Tansio Mirai RGB
A true TOTL worthy contender.
Musical heart beats strong on this one
Has Micro details and technical chops in spades
Some of the best BA Bass ever
Wonderful natural sounding mids
Highs done extremely well tuned and the best implementation of a whopping 8 ESTAT drivers.
Follows the source
Fit & Finish worthy of a $2999 IEM
I got nothing here folks move along.
I love seeing the internals. Really looks well put together
9 BA and 8 EST in there
Simgot DEW4X Portable
DAC/AMP $79.99 USD
CS DAC Chips provide a clean output with a slightly warm sound signature
Small Compact size
Excellent Sound Quality
Plenty of power for most efficient IEM
Included USB-C to USB-C is nice quality and a good length
Included USB-C to USB-A is a nice touch
Build Quality is Great
No Lightning adapter included would have been good.
No Track forward/back pause button only volume is different than most
Volume buttons have no markings
Not enough power for planar headphones
No volume memory so when you plug in there is a risk of damaging your connected headphones or ears if you haven’t adjusted the Output volume of your source prior.
Led is mostly hidden by USB Plug and hard to see.
Overall the DEW4X is an excellent dongle this one replaces my now discontinued Truthear Shio. The sound quality is excellent and has good detail and a hint of warmth that I enjoy.
For the $ it is competitive and with its solid build quality would make a great choice for PC use and on the fly.
Thanks Fia Lam for the unit 
Canucks Audioholics Anonymous Group thanks you.
@KrustyolBastid
@kingnubian
Kyle Parker
Tone Deaf Monk
NiceHCK DB2
$24 for a Hybrid 1 DD & 1 BA
Vocal forward will appeal to many
Bassheads may apply as well
To Driver has good tonality
Supplied eartips are great
Cable Package with BlackDawn shows great value for $20 more
I like how the the BA was implemented not too much as I was worried about.
Not a neutral set at all
W shape sound signature not going to appeal to everyone
Not a all-rounder
Upper mids for me still a tad much
https://a.aliexpress.com/_m0TzFhw
ORIVETI OH700VB
6+1 Hybrid Driver Technology
1 10mm Dynamic Driver.
6 BA Drivers. 4 mids, 2 high.
Impedance: 12 Ohm
Frequency Response: 20 - 20000Hz
Sensitivity: 112±3dB/mW, 1000Hz
Preamble:
On behalf of myself and the other Canuck Audioholics, I pass along our sincere appreciation and thanks to Oriveti for providing the OH700VB for evaluation and review.
I received only the ear pieces and stock modular cable with 3.5mm 2.5mm and 4.4mm terminations.
Pros:
High quality hand made resin shells are vented, smooth, and well finished.
Medium in size they fit my ears well. Mid point insertion depth facilitates a good seal and solid anchor.
Nice quality modular cable with 3.5, 2.5, and 4.4mm terminations. Oriveti does not specify the composition of the cable.
Single tuning switch on the faceplate of each ear piece provides a sub bass boost.
Tuning switch is easily accessible for “on the fly” adjustment.
Not source device fussy, sounds very good on all sources sampled.
Drives easily and sounds good straight off phone. (iPhone 13, Qobuz)
Deep and rich, boomy bass. Sub focused.
Smooth, clear and detailed upper mids. Not overly energetic. More intimate than spacious.
Vocals are clear and articulate with natural and accurate tonality for both male and female.
Bright airy highs, not the most detailed or resolving.
Intimate head stage, with good imaging and layering.
Cons:
Tuning switches are easy to unintentionally re-position when handling the ear pieces.
Mids and highs don’t easily reveal detail and resolution.
Sources:
I listened to the OH700VB using a few different source devices.
AK Kann Max, Hiby RS6 (R2R), Shanling M9 Ltd., iBasso DX320, iPhone 13.
I found the OH700VB to be easy to drive, and, not overly source fussy, or dependent.
While there were noticeable differences to the sound between each device, I found the OH700VB did not stray far from its tuning.
A bit more resolving and tighter bottom end on the Kann Max.
A touch more elevated in the mids, and warmer on the RS6 and DX320. Warmer with a little more note weight throughout on the M9 Ltd.
They were easy to drive and sounded good on the iPhone 13 using only a lightning to 3.5mm adapter.
To save a bit of time I didn’t try the OH700VB with any dongles, it seemed intuitive to me, that if they sounded good straight off the phone, any dongle would also work well with this IEM.
My music sources are streaming Qobuz, and, FLAC and DSD files stored on the SD cards of the daps.
