Tonight’s Como is The Wonderous OriolusJapan Szalayi and the Astell&Kern Kann Max with a custom cable from GY HiFi
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JUZEAR x ZEOS
DEFIANT
$99.00 usd.
1 - 10mm Carbon-PU diaphragm Dynamic driver - Bass
1 - Dual BA driver - Mids.
1 - Custom BA - High Frequency.
- Impedance: 32Ω.
- Sensitivity: 109dB±1dB.
- Frequency Response Range: 20Hz~20kHz.
- THD+N: ≤0.8%.
- Connector Type: 0.78mm 2-Pin Connectors.
- Termination Plug: 3.5mm+4.4mm.
Preamble:
Thanks go out to Juzear and HiFiGo for providing the Defiant x Zeos reviews review sample to the Canuck Audioholics.
I received only the ear pieces, stock cable, and carry case so can’t speak to the unboxing experience.
Pros and Cons:
Quality resin shells with metal nozzle inserts have no blemishes in design or build. Vented near the 2 pin connector.
They are medium large in size, and on the thick side.
Nozzle angle is good, and length accommodates a mid point anchor depth in my ears.
Individual fitment will, of course, vary, but I’m confident these will fit comfortably for the vast majority.
Stock, 4 strand, Pure Copper/SPC hybrid cable is very nice and a well above average offering for a sub $100 IEM offering.
It is reasonably supple, doesn’t tangle easily, and is adorned with quality metal hardware, including a modular termination.
3.5mm and 4.4mm terminations are included.
The metal ring chin toggle is loose fitting and doesn’t stay cinched in place.
I experienced some connection issues with the 3.5/4.4mm terminations. After a few disconnect/connect cycles the problem appears to be resolved.
Zippered carry case has a classy look, is large enough to accommodate some extra gear, but small enough to be easily pocketed.
Sub bass has a really nice rumble, it carries throughout the head stage, but, I don’t perceive it as pulling very low. It presents primarily higher in the head space.
It is very present, but doesn’t completely overwhelm.
Mid bass is a bit loose, it has a nice thump to it, but a bit shy on impact.
Sub and mid bass are more “blended” than well defined.
Mids and vocals are relaxed and don’t present overly forward or elevated.
(Source device selection can help)
Mids have good macro detail retrieval, but Defiant are not tuned as detail masters.
Vocals, both male and female, sound mostly natural and accurate with a touch of added warmth.
Treble is also on the relaxed side.
Listening to Orchestral tracks there is good extension on instruments like violin that reach high in the head space, but overall there is not an over abundance of sparkle and air. Nor is there a lot of micro detail.
There is zero hint of harshness or sibilance on Defiant.
Staging is average. Width is good, outside the ears. Height is good reaching high in the head space, but doesn’t pull low much past the ears. Depth front to rear is average.
Overall Defiant offers up a head filling stage.
Imaging and layering is below average. There is good left to right stereo imaging, but truly accurate placement of individual instruments is lacking.
Equipment:
Juzear x Zeos Defiant, aged ?? hours.
Hiby R4 DAP, low gain, 4.4mm out.
Stock SPC/Copper hybrid cable with 4.4mm termination attached.
Wide bore ear tips.
Summary:
I only rolled a few source devices, once I knew the mids and highs were relaxed I knew I wanted a source with some mids energy. The Hiby R4 proved a good fit.
Despite the above critiquing regarding the technical capabilities of the Defiant, I find this an enjoyable IEM to listen to.
I’m not always in the mood for a highly technical listening experience.
Defiant delivers a tonally warm, and smooth listening experience.
It is easy to slip into the music, relax, and enjoy the ride.
Given the overall build quality of the IEMs and included accessories, and, the easy listening experience I feel the Juzear X Zeos Defiant is a worthy contender in $100 segment.
Provided this tuning suits personal preference.
My music sources:
Qobuz, and, FLAC and DSD files stored on the SD cards of my daps.
My music genre are primarily Rock, Blues, Jazz, Symphonic, Country, Rap, R&B, Pop, Electronic.
Enjoy your music. 
7 Likes
Having some fun this Mother’s Day
I bought these on AliExpress they were supposed to be a beyerdynamic Xelento 2 1:1 clone
With some Divinus Tips 350 Mesh filter they make a pretty fun set.
Made in Germany EH! 
1 Like
1 Like
BGVP NS10pro – The Excited Songstress
PREAMBLE:
BGVP has existed for some time and is one of those companies who put out great gear but seem to still garner a lower profile. They also do not produce new products every time someone sneezes like more than a few others. Those in the know will be familiar with their products for sure and they have what seems like a comparatively more focused approach to developing and producing earphones than many.
