Now that you guys mention it, it certainly does seem to be that cable yes.
(It’s currently showing on AE for 127€/$
1 Like
KZ PR1
The KZ PR1 have been sent to me by Linsoul for me to try and share my opinions. As always with Linsoul, they have not made any specific requests and my review will aim to be as unbiased and sincere as possible, although you should always consider the fact that these IEMs have been sent free of charge.
Keeping up with my usual aim to not publish purchasing links on forums where I am only a guest, even if all my links are non-affiliate, you can find the PR1 via Linsoul by visiting the version of this review published on my blog (link at the end of this review).
Intro…
Until recently there were very few planar IEMs on the market, we had Audeze, Tin and not much more. Now there are no shortage of planar IEMs available, covering all kinds of price brackets. The PR1 is Kz’s entry into the planar battle, coming in at just over 65€ and using a newly developed 13.2mm driver that is different to the drivers used in many other sets.
So the question is, other than the price, does the PR1 provide anything that sets it apart from all the other planar models that are readily available?
Presentation…
The PR1 presentation is just another typical KZ package. A small white box covered with a transparent cover that reveals the IEMs inside.
The contents include the IEMs, the typical KZ cable, the typical KZ tips and the typical KZ user guide.
So, as far as presentation goes, there is nothing here that hasn’t been seen many many times before from the brand.
I have always said that the presentation is the last thing on my list of worries and that I would much prefer the money to be spent on the IEMs themselves than a bunch of accessories that I may or may not (probably the latter) use.
Saying that, many other brands have got us used to decent packaging and contents, making the KZ presentations lack in comparison, giving us a cheap vibe when opening the package. Again, this is not an issue, as long as the IEMs provide an experience that matches the price point.
Build and aestetics…
I have to say that I like the industrial looks of the PR1. They use a combination of a clear resin interior shell with a gunmetal grey aluminum faceplate. There are grills on the front of the faceplate, with more ventilation areas along the top. Now, these IEMs are well vented but by no means are they as open as the faceplates would lead to believe. However, it does add a great aesthetic to them, in my opinion of course.
The comfort is the same as the majority of KZ models, which I find to be quite comfortable with no issues over longer periods of having them in my ears.
As far as the cable, well, not much I can say that hasn’t been said many times before. It’s not a fancy cable but it does its job and is much better than the cables that KZ used to include in yesteryears.
Sound…
As I have quite a few IEMs that are pending review, I have been measuring them in batches, meaning that for some models I have seen the measurements before listening to them. THe PR1 are one of these cases.
I am mentioning this because when I saw the graph, my first thoughts were “oh no!”. However, when I got around to listening to them (quite some time after graphing them), I was expecting something much worse than what I actually found (not to say that what I found was amazing).
Here is the graph in comparison to my personal preference target:
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Those of you who follow my reviews and know my tastes will be able to spot exactly what I am referring to by looking at the graph. That 10dB over my preference is the subbass zone is one thing but the 6 to 8dB over my preferences in the midbass range was what worried me more.
So I was expecting overly present and bloated bass, stealing the spotlight from the rest of the frequencies, yet it is not quite as bad as I expected.
I have said before that I have no issues with excessive subbass (which is certainly the case here) as long as it is clean and doesn’t lose definition, and the KZ are actually not too bad in this realm.
Moving through the usual frequency categories and starting off with the subbass, yes there is a lot. In fact, listening to heavy subbass tracks, such as my usual subbass test track “Chameleon”, there is a heck of a lot of rumble. It is in fact too much rumble for my tastes. However, in tracks that have less subbass presence, the PR1 doesn’t force it on you and it keeps more or less out of the way of the other frequencies.
If you are someone looking for a planar experience with plenty of subbass rumble, then I think that the PR1 has you covered.
The midbass is a little more invasive but is still not as bad as I expected it to be when looking at the graph. I will say that the midbass is not out of control though, at least with the majority of music. It does bleed over a little into the lower mids, or at least it gives that impression due to the dip in the center of the mids, but is rather composed and is not terrible.
Listening to things like “No Sanctuary Here” from my test list, the focus is certainly on the lower end, pushing the midbass above the level I would like to find on this are but it is tolerable. I do find it tiring but it is not headache inducing like it is on other bass heavy models (to me of course).
The mids do suffer from a scoop between the 500Hz and 1kHz mark, meaning that V shaped recordings will be even more exaggerated, especially towards the lower notes. This is something that many people find enjoyable but it is not something that I favour personally.
The upper end of the mids does climb rather smoothly to the ear, however, the presence between 2.5kHz and 3kHz is not quite enough to balance out that low end. It is not terrible, again, I expected much worse judging by the graph, but it is still lacking some clarity and definition, with vocals taking a back seat on many tracks. Sting’s voice in “Walking On The Moon’’ seems quite distant (maybe on the moon? 
), as does the guitar, with the bass becoming the lead instrument (which some bassists would be happy about).
Moving into the upper frequencies, the extension is decent, with a sensation of air that is maybe not as apparent due to that low end being overly present. Using the typical “Code Cool” sibilance test, the results aren’t bad although they are not perfect either.
As far as details go, again they aren’t bad but they are not overly impressive for a planar driver either. To be fair, even the S12 that I really enjoy is not exactly a detail monster and none of them come close to what I have come to expect from bigger planar drivers, but the PR1 is certainly acceptable detail wise for it’s price point. Again, the excessive bass works against the sensation of detail, which does improve slightly by EQ’ing the low end down.
Soundstage is not a strong point in my opinion either. I did expect more width from a set of IEMs that looks to be fairly open but I’m afraid it is around average or even slightly lower. Image placement is ok inside the space it has to work with but becomes difficult to appreciate when the track is bassy. For example, “Bubbles” has a constant low rumble that takes away from the clarity and definition, and “Bubbles” is not exactly a bassy track.
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Regarding isolation, well to be honest it isn’t terrible. It is actually better than average in the lower ranges whilst falling slightly below average as we get to the higher frequencies. It would probably have been better if it was the opposite (so the bass could be tamed naturally in noisy environments) but I am not complaining.
Conclusion…
If it wasn’t for the excessive bass ranges, then I would have actually been pleasantly surprised by the PR1, coming in as one of the cheapest planar IEMs on the market. In fact, with some EQ, these can be made to sound rather good for the price. However, as it is, I do find that the low end is far too much the “center of attention”.
If you are a bass head and are looking for a budget set of planar IEMs, then I think the PR1 should definitely be something you try out. The performance is also not terrible, it maintains its composure fairly well with fast moving dance tracks and I can see a lot of people being able to have a party in their head with their favourite dance tracks.
However, if you are looking for something that is more of a balanced sound, then I feel that there are quite a few alternatives out there that are much better suited, both in the budget range and in the planar range, if t
hat is what you are aiming for.
I can’t say that the PR1 is bad, in fact, if it had been released a year or so ago, before the planar boom, then it would have probably received a lot of praise. As it stands, there is a lot of competition going on in the planar IEM world and while the PR1 does have something that the others don’t (that 10dB of bass), in my personal tastes it is not high on my list of preferences.
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
2 Likes
Tripowin Cencibel
The Tripowin Cencibel were sent to me by Linsoul for me to try them out and publish this review. Linsoul have not requested anything specific and I will try to remain as unbiased as possible in this review, although it is good to remember that these IEMs were sent to me free of charge.
You can find the Cencibel on the Linsoul website by visiting the version of this review published on my blog.
(as always, it is a non-affiliate link)
Intro…
I am going to start out by being honest and straight to the point.
Not long ago I reviewed the Tripowin Rhombus which were sent to me at the same time as the Cencibel that I am reviewing today. In case you didn’t read that review, basically I didn’t enjoy them. After finishing the Rhombus review, I moved on to the Cencibel, which I hadn’t yet listened to.
Upon first listen, I immediately discovered some parts of the tuning that resembled the Rhombus, which I have to say was not the best way to start off. As I said in my Rhombus review, I would much rather review items that I like. The reason is that I spend at least 4 or 5 days using each set almost exclusively and I would much rather spend that time listening to a set that I enjoy rather than something I don’t.
