooth, such as Sara K. in “All Your Love (Turned To Passion)”, yet this same smoothness works very well for other female vocals such as the voice of Raelee Nikole in “Dreamin’”.

When listening to The Civil Wars in “Billie Jean”, where there are both male and female vocals, I find that the male voice seems better presented when on his own in comparison to the female vocal, however, when they are both singing together, the balance is very good between them.

Moving to Dominique Fils-Aimé in “Strange Fruit”, I like the way the vocals harmonize but I do feel that there is a lack of detail in her vocals. Not enough to be detrimental to the track but, after listening to this song thousands of times, I feel that there is a bit of excitement missing.

Moving into the upper mids, I find that the slight delay in presence does make for a smoother presentation but also adds that slight “lack of excitement” in vocals that I have mentioned. This is a positive in the fact that nothing becomes harsh in these ranges yet it does make vocals sound a little strange on occasions, especially female vocals.

There is no sensation of sibilance in the usual culprits, such as Patricia Barber in “Code Cool”, where I would actually place her sibilance around a -2 on my non-scientific -12 to +12 scale. The same can be said with Paul Simon in “Diamonds On The Soles Of Her Shoes”, where he voice has the sibilance reduced slightly in comparison to many other sets, with the brass section also being a lot tamer than on many other presentations.

Soundstage is decent enough. It is not groundbreaking but enough to give a nice sensation of surrounding you in “La Luna”, although the slight lack of detail can make things seem to be slightly more blended together than on other more detailed sets.

And on the subject of detail, it is not that these IEMs are totally lacking detail, it is just not one of the strong points of the Alba. When listening to things like the small details in the background of “Strange Fruit” (that bird through the open window at the beginning) or the decay of the body strikes on the guitar in “All Your Love (Turned To Passion)”, then the details are there, you just need to focus more to hear them and they also roll off quite a bit faster than on other sets that are more detail focused.

Conclusion…

The Meze Alba are a set of very well built, very good looking and very comfortable set of IEMs by a brand that is known for high end products. As far as sound, I would say that they are basically an “all rounder” that focuses much more on a comprehensive overall presentation of music than excelling in any particular way.

If you are someone who is in the world of audiophilia and knows what they want specifically, then I really don’t think that these IEMs are for you. I don’t think that they excel at anything in particular (except build of course) and actually come across to me as missing some excitement in the vocal and detail department.

However, they are also a set of IEMs that will do well with whatever you want to listen to, meaning that those who aren’t sure exactly what they want, or just want a general all round set, will get a set that they will be very happy with.

In fact, if someone wants a set of good IEMs from a very respectable company at a price that won’t break the bank and don’t know where to start, I think that the Alba would be a very good choice.

I wouldn’t choose to add them to my own personal collection, as I have already covered the specifics and am crazy enough to use a different set for different genres and moods, but I would not hesitate to recommend them to all the “normal” people around me that just want a good set of IEMs to listen to music.

__
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

Dunu Titan S2

TLDR version on YouTube: TDLR - Dunu Titan S2

The Dunu Titan S2 have been sent to me by HifiGo in exchange for the publication of this review. HifiGo have not made any specific comments or requests and I will do my best to be as unbiased as humanly possible.

The Dunu Titan S2 can be found via HifiGo here: https://hifigo.com/products/dunu-titan-s2

As always, this is a non-affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Back in February 2022, I reviewed the Dunu Titan S, an IEM that I was quite fond of and has probably been one of the IEMs that I have most used since then. The reason for this is that it lives permanently hooked up to my Mac (via a Modi + Atom) where I do my video editing. I do listen to music also sometimes, while videos are rendering, and use them for quick multimedia consumption on that computer in general. It is not that the Titan S is my favourite IEM but it is clean, performs well and I sincerely enjoy using it.

Back then (almost 2 and a half years ago, which seems like decades in the IEM world), the Titan S was something that made a name for itself. The aesthetics were something different, the presentation and included accessories were very respectable, the performance was good (still is) and the price was more than fair. It basically turned itself into a reference point under 100€ at the time.

The Titan S2 comes in at a very reasonable price also, at just under 75€ (at the time of putting this review together) and promises to improve on the original, let’s see if it actually does or not.

Presentation…

After the Dunu sets I have reviewed since the Titan S, it is no longer a surprise that they come well packaged and with accessories that are very impressive for the price point. The Titan S2 is no exception.

The outer sleeve is pretty basic, just showing the brand and model on a red background, with basic specs on the back. However, opening the box reveals contents that will put a lot of other brands to shame.

We get the IEMs, the cable, the Dunu QMini cable with 2 interchangeable connectors (balanced and unbalanced), a cable clip, a semi-rigid storage/transport case and 14 sets of tips, in 4 different types and 3 different sizes.

There is absolutely nothing to complain about in this regard, the contents are just great.

Build and aesthetics…

The original Titan S presented an aesthetic that was different to anything before it and, as far as I am aware, anything since it. In the case of the S2, there is a slight resemblance to the original but not enough to immediately spot that they are the same model.

The shells are still completely made of metal, although, this time, the finish is mirrored rather than the brushed finish of the previous model. In the center of the IEMs, there is a round protruding part in bright red that looks like it should unscrew (it doesn’t, at least as far as I am aware). The overall shape stays the same but the S2 are slightly larger, at least in thickness.

The connections remain 2 pin and still sport a shape that is proprietary to the Titan. Not that other cables won’t work, they work fine, just that the stock cable covers the surrounding part to the connector also.

Speaking of stock cable, this is much improved over the original, in my opinion at least. As I said a moment ago, it includes the QMini cable that has interchangeable connectors that push in and then a ring screws down to hold them in place. The cable itself is a braided sleeve that runs as far as the splitter, where it then divides into to separate cables. I have to say that I didn’t expect to like this cable but I have found that I actually do, especially at my desk, as it never gets tangled and stays out of the way.

The storage case is the typical storage case included by Dunu in most of their models. While simple, it is very nice and is large enough to hold the IEMs and a dongle without issue.

In general, while I prefer the aesthetics of the original, especially as far as fingerprints are concerned, I really have no complaints about the Titan S2 in this regard either.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

In the sound section we also find that the Titan S2 differs quite a bit from the original. I find that the Titan S is a rather neutral set of IEMs that doesn’t excel at anything in particular but also doesn’t do anything wrong. Nothing is overly pushed or bloated, it is just a good, neutral, all rounder. Some may find it a little overly present in the upper mids but I personally like it.