One way BGVP sets themselves apart from many competitors is their openness in detailing who makes their driver components. In the NS10pro for example they include balanced armature drivers from the well-respected Knowles and Sonion manufacturers. They also go into detail to explain the driver tech behind the other in house developed/modified balanced armature driver and combo dynamic/planar driver. Additionally, a 3d-printed internal frame housing with independent sound chambers is used to both isolate the drivers and provide a tuning chamber customized to each.
That is a lot of quality tech in an iem that costs just $180USD. I say “just” because many other iem manufacturers would charge significantly more under the same circumstances in particular with all the marketing fodder it would offer.
As I have said many times, implementation is king regardless of whatever tech is used. Thankfully BGVP have done a masterful job in making all this gear work in a wonderfully cohesive audio experience.
The driver compliment, 2 DD’s and 8 Ba’s per side, includes a dual diaphragm dynamic with an 8mm silicon+LCP diaphragm combined with a 6mm planar all in a single housing, a combination of Sonion 2300 and custom NFK-80817 balanced armatures for the midrange, a Knowles RAF BA for treble, and finally BGVP developed NFK-80817 dual composite drivers which are a refinement of the 31736 & 30095 drivers for extended treble. All of this is controlled by an integrated electronic 4-way + physical three-way crossover.
I do admire the technical skill of BGVP in bringing this all together. I would bet not many out there in the iem space could have accomplished this as successfully.
The NS10pro an easy to drive yet resolving little beast and deserves a more capable source for that best synergy. I can recommend a warmer source with great detail retrieval as the best companion for this iem. Tip rolling here is recommended to again find that sound synergy for best performance. Tuning wise the NS10pro offers a balanced moderately bright/neutral sonic presentation with great clarity.
The NS10pro ships with a set of 3 different removable nozzle tips. To be honest the effect of each was barely perceptible if at all both in measurements and to the ear. One of my fellow Canuck Audioholics review Group members Tone Deaf Monk did modify the red nozzle mesh adding an additional mesh filter which did reduce the upper-midrange forwardness and upper treble energy a bit bringing out the bass energy making the NS10pro even more balanced, all the while not affecting resolution or detail. I must point out that I did use the stock unaltered nozzle for my evaluation though.
Read on to find out more.
SPECS:
Frequency Response: 20Hz-40kHZ
Sensitivity:104dB SPL/mW
Distortion: ≤2% (1kHz)
Channel Difference: ≤1dB
Shell Material: Lightweight aluminum alloy cavity
Drivers:8 balanced armatures + 2 dynamic drivers (8BA+2DD)
Cable: 4-strand single crystal copper, silver-plated
Cable Length:125cm±10mm
BUILD AND FIT:
The NS10pro is a very well built iem. The shell is constructed of aviation-grade aluminum with an understated but elegant design. The shells have more of a glow than a shine and are finished to a high standard. On the larger side of medium with just a small nozzle prominence, the NS10pro was an easy fit. There is a rectangular port on the rear of the shell and a smaller one on the inside of each shell.
I did not have the full retail box for this iem, only receiving the case, cable and nozzle filters. The case is standout and is of the same design as seen in the BGVP Phantom. The case is oval in shape and larger than that typically shipped with most iems. It has stylish branding embossed on the top and even the choice of colour is not the usual. The apparent quality is also evident in the stock 2 in 1 cable which uses an MMC connector and can with a simple switch support different plugs either 4.4mm balanced of 3.5mm single ended.
Everything about the NS10pro says quality. But how does it sound?
SOUND:
Bass:
There is a definite mid-bass prominence with excellent punchiness and speed. The detail retrieval here is notable as well as texturing. Sub-bass while not playing the leading role can be powerful when the source material calls for it. “Stella: by A Guy Called Gerald had all of the sub-bass energy that the track requires with excellent speed and control. Also notable was the natural sound of the low end. This was heard when listening to “No Jive” by Dephazz, the double bass coming through cleanly with a nice organic tone.
The NS10pro is not an iem for the basshead though. The neutral/bright tuning at times can set the bass back a bit in the mix with more mid prominent tracks. The quality of the low end though is admirable but some who require their dental work to be rattled while listening to music will have to look elsewhere.
The bass of the BGVP NS10pro is very good to these ears. It has on offer excellent speed and control while effectively relaying what is in the track with a commendable level of detail and texturing thrown in for good measure.
Midrange:
The NS10pro has a more mid-forward tuning with exceptional clarity all the while staying away for harshness. This is a more energetic type of midrange and those whom prefer more tamed experience may have to look elsewhere.
Detail retrieval, both macro and micro, is well done. Listening to “He’s a Carioca”by Eden Atwood I was pleased to hear details that had been obscured by a few other earphones I have heard recently, some costing more by the way. Layering and separation is also done well with an openness of sound that is refreshing and, in my opinion, necessary for an iem with this type of somewhat mid-forward presentation to keep things sounding clean and uncongested.