My music genre are Rock, Blues, Jazz, Symphonic, Country, Rap, R&B, Pop, Electronic.
Fellow Canuck Audioholic Kyle Parker is slowly coaxing me into listening to some Metal on occasion.
Equipment:
For the sound evaluation I choose the following setup:
*ORIVETI OH700VB IEM, aged ?? hrs.
*A&K Kann Max, low gain, 4.4mm out.
*Stock cable with 4.4mm modular termination.
*Dunu SS wide bore tips.
Tuning Switch:
The tuning switch, when turned on, adds a bass boost that primarily targets sub bass.
When positioned in ear, the ON position will be down, the OFF position is up.
The switch’s are not recessed into the face plate, they protrude 1 or 2mm and can conveniently be switched “on the fly” without removing the iem from your ears.
The down side is, they don’t have much resistance, and are very easy to move out of position while handling the iem, inserting in ear, or, adjusting for comfort and seal while listening.
It’s not a big deal, you get used to double checking the switch position when you handle the ear pieces.
Set to Bass OFF there is still very good bass presence smooth and rich, still more sub bass oriented, but tighter, more laid back and relaxed.
Set to Bass ON the bass goes lower, has more weight, and extra “boom and rumble”
Even though bass boost targets the sub bass region, when turned on, the extra bass does creep into the mids and highs enough to take a bit of resolution and sparkle off the top end, and I note on some tracks, reduces elevation of the mids a touch.
This is a subtle, but noticeable change.
Enough to pinpoint changes in familiar tracks during critical listening, but, not surprising that they can be easily overlooked during relaxed chill sessions.
Sound:
Listening to a cover of the song Fever performed by Petra Magoni and Ferruccio Spinetti (Musica Nuda) Album-Live a FIP.
-With switch off:
Double bass lays low, is deep, rich, and tight, but with a nice linger of resonance.
Harmonica is high in the head space, and is bright with a nice “squawk” on the high notes.
-With bass switch on:
Double bass pulls lower, still deep and rich, but loosens up, resonance doesn’t decay as quickly and lingers longer.
Harmonica still has a strong presence, and retains the “squawk”, but it sits slightly lower in the head space, and looses some of its very upper end shimmer.
Switch on, or off, bass on the OH700VB is good quality, albeit sub focused.
Cherish The Day - Sade - The Ultimate Collection (Remastered Edition)
-Switch off:
From the opening on this track the Kick Drum is very prominent, nice solid and quick thump.
At around the 1:35 min mark the Bass Guitar eases in, just above the kick drum in the head space, with decent definition between kick and bass.
Sade’s Vocals are high in the head space clear, and articulate.
-Switch on:
The opening Kick Drum has more weight and prominence, it doesn’t decay as quickly.
When the Bass Guitar eases in, it has dropped lower in the head space, and melds more with kick drum, less definition between the two.
There is a subtle change to Sade’s vocals, they drop slightly in the head space, loose just a touch brightness, and gain a hint of warmth/husk.
Can’t You See - Eric Steckel - Grandview Drive.
This Eric Steckel cover of the song Can’t You See (The Marshall Tucker Band) is recorded with a lot of energy in the upper mids and highs.
It will lay bare IEM’s with highly elevated mid and upper energy tuning and become unbearable for myself. (I’m sensitive to tuning peaks in the 2.5-3.5K range coming off the pinna gain)
The OH700VB is tuned quite conservatively in the mids and upper ranges and keeps this track “nicely between the lines”.
Switch OFF:
Vocals are elevated but not overly forward, crystal clear and vibrant.
Around the 2:30 minute mark Eric starts to shred. Guitars have bite and reach well into treble territory, without becoming harsh.
Switch ON:
Vocals loose a bit of elevation, they warm a bit, but stay clean and vibrant.
When Eric starts to shred there is still plenty of guitar energy, but some bite is nipped off the top and they reach a bit less into the upper end.
The take away here; is the mids/treble tuning of the OH700VB tames this mids forward track.
I find the head stage on the OH700VB quite intimate.
It has good width, just outside the ears. Height is also good, highs reach well into the top of the skull, and the bass can pull the floor down into the jaw area.
Front to rear depth projection is average or a bit better.
Overall it fills the head nicely.
It is not overly spacious or open which for me gives it that tight intimate feeling.
Layering and imaging is still good and individual instrument placement is easy and accurate, but somewhat crowded.