I am saying this because I really didn’t feel like spending another week listening to something I didn’t enjoy, so I moved on to something else and didn’t come back to the Cencibel until this week. So at least I was starting with a reset attitude, rather than coming at it in a negative way. I think that is fair both to the brand and to my ears.
Presentation…
The external presentation of the Cencibel is similar to that of the Rhombus, although a little smaller. A simple black box in a sleeve with nothing but the Tripowin logo on the cover and the only mention of the model being on the sticker of the bar code.
However, upon opening the box, we find a large case that is the size of the box. The storage/transport case is of the semirigid style, big enough to store the IEMs and plenty of accessories (although there aren’t many included) with the Tripowin name also on the cover. I have no idea why the Cencibel gets a nice case for 50€ where the 80€ Rhombus only gets a drawstring bag but I am not complaining.
Inside the case we find the exact same contents that were included in the case of the Rhombus. That is: the IEMs, the cable, 6 sets of silicone tips (of two different types) and the user manual.
I didn’t complain about the contents of the previous Tripowin model so I certainly can’t complain here as we get a nice case thrown in for 30€ less.
Build and aesthetics…
In this case, the Cencibel are constructed of resin with a more simplistic shape. The faceplates sport a kind of marble effect in silver and grey over the black background of the sheels, with Tripowin written on the left IEM also in silver.
The shells are relatively small an of a generic shape that should work well for most people, myself included. They don’t cause any discomfort over longer sessions and are generally pretty comfortable.
The included cable is exactly the same as the one included with the Rhombus, as are the tips, which is a simple black cable with black metal hardware that is nothing fancy but does the job.
In general the aesthetics are fine, as is the build and comfort of these IEMs.
Sound…
So, I said that these IEMs had some aspects that reminded me of the Rhombus, so here is the graph comparing the two models against my usual preference curve.
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You can clearly see that, while not identical, there are a lot of similarities. Unfortunately the changes are not necessarily for the best.
Starting with the lower notes, the subbass is also very reminiscent of the subbass on the Rhombus, quite a way above my usual target. Once again, I get a similar feeling with this as I did in my previous Tripowin review, the subbass is there and is a decent performer, when the subbass is not accompanied by other frequencies in the higher mids range.
Again, with “Chameleon”, in parts of the track where the subbass is dominant, the Cencibel does a decent job of providing rumble while still keeping it relatively clean. However, once the track gets busier in other areas, the subbass seems to fade away.
The sensation is that it suffers in exactly the same way that the previous set I reviewed did, and in this case, the higher mids (which I will get to) are even more dominant. One positive thing is that this is a single dynamic driver set, which avoids the sound being taken hostage by the BA on the Rhombus.
The midbass is again a similar affair. It is a long way from providing what I would say is a “nice low end” on things like acoustic guitars. The guitars still have a bit of a hollow sensation and are missing body in their presentation.
In the mids, we find that scoop again, which is even more pronounced on this set although the differences are minimal. It is dipped enough to make the mids suffer. This again makes female vocals, such as Alison Kraus in “Down To The River To Pray”, sound fragile and lacking smoothness to her lower notes.
As we get into the upper mids, we have a peak at around 2.5kHz which is around 3dB more than on the Rhombus, and then another peak just below 5kHz, which is just as exaggerated.
We need to remember that I am quite sensitive to the 5kHz region, it is where the peaks most annoy me and the Cencibel manages to boost the frequency (by a lot) almost dead on the mark. This is obviously something that is going to irritate me much more than someone who does not suffer from the same allergy to this mark, so take that into consideration.
By this I mean that I am (almost) always going to find tunings that have a big peak in this range to be uncomfortable. There are some sets that have quite a bit of presence in the 5kHz region but are surrounded by more presence in the adjacent regions, which seems to smooth the sound over a little for me. I’m afraid that the Cencibel doesn’t do that, it is just a big peak right in the uncomfort zone.
Now, I do understand that this will not affect other people in the same way, as I have said many times before, listening to music is such a subjective experience that there are as many “tastes” as there are “flavours”. However, just take into consideration that the difference between the 700Hz mark and the 5kHz mark (or even the 2.5kHz mark) is around 16dB. That is a rather big difference.
Up in the higher ranges, we have even more of the same story, with extension that isn’t bad but is not too smooth, creating what I feel is a false sensation of detail and air. I would say that the details on the Cencibel are not as good as they are on the Rhombus (speaking strictly of detail retrieval and not how the details sound), but they are acceptable.
Sound stage is around average, with image placement about the same. You can appreciate binaural recording such as “La Luna” but it is not an easy task to isolate and follow the sounds of a Yosi Horikawa recording such as “Bubbles”.
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Finally, isolation is also similar to the Rhombus. Its not the best but is is on the higher side of average.
Conclusion…
I guess I won’t be reviewing any more Tripowin models in the near future
Seriously though, I really expected a lot more from these two Tripowin models. The Leá was something that was not spectacular but was enjoyable (at lower volumes) yet the Cencibel and the Rhombus just seem to hit almost every frequency that I find irritating.
I will say the same thing about these as I did in my closing words of the Rhombus, I am sure there are people out there that will enjoy this sound signature, unfortunately I am not one of them.
All I can say is that I am extremely grateful to Linsoul for not getting upset when I post my negative opinions on something they sent me, at least they haven’t done so far…
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
2 Likes
Wonderfully written review thank you for your impressions and take on theese sets. Much appreciated. Cheers J
1 Like
Thank you for taking the time to read it 
The Dunu Talos were sent to me directly by Dunu. They have not requested anything at all, in fact, I didn’t even know they were sending them to me until I received them and was very surprised to find them in the box.
Therefore, my review will be as unbiased and sincere as possible, something that I always aim to be.
You can find the official page for the Dunu Talos here: https://www.dunu-topsound.com/talos
I have no affiliation with Dunu (or any other brand), so I make absolutely nothing out of anyone clicking on the link or purchasing these IEMs.
Intro…
As anyone who follows the IEM world will know, planars are the rage at the moment and we have gone from having very few options in planar IEMs to having more options than we can count.
I have reviewed a few planar IEMs but I am not even close to having covered most of them, therefore my experience is limited to those that I have heard. Out of those that I have tried, it is no secret that the Letshuoer have been my favourites, being my EDC (every day carry) set of IEMs that I have always in my bag for the times when I am not testing something new or I just want a break. That was until the Talos came along. I know that this is a bit of a spoiler but these have literally travelled with me everywhere since I first started listening to them and while there are a few quirks, once I got them where I wanted, I have really enjoyed them.
I will get into those details in just a moment but let’s follow the usual schedule and start off with the presentation.
Presentation…
Dunu have a habit of making a good job of packaging and presenting their IEMs, although they do have a few strange tendencies, usually in the form of including things that aren’t really needed (airplane adapter anyone?). In this case they have included something that wasn’t necessary but not in the form of accessories.
Packaged in a simple but elegant box, we get the Talos IEMs, the cable, 9 sets of tips in 3 different types, a green coloured transport case, a cleaning tool and a 3.5mm to 6.35mm adapter.
I have to mention one of the types of tips included as they are something that I have not come across before. I am not sure if these are a Dunu creation (I should have probably researched this ) but included are some tips that are almost square ended and are of much stiffer silicone than is usually found. They are a little difficult to explain so here is a photo:
I was curious to try out these tips and did use them for a few days but personally I struggled with the seal and didn’t find them extremely comfortable but, as always, everyones experience will be different. However, it is nice to see them to continue innovating and trying new things.
Unfortunately there is no cable with interchangeable connectors included with the Talos but it is nice to see that they have opted for a 2 pin connection (even if that means I can’t steal the cable from the Vulkan for the Talos 
).
I really have no complaints with the presentation of the Talos, although the green case did confuse me a little as nothing else is green, still a nice case though!
Build and aesthetics…
The IEMs are of a tear drop shape, using a matte black finish with copper highlights and I have to say that I really like them. They are not flashy but they are still interesting and I find them to look elegant. I took the on a recent business trip and did not feel at all out of place in the conference room surrounded by Bose and B&O wearing colleagues. In fact, I received a few pleasant comments on the Talos paired with its almost titanium coloured cable and the Go Blu.