Transients were well relayed with sharp attack and a natural falloff. Note weight was good but better in the lower midrange than the upper-midrange which at the odd occasion came off less than full bodied. Timbre is good with occasionally a slight upward tilt in the upper-midrange noted.
The BGVP NS10pro has an engaging midrange. I found myself often tapping my toes and listening to tracks I usually do not play for iem evaluations. There is excellent clarity here with a detailed and expansive sound that really can be satisfying.
Treble:
The treble is well extended with ample quantities of sparkle and air. As with the midrange detail retrieval is good with both macro and micro being present in abundance. While treble sensitive people may be put off by the top end energy, BGVP have fashioned a treble with all its energy but still manages to be musical and without harshness. At times though such as on “Change Your Mind” by Moonchild, the bell sounds near the end of the track had a touch too much shimmer, but this was track dependent.
Better quality recordings definitely benefit from this type of tuning while some poorly recorded tracks may come off as less than smooth.
IMAGING AND SOUNDSTAGE:
The soundstage of the BGVP NS10pro is moderately large with notable depth and width. Imaging is solid and the instrument placement capabilities caught me off guard a few times with how pinpoint it can be. The NS10pro on better recordings is pleasantly engaging iem that I found more than satisfying with all kinds of music, in particular Jazz.
CONCLUSION:
BGVP has an impressive iem in the NS10pro. I had recently listened to the BGVP Phantom and imho both are excellent products, but I do have a soft spot for the NS10pro in particular with my music library. At well under $200 USD the NS10pro offer a highly resolving and coherent sound with exceptional technicalities. BGVP has has also done a standout job displaying their technical prowess with this iem which with respect to tech. It’s all about the sound though and on this front BGVP again does marvelously.
It is one of those iem that the more I listen to it, the more I appreciate what it brings to the table. If you are in the market for an iem with this type of tuning and technical ability, at its asking price there are not many imho who could compete. The BGVP NS10pro gets a definite recommendation.
4 Likes
I concur. It’s a gem. Nozzle is short and chunky. My modular cable had a bad habit of disconnecting the left channel if I moved at all and is stupid long at 2". Some money was returned to compensate. Happy again.
Some of the edginess has decreased with some play time. Stil love the detail. I didn’t like the taming of a 400 filter. Too much was lost. Perhaps it’s source dependent. I’ve only used DX180 and Gremlin tube amp. Magical with tubes.
2 Likes
Tubes can fix alot the NS10 Pro definitely liked a warmer source for me as well.
BGVP should get more play thier value equation is high.
1 Like
My thoughts on the Kiwi Ears Aether
It’s good but a few things Quirky about the tuning and overall presentation that might have you looking elsewhere for a more balanced tuning.
2 Likes
In Ears tonight the Ice Lab - Prismatica
On the IBasso DX180 loving this synergy.
The Prismatica needs the right source nothing too colored as this IEM has a very balanced tuning , great bass, great natural sounding mids and lots of details up top without any harshness!
Liking this one so far very much.
3 Likes
Glad to hear that the cheaper one of the two they offer also delivers!
1 Like
DDHifi Surface – Analog Musicality
Preamble:
DDHifi is a well respected company who are best known for the high quality accessories they manufacture. DDHifi continues to expand its product line which now included cables, audio adapters, Dac/Amps, earphones and other products. The one thing that sets this company apart form many others is the quality of their products both from a manufacturing standpoint and sound quality.
The $279USD Surface is a collaboration between Ddhifi and Moondrop, the well known manufacturer of quality iems. As such the full name of this product is “DD ddHiFi x Moondrop Surface”. That is a mouthful and for this review I will refer to it as the Surface.
The Surface employs a hybrid driver setup with a single dynamic driver handling the low frequencies paired with a quartet of balanced armature drivers responsible for the midrange and treble. All drivers are connected to a crossover board with a 3-way design. The level of driver cohesion heard is testament to the skill of the designers and tuners. Internally the drivers are housed in a 3d printed front chamber designed to improve the sound.
The Surface is moderately easy to drive and does well with most sources but the best sonics were heard with a very capable source. I did find that the treble extension did seem to be source dependent, so care is advised to find that perfect synergy. I also preferred wide bore tips for listening. Tuning wise the Surface offers a balanced approach top to bottom. The most captivating aspect of the sound is how analog is comes across. This iem is tailor made for long chill listening sessions and does well with a wide variety of music genres. The sound doesn’t rush the ears with overenthusiastic tones but is more of a steady hands where the longer I listened to it, the greater my appreciation for the quality sound I was hearing.
SPECS:
1DD+4BA Driver Configuration.
Impedance: 15Ω±15%.
Frequency Response Range: 10Hz~30kHz.
Sensitivity: 118dB/Vrms.
THD+N: ≤1%.
Connector Type: 0.78mm Two-Pin Connectors.
Termination Plug: 4.4mm Balanced Termination.