The Titan S2 moves away from this signature and emphasizes the bass more while dropping those upper mids. Here is a graph of the Titan S2 Vs the original (with my usual preference curve for reference):

Starting off with the usual subbass test, “Chameleon” comes across as more focused in the midbass than actual subbass. There isn’t a lack of subbass, just the focus is shifted slightly higher than those low rumbling notes. There is enough subbass but the extra midbass can make this track seem not quite as clean and controlled as it should be.

When moving over to “No Sanctuary Here”, here we can once again notice that there is a warm touch to the midbass area. It is not excessive but it is north of my preferences and, together with the delayed rise in the upper mids, does make the percussive hits take a little more spotlight than I would like.

With the low end reverb on the guitar of “Crazy”, there is a bit of boomyness to it that can become a little too much for me. Not to the point of becoming fatiguing like on many other midbass focused sets, yet still enough for things to not seem as clear as I feel they could be.

I find the same with a lot of acoustic music, such as “Sugar (Acoustic)”, where things seem a little blurred in general. It is not that they are excessively warm, this set has much less of a warm focus than many other sets we have seen lately, it is just that they are a little “hazy” with that slightly boosted midbass and upper mids that arrive a little late to contract.

Speaking of upper mids, these are much less pronounced than on the original Titan S and have a bit of a delay in their climb, meaning that things are not quite as present and clear as I would like them to be. This is particularly noticeable in vocal tracks that have warm bodied acoustic guitars in the lower ranges. Other than those mentioned above, “Something Just Just Like This” would be another example of things being just a little “hazy” in their presentation.

The upper mid does extend more than on the originals, stretching over into the 5k mark, however, this doesn’t really fix the presence and also gives me hints of that 5k presence that I am personally very sensitive to. It is not a painful 5k, not like if it was an actual peak there, but it still brings a bit of that spicy flavour.

Details are ok, they are not the best in price range but they are not terrible either, they just get a little diluted by that general “haziness” that I have mentioned already. If focusing on detail, such as the intro to “All Your Love (Turned to Passion)”, then the details are there, they are just sort of glazed over.

Conclusion…

I can’t say that the Dunu Titan S2 are a bad set of IEMs but I also can’t say that, based on sound presentation, that they would be my pick over many other sets at the same price point. For me personally, I would rather listen to the Titan S than the Titan S2. Admittedly they are not going for the same sound signature, so it is not really a fair comparison, but where the originals became a sort of reference point for me at the time, I don’t see anything in the S2 that would put them in the same place.

There is no doubt that they have a great build quality, aesthetics that make them stand out and come with accessories that are second to none in their price range (and much higher), but the sound just doesn’t quite do it for me.

To my ears, it is as though they couldn’t decide if they wanted the neutrality of the original or the warm, laid back, signature that is so common at the moment. In the end, they are neither one nor the other.

As always, this doesn’t mean that you, and many others, will not like them. It just means that I am not a fan.

__
As always, this review can be found in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/@achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

Truefree O2

TLDR version on YouTube: TDLR - Truefree O2

While those who read my written reviews will not have seen it, I mentioned in my last video that I was going on vacation for a couple of weeks and that I planned to disconnect, something that I achieved. I spent a couple of weeks camping with my family and completely disconnected from the internet and also from headphones and IEMs in general.

I did actually take a couple of sets of IEMs with me to try out but didn’t get around to sitting down and spending time listening to anything in particular. When I wasn’t having fun with the family, I was sleeping and trying to recuperate the energy I needed for the next day!

The only thing that I have really tried out during these past two weeks are the Truefree O2 that I have here today. These were sent to me directly by Turefree some time ago and I thought that it would be a good time to give them a try.

Truefree have not requested anything in particular and the O2 can be found on Amazon. If you would like a direct link to them on Amazon, just visit the version of this review published on my blog. As always, it is a non-affiliate link.

Intro…

I hadn’t heard of Truefree (at least as far as I can remember) before they reached out to me and, although I haven’t really had great experiences with bluetooth earphones from brands I haven’t heard of in the past (most of them never make it as far as being reviewed), I was interested in giving the O2 a try as I was curious about the form factor.

While they are labelled as Wireless Earbuds, yet they are more like little speakers that sit just outside your ear canals, but I will explain a little better in a moment under build.

They usually retail for around 60€ on Amazon but, at the time of writing this review, they are on sale for 48€, placing them inside the ultra budget category.

Presentation…

The presentation is rather simple, with a black box arriving inside an outer sleeve that shows an image of the earphones on the front, along with the brand, model, and some basic specs. On the back we get some more basic specs, along with the CE approval etc.

Inside the box we find a charging case that is sort of a dark grey/black stone effect with orange highlights and the brand on the top. Inside the case, which is orange, we find the earphones in a matching colour scheme.

Underneath the case we get a user manual in 9 languages (which is nice to see!), along with another small black box that contains a short USB-A to USB-C charging cable.

Build and aesthetics…

The build is a combination of plastic and rubber, with a shape to them which is strange (if you are used to IEMs etc.) but also very comfortable, at least I have found them to be. I literally forget that I am wearing them as they are so light and just sort of hang on your ears.

At first I was trying to work out how to wear them, as when you push them towards your ear canals, they obviously sound louder. I was subconsciously looking for a seal that doesn’t exist. After checking the manual, it just says “place the hook over your ear and rotate the earbuds until you find the most comfortable position”. I did just that and they just sort of disappear.

As they sit so lightly on your ears, I thought that they would move around and fall off, but they actually stay in place well, again due to the fact that they are so light plus the fact that the pill shaped part at the back gives them very good balance.

As far as build quality, they seem to be pretty decent. I obviously can’t vouch for how long they will last with daily abuse at the gym etc, but they are designed for that, so my guess is that they will hold up fairly well. They are also stated as IPX5, so they should do pretty well with sweat and even a few unexpected rain showers if out running.

In general, the build, the looks and the design are aimed at using them while doing sports or exercise and they seem to have done a decent job.

Functionality…

The earbuds feature a touch panel on the outside that offers all of the functionality that I would want from a set of wireless earphones. You can control volume, next/last track, control calls, use the voice assistant and even enter game mode (something that I really don’t need but it’s there).

It did take me a while to get used to the controls as, because the earphones are just sitting in your ear, they move around a little and can be a little finicky at times. But they do work and once I got used to them, I really didn’t experience any issues with response.