But I digress!
The build quality is good, with good comfort and a very lightweight combination of metal shells and cable. Yes, I would have preferred the cable that came with the Vulkan but this is not an inferior cable, it’s just lacking the termination options.
The IEMs also have a little switch on the side of them that is to turn on or off the BA driver, allowing just planar or turning them into a planar+BA combination. The switch is labelled in its two positions as “On” or “1”, which I again find a little strange, but the functionality is fine, so no complaints.
There really isn’t much more I can say about build and aesthetics, they are great.
Sound…
(As always, all tracks mentioned are clickable links that allow you to reference the song in the streaming platform of your choice)
Now, remember I said in the presentation section that Dunu had included something unnecessary but it wasn’t part of the accessories? Well, that “something” is the BA driver.
That may sound a little cruel but, honestly, try as I may, I cannot seem to find a moment where I feel the BA actually adds something positive to the equation.
Here is a graph of the Talos, both with and without the BA active, in comparison to my usual preference graph:
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In case I haven’t said it enough lately, let me just remind people that my preference target is just a general guide and is not necessarily a rule that means I will or won’t like something.
Ok, so I already said that I don’t like the BA driver in this set, so all of my opinions are based on using the Talos with only the planar driver active.
Even with only the planar driver active, I still found the upper regions to be a little harsh for my tastes. It was one of those cases that it was so close that I felt that I needed to find the tips that worked for me with them. I worked my way through the tips that are included without finding the “right one” for me, I also tried the usual Crystals, Springs and a few others that I default to. But it wasn’t until I tried the foam tips from the IE600 that everything clicked into place for me!
In case you don’t know, the Sennheiser tips for the IE600 have a built in filter and they seem to tame the upper ranges just the right amount for me to find that the Talos have now become my favourite planar IEMs, replacing the S12 as my default set.
I guess I already gave away the fact that I really enjoy these IEMs, so I guess it’s time to break it down into the usual steps to try and explain why I like them.
Starting off with the subbass…
The subbass is a little tamer on the Talos with the IE600 tips than the stock tips, yet it is just around where I like it. As you probably all know by now, I am not someone who favours excessive bass in general (although there are exceptions) and I find that the Talos with the tip change gives me just the right amount for my usual music choices and general listening sessions.
Using the usual “Chameleon” assault on subbass, the rumble is there but not to the extent that it is on so many other sets. This is due both to the reduction in subbass and also the midbass, which I will comment on in just a second. The subbass of “Chameleon” may not be a brain rattling experience with the Talos but it is a great listening experience, especially when volume levels are increased slightly above my usual listening levels (which are quite low). The lowest notes are extremely clean and detailed, swapping a bit of quantity for quality in comparison to other planar sets that I have tried recently.
The midbass is the part of the tuning that has really made me fall for the Talos. There is a noticeable reduction in comparison to the S12 for example, the planar set that has been my go to for quite some time now. While I do like the extra warmth that the S12 provides on occasions for certain recordings, especially for bass guitars and lower ranges of electric guitars and even to give body to acoustic guitars, the Talos just seems more correct to my ear in this region. Yes, there are occasions in which I do find myself missing that extra little bit of subbass and midbass, depending on track and my mood, but as I mainly use the iFi Gryphon or Go Blu, that extra bass is only a quick press of a button away (and the Talos reacts to it beautifully).
The midbass is very clean and tracks like “No Sanctuary here” are detailed and well composed in their lower end, giving me bass without ever making it the centre of attention (unless I click that button ).
The only other set that has matched this in the subbass and midbass regions has been the Dioko, however, it falls way behind on details and performance in comparison.
In the higher part of the midbass moving into the lower mids, this is where there could maybe be just a few extra dB to really make it perfect for me. With bass lines that are instrumental and not electronic in nature, I get the feeling that everything is clean and detailed, only leaving me with a craving for a little extra body on somethings like the guitar in “Hotel California (Acoustic)” or “Hurt” by Johnny Cash, yet the cleanliness and detail is more than enough to make up for it (in my personal experience of course, your mileage may vary) and there is absolutely zero bleed into the mids themselves.
The mids themselves are well balanced with the lower ranges, giving me what I feel is just the right amount of presence in the lower ranges of vocals, especially female vocals (which I listen to a lot of). If the midbass was higher, then I think that the mids would be a little lean as a result, however, as they are, I feel that they are well placed.
There is also a lot of detail in the mids, with “The Expert” by Yello showing detail that has not been apparent in other planar sets (except maybe for the iSine, which is a different story). Vocals, such as Alison Krauss in “Down To The River To Pray” are well balanced and provide a good amount of detail. There is not quite as much body in her vocals as on other sets but at the same time she is neither smoothed over nor is she missing any detail that I do find to be more absent on other alternatives.
The upper mids (and the lower treble) are the areas that I didn’t find as great when using the Talos with the stock tips (or other silicone tips that I have tried). It is strange as I tried doing various measurements with different tips that really don’t show much difference on paper (you can see them and compare them on achoreviews.squig.link) yet to my ears, these ranges seem to be more controlled and smoother with the foam IE600 tips. I am sure that there are other tuning filters that can create the same outcome and I plan to give them a try, to see if I can get this smoothness and balance while using silicone tips (not that I don’t like the Senn foams, it is just that foams are not the best for daily abuse when using IEMs regularly).
There are still some tracks, even with the IE600 tips, that can come across as a little harsh on the Talos. Things like “Billie Jean” by Michael Jackson have too much emphasis in this region, obviously caused by the sum of the recording and the tuning. However, a track that I use a lot for calculating harshness in the upper vocal ranges is “Don’t You Worry Child” as Beth’s voice can become quite harsh and shouty, and it is actually quite listenable. It doesn’t eliminate the shoutyness or harshness completely but is certainly tolerable, something that is by no means a regular occurrence on sets with a slightly forward upper mid and lower treble range.
Moving into the treble ranges, there is a good extension and no shortage or airiness and openness to the higher ranges. Unfortunately there is a presence of sibilance and tracks that are sibilant in their recordings, such as the intro to “Hope Is A Dangerous Thing” or even “Billie Jean” that I mentioned previously will come across with that harshness in the sibilance range. To judge increase (or dampening) of sibilance, I like to use “Code Cool” as I feel that on a well balanced set, Patricia Barber is always on the verge of sibilance, with just a hint that appears but doesn’t become uncomfortable. With this track on the Talos, I would say that if we use -12 to +12 scale, counting well balanced as 0, then this set puts it at +2 in the sibilance range, where something like the S12 is a -1. Basically I am saying that sibilance is a little hotter than it should be but it is only uncomfortable on specific tracks. I would personally tame it down a little with EQ in this region but it is not something that I find obligatory to enjoy the Talos.
One thing that I have mentioned a couple of times throughout this review is detail. I have said in the past that I haven’t really found a set of planar IEMs that have been overly impressive in the detail category except for the Audeze iSine LX. The issue with the iSine is that it needs major equalisation in order for the tuning to be anything near what I would consider correct (they are also huge!).
In the case of the Talos, I find that these are the first set of IEMs from this local batch that have actually impressed me as far as details. It may not be up to the detail levels of something like a Hifiman over ear (which is to be expected), yet it does provide the level of detail that I would like to expect from a planar driver. It is fast to react and keeps background details well separated and clear even on fast paced and busy tracks.
In the soundstage part of things, I feel that the Talos is actually above average for a set or IEMs. It is not a huge open space yet there is plenty of width and the placement of images is well defined. The detail along with the image placement makes things like “Bubbles” a very immersive experience.
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The isolation of the Talos is also fairly decent, being above average in most of the frequency ranges. Ok, it is not quite the level of good earplugs but it is enough for you to enjoy the music without anything interfering. I used them on a couple of 4 hour flights and while the engine rumbling was evident in quiet or silent passages, I had no complaints while music was playing.
Conclusion…
There are so many different planar models out there at the moment that it is difficult for a set to offer something that the others don’t. Other sets offer more bass (such as the PR1) but are not exactly what I am looking for, others offer good tuning (such as the Dioko) but lack in details, and until now, the S12 have been the set that has most clicked into my personal preferences but still had things that I wasn’t quite ecstatic about.