Build & Fit:
The Surface is quite an attractive iem. The perfectly finished translucent resin shells are capped with a metallic cover with a tastefully done design. One can see through the shell and view the internal workings which are very neatly done.
The Surface is on the larger side of medium sized with a prominent nozzle. Fitment was not an issue but as usual I recommend some tip rolling be done to maximize the fit and seal.
I received the full retail package and I would call it understated elegance. From the tastefully done Waifu graphic on the box to the colour scheme which continues to the contents the retail look is done well. Accessories include extra tips, a hard plastic carrying case with latch and a cable. The Stock cable is up the DDHifi standards and is one of the nicest stock cables I have seen included with an iem. It is obviously from Ddhifi’s product line and it shows. While jusst a little stiff, the haptics are above board and the looks and quality are excellent. The Surface has a recessed metal reinforced 2-pin connector, not my fav decision but for getting a secure fit I understand, but the stock cable is so good I’ll not take away any points.
SOUND:
Bass:
Bass is tight, clean and does go deep. There is ample bass power yet it isn’t in your face but will reveal itself when the track calls for it. Bass has a well rounded or even thick presentation while still retaining a good amount of detail and texturing. “Angel” by Massive Attack had all of that bassline power and drive with the texture evident. I must say that with respect to to detail and texture the Surfcae was not the best I’ve heard recently, being bested by the just reviewed BGVP NS10pro, but the organic and analog nature of the Surface’s bass is alluring to say the least. Mid-bass has good clarity is balanced with slam when needed. Bass also does not bleed into the midrange potentially blurring the sound.
The bass performance of the Surface tows the line with the organic and analog sonics heard in the rest of the frequency range. Well done.
Midrange:
The midrange is open with commendable clarity and detail. Where the Surface really shines is the natural reproduction of vocals. “Analog Organic” is a good way to describe it. Listening to “He’s A Carioca” by Eden Atwood I as very pleased with not only the vocal clarity but also how realistic the tone was. Both male and female vocals came across as natural with the emotional energy of the performers clearly heard and felt.
The midrange is not just about vocals and here the Surface also excels. Instruments have again a natural and analog sound to them revealing nuances that can easily pull the listener in. Timbre is quite good adding immeasurably to the immersive midrange that the Surface offers. Pinna gain is thankfully kept in check and no harshness was heard. Note weight is also commendable and transients are managed well with proper attack and falloff. Layering and separation are also at a high level even at higher volume levels. The Surface was never congested even in busier tracks.
Arguably, the midrange is the crown jewel of the DDHifi Surface. It has on offer an immersive, mature and organic sound that vocal lovers will adore.
Treble:
Treble is clean and fairly well extended but strangely enough I found this to be somewhat source dependent, with respect to extension that is. That being said with good synergy I did not feel I was missing anything. There is ample sparkle and air with palpable space around the notes.
The treble follows closely with the presentation of the rest of the frequency range being organic with an analog feel. Nothing here stands out or distracts and there is a balance to the treble delivery that even the treble sensitive may love, not for a lack of energy but for it’s smooth delivery. The Surface is NOT lacking in treble energy I just want to make that clear.
The treble is natural sounding without harshness or glare. It is a treble tuned to compliment the the overall sound and does so with excellent results.
IMAGING & SOUNDSTAGE:
The DDHifi Surface throws up an expansive soundstage with accurate imaging. Width is impressive with well recorded music easily reaching beyond the width of my ears. Depth and height are also present in good measure.
The space around the instruments in well recorded music is engaging and never sounds overdone. The Surface offers an immersive soundscape for you to get lost in with each layer easily discernible.
VERSUS:
BGVP NS10pro:
I had just finished my review of the NS10pro. The BGVP offering has a brighter more forward tuning but still has exceptional clarity. Bass presentation of these two iem is markedly different with the NS10pro being mid-bass prominent with a more recessed sub-bass than the bass balanced Surface. Both iem have ample bass energy when called upon. The NS10pro does have the edge in bass definition, speed and texturing but the Surface is even more organic in the low end with thicker and rounded bass sonics.
Midrange is more balanced on the Surface with that on the NS10pro being more lively. The Surface though gets the win here for it’s analog organic mids with excellent vocal delivery. Treble is again balanced with the Surface while being more energetic on the NS10pro. I will have to give the nod here to the Surface as being more natural with the NS10pro just occasionally having a little too much shimmer on some notes.
CONCLUSION:
DDHifi has a winner with the Surface. Their collab with Moondrop had resulted in an iem with a deep analog organic sound. Vocals on the Surface are next level but it isn’t a one trick pony. Top to bottom the Surface satisfies with a mature, natural sound that all genres benefit from.
The DDHifi Surface gets a strong recommendation.
4 Likes
Great review on the Surface thanks for sharing. I certainly do love that IEM.