Summary:
Keeping in mind the sound evaluation above is all based on critical, focused, listening. What may come across as negatives, was more nit picking to hopefully help point out that while the tuning switch is primarily sub bass focused, it also has a subtle effect across the frequency ranges.
In short, the OH700VB leans more to a smooth and relaxed listen with very good bass presence, and good upper mids and treble detail and clarity without being overly energetic or in your face.
It may fail to connect with those who prefer an enhanced bass presence, or, those who like very energetic mids and highly resolving treble.
But for those who like to dim the room, lay back, just slip into the music, and live there for a couple hours…. Oreveti OH700VB has your number.
Enjoy your music. 
Kept staring at the OH700 cause that graph looked so familiar. Then I found it.
Yo I have this set LOL (and you’re correct)
It was my best neutral IEM of 2023 followed by the S15 heh
Yanyin Canon 2 - Delicious Musicality
NOTES:
One of the definitions of the word Canon is “a collection or list of sacred books accepted as genuine:” With the Canon II Yanyin has set out to produce an iem aimed at reproducing sound that is genuine and faithful.
Yanyin is not your typical company. Their releases are spaced much farther apart than traditional Chi-Fi companies and it’s obvious that some time and attention are paid to each new product release.
The Canon II is the second iteration of the well respected OG Canon. Physical differences are obviously the looks and the reduction in the number of switches from three to two. Interestingly the switches on the Cannon 2 only affect the low-end gain, adding a bit more heft depending on switch position.
There are other more impactful differences of note including:
SPECS:
Driver" 1DD+4BD
DRC: 27-40Ω
Sensitivity: 112dB
Frequency: 5Hz-25kHz
Plug: 0.78mm+3.5mm/2.5mm/4.4mm
Earphone Material: Medical Resin
Cable: 4-strand graphene single crystal copper silver-plated
Build, Fit & Quality:
The Canon II is a beautiful iem. The smooth black and shiny resin shells are adorned with a gorgeous multicoloured faceplate. Build quality is commensurate with the price.
The retail presentation is also well done and the quality of the included accessories also matches the asking price. The cable is quite nice, although I wish more manufacturers would include a quality modular cable as my preference is for 4.4mm balanced and most of my gear is set up to accommodate this.
Fit is very good in my ears as the shell is on the larger but still manageable size. I never encountered an issue with comfort even during longer listening sessions.
SOUND:
BASS:
The C2 offers a bass that has ample weight without sounding bloated. Here we have a low end that is sub-bass focused over mid-bass. Bass goes very low but still remains composed even at higher volume levels. I did find that the quality of the bass was definitely source dependant with it sounding best on the E1DA dongle or the a50s desktop amp. Initially using a different source, the bass came off as powerful but somewhat loose. Source rolling should be paid attention to in order to extract the best bass quality form the Cannon 2.
Bass has great impact and even more so when the various dip switch selections are enabled. I did find that with both switches set to on, the bass at times became distracting and overpowering. Of course, this is a personal preference and the action of the switches will cater to the spectrum of bass lovers.
The thickness of the bass I found alluring, even on tracks which were not bass focused. On tracks which had strong bass presence the Canon 2 always rose to the challenge. “Angel” by Massive Attack sounded wonderful with that dominant bass line presented with a splendid meatiness to it.
The only negative I could find here is that in terms of audible texturing the Canon 2 lacked that last measure of detail retrieval. But with respects to organics and musicality, it does quite well.
MIDRANGE:
An iem lives or dies by the quality of its midrange. The Canon 2 has a midrange that is ripe with organic qualities that really draw the listener in. With respect to the metrics of resolution and detail retrieval the C2 also does very well.
This is a midrange that is engaging and musical. Listening to “He’s a Carioca” by Eden Atwood I was immediately pulled into the track. At times this made the Canon 2 hard to review as the act of listening to music took over.
There is a comforting warmth to the mids that adds to the overall affect. Vocals, both male and female, have a rich organic tone to them. If anything, the midrange of the Canon 2 leans more towards organic and musical than clinical and hyperdetailed.
The upper mids are more tempered than a number of recent sets I have listened to. I am not a lover of overzealous pinna gain and the presentation offered by the C2 suited my preferences very well.
Layering and separation are interesting with the Canon2 as they really only come into prominence when complex passages are played. “Beautiful Lie” by Vick Lavender is a heavily percussive and busy track which on the majority of sets sounds jumbled and one dimensional. The Canon 2 is not one of those sets. I was able to easily hear each instrument and sound with ease the Canon2 staying coherent, composed and musical.