There is also an app that can be installed on Android and iOS to control some other features, such as EQ, turn off the touch controls, etc.

As far as EQ, there are 9x preset EQ’s, along with a 10 band graphic EQ which allow you to store custom EQ’s. The bands are obviously fixed on the graphic EQ but at least they are at sensible frequencies (31, 62. 125, 250, 500, 1K, 2K, 4K, 8K, 16K), giving you a decent amount of control over the sound.

There is also a function called “Adaptive” that plays test tones and has you tap when you hear them, adapting the EQ to best suit your hearing. I can’t say that I was amazed by the results but it didn’t sound bad, I just preferred playing around with the graphic EQ personally.

One thing to note about the app is that it does make you register your email address to be able to use it and it also shows publicity (Truefree publicity, not 3rd party) each time you open it. It also has quite a few translation errors in the Spanish version, with a few Italian words and some non-existent words to be found.

In general, I can’t complain about the functionality. Yes, there is certainly room for improvement but it is better than some other “better known” brands out there.

Sound…

Let me first say that these are not a set of earphones that are designed for sitting down and listening to music. They are designed to be used while in movement, with what they refer to as an “open-ear” design, not to be confused with “open back” as we find in headphones.

Basically these are 15mm speakers that sit outside the entrance to your ear canal and reproduce sound in that general direction. There is no seal, so don’t expect these to perform like IEM’s or even like flathead earbuds. They are meant to play background music while you are doing other things, like jogging, while keeping you connected to your surroundings and avoiding you getting run over by a car in the process.

Saying that, considering the limitations of the design, they don’t do a bad job. As the surrounding sound comes in naturally, it is not like a transparent mode on a set of noise cancelling IEMs, it is more, well, natural.

There is not a ton of bass of course but it is not totally absent. I did try the “Chameleon” torture test which is, of course, fairly bland in the low end. Boosting it with EQ helps a little but overboosting will soon bring more distortion than bass.

But that doesn’t mean there is no bass, if you like listening to things like EDM while working out, then you will certainly be able to follow the beat, just don’t expect them to provide you with deep thumping bass.

As there are so many options with the onboard EQ, I can’t really give you a specific run down on exactly how they sound in depth but, as I said before, these are not made for detailed listening anyway.

With some tweaking of EQ (or maybe just the “Adaptive” function”, these provide ample sound quality for the times when music is just as a background accompaniment and not a forefront experience.

Conclusion…

I think the Truefree O2 have their place and are clear about what they are made for. They are not something that should be judged on sound quality, rather something that should be judged on how they are used and what they provide.

That doesn’t mean that the sound quality is terrible, again, I think they are decent enough for when you are more interested in your surroundings than the actual music experience. In other words, when you are out jogging, walking through the city, hiking or even cycling (please don’t use earphones when cycling, cars are crazy and have no respect, but if you have to, then the O2 will give you a better chance of survival!).

These are even a good option for those who go out jogging or walking in pairs or groups, as you can all listen to your own music while still being able to have a conversation.

So, my conclusion is that these are not something that are going to blow you away with sound quality but if you are looking for something for a use case similar to those that I described, then these are a very reasonably priced option.

__
As always, this review can be found in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

[SenyorC]

Hidizs MP143

TLDR version on YouTube: TDLR - Hidizs MP143

The Hidizs MP143 have been sent to me directly by Hidizs in exchange for the publication of my review. Their only request was that I published it around the release date, however, as I was on vacation when these IEMs were officially announced, I guess I failed to meet that request.

The MP143 on Kickstarter here: https://www.kickstarter.com/projects/hidizs/hidizs-mp143-salt-143mm-large-planar-hifi-in-ear-monitors

Hidizs official site: HIDIZS MP143 Salt 14.3mm Large Planar HiFi In-ear Monitors

As always, these links are non-affiliate.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Before even getting to the IEMs, I want to mention the collaboration of Hidizs with the WDC (Whale and Dolphin Conservation).

When I was first asked about reviewing the MP145 (the previous planar model from Hidizs), I was told (so were other reviewers) that they were collaborating with the WDC and that there would be donations from the MP145 going to the WDC.

As time passed, there was no confirmation on what these donations were and even WDC, when contacted, said that they had not received anything from Hidizs. The subject became very confusing and there was no clear answer for quite some time. Finally there was some clarity brought to the situation and an announcement was published on the WDC site (that you can find here).

So, when Hidizs reached out regarding the MP143, saying that they were once again collaborating with the WDC, my first question was would they be clearer this time? The answer was yes, that they apologised for the confusion around the MP145 due to it being their first collaboration but that the MP143 would continue to support the WDC education program in the same way.

Anyway, with that out of the way, on to the IEMs, as this is an audio review after all!

In the words of Hidizs, the MP143 promise to deliver “the same superior sound tuning as the MP145 but at a more affordable price”. The truth is that they were launched with a super early bird price of $79, which then increased to a limited early bird price of $99, with the regular price stated as being shown as $159. When the MP145 was released, the same tiers were $109, $119 and $199, respectively. So we are in fact looking at about a 20% reduction in price over the previous model.

So, the reduced price is there but do we give anything up over the previous model?

Presentation…

The packaging is fairly similar to the MP145, only the way of presenting the included tips has changed. In the box of the MP145, these were presented on a large card with labelling to identify them, whereas, in this case, we get a little cardboard skewer. This is something that doesn’t bother me in the slightest, as the less packaging the better (even if it is stated as being ocean friendly packaging).

We do get less tips here also, with only 6 sets (in two types) being included, instead of the 9 sets in 3 types that we got previously. Once again, this is not really an issue for me as I just pick a set that works for me and stick with them for the review, maybe swapping them out after I have done my detailed listening.

The included cable is also a little simpler than the one included with the MP145, at least the balanced version that I received. However, that doesn’t mean the cable is bad. I praised the cable included with the MP145 but that doesn’t mean I am going to complain about this one. It is simple and, although it might not be my favourite cable, it gets the job done just fine.

Build and aesthetics…

There is a clear similarity between the two models, however, they are not the same. While the build quality does seem to be of the same level, the MP143 is slightly smaller, slightly lighter and opts for a different design on the face plate.

While the faceplate is still “inspired by a whales tale”, it’s more a simple stepped design than the raised shape of the MP145. I actually like this aesthetic and appreciate the fact that it is smaller and lighter, although it is still not a small or light IEM by any means.