1 Like
My feelings on the Shanling M3 Plus DAP
A longer one because of the 3 comparisons.
TIME STAMPED
What I really wanted to get across was how nice it was to hear how Shanling in their new design language didn’t forget to go back to the Older House Sound of the past and amalgamate the newer resolving elements into the tuning.
5 Likes
APEVOIX GRIT
6 Driver Tribrid. $199.00 usd
1 qty 10mm biocellulose composite diaphragm dynamic driver - Bass
2 qty BA drivers - Mids
2 qty BA drivers - Treble
1 qty 11mm bone conduction driver
- Full Range.
Sensitivity: 104 dB
Impedance: 16 Ω
Frequency range: 20 Hz to 20,000 Hz
Earphone connector: 0.78
Preamble:
The Apevoix Grit was purchased personally at full price.
It will be available for tour with the Canuck Audioholics Review Group.
Information on Apevoix is not readily available. My Grit shipped from Dongguan China, so I assume Apevoix operations are based in Dongguan.
The following statements are from their website:
“Apevoix operates a headphone production facility where all R&D, testing, and installation processes take place.”
“Our team consists of audio enthusiasts, engineers and designers from well-known manufacturers.”
So while the Grit is their first IEM release, the statements above lead me to believe they may have a prior history of manufacturing ear gear for others.
Whether a true start up, or a seasoned and well established operation, the Grit is a testament to their ability to “do it right”.
Pros and Cons:
The unboxing experience is unique. Grit comes in a large, red plastic, container style case, with Apevoix embossed in raised white letters on the top.
It is solid, and a real eye catcher.
Inside are the IEM’s well protected in a foam insert, and below that, the cable and a selection of ear tips. Very basic.
The case is easily pocketable….
In a backpack. 
There is no smaller, easy to pocket carry case included.
The vented resin shells have a metal nozzle tip, appear quality made, and seamless at the faceplates. They are not transparent so there are no easy glimpses of the drivers.
Shine a bright enough light on them you can see the BA’s mounted in the nozzle and the DD in the cavity. The Bone Conduction driver is mounted to the shell directly below the 2 pin connector.
The shells are on the large size, and thick. The nozzles are also large in diameter (6.2mm) with a deep insertion depth.
Even in my larger ears, I had to size down a couple sizes on ear tips to get a full insertion and good contact with the inner ear, which is important to enjoy the full benefit of the BC driver.
Fit challenges are very possible for those with smaller ears.
The included stock cable is of nice quality. Cable composition is not specified on the website, but, it is a 4 core cable, reasonably supple, good ear hooks, quality plastic hardware, and a chin toggle that works.
It appears to be a silver plated copper offering.
Cable is available only with 3.5mm termination, no option for 4.4mm at checkout.
The Grit adopts the personality of the source device but is not source device fussy. It sounded good on all the source devices I tried it on. I found I had a personal preference for a more resolving source device over warmer source devices.
** Grit is not hard to drive, but does like a little extra power pushed to it.
I rolled a couple different 4.4mm balanced cables and found an improvement in definition and separation between the frequencies with the extra power from balanced connection applied.
The review will be done with stock cable, but my personal listening sessions will be on a balanced connection going forward.
Driver coherence is vey good, and results in very good sound coherence between the frequencies.
A more detail sound evaluation below, but my opinion is Apevoix has tuned the Grit very well.
Equipment:
Apevoix Grit IEM, aged approx. 60 hours.
iBasso DX340 DAP, Amp gain low, DAC gain high, 3.5mm out.
Stock, non-descript cable, terminated 3.5mm.
Dunnu SS wide bore ear tips.
Sound:
** Sub bass has a visceral rumble and it pulls nice and low in the headspace.
Mid bass is tight with very good impact.
Very good separation and definition between sub and mid bass.
The entire bass range stays in its place. Some bleed into the mids for some added warmth, but does not overwhelm the head space.
There is a double bass solo track that I like to use to evaluate BC bass, “George” by Frederic Alarie.
A good BC implementation will give the impression of realistic body and depth of each note played. Almost like you can “feel” the resonance of each string pluck.
Grit provides this sensation quite well, not the best I’ve heard, but very good. No complaints here.
** Lower mid range is recessed, mid and upper mid ranges recover very nicely.
They are somewhat relaxed, but macro and micro details are very much present without being over extended, cluttered or harsh.
** Vocals are forward and only mildly elevated. Male and female vocals have natural and accurate tonality. With a touch of added warmth.
Similar to the bass range, mids and vocals also have a full bodied width and breadth, thanks to the BC driver.
While this fills the voids in the spaciousness of the head stage, instruments and vocals retain their individuality.
** High frequencies are also relaxed and micro details are a bit shy.
Not that they are non existent, but violins don’t soar quite as high as they could and electric guitars can at times lack a bit of bite. Higher volumes help to lift them up.