The Talos has appeared with a tuning that I like (for the most part, at least after the tip change) and has added something that I felt was mediocre on most of the others, the detail and speed that I would want to expect from a set of planar IEMs.
The Talos are still not perfect of course, that upper mids/lower treble can still be a little harsh (even with the filters built into the tips) and the BA I find is something that only works to add pain to an upper frequency range that is already at the limit of where I would want to be. But this hasn’t stopped them from becoming my favourite set of planar IEMs to date.
There are still times when I would prefer the S12 with it’s slightly higher midbass and smoothed over details, mainly for BGM consisting of acoustic and electrical instruments etc. Yet if I am wanting something to immerse myself in the music and experience the detail and quality of the track, then I feel that the Talos has moved much closer to that goal.
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
6 Likes
Am I deaf after reviewing these IEMs? 
DUNU you sent them without knowing, don’t lie to us 
??
Not sure what you are referring to here?
I did not know they were being sent to me until I received them. A very nice suprise.
Send them back to DUNU and tell them to fix their treble. This could fry your ears .
1 Like
I guess this is your way of saying you don’t like them?
Wrong assumption!
In that case I’m confused as to what you are actually saying.
3 Likes
I say what I say! 
Thanks for clearing that up 
HZSound Heart Mirror Pro
The HZSound Heart Mirror Pro have been sent to me by KeepHiFi in exchange for the publication of this review. They have not requested anything specific and I will follow my usual procedure of aiming to be a unbiased and sincere as possible, although it is always good to remember that these IEMs have not actually cost me anything.
You can find the link to the Heart Mirror Pro via KeepHiFi by visiting the version of this review published on my blog (link at the end of this post).
As always, it is a non-affiliate link, therefore I do not receive anything by you clicking or even purchasing via the link.
Intro…
Back in 2021, HZSound released the Heart Mirror, a set of budget IEMs that received quite a lot of praise from the IEM community. Personally I ever got to hear the Heart Mirror, not because I wasn’t interested but it’s impossible to get to try all of the models that are released!
Fast forward to far more recently and KeepHifi reached out to see if I was interested in trying out the Heart Mirror Pro, the follow up from the company which does come in at a higher price point (around 80 euros) but also offers upgrades from the original, at least that is what is advertised.
I obviously can’t go into comparisons with the original as I haven’t heard it, but I was more than happy to try out the new Pro version and share my opinions on this set which, while not in the extreme budget category, is still something that can be considered a relatively cheap IEM.
Presentation…
The box is a dark blue one, with a sketch of the IEMs on the front and information on the rear. It is not something that draws attention to itself but doesn’t look overly cheap either.
Upon opening the box, we find the IEMs sitting with their cable attached in the upper half of the interior, with card showing the HZSound logo covering the lower half. Removing this card, beneath it we find the user manual and the storage case.
Inside the case we get a second cable, this one with an inline microphone (terminated in a 4 pole, 3.5mm), 8 sets of tips (in various different sizes and types, including foam), a carabiner and the two additional connectors for the modular cable (more on that below).
In general, the presentation is more than adequate and the contents are very pleasing for a set of IEMs in this price range.
Build and Aesthetics…
I actually expected a mirror finish on the IEMs like the original model but I was actually pleasantly surprised to receive them in black. Not that I have anything against the mirrored finish but it does lend itself to becoming a fingerprint magnet (some black finishes do also, but not in this case). Looking closely at the finish, there is actually some grey (silver?) speckle to it, which is a nice touch, along with the HZSound logo in a dark bronze colour.
The IEMs are not very large, in fact, they are on the smaller side of things, and I find them to be rather comfortable. If they were any larger, the triangluar shape at the bottom may have been a problem but that is not the case. They are completely made of metal and seem to be well assembled and I can’t spot anything that I would say is a going to be a problem over time as far as durability (but, as always, only time will tell).
The included cable is rather thin and a little rubbery but is not bad and a a very positive thing is that it comes with a modular connection system, including 3.5mm, 2.5mm and 4.4mm connectors. While it may not be on the level with some of the other (more expensive) modular systems, it works well and it is very nice to see it included. They also opt for standard 2 pin connectors at the IEM end, so I have no complaints here either.
The included case is also a very nice one. It is quite spacious (enough to hold the IEMs, some accessories and even something like the Go Blu) without it being overly bulky. I don’t carry it in my pocket but it doesn’t take up to much room in my small sling bag that I carry (yes, I’m a bag guy ).
In general, I have to say that I am quite happy with the overall quality of the IEMs and accessories for their price point.
Sound…
Let’s start with the usual look at a graph comparing the Heart Mirror Pro with my usual preference target curve.
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Starting off with the subbass, we can see on the graph that it is north of my usual preferences, however, as it is kept clean and well detailed, it does not become overpowering. In fact, if I hadn’t have looked at the graph, I would have guessed that this has less subbass than it actually does. It is not missing subbass, “Chameleon” has plenty of rumble, but at the same time, it is not a set that I would class as a bass head set.
The midbass is also a little elevated for my personal preferences but again, it doesn’t become over powering nor does it become the center of attention. I have said in the past that if something is tuned higher than I prefer in the bass range but still manages to keep it clean and detailed, chances are that I am going to enjoy it. The Heart Mirror Pro is one of those sets.
It is true that the low end of the guitar in “Crazy” does have a little too much in the midbass area, which sort of gives it a bit of a boomy effect to said guitar, yet, as the mid range is well balanced (I’ll get there in a moment), it gives an overall clean and detail effect to the track in general, making for a very pleasant listen.
The additional midbass manages to decrease before hitting the lower mids, avoiding things becoming muddy in the bottom of the mids, something that is appreciated as it counteracts that midbass boost and makes things seem a lot cleaner.
I have to say that I find vocals, especially female vocals such as Daniela Andrade in the track “Crazy” that I just mentioned, to have just the right amount of presence and warmth in their lower ranges, making most of the acoustic music Iisten to very enjoyable.
There is a little bit too much warmth for me to class the timbre of things like the acoustic guitar in “All Your Love (Turned Into Passion)” as correct, yet just because something may not be exactly what I consider correct, it doesn’t mean that it is bad. If I was wanting to focus on dissecting and equalizing music, then I wouldn’t suggest the Heart Mirror Pro in these ranges for that, but for enjoying the music, I have to say that I have had no problem in doing so with these IEMs.
Moving up to the higher part of the mids, I have to say that I am impressed with the tuning of the Heart Mirror Pro. It is almost a perfect replica of my personal preference, with a smooth climb that stays smooth and present from the 2kHz to 4.5kHz, starting to ramp down just before the 5kHz mark. I really couldn’t ask for a better tuning for my taste in this upper mids.
This works for the vocal centered tracks that I listen to, as it brings the voices forewards without them being overly present, harsh or nasal. As an example from my test tracks, “Seven Nation Army” by Zella Day, which is a track that can be very harsh on so many sets, is just right on the Heart Mirror Pro. I have heard it slightly less harsh on other sets but that is because they are actually taming it down. I feel that these, the Heart Mirror Pro, are giving the real presence of her voice, just on the verge of the harshness, as her voice actually is.
As we move into the higher ranges the extension is fairly good. I wouldn’t say it is the most extended, airy or open of IEMs in the treble ranges but it certainly doesn’t suffer from a pronounce roll off like so many other single DD sets. I wouldn’t say it is going to win any prizes in this range but it’s certainly not bad.
Using “Code Cool” as my usual judge of sibilance, I feel that HZSound has also done a good job here, with Patricia Barber being just on the verge of sibilance, which is were I feel that she should be when a set is nicely balanced in these ranges. She could maybe be toned down just slightly but I don’t think it is a reason for complaint.
Detail is not bad but is not excellent either. I find that the details that are more “up front” are easily identified and quite impressive but the smaller background details (such as reverbs etc.) do fade away fairly quickly. A good example of this would be the intro of “All Your Love (Turned Into Passion)”, where the initial strikes on the body of the guitar are impressive yet the room reverb does fade away quickly, leaving an impression of things being a little too tame (when compared to other sets that are better at this specific task).