However, the smaller size doesn’t work in favour of comfort for me personally. While the shells may be smaller, the extension of the nozzle is also less, making it more difficult to get a seal at first, at least for me. For some reason, I also find that the left IEM causes a pressure point on the top part in my ear, making it a little uncomfortable at first. This seems to go away after a while, so maybe it is just “new shoes” syndrome.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

So, the important part, how does the MP143 sound?

Well, it depends on the nozzle selected. Once again Hidizs have included 3 different nozzles to enable the user to choose their preferred sound (and give the reviewer 3 times as much work ).

Here is the graph of the 3 options in comparison to my usual preference target for reference:

The obvious question is… how close is that to the MP145?

Well, here is the MP143 (Rose) in comparison to the MP145 (Red):

Here is the MP143 (Silver) in comparison to the MP145 (Silver):

And here is the MP143 (Red) in comparison to the MP145 (Red):

You may have noticed that I have not compared anything to the Gold nozzles of the MP145, that is because the differences between the Silver and Gold on the MP145 were minimal (check out the MP145 review for more on that).

So, with all the squiggly lines out of the way, on to my subjective impressions.

Starting off with the Red nozzles, I am not a fan. While this tuning is becoming a regular lately and there are some sets with similar tunings that I really enjoy, I don’t find it works well with the MP143. Things come across overly blunted and focused on the low end. Rather than going into details and saying negative things, let’s move on to the other two nozzles.

There are a lot of similarities between the Silver and Rose nozzles, however, there is much more of a difference between them than there were between the Silver and Gold on the MP145.

Here the Rose nozzles give a little more focus on the lower end, with a more relaxed upper range, whereas the silver nozzles have more “bite” to them.

To be honest, I like both of the nozzle options and can listen to either of them but found that I spent more time with the Silver option, which is what my following opinions are based on using.

Using my usual “Chameleon” test, I find the lower notes to have plenty of presence and stay rather clean, although they do become a little excessive for me personally due to the boosted midbass range also. I don’t find the midbass range to be offensive, “Crazy” is not overly boomy nor fatiguing, but I do find that “Chameleon” is a little too much in this regard.

Speaking of “Crazy”, there is a nice clarity to the track, although the vocals can get just a little too spicy with the Silver nozzles, something that is tamed by opting for either of the other two options.

The midrange is well balanced in general although I do find that there is a slight lack of presence in the upper midrange. This is especially noticeable with female vocals, such as Sara K. in “All Your Love”, where there is a bit of a rounded effect to her voice in general.

This is not quite as noticeable with male vocals but is still there, such as Francesco Yates in “Sugar (Acoustic)”, where his vocals are clear but seem to be missing a little bit of brightness in those upper mids.

The same could be said with details in general, such as the intro to “All Your Love”, where the details are not quite as clear and also present that “rounded” sensation to them. However, speed is certainly not an issue, as the busy parts of “The Room” show.

Soundstage is not really something that stands out to me with the MP143, there is some space but it is not a sensation of a large soundstage, more of a reduced space where positioning is rather good for the limited space, as shown by “Bubbles”, where each of the balls is easily located. With “La Luna”, there is not much of a sensation of depth or width either, although there is plenty of separation between the instruments.

Conclusion…

There are a lot of similarities between the MP143 and the MP145, although I would say that there is a noticeable difference in performance between the two sets. The MP145 comes across as more detailed, with more space, where the MP143 comes across as rounder and a more compacted presentation.

Saying this, I don’t think the MP143 is bad, far from it, I think it is a very good set of planar IEMs, I just don’t think it is a direct competitor for the MP145. At the current sub 100€ mark, I think you are getting a decent performing set of IEMs, that also offer you 3 tuning options and are quite capable of keeping up with fast moving and busy tracks. They are not the most detailed of IEMs but, again, they do have other things that they focus on, such as the bass, if that is your kind of things.

If you have the MP145, then I really don’t see any reason to look at the MP143. Saying that, if you buy the MP143, I also don’t think that there is such a significant jump up to the MP145 that it would be worth picking those up either. If you don’t have either and are torn between the two, ignoring the size and weight (which obviously puts the MP143 ahead), I think I would personally go for the MP145.

__
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

Ziigaat x Jay Estrella

TLDR version on YouTube: TDLR - Ziigaat x Jay Estrella

The Zigaat x Jay Estrella were sent to me by Linsoul but the unit was arranged by Jay through Linsoul. I have had a couple of private messages about this set with Jay but his only request was that I try different tips to those included, more on that later in the review. Other than that, there have been no requests from Jay or Linsoul and, as always, I will do my best to be as unbiased as possible in my review.

Ziigaat official page: ZiiGaat x Jays Audio ESTRELLA

I have also left the direct link to the Estrella via Linsoul on my blog.

As with all links that I publish, these are non-affiliate links.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

For those of you that don’t know who Jay is, he is the person behind Jays Audio, a review channel on YouTube (you can find the channel here: Jays Audio). The Estrella are his first collaboration and have been created together with Ziigaat, a company that have seen quite a bit of popularity in recent times.

Although I haven’t really spoken with Jay too much, I know him from here on the forum and have exchanged a couple of private messages with him regarding the Estrella. Apart from actually arranging the review unit, the other messages were in relation to me trying different tips (he recommended wide bore or Sancai tips) and some clarification to what I may have read in other comments or reviews about the Estrella.

Regarding other comments and/or reviews, as usual, as soon as I knew I was going to review the set, I have not read any further reviews or in depth opinions on the Estrella. I told Jay this and let him know that I didn’t need any clarification, as I hadn’t read anything about them since they were released and received by the first reviewers.

On the tip subject, I have to agree that the included tips are not the best option for these IEMs, at least in my opinion (and Jay’s opinion also, based on the message). Usually I always use a set of tips from the included ones that come with whatever I am reviewing, unless they are terrible or I just can’t get a correct fit/seal. In this case, the included tips are not great but they are not terrible but, as I was requested to tip roll, I did so and I ended up settling on the Sancai tips as recommended by Jay.

Other than that, my review of these IEMs follows my usual procedure. In other words, I spent the office time during the week using them and then sat down and spent a few hours doing some more focused and critical listening with my usual test track.