Cymbal and high hat strikes don’t decay too quickly and have nice sizzle and shimmer.
No hint of harshness or sibilance.
The ultra highs have good air and sparkle.
** As mentioned above the head stage isn’t overly open and spacious. All the nooks and crannies are filled with music.
The head stage fully fills the head space. Width just outside the ears, excellent top to bottom height, and good front to rear depth.
Despite being a full stage, imaging and layering are very good and accurate.
Summary:
Apevoix has hit one out of the park with their first IEM offering.
Everything is there in just the right amounts to offer a natural, somewhat relaxed and organic listening experience.
The BC driver plays its part providing a nice note weight and thickness across all frequencies. If there is one thing the Grit never is; is thin sounding.
If you have a balanced cable or two kicking around, and access to the Grit, give them a try.
I found that little extra power helped mature the sound very nicely.
Apevoix should consider offering a 4.4mm termination option at checkout.
If you think the Grit, as described above, would meet your sound preferences, I would recommend giving it a try.
My music sources:
Qobuz, and, FLAC and DSD files stored on the SD cards of my daps.
My music genre are primarily Rock, Blues, Jazz, Symphonic, Country, Rap, R&B, Pop, Electronic.
Enjoy your music.
3 Likes
QoA Mimosa
$99.00 usd.
- Driver unit: 10mm dynamic + 6mm planar
- IEM plug: 0.78mm 2pin
- Plug: 3.5mm/4.4mm
- Sensitivity: 102dB
- Impedance: 32Ω
- Frequency range: 20Hz-20kHz
Preamble:
The Queen of Audio Mimosa is touring with the Canuck Audioholics Review Group. Thanks go out to fellow Canuck Audioholic Bennet Kelly for making this one possible.
I received only the ear pieces, stock cable and carry case. As such I cannot speak directly to the unboxing experience.
I do know from past experience, House of Kinera’s packaging and presentation is always top shelf.
Pros and Cons:
Quality 3D resin shells house a 10mm DD and 6mm planar driver. They are small and immaculately finished. There are two colour options for the stabilized, pine cone wood, face plates, dusky purple, and wood brown.
Nozzles are on the short side, they don’t quite reach mid point depth in my ears, so I have them backed out slightly for a good seal and anchor in the outer portion of the ear canal.
Fit shouldn’t be a challenge for the majority of enthusiasts.
Included stock silver plated copper cable is a quality offering. Slightly on the stiff side but not problematic, it has quality metal encased hardware, and is available with choice of 3.5 or 4.4mm termination at check out.
Mimosa is source device responsive.
This can sway one’s impression of the sound signature.
This is both a pro and a con, depending on individual access to source devices.
Mimosa is easy to drive, however, it does take an extra notch or two on the the volume button to get the DD to wake up and offer its best.
Mid bass rolls off early, is on the thick side, with decent impact.
On sub bass prominent tracks, Mimosa steps up with a good rumble that doesn’t pull overly low, and stays in its place.
Mids and vocals have good macro and some micro detail retrieval. Tonality is accurate and natural.
Highs are not overly detailed, but the planar driver adds welcome air and sparkle to the ultra highs.
Head stage is wide, with good height and decent depth. Not overly open and spacious but still offers good imaging and layering.
Source Devices
The Mimosa isn’t exactly “source dependant” but it does adopt the personality of each source device.
** iBasso DX340 with stock Amp 15 card. Brings mids and highs more forward and adds extra detail and clarity. Bass is less boomy but also looses organics and is less present in the mix.
** Hiby R8ii accentuates the bass to the point of overshadowing the mids and highs. A very relaxed and bass prominent listen.
** Astell and Kern SP2000T set to Tube Amp mode. This combination suited my listening preference very nicely. Tighter impactful bass, mids and highs are brought forward and elevated with good detail, clarity, air and sparkle.
A nice blend of adequate bass and adds a lift to mids and highs.
Equipment:
QoA Mimosa IEM, aged 100+ hours.
AK SP2000T DAP set to Tube Amp mode. 4.4mm out.
Stock SPC cable terminated 4.4mm.
Sedna Xelastec wide bore ear tips.
Sound:
Caveat: to be upfront I’m typically not a big fan of planar drivers. Strictly a personal preference thing.
Mimosa’s planar implementation for ultra highs is impeccable. Not once during my listening sessions did I notice any planar shimmer.
I don’t believe I could have picked the planar driver out of the mix had I not known it was there.
Well done QoA
Sub bass doesn’t pull very low in the head space. It has a slightly “boomy”rumble that is well managed and doesn’t overtake the entire headspace.
Mid bass is rolled off early. Sub bass can overtake mid bass when predominant in the mix, there is not a lot of sub/mid bass definition.
Overall, I find the bass presentation is smooth and satisfying.
Lower mids are rolled off, with upper mids, especially vocals, carrying the load.