In the soundstage category, I would say that they are around average, maybe on the higher side of the middle ground. There is a decent amount of soundstage but they are still very much IEMs. Image placement is decent but I do feel that things like “Strange Fruit” could do with a little more space between layers in the more complex parts of the track.
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The isolation is a little above average, meaning that they should be fine for use in places with normal extenal noise yet they will suffer with things like the low frequency rumbling of engines on a plane or train etc.
Conclusion…
The Heart Mirror Pro is a set of IEMs that I have enjoyed listening to and have no issues using as a daily general listening set. I don’t feel that they are ground breaking in any specific way, yet they are a solid performer in all of the categories. I could mention various areas where I think they could be improved but I don’t have any complaints about anything specific with them at all.
The lows may be a little elevated for my personal tastes but they are not irritating and the upper mids I find to be very well done indeed. The details retrieval may not be the best for those small nuances happening in the background but the overall detail of music is by no means bad and I don’t feel that those small elements are something to really focus on unles you are specifically looking to analyze the track.
The build is good, the included accessories are very good in the price range and in general, I just feel that the Heart Mirror Pro are a good set of IEMs for the 80€ price range. I certainly cannot complain about their performance.
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So as to not break tradition, 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
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Ranking 2022 - What I liked the most (and least) this year
Seeing that we are now in December and 2022 is coming to an end, I wanted to follow my tradition of doing a quick (or not so quick) recap of the things that I have been lucky enough (sometimes more than others) to try out during this year.
As you may or may not know, depending on how long you have spent reading or watching my reviews, I am not someone who makes lists and ranks them. It is not because I have anything against lists, I completely understand their use and the effort that goes into them, I just feel that “better” or “best” is such a subjective term in this audio and headphone world, that there can be a million lists and none of them would be 100% right or wrong.
All I can do is comment on how much I like or have enjoyed something personally. There are tons of things that I really enjoy but others will hate, and vice versa. And that is where I am going to break my own rule and make a list… with a ranking!
Before anyone thinks that I am going to put things into tiers and assign a letter (the typical S, A, B, etc.) to them, that is not what this list is about. All I am going to do is take a look at what I have reviewed this year and rank them based on how much I have personally enjoyed said item.
While there has been a variety of things that I have tried this year, such as DACs, DAPs, Amps and headphones, there is no denying that IEMs have been a huge amount of my content. In fact, there really isn’t enough content outside of IEMs that is worth ranking. So, before getting on to the ranking list (which will be of IEMs), let me just mention, briefly, the other categories.
As far as headphones go, the two that jump out at me from those that I have reviewed would be the Hifiman Edition XS and the Koss KPH40. It is no secret that I am a fan of Hifiman headphones and the Edition XS is a great set of Hifiman planars at a great price. The Koss KPH40 is in a completely different league but it is the set of headphones that I have most used this year. It lives on my desk in the office, connected permanently to the Modi 3+ & Atom setup, where it gets used for countless conference calls and easy listening in between.
DAPs haven’t seen much attention on the channel, with the Tempotec V6 being the only one to actually get reviewed. I found it to be a great sounding device but am not a fan of Android based DAPs. While not a DAP, the NEO Stream does fall into the music playback category and it is another iFi product that I really enjoyed.
In the land of DACs and amps, I have been very lucky to review some excellent devices this year. Being totally honest, I have enjoyed all of them! Each one has had its own flavour and I could honestly live with any of them. Saying that, if I had to pick my favourites, then I would obviously go with the iFi Gryphon for my portable set up (although the Go Blu does see quite a bit of use also, especially when travelling). I also like the Aune B2 but the Gryphon has become my main device for listening away from my home system but also for testing and reviewing IEMs.
As far as desktop amps and/or DACs… The Questyle CMA15 is an excellent piece of equipment, yet I have really fallen in love with the Hifiman EF400 and the Feliks Audio Echo Mk2. Both of these are great on their own, yet combining the two, I have a desktop set up that I enjoy immensely, pairing well with almost every headphone I have in my possession.
So, with those out of the way, now let’s get to the list, my ranking of IEMs that I have reviewed (so far) in 2022.
Disclaimer: I will start from my oldest review of the year and place them on the ranking list as I move through the year, commenting on what I remember sticking out about said IEMs as I go along (remember, some of these IEMs I reviewed almost a year ago and probably haven’t listened to since, so its also a test on how much they have stuck in my brain 
). This means that it is going to be quite a long journey, so if you just want to see the finished list, jump to the end of the entry and I will leave the full list.
One last thing, I will make each IEM a clickable link that allows you to go to the full review of the IEM should you wish to read it. I apologize to the forum members as the links will take you to the reviews published on my blog. I would usually link to the reviews published here on the forum but it’s a lot of links and this list took me long enough already!
And now… IEMs 2022, the Acho Reviews ranking…
Reecho SG03 - This was the first IEM that I reviewed in 2022 and I can’t say I was a fan. The bass was excessive and the overall V shaped tuning just wasn’t for me. However, as this is the first IEM, it gets to spend (a short amount of) time in first place.
NF Audio NM2 - This set of IEMs had decent technical performance and was quite balanced, even if the midbass was a little too much, yet the comfort didn’t work great for me. It certainly placed itself above the SG03 though.
Reecho SG01 - The SG01 was something that I found very similar to the NF Audio NM2 and I also enjoyed, although, again, the midbass was a little too much and there was also a bit too much in the 3kHz range for me. I would place this just below the NM2 but way above the SG03.
Dunu Titan S - The first set of Dunu IEMs that I reviewed and I thoroughly enjoyed them. It isn’t a set of IEMs that is necessarily the best at anything in particular but is a set that I have used quite a bit for general listening. They also have a very original look and go straight to the top of the list for now.
CCA CRA - I remember the title of this review being “what if the best KZ are not KZ?” and I think that is a good description. The tuning of these IEMs is nothing like my personal preference yet they have really good bass and I have really enjoyed these IEMs. I would still highly reccomend these for someone looking for an elevated and good bass at a very cheap price. I can’t bring myself to place them above the Titan S on the list, as I prefer the tuning of the Titan, but they can slide in just below them.
Tripowin Leá - This was a bit of a strange experience. While listening at low volume levels, I enjoyed the Leá, yet as soon as I turned them up even slightly, I found that they got harsh very quickly. At low levels, they may deserve more, but in general, I have to place them below the SG01.
Koss KEB90 - Bass, bass and more bass. I think these are probably still the IEMs with the most bass that I have graphed. Added to that, they also have a rather large peak right on the 5kHz mark. Saying this, I didn’t hate them as much as I would have thought judging by the graph, but they are still not something that Ihave returned to since reviewing them. I’m actually going to place these below the SG03 but it would be a hard decision between them.
Effect Audio Axiom - This set of IEMs had so many good things going for it, yet the sound (as far as tuning goes) wasn’t one of them, at least in my opinion and with the supplied modules. The alternative modules supposedly make these IEMs sound much better but I haven’t had chance to try them out. Also, they are the most expensive set of IEMs I have reviewed. However, price is not a factor on this list, I am not evaluating price to performance, just my enjoyment of the IEMs, and these are going to slot in between the CRA and the NM2.
Tipsy TTROMSO Pine Stone Sea - I found these to be quite a relaxed listen. They are not high on the detail scale and have too much in the bass range but are enjoyable for long BGM sessions, so I am going to drop these in above the Axiom.
Tanchjim Ola - The Ola are certainly lean on the bass side of things. Personally I find them tolerable in this aspect, although I too would like some extra down in the lower ranges, I found myself using XBass with these quite a lot which did improve the overall experience. I’m going to place these between the NM2 and the SG01 (using them with XBass).
7Hz Timeless - While I only got to spend a brief time with these, they were impressive and I really enjoyed them. They were the first planar IEMs that I tested from this new wave of planars and easily go to the top of the list in its current form.
