All I can say was I struggled to spit out and even write my thoughts on this one, really took me for a loop.
Sorry if I got you confused with my verbiage.
Mid bass didn’t have the attack as much that I typically crave. More Sub bass focused for sure, but the music I was listening to didn’t have to much so more of the mid bass came out probably tilted my impressions.
Sure happy with the results tho it’s a wonderful listen.
Shit it’s all good, brudda - just needed some clarification on my end is all. What’s important is that you enjoyed the IEMs and that’s all there is to it. I try to keep my reviews/write-ups shorter anyway, avoiding getting into the specifics is more efficient imo but that’s just my style, ya feel me?
I’m just happy you’re digging the 700s 
7HZ x Crinacle Zero: 2
Second Times a Charm
NOTES:
The 7Hz Zero2 is the second iteration of the well received original Zero. This time around 7Hz continues its collaboration with Crinacle while upgrading the driver, cable and tweaking the tuning.
Boasting a single 10m dynamic driver, the Zero2 is the epitome of simplicity as far as driver count and tech goes. This could actually be a good thing as in the right hands, less is usually more.
The Zero2 is easy to drive and I would recommend a more neutral source since with it’s new found bass prowess, things may get out of hand when driven by an overly warm source. Tip selection is as something to experiment with not just for fit, but to find that synergy which results in the best sound. I used a shorter wide bore tip with great results and recommend that tip rolling be standard procedure for any new iem.
As far as tuning does, the Zero2 offers a warmer, more v-shaped sound with enhanced bass emphasis as compared to the original which leaned more towards the bright/neutral side of things. Comparatively what’s on offer here is a fuller/weightier sound than its predecessor.
Read on to find out more.
SPECS:
Frequency response range: 10HZ-20KHz
Impedance: 32 ohms
Total Harmonic Distortion (THD): <1% at 1KHz
Driver: 10mm dynamic driver
Cable Interface: 3.5mm
Plug Type: Detachable 0.78mm 2Pin
PRICE: $24.99 USD
BUILD, FIT & QUALITY:
What was said in my original Zero review stands here. The Zero2 uses the almost identical shell which I found comfortable. The iem is well built and the colour options are a nice touch. Some have expressed concerns with its angular design. I did not have any issues securing a comfortable and stable fit. The Zero2 is small in size with a nozzle that some may find does not protrude enough to get a good fit. My advice for those people is to go down one tip size and try it that way. I now regularly go from large to medium tips with great success getting a deeper fit for those iem where fitment may be an issue.
The quality of the included accessories is fine but the new cable deserves a mention. 7hz has done their homework here and the updated cable is now a keeper. Haptics are great and it is attractive while also being resistant to tangling. Nicely done 7Hz for stepping up their stock cable game.
SOUND:
BASS:
The 7Hz Zero2 compared to the OG Zero is a different beast altogether when it comes to bass. While the OG’s low end was “tentative” at times, the Zero2 unashamedly flaunts its new found bass prowess.
Both mid-bass and sub-bass have a newly found richness and drive that is pleasing without dragging down the rest of the frequency range. This bass has a nice thickness to it while exhibiting admirable control. Rumble is there for sure when called for without the limited nature heard in the original Zero. What is pleasing is how the bass does not impede the rest of the frequency range, rather it serves as a solid foundation. The mid-bass though does impart a degree of warmth to the lower midrange which adds wholeness without the corresponding veil that is heard in many other iem in this price range.
Bass quantity aside, the quality is above what one would expect in a $25usd set. Still the Zero2 is not that bastion of detail and texture retrieval in the low frequencies. Make no mistake about it, it does better than most in this price range but is bested on the metrics of detail and texturing by a small number of competitors including the ZiiGaat Nuo. That being said the Zero2 does have more sub-bass slam than the Nuo is capable of.
The bass of the 7Hz Zero2 is a pleasant surprise and I have to say enjoyable.
MIDRANGE:
The midrange of the 7Hz Zero2 receives a touch of warmth imparted by the mid-bass. This does not in any way cloud or obscure the midrange. The Zero2 does pull detail from tracks but predominantly of the macro variety. The midrange also sounds decidedly open and clear. I listened to a much more expansive set right before the Zero2 which usually allows me to hear the midrange veil of the less expensive set but not so with the Zero2. The Zero2 was not as resolving nor revealing as the pricier set, but held up well in particular when its price was considered.
Vocals, both male and female are clear and distinct sitting comfortably with the instruments. Tracy Thorn’s lush vocals on “protection” by Massive Attack are heard just slightly recessed but with great clarity. Anita Baker’s classic track “Sweet Love” followed suit her vocals coming through with again good clarity.
Male vocals also fared well. On “Tenderhearted Lover” by John Stoddart, there was that warmth with no sacrifice of clarity. In fact, the lower midrange sounded more immediate than the slightly recessed upper mids.
The upper mids showed no harshness nor grain. Timbre was good with at time some nicely organic playback heard. Listening to “In Passing” by the Robert Glasper Trio, the Zero2 exhibited a meatier sound presentation but with good organics, timbre and pace.