Just as a last comment, before moving on to the review, let me mention that the Estrella are a dual dynamic driver paired with 4 balanced armatures and are currently available via Linsoul for $299 (around 270€), so they are not a budget set of IEMs but they are not in a high price bracket either.

Presentation…

The packaging is nothing really special, although it is a little more exciting than other Ziigaat sets I have received in the past. The cover shows the IEMs sitting in front of the moon over a galaxy background, which makes sense as they are called Estrella (star in Spanish).

Removing the outer cover reveals the typical Ziigaat inner box, inside of which we find the IEMs in their sponge cut outs and another box containing the accessories. The accessories consist of a storage case, the cable, a set of foam tips and three sets of silicone tips in 3 sizes.

Not really an amazing unboxing experience at the price point but if the build and sound are good, this can be forgiven.

Build and aesthetics…

Let’s get the negatives out of the way first. The tips are not terrible but are not great, especially when paired with the Estrella, but the included cable is not exactly brilliant either. I mean, it does get the job done but it feels rather cheap and plasticky.

As far as the IEMs go, they are well built, comfortable and rather good looking. They have a black shell and faceplate but there is a silver glitter in the black shell and a sort of diffused glitter finish to the faceplate, fading from a coloured glitter on one side to a black center and a silver glitter at the other side, with a very subtle glitter to the whole background. To the naked eye they don’t stand out much but when they are hit with the right lighting, they seem to come alive, making them look much better than my photos can make them look.

I think the IEMs deserve plenty of praise and the storage/transport case is decent also. They may not be the most beautiful IEMs I have ever seen but I do think they are good looking and I have absolutely nothing negative to say about them. I did find it strange that there is no mention of Jay on the IEMs.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Before getting to my opinions on the sound, here is the usual graph of the Estrella in comparison to my personal preference target as usual:

As I mentioned previously, I did some tip rolling as recommended by Jay and after trying various options, I settled on the Sancai, which are what I have used for this evaluation.

Starting with my usual “Chameleon” test for the subbass, there is certainly a boosted presence in those lows. It is not to the point of being fatiguing but it is north of my personal comfort zone. Saying that, it doesn’t become too bloated in the low end, it still lets the other frequencies do their thing, it just has that extra rumble that will please those who like a nice thick low end.

With my other usual bass test, “No Sanctuary Here”, the extra emphasis on the low end works nicely to give it a more impressive low end, especially because it cleans up rather nicely into the midbass, avoiding things being muddy. It is like filling the lowest notes out and turning them into a think presence that doesn’t interfere with the low bassy vocals of the chorus, which manage to stay rather clear in that midbass zone.

Testing for midbass fatigue with “Crazy”, there is once again a thick low end but it is far from being too boomy in the reverb, keeping it clean enough for me to avoid fatigue and nausea. Daniela’s vocals are also nice and clean, with body to them and no real harshness in the upper ranges that can be found on so many sets. Her vocals may not be quite as up front as I would choose personally but they are still clear and have a very nice musicality to them.

I find that acoustic guitars have a nice amount of body to them which is smooth and while I wouldn’t call them a neutral representation of said instrument, at least what I consider neutral, they are a warm and lush representation which I find very enjoyable. I do find that at times, that warmth can place the vocals behind the guitar but it is not a bad experience, just a different way of hearing the tracks that can be very pleasurable.

Maybe the midrange is where things do take a step back, not in quality but in presence. Again referring to that low end that can “fill” the soundstage, vocals seem quite relaxed, missing maybe a little more sharpness to cut through. Once again, this is not necessarily a negative, depending on personal taste, but it does take vocals away from front of stage and place them further back into the mix.

The thing is, the upper mids are lovely and smooth, I have no complaints with them, they are just a little overshadowed by that low end in many cases. This does work very well for keeping harshness out of vocals in tracks that can become very harsh on many sets, such as Beth in “Don’t You Worry Child”.

Sibilance is also reduced in tracks such as “Hope Is A Dangerous Thing”, giving a smoothness to Lana Del Rey in the intro that I am quite a fan of. With the usual “Code Cool” sibilance test, I would say that Patricia Barber is at a sibilance level of -3 (on my non-scientific -12 to +12 scale).

Although the overall sound is rather smooth, the Estrella still manage to do a fairly competent job with detail. While the decay of the intro in “All Your Love” may not be amazing, it is still pretty good in comparison to many other sets. The vocal layers in “Strange Fruit” have enough separation between them to be clearly identified when focusing but at the same time, enough of a smoothness to be one very musical chorus when listening to the track as a whole.

As far as soundstage goes, with “La Luna” I find spacing and placement to be also very competent, with a nice separation between the surrounding instruments. The rear left guitar may be little more left than rear but it is still enough to give the sensation of coming from the back left. With something a little more complex, such as “Bubbles”, the placement is very good and the width of the stage is more than adequate to enjoy this track for what it is.

Conclusion…

The Estrella are a very competent set of IEMs that come from a company that may not be the most known, collaborating with a reviewer who may also not be the biggest of names, but they have done a very respectful job.

The included accessories are not great but the IEMs are well built and the aesthetics work for them, which is a plus. You don’t need to change the cable (although it is cheap feeling) but I would certainly suggest playing around with different tips. I tried 6 or 7 types and landed on the Sancai but I honestly think that maybe trying more tips would probably give them even more of a nudge in the right direction for me.

There is an overall smoothness to the sound that is not lacking detail but does make things seem a little less lively. This is going to please some and not others. Personally I like just a little more aggressiveness to my vocals, especially when listening to things that are vocal and acoustically focused, but that does not mean I don’t enjoy the different “flavour” that the Estrella gives to many of these tracks.

The additional presence in the low end does fill out the sound quite a bit, which is something that I am sure that many will enjoy (I know I am in the minority with my bass preferences) and it does it without creeping into the midbass and lower mids, managing to keep things clear. It also gives a lot more body to certain instruments, even without boosting the midbass too much, which can once again be a positive or a negative, depending on personal preference.

Again, I feel that the Estrella are a competent set of IEMs that will work for a lot of people, especially those who like a bit more body to their music.

---

As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

FatFreq Scarlet Mini

TLDR version on YouTube: TDLR - FatFreq Scarlet Mini

The FatFrequency Scarlet Mini has been sent to me as part of a tour organised on Head-Fi. The usual tour rules apply but you can find info regarding the tour here: FatFreq's Scarlet Mini Goes on Tour! | Headphone Reviews and Discussion - Head-Fi.org

The official page for the Scarlet Mini can be found here: "Scarlet" Mini Universals | FATFreq

As always, this is a non-affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

I can’t pretend not to know the fame behind FatFrequency (FatFreq) , they do bass, lots of bass, and they do it well. At least that seems to be the general consensus, as I had not actually listened to a FatFreq set until now.