Mids detail is good, but subtle, until well into the upper mid range, at which point mids and vocals are nicely elevated and mildly forward.
Highs roll off initially as well, with the planar driver giving a nice lift late into the high frequency. Not a lot of micro detail in the highs, but nice air and sparkle in the very top end.
Head stage has nice width, just out side the ears. Height is good up top, but doesn’t pull very low. Front to rear depth is average.
Left to right stereo imaging is good. Layering is also good, with vocals specifically presenting elevated.
Summary:
Overall I would describe the QoA Mimosa as an overall smooth and easy listen.
Mimosa is not an overly technical iem, but one that can be listened to for long sessions without fatigue or irritation.
Good bass, good upper mids and vocals, and nice air and sparkle in the top end I guess would make it a more W shaped signature.
(Keeping in mind I choose an elevated mids source device)
At $99.00 usd the immaculate shell construction and quality cable alone are worth a good portion of the ask.
Being able to kick back and enjoy lengthy, fatigue free listen sessions further confirms the value of Mimosa.
Despite being shy on some detail and staging elements that I like in an IEM,
I very much enjoyed listening to the smooth, relaxed, sound of Mimosa.
And spent a lot of time doing so.
My music sources:
Qobuz, and, FLAC and DSD files stored on the SD cards of my daps.
My music genre are primarily Rock, Blues, Jazz, Symphonic, Country, Rap, R&B, Pop, Electronic.
Enjoy your music.
3 Likes
Kiwi Ears Septet – Expansive Musicality
Preamble:
Kiwi Ears, the well-known manufacturer of quality iems, is on a roll lately. In a short period of time, they have introduced a number of new products such as the Aeroso which I recently reviewed. They are not known to be a manufacturer with a rapid release schedule so this in of itself is interesting.
In for this review is the Septet, a seven driver per side hybrid utilizing an interesting mix of four different driver technologies. On top of that the Kiwi ears have blessed the $269 USD Septet with a true open back design which is also unusual in the iem space. Each side boasts of a driver compliment which includes a single 10mm composite dynamic driver managing the bass, four balanced armatures responsible for low-mid and mid-treble, one micro-planar for the high treble and a Piezoelectric driver there to according to Kiwi Ears “enhance the texture and clarity in the upper registers, working in harmony with the MPT drivers to refine the overall soundstage”. A 5-way passive crossover and three tuning tubes are employed to make sure that these drivers play nice with each other, and your ears.
Folks, that’s a lot of tech but bravo to Kiwi ears as they have pulled off what many I’m sure could not. The Septet offers up a cohesive and detailed sound with a good measure of musicality. They claim that the Septet is the result of two years of development, a claim which given the results I will not dispute.
Tuning wise the Septet offers a balanced sound signature with a slight sub-bass prominence. In fact, depending on the track, the Septet does hint at a very moderate U-shaped tuning veering away for a perfectly balanced playback. The Septet is one of the more power demanding earphones I have experienced in some time. A capable source is highly recommended with good power delivery. Tip rolling is also something I would say is mandatory. I found that the Septet’s performance, in particular that of the mid-bass, was best with tips that allowed a deep insertion and tight seal, otherwise the sub-bass would lose its control and the mid-bass would lack weight sounding almost thin. With good wide bore tips, the sound quality was maximized and the Septet became an eminently enjoyable iem.
Read on to find out more.
SPECS:
-Driver Configuration: 10mm Dynamic Driver + 4 Balanced Armatures + 1 Micro-Planar + 1 PZT (Open Back IEM)
-Crossover: 5-way crossover, 3 tuning tubes
-Rated Power: 5mW
-Maximum Power: 10mW
-Impedance: 15 Ohm (at 1kHz)
-Sensitivity: 95dB SPL/mW (at 1kHz)
-Frequency Response: 8Hz – 30kHz
-Total Harmonic Distortion: <1% (@1kHz)
-Cable:5N OCC, 0.78mm 2Pin
-Cable Length: 1.2m ± 5cm
-Plug: Modular 3.5mm & 4.4mm Interchangeable
Build & Fit:
The Septet is a attractive iem with what I would call a throwback motif. The iem follows the design cues from most of the recent Kiwi Ears designs that being simple but elegant looks. The back of the iem has open slots with a perforated grill under those no doubt this being part of its open back design.
Comfort wise the Septet is of medium size and average comfort. There is a prominent nozzle which as mentioned above makes tip rolling mandatory imho and once finding the best tip for fit an seal long listening session were not an issue.
The included accessories include additional tips, a modular cable and the usual Kiwi ears branded carrying case. The cable is standout and is a noticeable step up for Kiwi Ears from the usual nondescript black thin cable that usually accompanies its products. This modular cable ships with both 3.5mm SE and 4.4mm Balanced tips in the box. Haptics and visuals are nice and again an improvement when compared to past offerings.