The handling of dynamic passages was done well with transients following suit if for a softening of the leading edge but with natural decay.
The midrange of the Zero2 lends itself to long listening sessions and is pliable to any genre I cared to listen to. Seen through a more critical lens, the mids are not the pinnacle of micro detail retrieval nor lushness, but at its price joins only a very small number of other iem that can pull off an organic
TREBLE:
Comparatively, the treble of the Zero2 has less prominence than that of its predecessor the Zero. This has as much to do with the bass emphasized tuning of the Zero2 as to an overall tuning change up top which comparatively is safer than its predecessor.
Treble delivery is fairly detailed and smooth as well as being non fatiguing, with enough detail, sparkle and air to keep the Zero2 from sounding dark or closed in. In this regard the treble is well done and I did not find myself wanting more, even though I have a soft spot for bright/neutral tunings of which the Zero2 is not.
The treble has enough vibrancy to not be forgotten in the mix. Treble heads may not be totally happy, but you can’t please everyone. The treble is balanced and non-invasive taking its rightful place in the mix.
IMAGING & SOUNDSTAGE:
The 7Hz Zero2 throws up a moderate sized soundstage with accurate instrument placement. No dimension overshadows the other which IMHO makes for a more immersive and organic experience.
Layering and separation are commendable and serve to keep each element in its own space. Nicely done for a $25 set really.
CONCLUSION:
The 7Hz Zero2 is a good iem but I am taken back by its naming. Through my listening I kept being reminded how different it is than the original Zero. Realistically the Zero2 could have been named something completely different and it would still fly.
What 7Hz has done here is listened to the gripes expressed about the original Zero and addressed them. In this regard they should be applauded for at least listening and more importantly acting upon users concerns.
The Zero2 is a good iem and even though it occupies a pricing tier that has a few strong competitors, it carves out its own space. It joins a small number of standout sets that I believe the majority of shoppers in this price range will enjoy.
The 7Hz Zero2 gets a strong recommendation.
@ToneDeafMonk was right about the DTE900. I guess I’m in the honeymoon phase with them but I’m head over heels in love lol definitely my new favorite!
Holy SHIT, those faceplates are stunners!
I was right? LOL nice to hear and I am glad you like them.
Kiwi ears Quintet
The Whole Is Greater Than The Sum Of Many Parts
NOTES:
The Kiwi Ears Quintet isn’t anything if it not ambitious. Retailing for Disclaimer: The Kiwi driver technologies into an overall surprisingly cohesive package of form and function.
The Quintet boasts a driver compliment of five drivers per side. A single dynamic driver, two balanced armatures, one planar and one PZT driver. This is a mouthful for sure and a recipe for disaster unless there is a high level of skill behind the implementation and tuning.
Thankfully Kiwi Ears have pulled it off and the Quintet does not just sound good, it’s sounds very good.
The tuning leans towards more of a balanced-v-shape if that makes sense. Sound is full bodied and articulate yet analytical with good resolution. Fairly easy to drive the Quintet does benefit from better sources and tip rolling is a necessity. I settled on a short stemmed wide bore tip with great synergy. I felt that the Quintet also synergized better with a warmer source as opposed to a more neutral or cold one.
Read on to find out more.
SPECS:
DRIVERS
1 Diamond-Like Carbon (DLC) dynamic driver, 2 balanced armature (BA) drivers, 1 planar magnetic driver, and 1 piezoelectric (PZT) bone conductor
CABLE DETAILS
1.2 Meters, High-quality Oxygen-free Silver-plated Copper Cable
CABLE CONNECTORS
2-pin 0.78mm
CABLE TERMINATION
3.5mm Stereo Cable
BUILD, FIT & QUALITY:
The Kiwi ears Quintet is very well built with an understated design. The 3D printed resin shells are adorned with a metal faceplate with etched branding. The shells are on the larger side but are ergonomically designed so as to fit well. The shells and the faceplates combine to form a smooth and high-quality minimalist look and feel. They did fit well in my ears with little fatigue noted even after a three-hour listening session.
The included accessories are sparse, despite the impressive retail box, but of good quality. There are six pairs of eartips included and a good quality four core SPC cable with a 3.5mm termination.
SOUND:
BASS:
The bass on the Quintet is balanced and goes deep with good speed and detail. Textures come through clearly as heard on “Angel” by Massive attack. Impact and rumble are all present in adequate quantities as dictated by the track. This is not an overblown bass, but one that has ample power, yet is more articulate than most. There is a pleasing thickness and warmth to the low end while still remaining tight and controlled.
There is some warmth from the mid-bass that touches the lower midrange adding a richness to the sound without any veil. Bass quantity I found spot on mostly and I never felt for more. I find the bass of the Kiwi ears Quintet to be quite satisfying and enjoyable to be honest.
MIDRANGE:
The midrange of the Quintet is open with solid detail retrieval and resolution. Technicalities are also where the Quintet shines. The lower midrange has that added warmth and this was heard on “Tenderhearted Lover” by John Stoddart. The richness of his tone coming through with authority.
Upper mids have a touch of added energy and do sound alive without being harsh. “Protection” by Massive Attack had Tracey Thorn’s vocals coming alive yet with great clarity. The only downside is that comparatively the upper midrange can sound a tad thin as compared to the lower midrange. This is not distracting though but can be heard occasionally when critical listening.
On “No Worries” by the Robert Glasper Trio, I was impressed the layering and separation offered by the Quintet as air around each instrument was easily discerned with each being distinct. Listening to “Vanston Place 12am” by Ronny Jordan continued this trend.
Timbre is well done coming through as natural. Dynamics are handled well and transients follow suit with great snap and natural falloff.
Overall, the midrange of the Quintes is win in my books.
TREBLE:
The treble is well extended with ample amounts of sparkle and air. Cymbal brushes and strikes sound great with a natural decay. Detail retrieval is also well done without sounding clinical. Rarely I did hear some sibilance but this was always with tracks known to suffer from that. Such is the trade-off of extended treble response it may seem. Again, this was rare and only in tracks that are known to have this issue.
Treble with all its clarity is still articulate and expressive. Treble sensitive people may take offence but I for one appreciate extended treble and the Kiwi Ears Quintet did not disappoint.
The brushed cymbals on Ronny Jordan’s “Vanston Place 12am” were so smooth and cleanly reproduced it was definitely engaging. Well done.
IMAGING & SOUNDSTAGE:
The Quintet puts out a wide soundstage with lesser degrees of depth and height but still enough to make instrument placement easy. Sound is open never coming across as congested. The Quintet’s layering and separation abilities are really showcased here giving space around each instrument. This was highlighted on “Stimela” by Hugh Masekela, the venue dimensions and instrument placement being precise and the track pulling you in.
VERSUS:
-Hisenior T4-
The T4 is a 4x BA per side iem with no dynamic driver in sight.
Bass power and slam are more prominent with the Quintet, T4 in balanced mode, but comparative with the T4 in “Bass+” mode. The T4 may offer somewhat more detail retrieval in the low end but the organic weight of the bass on the Quintet makes it a serious contender.
In the midrange the T4 takes a decidedly balanced approach while the Quintet offers a more energetic presentation, T4 in balanced mode, while with the T4 in Soundstage+ mode the energy level is comparable. Detail retrieval is where the T4 gets a nod, but just.
Treble is more of the same where the T4 is more balanced with arguably better detail retrieval though air and sparkle are just slightly more prominent on the Quintet which has also better extension.
This is a tough one as the Hisenior T4 is one of my reference sets. If anything, I find the T4 just a bit more engaging in particular for longer listening sessions, but still on more than one occasion found myself pulled into the music whilst listening to the Quintet. It’s a good thing I get to keep both as they are both keepers. The T4 though is better at being what I call a “Reset” iem. Something I like to listen to in between critical listening sessions with others.
CONCLUSION:
Kiwi Ears have done a great job with the Quintet. Pulling all that tech together could not have been easy. The Quintet offers a sophisticated sound in a low-key package which belies everything that is going on in each shell.
No iem, regardless of price, is for everyone. The Quintet has a clean crisp sound that many will like, and some may not. What isn’t up for dispute is how controlled the sound is with good technicalities. The longer I listen to the Kiwi Ears Quintet the more I appreciate what it brings sonically.
It has allowed me more than once to get pulled into the music. This in of itself is praise in my book.
If you are in the market for a well built iem with strong technical performance and a mature sound, the Quintet should be on your shortlist.
The Kiwi Ears Quintet gets a strong recommendation.
Agreed, I only have about 30 minutes with mine, but the best in that price range is the Tanchjim One DSP ( $27 ). I think people can make a case for the Truthear Hola ( under $20, but out of stock everywhere ), Ziigaat Nuo ( $30 ), Kiwi Ears Cadenza ( $35 ), and maybe the Simgot EW200 ( $40 ). The $20 QKZxHBB is still my favorites in this price range, but is bit too warm for some folks.
I still think the best deal under $40 is likely the Tanchjim One DSP and you can tune it the way you want.
I prefer Tanya DSP personally
My package is getting delivered today! Can’t wait to see them and show you guys!
I know what’s in that package!!! Hyped for you, brother
You know I’ll post!!!
Fellas…
Can’t wait to listen tonight🤙
Is it known why all Hiseniors’ products say “febos” on them?
There’s a custom Ovankgo on Head-Fi for $250 atm btw 
Those look even more 
in those shots, enjoy!
Regarding tips, Senda Earfit Normal/Shorts are my standard starting point.
I just saw that as well. Not a fan of the face plates on that one though
Mine are whizzer,radius,epro,Tangzu bit didnt know if anyone had good experience with the T4. Thanks though brother🤝
I should have asked Mr G that’s when I was getting these ready. Maybe it is the original name or the company???
The tips are strictly specific for everyone, according to their anatomy. In my opinion, try the stock tips first. Thin silicone tips have always worked for me - they separate and layer better. The foam is not recommended, it kills the stage, highs and all. If you can’t find a good match with the stock tips, then you can look for some out of the box ones. You will do it. And yes, they look really stunning. Happy listening and cheers!
Never used foams with any of my collection. Thanks man🫡