Timbre was good with instruments such as the double bass on “Maiden Voyage” by the Robert Glasper Trio sounding impressively natural and full. Playback of transients, while not being as sharp as on some competitors, was clean with good attack and natural decay.
The midrange of the Canon 2 is a win. Here we have a set that while bearing a respectable level of technicalities, offers an organic playback that easily pulls the listener in. Well done.
TREBLE:
Comparing the Cannon2 to the OG Canon the newest version, the C2 is heard to have more energy up top while being more composed at the same time. Treble here is well extended with no harshness noted,
There is enough sparkle and air to keep the Canon2 sounding open and detail retrieval follows suit. The treble tuning here follows the midrange in that there is an obvious nod towards musicality as opposed to razor sharp technicalities. As such there is a perceived smoothness to the treble which limits the bite just a touch but adds to the “comfortably musical” nature of the sonics.
An easy to listen to yet pleasingly detail and expressive treble which compliments the overall tuning and rest of the frequency range.
IMAGING AND SOUNDSTAGE:
The Canon 2 throws up a moderately sized soundstage with above average space representation. Width is commendable with depth and height presented to a lesser degree but having natural dimensions.
Soundstage is not just about dimensions but having an organic headspace, and Canon 2 does quite well here. Vocals tend not to stand out front as much but due to the resolution offered do not get lost. Imaging is precise as well aided in no small part to the Cannon 2 layering and separation capabilities
I would say that compared to the majority of sets I have heard in the recent past, the Canon 2 does better than most here.
CONCLUSION:
At $379 USD, the Canon 2 is a clear successor to the OG. It offers a pleasingly musical sound that had me listening to tracks I had not heard in quite a while. The combination of good looks, high quality build and great sound are not as easy to come by as some will have you believe. Yanyin have achieved this goal beautifully.
I really loved the OG Canon and was initially apprehensive as to what the Cannon2 was bringing to the table. I need not have worried. If an engagingly musical set with great build quality and sound that rivals iems which are much more expansive, in particular in the midrange, is what you are after, the Yanyin Canon 2 should be on your shortlist.
The Yanyin Canon 2 gets a strong recommendation.
Great review thanks Benny for sharing can’t wait to hear this set! The OG was excellent 
Great review, clear and concise. I’ve yet to try the OG Canon, but it’s just one of those mystical IEMs in the hobby that’s talked about so much.
Your images are fantastic as well, btw 
NiceHCK F1 Pro
Planar Evolution…Continued
Thanks to NiceHCK for providing the F1 Pro for evaluation.
NOTES:
NiceHCK is a company which is best known for their line of high quality cables for iems. I myself have purchased and still own a number of these.
They also have their hands in iem manufacturing and the iem I am reviewing to day if called the F1 Pro. It is my understanding that there was an OG F1, but I am unfamiliar with that item so that’s all I’ll talk about that.
The F1 Pro has a driver compliment of a single newly developed 14.2mm Planar driver. The driver is housed in a cnc machined aluminium shell which I believe is quite attractive. The sound is said to compliment different genres and this was indeed confirmed in my listening. The F1 Pro I would say has more of a W tuning than typical V.
The F1 Pro is easy to drive and did well with most sources though I would suggest a capable warmer source for that best synergy. The F1 Pro was moderately tip sensitive as well but not overly so.
Read on to know how the NiceHCK actually performs.
SPECS:
New-Generation Planar Magnetic Driver IEMs.
Newly developed 14.2mm Planar Driver.
2um Ultra-Thin Diaphragm.
N55 High-Performance Magnets.
Double-Sided Magnetic Circuit.
CNC-Machined Aluminium Alloy Cavities.
Compact and Ergonomic Design.
Professionally Adjusted Tuning.
Two-Pin Detachable Cable(0.78mm).
High-Purity OCC and Silver-Plated Hybrid Cable.
Available in 4.4mm and 3.5mm Termination options.
Build, Fit & Quality:
The NIceHCK F1 Pro is an attractive iem. The CNC Machined shells are obviously well done in a pleasing almost cyan colour. Even though the driver is said to be 14.2mm, the shells are on the smaller side of medium in size.
Fit was very good as the shells are more round than ear shaped with nozzles that stick out enough to seat well in the ear, with proper tip selection that is. Long listening session were not an issue.
The included accessories are of apparent good quality including the cable which is a keeper. Knowing NiceHCK’s cable prowess this was a no brainer.