SOUND:
Bass:
Bass here is nicely laid out with sub-bass that has rumble when called for with good but not outstanding detail. Mid-bass has nice punch and speed with great control. The bass does not bleed into the mids but stays in its place. Bass has pleasing control and ample power and slam when required. While not a “Basshead” iem in that it not always punching the ears with bass even on choral music, the Septet has more than enough bass drive when required to satisfy most people for sure. The overwhelming character of the bass is that of being musical and maintaining the sonic characteristics heard throughout the rest of the frequency range.
The Septet has a low end that does not push to the front of the line but when called for its right there with solid force.
Midrange:
The midrange is interesting in that Kiwi Ears have achieved a sonic balance that I find engaging. The mids have a nice warmth but are still detailed. There is lots of clarity but no feeling of coldness or being sterile. The midrange is lively yet never feels sharp or grainy. Vocals are more immediate than recessed and have a wonderful clarity to them, both female and male. Instruments sound organic and alive adding to that “pull you in” factor.
The midrange has a clearly open sound to it. Weather this is due to the open back design or a combination of factors it is unmistakable. Listening to “He’s a carioca” by Eden Atwood the width and breadth of the instrument arrangement in the soundscape was wonderful to hear and addicting. The icing on the cake was how natural the instruments sound. There is energy here in the midrange but it’s so tastefully done never overbearing.
Note weight is very good as is how transients are relayed. Timbre is also good and layering and separation is notable as well. I would call the midrange of the Septet a success with enough unique attributes to set itself apart from others to sound different in a very good way. Nicely engaging.
Treble:
Treble here is also special. Treble is extended with ample energy and commendable sparkle and air. The treble has a smooth delivery with adept detail retrieval and excellent control. The high end here is more refined and mature in character even with its obvious energy. Another balancing act the Septet pulls off with ease never sounding harsh or edgy. While some who are treble sensitive may find the treble too energetic, it is presented in such a way that even some of those folks may find much to like.
When listening to “No Worries” by The Robert Glasper Trio I was taken back by the natural sound of the cymbal work. No splashiness or overhang, just a natural clean & detailed playback.
IMAGING & SOUNDSTAGE:
The Kiwi ears Septet offers a wide-open soundstage with accurate imaging. The open back design combined with excellent driver integration and standout layering and separation work together to offer a treat to the ears. With well recoded tracks the soundscape comes alive in a way that I rarely hear in an iem regardless of price. On busier tracks the Septet managed to keep its composure never falling back to that wall of sound affect.
Width is beyond the ears and both depth and height are present in good measure. On well recorded live tracks such as “Stimela The Coal Train” by Hugh Masekela the immersion was fantastic. Each instrument clearly audible with well-defined placement. The venue dimensions were also nicely conveyed adding to the immersive quality of the playback.
VERSUS:
BGVP NS10pro:
The NS10pro in an iem that I do like very much as evident by my recent review. It offers a bright neutral tuning with very good detail retrieval and coherence of sound.
Bass is presented somewhat differently on these two earphones, the NS10pro has more of a mid-bass emphasis while the Septet favors the sub-bass. While the NS10pro pulls more detail out of the bass notes, the Septet presents a low end with meatier more rounded sound. It comes down to music genre and personal preference really.
The midrange is markedly different between these two iems. The mids of the Septet are not of the laid-back variety but that of the NS10pro are even more energetic. Both offer a pleasing mix of macro and micro details so that base is well covered. The midrange on the Septet is has an expansive nature that even the well performing NS10pro cannot match combined with arguably better layering and separation. I have to say that the NS10pro is no slouch here but it is just bested in these particular metrics by the Septet. If I had to absolutely choose a winner in the midrange it would be a tight race but I would go with the Septet.
In the treble they also have some similarities and differences. Both are excellent performers offering energetic treble tunings with good detail retrieval as well as abundant sparkle and air. That being said, in terms of organics I would give the nod to the Septet. This is heard on intricate cymbal work and the harmonics of string instruments. Both are keepers though.
CONCLUSION:
Kiwi Ears is on a roll. The Septet is a tour de force in tech but most importantly it sounds very good. The engineers and tuners at Kiwi ears have crafted an iem that I thoroughly enjoy. When it comes to soundstage it has that special sauce, but if that was its only positive trait it would be a disappointment. Contrary to that the Kiwi Ears Septet is an iem I will continue enjoying during long satisfying listening sessions for some time. It is not a “me too” product and both its design and tuning are testament to that. The Kiwi ears Septet gets a solid recommendation.
5 Likes
Eager to listen to this one sounds .ore my jam over the NS10 Pro
1 Like
Thanks for the review. May I offer a couple of suggestions…please use more carriage returns to separate the big blocks of text. It’s hard to read.
Additionally, please list the sources used as the info helps inform the reader as to the ‘flavor’ instilled to the experience.
1 Like