7Hz Eternal - Another 7Hz set that I only spent a brief period with but with the opposite result to the Timeless. I really didn’t enjoy my brief time with the Eternal and these place low on the list, in fact, I am going to drop them to the bottom, not because I feel they are the worst (like “best”, “worst” is very subjective) but as far as enjoyment goes, these are the only set of IEMs so far that I didn’t make it through a full day with as I just couldn’t get to grips with the sound.
Fiio x Crinacle FHE: Eclipse - Although brief, the time I spent with these was very pleasurable and I was surprised when I found out the price, thinking it was very reasonable at the time. These are going on the list above the CCA CRA. I find the CRA has better bass but the Eclipse is a much more pleasant all rounder.
SeeAudio x Crinacle Yume Midnight - I spent a brief time with these following the Eclipse and while I didn’t really have any complaints, I preferred the Eclipse (which is also cheaper, although that is not a consideration for this list). I am going to place them just below the Eclipse on the list.
Unique Melody Mest Mk2 - The last of the series of mini reviews and the Mest Mk2 was the best by a large margin. It was the better performer of anything that I have on the list so far, however, I did expect something more from it. That is why expectation biases are never good! So, while from a “better” point of view, it would need to go to the top, yet from an enjoyment point of view, I am going to leave the Timeless in the top spot with the Mest Mk2 just behind (yes, blasphemy, I know!)
Ikko Opal OH02 - The Opal is a set of IEMs that aims to be different from the majority. I found the upper ranges (mids especially) to be very pleasant yet the lower ranges (midbass especially) could be impressive or irritating, depending on music choice. This is going to place below Ola on the current list as the Ola does need the XBass but is more consistent across genres.
Letshuoer S12 - I have praised these IEMs a lot and I still do. I got to try these side by side with the Timeless and found that the differences were minimal but that the S12 just suited me better. These became my daily driver for a long time and they are still one of my frequent choices for those times when I just want to relax and listen to music away from whatever I am testing and reviewing at the time. There is no doubt that these get first place in the current standings.
Moondrop Chu - These are probably the most hyped IEMs in the extreme budget category this year and I agree that they are a very good set for the price. Unfortunately they have a 5kHz peak that is something that I am very sensitive to, but they also come with tips that I have used on many other sets which gives them bonus points, so they go on the list above the NM2.
Tin Hifi T1S - These I found to be basically the T1+ in another format, a very “safe” tuning that didn’t really excel in anything and had too much in the midbass for my liking. They get a spot on the list just above the Leá.
TRI Meteor - These are a set that I enjoyed for general listening, with a tuning that is not really my preference but is still something I enjoyed. While I wouldn’t pick these as a set for a music listening session, where I am focusing on the music, I did enjoy them for BGM while focusing on other things. I’m actually going to place these above the NM2.
CCA CRA+ - These are a follow up from the CRA and place the focus more on the midbass than on the subbass, due to the roll off in the low end. As far as performance goes, they are on a par with each other, although I feel that the CRA+ has better upper mids. Saying that, I prefer the bass on the CRA (even if they are both quite a way from my usual preferences). I am going to say the CRA have the edge over the CRA+ for my enjoyment.
Dunu Vulkan - The most beautiful set of IEMs that have been across my desk. I find the treble to be a little hot on occasions but I still enjoy them and use them for certain genres when I am in the mood. There is also no denying that the make for some great photos, which adds to the enjoyment. While I am sure that many will disagree with me (which is why I keep saing “best” is subjective), these are going to go between the Timeless and the Mest Mk2.
TRN TA1 Max - With a sound signature that I am not a fan off, these IEMs were destined to not be high on my enjoyment scale, however, they do perform pretty well for those who are into the tuning. Personally, I am dropping these on the list between the T1S and the Leá.
Tangzu Shimin Li - The second part of the trilogy was not as impressive as the first part. Although these are an extreme budget set of IEMs, there is a lack of detail and performance is just not that great. I said that price is not a factor on this list, so they get placed below the T1S.
Seek Real Audio Airship - These IEMs really surprised me and I enjoyed (and still enjoy) them very much. Added to the overall sound and performance, I find them to be extremely comfortable and they are small enough to be packed almost anywhere. On my enjoyment ranking, these are going to go above the Vulkan, not because they are better IEMs than the Vulkan or the Mest Mk2, but because I have enjoyed them for many hours.
Blon Fat Girl - There were so many things I disliked about this IEM that it is just going to drop to the bottom of the list.
7Hz x Crinacle: Salnotes Dioko - This set of planar IEMs proved that a good set could be produced for a lot less than other available models at the time. I am a fan of the tuning and while it does fall a little behind on details and performance in comparison to other planars, I find this to be a very decent set of IEMs. Grabs itself a spot above the Titan S
7Hz Salnotes Zero - This is an outstanding set of extreme budget IEMs. While price is not a factor, these are still a very good set of IEMs that I got a lot of enjoyment out of listening to. They may not be my thing as far as aesthetics but they still deserve to go on the list above the CRA.
KBEAR Little Q - These have gained a permanent spot in my tech pouch. A set that is there for “emergencies” (as if forgetting ot breaking a set of IEMs can be considered an emergency) and they are a set that I will use for general media consumption while laying in a hotel bed etc. They are not high on my list for music listening but they have still given me plenty of hours of enjoyment, so they earned themselves a spot just below the CRA duo.
Sennheiser IE600 - Probably the best IEMs I have heard this year and by far the most comfortable. I enjoyed these IEMs a lot, even if they are way north of my bass preferences, and have no doubt about putting them in the top spot.
Letshuoer D13 - Amazing bass quality without feeling the need to boost it, with an overall tuning that I find very enjoyable. Another set that I still grab now and again, especially for that dynamic driver bass, even if the details are not their strong point. These are going to grab themselves a spot between the Mest Mk2 and the Titan S.
KZ AS16 Pro - While there is nothing really wrong with these IEMs, I just find that they lack life for most of my preferred music. While I have heard sets with amazing bass from BA’s, this set is one of those that reminds me of why I am generally not a huge fan of BA bass. Again, nothing inherently wrong with them per se, but on an enjoyment ranking, and the fact that Ialso find them uncomfortable, they drop below the Leá.
Tanchjim Zero - Decent performance but with a very forward tuning. Not much warmth to be found here. While the form factor works well to compete with the Little Q, the tuning not so much for general media consumption (such as movies, etc.). Therefore, while performance is probably much higher than the Little Q, for enjoyment they place quite a lot lower, just below the Ola from the same brand.
TRI x HBB KAI - This was the first HBB collaboration that I tried and I must say they impressed me. They are not my preferred sound signature but they are good performers and work well for a lot of genres of music. I enjoyed the time I spent reviewing them and I have grabbed them a few times since. I’m going to place these between the D13 and the Dioko.
Meze Audio Advar - Excellent in so many ways but the upper ranges just made a lot of music a bit too harsh for me. While the bass is above my preferences, the performance and clarity make it a non-issue and in general, these are a great set of IEMs, except for that brightness up top. They are also very comfortable IEMs and they deserve, based on enjoyment, a spot just below the Timeless.
Blon Z200 - Not a set of IEMs that I enjoyed very much, they get relegated to a spot between the TA1 Max and the Leá.
TRN ST5 - These are a set that I feel could be improved in many ways but I still enjoyed them, even though I would not pick them as a set for me personally. I am going to place these on the list above the T1S but below the SG01.
Tin Hifi T3 Buds - These are the only TWS that Ihave reviewed this year and I am not someone who really uses TWS. There is some background hiss to the IEMs that can be annoying and they have a bit too much of a boost in the upper mids, which leaves them placing between the Meteor the NM2.
Tripowin Rhombus - I did not enjoy these IEMs, finding the BA driver harsh and too much of a focus on the upper mids (even if they have plenty of bass on paper). These go on the list below the Eternal.
Tin Hifi T2 DLC - A nice surprise from Tin and a worthy successor of the original T2. I think these are the best tuning I have heard from Tin so far and they place quite high on the list between the D13 and the KAI.
TRI i One - These are a set that I can like or hate, depending on the song. They seem to react differently to each track and while they can be impressive at times, it takes away from the enjoyment as I can’t just relax and listen to music. I am going to put these on the list below the TRI Meteor.