SOUND:
BASS:
The F1 Pro has bass that digs deep with commendable control. Listening to “Angel” by Massive Attack the bass was heard to hit hard yet maintain it’s tight composure. Moving on to “Change Your Mind” by Moonchild, the bass has a pleasant fullness and thickness to it without sounding muddy.
On “No Worries” by the Robert Glasper Trio, the F1 Pro attributed itself well with a clean playback of the double bass. “Poem Of A Chinese Drum” by Hok Man Yim is a good test of bass control and dynamics. The F1 Pro again did well the bass remaining tight and focused even in the more demanding moments of the track. Regardless of bass content the F1 Pro never suffered from affected mids either with the midrange staying in its place.
Bass detail and texture presentation were also a high point. “Circumstance” by Wayman Tisdale was played back cleanly, although I would have preferred just a touch more presence in the deepest sub-bass, I still got lost in the track.
Changing genres, with “Here I come” from Denis Brown the F1 Pro again did quite well with the bass and deep kick drum of this classic Reggae track coming through clean and clear. Throwing some House music into the fray, “Feel It Now (Cornelius Remix)” I found myself unconsciously turning up the volume and bopping my head. The bass of the NiceHCK F1 Pro is well done and probably the best of the sub $100 Planars I’ve heard. It does lean more towards quality than quantity, but I am confident in saying that the vast majority of listeners will be more than satisfied.
MIDRANGE:
The NiceHCK F1 Pro has on offer a midrange that is noticeably clean with some noted emphasis as we move up in frequency. Detail retrieval is good with macro over micro detail present but with enough micro detail present to make things very interesting.
This added presence lift is most notable on female vocals and while the upper midrange was not harsh, at times there was sibilance heard, again with female vocals. This was not always apparent though. “Sweet Love” by Anita Baker came through crisp and clear without any harshness or sibilance noted. As such this is really track dependant.
Male vocals, and female vocals, were more immediate than recessed with again excellent clarity with the F1 Pro able to convey the emotion in the artists vocal delivery. I did find that female vocals did sound a touch more immediate in the mix as compared to male.
Layering and separation is good. Listening to “Beautiful Lie” by Vick Lavender I was impressed with the F1 Pro’s ability to keep elements of this hyper busy track in their place and separated. Not may sets regardless of price have done this successfully. This only one performance metric though, but still impressive. Timbre is good but that added presence does add extra bite for example to string instruments making them just north of natural. With respect to transients the F1 Pro again does well with sharp attack and natural decay.
TREBLE:
The NiceHCK F1 Pro has a treble that really showcases how planar driver iems have matured. While the treble does have ample energy, gone to a great extent is the piercing and sometimes ragged presentation of previous planar iem generations.
Treble is well extended with good detail, air and sparkle. The top end I found non-fatiguing and while some super treble sensitive types may have issue with this, I did not.
IMAGING AND SOUNDSTAGE:
The F1 Pro firstly has a soundstage that is IMHO superior to all the sub $100 planar based sets I have heard. It just sounds more open. It is not a 3D holographic presentation with the width extending just beyond the ears but with good height and to a lesser extent depth. The presentation of depth isn’t eye watering, but definitely better conveyed than all the other planar based iems I’ve heard at its price.
Where the F1 Pro excels is in NOT sounding constrained or congested, even on busy tracks.
CONCLUSION:
At $99 USD the NiceHCK F1 Pro has some competition in the planar driver equipped segment. I would say that the F1 Pro is a better example of this tech than any at its price range.
While female vocals can at times exibit sibilance, it is not the majority of the time and taken as an overall experience, the NiceHCK F1 Pro does satisfy.
NiceHCK make some great cables, that is a given, clearly their iems also deserve some attention as well. If you are in the market in this price range and are after detailed sonics with quality bass, the NiceHCK F1 Pro should be on your shortlist.
Great review Bennet I think this is the best Planar I have tried so for. Good balance between technical chops and musicality.
They also shared a bundle offer code for $100 with the Cyan cable not sure if this still works 888F1PRO
Wait, is that real carbon on those dongles?! It certainly looks that way to me. That’s dope
In what way? Sorry Brandon not sure what you mean?
Just as a comparison. Which would prefer between the two? What do they do better/worse than the other?
The Okavango I had was the OG before they retuned it, it had driver flex and pressure build up., also the tuning switch was way off on what they did boosted the treble up in a wierd place.
Easy forgettable.
The Quattro while not a fan of the softer sub bass focused sound the tonality of that mid DD is standout pitch perfect, if you want a easy listening non technical set to chill to and be amazed with some if the best vocals to hear the Quattro is it.