As I have made clear over the time I have been reviewing, I am not really someone who likes excessive bass, except on specific occasions when I am in the mood, but how could I not jump at the chance to try out a set of IEMs that so proudly boasts to be “the world’s first 30dB bass shelf”.

While FatFreq don’t state the exact driver configuration on their website, and have been known to not openly share their driver configurations in the past, it seems that the Scarlet Mini use a 10mm DD for the low ranges, a BA for the mid ranges and a custom “hyper tweeter” for the highs.

The Scarlet Mini sells for just under 600€ direct from the FatFrequency website and is part of their Maestro series, otherwise known as their flagship series.

Build and aesthetics…

I can’t go into details about packaging and presentation as I received the IEMs in a hardshell case (think Pelican case) and I also can’t say if the included contents are those that are actually shipped with the retail units.

I can say that the monitors themselves are on the smaller side, with a shape that is a little unorthodox but is very comfortable, at least for me personally. I can’t say that I would give them any prizes for aesthetics but, as always, that is a very personal thing and what I prefer may not meet the tastes of the majority of others.

The cable that I received with the Scarlet Mini I believe is the “Upgraded Silver Red Cable” that is available on their site and does raise the price by about 150€. The cable itself is ok but not my favourite as I find it a little plasticky, however, I have to say that I really like their modular connector system.

At this point we have seen interchangeable connectors on many cables from different brands but the way that FatFreq is different to other connection systems that I have seen. Basically the outer shell of the connector screws off and reveals that the connector is actually divided into 2 halves that just push together, securing themselves when the outer shell is screwed back into place. At a simple glance it doesn’t look like a modular cable at all, in fact, if it wasn’t for the other connectors included in the case, I would never have guessed that it wasn’t just a 4.4mm terminated cable.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

Now on to the interesting part, getting to hear the Scarlet Mini and the famed bass of FatFreq for the first time. But before sharing my subjective opinions, as always, let’s take a look at the graph of the Scarlet Mini in comparison to my usual preference target that I always use for reference.

I have said many times that my preference target is nothing but a rough guide, it is not a guarantee that I will or will not like something just based on how close to the target it is. There have been times that things have been almost spot on and I haven’t liked them, and other times that I have really liked something that deviates a long way from my target.

Saying that, anyone who looks at the above graph can easily see how far away from my target the Scarlet Mini are.

I have also said many times that I am not someone who favours excessive bass, especially midbass, and that it can become fatiguing and even nauseous if there is too much bass and it is not clean and well defined.

So… in that case… I hate the Scarlet Mini don’t I???

Hell no! But it does mean that I have to look at them in a different way, not necessarily as a set of IEMs that I would choose but more as a set of IEMs that is built to do a certain thing.

Starting off with “Chameleon”, the bass is thunderous and, for me personally, is just too much. I have said in the past that excessive midbass that isn’t clear will fatigue me, here it is the excessive bass in general that fatigues me. “Chameleon” is a track that honestly overdoes it in the bass range, adding that to the Scarlet Mini which also overdoes it in the bass range, can actually make me feel nauseous.

But moving away from the excessiveness while still sticking with a track that relies on good bass presence and presentation, “No Sanctuary Here” is a different story. It is still far too present in the bass ranges for my tastes but at least now we have some clarity and definition to those lower notes. I wouldn’t say that it is a punchy bass, it is more of a think low end that somehow still manages to define notes, although I would still prefer a little more clarity.

Sticking with EDM but reducing the low end a little more, focusing a little bit more on the midbass, “Sun Is Shining” is more of an electronic track that I can find very impressive and enjoyable. I couldn’t listen to it all day (the track or the tuning) but when in the mood for some partying, the presentation certainly makes things sound impressive.

As we move away from bass centric music, it is impressive how much clarity and definition simple acoustic music can produce. For example, in “Tears in Heaven”, there is a but of excessive thump to the rhythm yet the vocals and the acoustic guitar sounds very realistic and very pleasing to my ears.

With something a bit busier and focused more on rock, I found “The Room” by Ostura to not only be very impressive throughout the intro but to sound full of life and enjoyable even when the track gets to the busier parts. Again, there is a little too much emphasis on the kick drum for me personally but it is an impressive presentation that I found I enjoyed.

As far as upper mids and the higher ranges in general, I find it depends very much on the bass section, as is to be expected with such a boosted lower range. When tracks are not overly present in the lower ranges, then I find the Scarlet Mini to have a smooth and rather pleasant upper frequency range, however, as soon as we move into music that has a large bass presence, this definitely takes the spotlight and relegates the rest to a secondary position.

Soundstage is pretty darn good but can once again feel a little congested when that booming low end kicks in. There is plenty of separation and very good location of instruments in things like “La Luna”, but in bass heavy tracks, the low end gets filled in so much that it makes it more difficult to place the sounds around you.

Conclusion…

The Scarlet Mini are a set of IEMs that are designed to do a specific thing, bass, and there is no denying that they do it and do it well. Yes, they are over the top for my personal tastes, although I knew that going into this, but I am still surprised at how pleasurable they are when listening to a lot of music that is not overly bass focused.

If you are a bass head, then there is no doubt that you should give these a whirl, you are the person that was in mind when these were tuned. However, if you are not a bass head, I still think that these can be very enjoyable IEMs that have plenty of performance that is not just bass.

I am very glad that I have had the chance to try these out and all I can do is agree with most of what I had heard about these IEMs before I tried them out.

__
As always, this review can also be found in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/@achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

NF ACOUS (NF Audio) RA15

TLDR version on YouTube: TDLR - NF ACOUS (NF Audio) RA15

The RA15 have been sent to me directly by NF Audio in exchange for the publication of this review. They have not made any requests and I will do my usual attempt at being as unbiased as humanly possible in my review.

You can find the NF Audio official page here, although they don’t seem to feature the RA15 on their site: NF Audio Custom In Ear Monitor

As always, this is a non affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

First let me address the naming here. Who is NF ACOUS?