KZ PR1 - These have far too much bass for my tastes. The performance is ok and they would be a lot more fun (for me) if they didn’t have that overwhelming low end. As it stands, they slip in between the TA1 Max and the Shimin Li.
Tripowin Cencibel - These suffer from the same issues as the Tripowin Rhombus, just with no BA to blame. However, they did come with a nice case which I have repurposed for the iFi Gryphon, so that puts them above the Rhombus on the list.
Dunu Talos - These are in a very close battle with the S12 for being my favourite planar IEMs. I swapped tips on both sets and while the Talos is more detailed, the S12 are more relaxed. Depending on the day, I will prefer one or the other. However, as the Talos is much better looking (in my opinion of course), they are going to steal the second place from the S12.
HZSound Heart Mirror Pro - A set that I have enjoyed using, both during the review and for some general listening since then. They are not spectacular in any way but they are a solid performer in every way, so they are going to place just above the D13 on the list.
So, with all of that, the final standing of the list of IEMs that I have reviewed in 2022, at least so far, based solely on my personal enjoyment and nothing more, is as follows.
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Sennheiser IE600
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Dunu Talos
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Letshuoer S12
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7Hz Timeless
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Meze Audio Advar
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Seek Real Audio Airship
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Dunu Vulkan
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Unique Melody Mest Mk2
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HZSound Heart Mirror Pro
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Letshuoer D13
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Tin Hifi T2 DLC
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TRI x HBB KAI
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7Hz x Crinacle: Salnotes Dioko
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Dunu Titan S
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Fiio x Crinacle FHE: Eclipse
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SeeAudio x Crinacle Yume Midnight
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7Hz Salnotes Zero
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CCA CRA
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CCA CRA+
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KBEAR Little Q
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Tipsy TTROMSO Pine Stone Sea
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Effect Audio Axiom
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Moondrop Chu
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TRI Meteor
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TRI i One
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Tin Hifi T3 Buds
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NF Audio NM2
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Tanchjim Ola
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Tanchjim Zero
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Ikko Opal OH02
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Reecho SG01
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TRN ST5
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Tin Hifi T1S
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Tangzu Shimin Li
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KZ PR1
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TRN TA1 Max
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Blon Z200
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Tripowin Leá
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KZ AS16 Pro
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Reecho SG03
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Koss KEB90
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7Hz Eternal
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Tripowin Cencibel
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Tripowin Rhombus
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Blon Fat Girl
I am going to say this one last time, so as to avoid confusion about this ranking. This is not a list of “best to worst” IEMs, there are IEMs that are “better” in many ways than those placed above them on the list, yet I didn’t get as much enjoyment out of them as I did with other sets.
I think that the most “unfair” are probably those that I did a mini review of, as I only spent around a day or two with each of them. Many times I will find that a set of IEMs grows on me after a few days, or I grow to dislike it on occasions also, so it is possible that these would have ranked differently had I spent more time with them.
And I think that I should wrap it up here, as this has turned into probably the longest post I have made. But it has been fun looking at all the stuff I have reviewed this year. There are still a few more to come but for now, here is my first (and probably last ) ranking list of IEMs.
By the way, I would love to hear what changes you would make to the list. Remember that no list is wrong as long as it is viewed from the perspective of the person who creates it.
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Wow, tour de force of a post!! Thanks for all your reviews in 2022!
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Thanks to those who have read them!
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Dunu Kima
The Dunu Kima have been sent to me by Dunu for me to test and to share my thoughts and opinions in this review. As always, I have no affiliation with Dunu (or any other brand) and they have not requested anything specific, but the fact that it has not cost me anything to try these IEMs is something that you should keep in mind.
The official page of the Dunu Kima can be found here: https://www.dunu-topsound.com/kima
The above is a non-affiliate link, as are all links that I publish.
Intro…
The Dunu Kima is a new release from the company, using a single dynamic driver and coming in at under 100€ at the time of creating this review.
I have tried a few Dunu models, the Talos being the latest (that I reviewed recently), and I am always pleasantly impressed one way or another with their IEMs. The Kima is another set that I have enjoyed a lot during the time I have been using it and I have found myself reaching for it again and again.
I will go through my usual steps in the review (I like to stay consistent ) but I can already say that as a daily driver in the 100€ bracket, I find them to be a very good option.
Presentation…
Dunu always does a good job with their presentations and although I am not a fan of the anime theme on the box itself, once the box is open, this is another decent presentation from the brand.
In the top half of the box, sitting in foam cutouts, we find the IEMs. The bottom half of the box holds the transport/storage case which is the usual offering from Dunu and is nice to find that they still include this nice case with what is one of their more budget offerings.
Inside the case we have the rest of the accessories that are included, except for the cable that resides in its own box located under the IEMs. The included accessories are 18 sets of silicone tips (in three types, including the new style that we also found included with the Talos), a cleaning brush, a 3.5mm to 6.35mm adapter and a microfiber cloth.
As usual, I have no complaints with the contents or presentation, I feel that they include everything that is needed with a few extra goodies thrown in.
Build and aesthetics…
The IEMs use a completely metal shell, in a matte silver colour, with some simple but elegant shapes on the front plate. As far as aesthetics go, they are simple enough to not be boring. I can’t say that the IEMs are beautiful but Dunu have already set the bar pretty high for themselves with the Vulkan and Talos, however, I do not have any complaints. They don’t scream “look at me, I’m expensive” (which they aren’t anyway) but the also don’t look cheap or boring.
I find them very comfortable and the build quality seems to be good, which is also something I have come to expect from the brand. I obviously can’t say how they are going to stand up to the passing of time but I don’t think that they should have any issues.
The cable is a simple unbalanced 3.5mm version but it is of a good thickness (for my tastes) and uses metal hardware except for the 2 pin connectors which are a transparent hardened silicone (or a semi-soft plastic). No complaints with the cable and bonus points for the 2 pin connectors
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Spotify, etc.)
When I went to try the Kima, I was expecting a similar sound to that of the Titan S that I reviewed (and liked) some time ago, maybe with some small tweaks. Yet, what I have found is that, while there are a few similarities, the changes are pretty obvious and I find them to be all in the right direction.
Here is the usual look at the Kima vs my personal preference target, along with the Titan S also shown for reference:
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Starting off, as always, with the subbass and my usual run of “Chameleon” as a test track, here the subbass is very noticeably improved over the Titan S. There is more quantity but the quality is also very good. The rumble in the track is plenty for my tastes yet it is neither overpowering nor “loose”. Each note is clean and detailed, while at the same time the rumble is enough to appreciate what this track really offers. This is not a set that I would class as “apt” for those lovers of excessive bass, it is just well balanced and well presented.
The midbass is the same story. It is a little more present than I would usually ask for on paper, yet the detail and cleanliness of the bass makes them a very pleasurable listen. At no point did I find that they caused me fatigue over longer sessions. The bass in Sade’s “No Ordinary Love” is very clean and I find it to be at just the right balance for it to be easily appreciated without it becoming the center of attention. The same can be said for the bass of “Whole Lotta Love” which I find to be a very nice presentation, with just enough warmth added to work well with this genre of classic rock, something I find benefits quite a bit from a little extra in the midbass over my preferences.
The guitar in “Crazy” has enough warmth but without it affecting the low end negatively and becoming “boomy”. The same can be said for “Give Me One Reason” by Tracy Chapman, filling the low end but staying clean while doing so. Another very pleasurable track is “Back It Up”, which may not be the best recording but does sound very good on the Kima.
There is a slight dip in the center of the midrange but it is not enough to have a negative effect on female vocals that may have their root notes residing in this zone. Maybe Sara Bareilles in her version of “(Sittin’ On) The Dock of the Bay” could have a little more warmth in the voice but it is still a very pleasurable listen.
Moving towards the higher parts of the midrange, there is a climb that gives the most of the presence around 2.5kHz, with a small dip down that keeps the 5kHz in check before ramping down. This works very well and is very close to my preferred tuning in these ranges. Vocals that are harsh and overly present in this range are not tamed down any but they are not exaggerated either, making even Beth in “Don’t You Worry Child” quite listenable (although she is still a little harsh, due to the nature of her voice and the recording).
In the higher ranges, I find the extension to be good and to have a nice sensation of extension and air. It is not the most extended of treble ranges but the Kima certainly don’t suffer from extreme roll off in those upper ranges, something that many single driver options do.
The usual “Code Cool” test of sibilance returns Patricia Barber slightly tamed in this regard. If we use the -12 to +12 scale of sibilance that I mentioned in a previous review (where 0 would be with Patricia Barber just being on the verge of sibilance), then I would say that the Kima are somewhere around a -2.
Details are good also, with those smaller details located in the background of music, such as room reverbs etc., being quite noticeable. They are not so detailed that they will wow in this factor (depending on what sets you have heard previously) but they never left me with the sensation of being overly dull or blunted in this regard.
Soundstage is on the higher side of average. They are still IEMs but there is nice separation of instruments, creating a very pleasurable sense of space due to the good placement of images inside this soundstage. “All Your Love (Turned To Passion)” works well to showcase both the detail and the space that these IEMs manage to create between the instruments themselves.
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While the Kima are not going to do a great job of isolating those low end rumbles of jet engines and the likes, they are quite a bit above average in the mid range, this means that in places like noisy offices, they are going to work well without the need of increasing the volume levels too much.
Conclusion…
The Dunu Kima are another set of IEMs from the brand that I really enjoy. I have found them a joy to listen to and I really struggle to think of anything that I would recommend over these as an all rounder in the sub 100€ bracket.
Yes, there are other IEMs in this price range (or even lower) that will be better in certain aspects but, again, as an all rounder, I think that the Kima are an excellent set of IEMs that will take quite a bit of beating. If I had to think of something to compare them to, I would say that they are an improved Moondrop Aria, with the tweaks in all the right places (for me personally).
As with all of my reviews, this 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
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QKZ x HBB
The QKZ x HBB have been sent to me by Linsoul for me to try out and share my opinions in this review. They have not requested anything specific and, as always, I will do my best to be as sincere and unbiased as possible in my review.
I have left a link to the QKZ x HBB via Linsoul on my blog, you can find it by visiting the version of this review published on my blog (link at the end of this post) or just google Linsoul
It is a non-affiliate link, as are all links that I share, meaning that I receive nothing in exchange for clicks or purchases made via the link.
Intro…
There is no denying that HBB (Hawaiian Bad Boy) of Bad Guy Good Audio Reviews has become the king of collaborations in previous times. I really can’t keep up with the amount of models that he has helped tune in recent times, a lot of them in the budget segment. The QKZ x HBB is another of those in the budget segment, costing less than 20€ and placing itself firmly inside the sub 50€ bracket that I consider extreme budget on Acho Reviews.
I have tried a few of HBBs collaborations and I have to say that they have impressed me in general, offering a lot for very decent prices and I will say that these are another of those models. They may not be for everyone, I will get into details on my thoughts in a second, but I can confirm that, without even getting into the review, yes, these are more than worth the asking price. Is the tuning going to be to your preference, well, I guess that is something that I can use as an excuse for you to read the review. But if you want a TLDR… if you want a 20€ stocking stuffer (with the holiday seasons approaching), then you can do a lot worse than these IEMs.
Presentation…
When we are talking about a set or earphones that cost not much more than a meal at McDonalds and we want them to sound good, there has to be something cut somewhere. What better place to cut it than in the packaging and accessories section?
In a plain small box that is overloaded with info on the exterior, we get the IEMs, a cable with inline microphone and 6 sets of silicone tips. It is an unboxing experience that is very reminiscent of KZ (or other budget QKZ models) but is more than adequate for a budget model.
Yes, the presentation is very basic and cheap, but there are models that cost triple this amount with similar presentations and, again, I would rather the costs be cut here than in the IEMs.
Build and aesthetics…
The IEMs use a generic shape that is comfortable for most people, with translucid shells and a face plate that sports the HBB logo on one IEM and the QKZ logo on the other. The logo is behind a perspex window that gives depth to the aesthetics, with grey lightening bolts on a black background behind. Surrounding the faceplate there is a metal coloured frame that gives some more “boost” to the aesthetics.
These IEMs are not something that aims to look boutique in their aesthetics but at the same time have their own original design that is nice to see.
The cable is also very reminiscent of the cables included by KZ. I don’t want to say that it’s identical but… it seems to be. The inline microphone works for the odd phone call and for talking to your assistant but is not something that you will be recording your latest single with.
In general, these are a 20€ set of IEMs and I have to say that the build and aesthetics are more than worthy of their price (or more).
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Spotify, etc.)
I am going to be sincere and straight to the point here, I am not a fan of the sound of these IEMs. I know that I said just a moment ago that these IEMs are well worth their price and that you could go out and buy them even without reading the review, and I stick by what I said. They are a good set of IEMs for their price but… cinnamon is a good ingredient but it doesn’t mean that I personally like the flavour.
If you have followed any of my reviews, you know by now that I am not a huge fan of overly present bass, especially midbass. Yes, there are sets with overly present midbass that I enjoy, for certain genres and at certain times, and I have enjoyed these for some stuff. However, overly present midbass does cause me fatigue over longer listening periods and the QKZ x HBB are one of those sets.
Now, I am still not going to complain about these IEMs as I think they will be a great buy for those who do like more in the bass, I especially found these a lot of fun for EDM. But before I get into describing each of the sound sections that I usually do, lets take a look at the graph in comparison to my personal preference target:
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In the subbass, we have plenty, giving us enough rumble (in my opinion) for even the extreme bass heads amongst us. My usual subbass test with “Chameleon” I found to be overpowering… and then the bass kicked in
Now the biggest problem, for me personally, is that there is one big ramp from 500Hz down. That means that everything is boosted in the low end, from Subbass to almost the center of the mids. This is a sensation that I personally do not like yet I do know plenty of people that do. Listening to “No Sanctuary Here”, this was enough to give me fatigue but it is one of those experiences that is very impressive for those that like the bass to move them.
I went through quite a large selection of EDM and it was like being in a night club on a Saturday night, the party is great but my ears (and head) start feeling it after a while.
To my surprise, the mid range does not seem to be recessed or absent, something that I would have expected with such a large presence in the lower frequencies. Yes things like “Don’t Start Now” by Dua Lipa are clean with no lack of presence in vocals.
Even “Make Noise” by Busta Rhymes and Lenny Kravitz did not place vocals any further back than usual. This track is already pretty weird in its recording, with Busta’s vocals taking a back seat to the backing vocals and the instrumental, but on some V shaped sets his vocals disappear almost completely, and that wasn’t the case here.
I would have also expected the upper mids to need more boost that they have in order to counteract that low end but, again, I was surprised to find that they are actually quite clear and respectable. I really didn’t find that things were struggling to fight for their place in the music, they were upfront and clear enough.
The treble extension is also not back, not the smoothest of trebles but acceptable. It has a few peaks here and there but it is not something that I think will offend many people who are looking at this kind of signature at this kind of price.
Soundstage is around average I guess, nothing spectacular going on, and I would say that image placement is about the same. Things are place well enough but they are not milimetric, not that I think that is something that should be a factor in such a tuned IEM.
Details are not great but those upper high range peaks do help give them more of a sense of detail (even if they are not that detailed), something that I think will be appreciated by many who enjoy EDM.
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Isolation is also about average but one thing I will say is that you are not going to have any issues hearing the bass. If you are listening to anything with a good bass presence and at a level that is common for many EDM fans, then you will not need to worry about external noise
Conclusion…
I know this is going to come across as a very strange review. On one hand I say I don’t like the QKZ x HBB, yet on the other hand, I say that they are worth buying without a doubt. And they are.
The thing is, these IEMs, due to their tuning, give me a headache and cause me fatigue. However… I am not you. There are millions of people out there that have tastes very different to mine and I know a lot of people like sets with very present bass. And I would say that at 20€, these give a lot for their price.
There is a lot of competition out there lately in this price range, with me preferring a lot of other models over these, yet I cannot deny that if you are looking for a bassy set of IEMs on a very low budget, the QKZx HBB have a lot to offer.
As with all of my reviews, this is also available in Spanish 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
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