Well, the IEMs I am reviewing today were sent to me by NF Audio and they are the NF Audio RA15. However, a few days ago, I received an email saying that they have decided to change their name from NF Audio to NF ACOUS.

Personally, I prefer the name NF Audio but it is not up to me and it doesn’t really matter in the course of this review anyway but, just so you are aware, NF ACOUS and NF Audio are the same company. I have also left the NF Audio page link above as I can’t find one for NF ACOUS.

I reviewed the NF Audio NM2 around 2 and half years ago and, to be honest, I hadn’t really heard anything else about the brand since then. That was until they reached out to me a few months ago asking is I was interested in reviewing a couple of their newer models, one of them being the RA15.

As I mentioned above, there doesn’t seem to be an official page for these IEMs, although they are available on Amazon and via a couple of other online retailers, such as HifiGo, where they are priced at just under $90.

They feature a dual magnet single dynamic driver along with onboard electronics to tune the IEMs and come with two sets of nozzles, offering different profiles, although the differences are not huge, but we will get to that in a moment.

Presentation…

Arriving a a black and orange box, with the IEMs on the cover, we open it to find the CD shaped card that immediately reminded me of the NM2, holding the IEMs. Beneath this we find the accessories, which are 4 sets of silicone tips, the extra set of nozzles, the cable and a small drawstring storage bag.

Honestly there is nothing really exciting in the contents but they all look aesthetically pleasing and, while the cable is nothing to write home about, do their job.

Build and aesthetics…

The IEMs are a full metal build and are rather small. The nozzle is not overly long either, which, paired with the shallow style tips, make for a fit that is not very deep. I found myself opting for the L sized tips and once fitted, they give a good seal and felt very comfortable.

As they are metal, they are not the lightest IEMs but, due to their size, they are far from being heavy. They are a set that I can easily wear for many hours and not feel them in my ears at all.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

As mentioned, we get two sets of nozzles and the frequency response is different between them, although they are still fairly similar. Here is the usual graph showing them in relation to my preference curve that I post for reference:

Starting off with the gold nozzles, I found them to be rather neutral with a hint of extra warmth in the midbass which can become just a little boom on certain tracks, such as “Breezeblocks”. However, the upper mids do rise to a peak at 5k which, as I have mentioned many times in the past, is not something that I am a fan of. In fact, I find the peak to be painful many times but in the case of the RA15, with the gold nozzles, it is not actually as bad as I would have thought.

Yes, the peak is noticeable to me as I am very sensitive to that range, yet I do not find it to be piercing like I do on so many other sets.

The treble is not exactly smooth but also doesn’t portray itself as being bad or uneven. I find the general sound to be rather neutral with a hint of bright, something that I don’t mind at all. It is only that boomyness of the midbass focus that can be tiring at times.

Swapping over to the silver nozzles, these bring a bit more presence in the upper mids and take away some of that boomyness in the midbass, although it is still there, just that the focus is shifted to the upper mids.

The thing is that the silver nozzles seem to give everything a more fragile and “thin” sound, especially in the upper ranges. It is not that the tuning is completely different from the gold nozzles, I would still say that we are in the neutral bright zone, but things just sound sharper and not in a good way.

Although there is is more presence between 2kHz and 4kHz, I actually notice the 5kHz peak more with the silver nozzles than I did with the single 5k peak on the gold nozzles. This made the listening experience less enjoyable for me personally.

As far as details, they are pretty decent and there is a nice sensation of sound stage also, with things seeming having plenty of space to breath (except for those tracks where midbass boomyness is experienced). The location of instruments in “La Luna” is pretty good and there is nice space between them, although I do find that width is superior to the depth.

Conclusion…

Honestly, it is nice to see brands that are staying loyal to their tunings and not jumping on the bandwagon of whatever is “in season”, yet, I really can’t say that there is a lot of difference between the NM2 and these, 2 and a half years later.

In fact, I think that I personally prefer the NM2 over these due to the lack of peak in the 5k region.

Saying that, with the gold nozzles, I find them to be a pleasant listen and, while they are not my first pick for IEMs, they do have a sound signature that is not commonly found lately, so they may be interesting to those looking for that neutral bright signature.

__
As always, this review can also be found in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

[SenyorC]

Letshuoer S12 2024 Edition

TLDR version on YouTube: TDLR - Letshuoer S12 2024 Edition

The Letshuoer S12 2024 edition have been sent to me directly by Letshuoer for me to try them out and share my opinions in this review. Letshuoer have not made any requests or comments and, as always, I will do my best to be as unbiased as humanly possible.

The Letshuoer S12 2024 official page is here: Letshuoer S12 2024 Edition 14.8mm Planar Magnetic Driver in Ear Monito – letshuoer

As with all links I post, this is a non-affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews

Intro…

Jumping back to April 2022, when the first real planar IEM boom started, I got to try out the Letshuoer S12, a set that immediately turned into my main daily driver. In fact, I remember that the title of the video review in Spanish was “my new EDC”. They continued to be one of my most used sets for a long time and only really lost their spot in my box of 6 quick grab IEMs quite recently. So, it goes without saying that I was (am) a fan of the original S12.

Fast forward to a few months ago and Letshuoer reached out to me to let me know that, as part of their 8 year anniversary, they would be releasing a 2024 Edition of the S12, limited to 2,024 units. I was, of course, very happy to agree to reviewing them and looked forwards to giving them a listen.

Now, these aren’t the first variation of the S12, we also got the S12 Pro and the Z12 which, funnily enough, I never got to listen to but I do know that they received a lot of praise.

So, what is special about the 2024 edition?

We’ll get to details in a moment but apart from the limited number, the Letshuoer focuses mainly on the special accessories that are included, along with the limited edition shell colour. They don’t actually say much about changes in tuning or sound, although there are (something that we will also get to in just a moment).

The 2024 edition comes in at $199 while the original S12 is available for $90 less on Letshuoers site, so what do we get that is special?

Presentation…

I have to say that before I even opened the outer box, I was already intrigued by the presentation. The outer brown shipping box features the Letshuoer branding, something that is not very common on shipping boxes (at least those that I receive) and opening it reveals a black interior with more branding and a gold coloured box inside a large bubble wrap sealed envelope. As I said, we haven’t even got to the main box yet and I already felt that these were something different.

Removing the gold inner box from the bubble wrap, this shows an “8th” design in a raised texture, with “Letshuoer 8th Anniversary” in black at the top and “S12 Limited Edition” at the bottom. On the back we just get some basic specifications etc.

Opening the gold box we find another box, this time a rigid black box with a lift off lid that reveals a gold (coloured) commemorative medallion style item sitting in a white cardboard inlay which refers to the Letshuoer 8th Anniversary. At first I thought this was the keychain that Letshuoer refer to on their web but there is another one in the box, so I am not really sure what it is. This medallion/keychain has a spinning centre and while I wouldn’t actually put it on my keys (I like to keep them small and manageable), it has become a bit of a fidget toy on my desk.

Under the top layer we find the fourth box, inside of which we get the user manual, 9 sets of tips in 3 types (vocal, balanced and memory foam) on a card, the warranty card and a commemorative card in black and gold.

Underneath this we finally come across the gold coloured IEMs sitting inside foam cutouts, the storage/transport case containing the cable, and a final (fifth) box that contains a more manageable keychain, if the first one was actually a keychain. Or maybe they go together?

Either way, there is no reason that I can fault the packaging and contents of the S12 2024 edition. It is true that we don’t need all the boxes and goodies but this is a “special edition” and the unboxing does make it feel like it is.

Build and aesthetics…

The IEMs are, as far as I can tell, identical to the original S12 except that the outer plate is gold coloured and the inner shell is black. To be honest, I thought that the black part of the shell was plastic or resin but Letshuoer mention says that the entire body utilizes a titanium alloy chamber with a high precision CNC milled shell, so I guess they are all metal, as were the originals.

I found the originals to be very comfortable and the 2024 edition is no different. They are small enough to fit comfortably in my ears and light enough to not cause any fatigue. As far as aesthetics, I am not someone who favours gold but I understand that they are a limited edition and they are also on the rose gold / copper side of the spectrum, so they are not as “blingy” as they could be.

The included cable is titanium coloured with gold hardware that matched the IEMs. I can’t say it is my favourite cable ever but it is a nice cable nonetheless. It also features interchangeable connectors, with 2.5, 3.5 and 4.4mm being included.

The storage / travel case is the usual Letshuoer round, screw top, kind. This is not something that I chose for transporting IEMs in my pocket but it is great for storing IEMs when not in use.

In general, I have no complaints with the build or aesthetics. They chose a colour theme for the anniversary edition and have maintained it throughout, making it something that does portray itself as a special edition, especially when the unboxing experience also matched the colour scheme.

Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

As I said in the intro, Letshuoer so not say anything about changes in sound between the original and the 2024 version, yet there are some.

Before explaining how this version sounds, here is the graph comparing the two, along with my usual preference curve for reference:

As soon as I started listening to the s12 2024, it was like putting on an old pair of shoes. Yes, you may have newer and more extravagant shoes, but there is something about those old comfortable shoes that just feels correct. During my initial listening sessions, which are while I am focusing on work and not music, I honestly didn’t really pick up on the differences.

However, as time went on and I listened to more familiar tracks, I started to notice that things seemed a little more “powerful” than on the original. By that I don’t mean that they were louder, or that they were bassier (although I will mention a little more on that in a second), just that they seemed to have more “authority” to them, especially in things like kick drums.

This sensation was more apparent when listening to the originals again, especially when moving on to my detailed listening sessions with my test tracks.

“Chameleon” is clean yet powerful in its subbass, with midbass that adds to the sensation rather than detracting from it. Although the original S12 is also clean and controlled with this track, again, I feel that the 2024 seems to do it with more authority.

“No Sanctuary Here” gives the same sensation, not that there is more bass than on the original, but that the bass has more “thump” to it, without an increase in the midbass range. Again, clarity is good. In my review of the original S12, I mentioned that the slight additional presence of midbass (over my personal preferences) worked well for things like “Whole Lotta Love”, giving a little bit more body to the bass guitar on older rock recordings. With the 2024 I don’t get that sensation. There is no lack of midbass but it doesn’t quite give that same sensation of warmth that the original did in this case, it seems more clear. Not saying that is sounds bad, far from it, just a little different from what I came to expect from the original.

Moving through the mids, I find that the response hear deviates very little from the original, staying nicely balanced with good presence to the lower ranges of vocals and instruments that sound clean, such as the bass guitar in “Elephants On Ice Skates” that is once again nicely balanced between the slaps, plucks and lower notes.

Moving into the upper mids and lower treble is where I find the most noticeable difference between the two sets. Vocals still have a nice presence to them and that slight hint of harshness and sibilance in “Diamonds On The Soles Of Her Shoes” is still present when volume is pushed (above my usual listening levels), but overall I find things to be a little smoother.

As far as the “Code Cool” sibilance test, Patricia Barber still presents some sibilance on this set, as she did on the originals, placing her around a +1 or +2 on my non-scientific scale. This is reduced quite a bit by swapping tips, making her more neutral in this range, but once again, the sibilance level is very reminiscent of the originals.

As far as detail and separation, it may just be my brain and the placebo effect, but I do feel that the newer model is an improvement. Listening to “Strange Fruit” on both sets, I feel that there is a bit more space between the vocal layers and that details are pushed slightly further forwards. This is not necessarily an increase in detail per se, more of them being more in focus.

Soundstage is something that I find very pleasurable on the S12 2024, with a nice sensation of space and location in things like “La Luna”. They may not be the most spacious sounding IEMs but there is still plenty of stage for things to be located all around you.

Conclusion…

I have tried to refer to many of the tracks that I referred to in my review of the original S12 (which you can find here), giving a reference point as to how this stacks up against the original.

There is no doubt that the S12 2024 is a very nicely presented set that does make you feel like you are getting something special when you receive it, which is good seeing that it is a special limited edition.

There is nothing to complain about as far as build and I am probably not the best one to comment on aesthetics, seeing that I am not really a fan of gold.

So that leaves the sound and the performance of the IEMs, which, at the end of the day, is the important thing when buying a set of earphones. It is no secret that I am a fan of the S12 and, in my personal opinion, the S12 2024 is slightly better. It is not a night and day thing, it is small things that stand out to me when listening to music, but I would personally say that I would choose the 2024 edition over the original based on musical enjoyment. They just seem to present things in a more impressive way while still keeping the strong points of the original.

Is this worth the $90 price difference? Based solely on the musical reproduction, I would say no. However, you are not just getting the musical reproduction, you are getting the things that go with a limited edition and that is something you need to consider.

__
As with all my reviews, this can also be found in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/@achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation