Chinese Brands - IEMs Discussion

IEMs / In-Ear-Monitors General IEM Discussion
311

Review - Aful MagicOne


TLDR version on YouTube: TDLR - Aful MagicOne

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

A link to the MagicOne via HifiGo can be found in the version of this review published on my blog (link at the end of this review)

As always, it is a non-affiliate link.

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


Intro…

While I personally haven’t had the chance to hear it, the Aful Performer made quite an impression when it was released in late 2022 / early 2023. I think that the name also worked in favour of people taking notice, which, although I am told it is pronounced A-Fu (meaning blessing in Chinese), I think we all remember what was the first thing that sprung to mind when reading the name. I will refrain from any jokes, as they have already been done, but I actually think it was quite a smart name from marketing terms. It was certainly less forgettable than many of the other brands and models out there.

Looking at the Aful site, it seems that there are 2 versions of the Performer available, the 5 and the 8, while the model I am reviewing today is a more budget oriented set, coming in at just under 130€ on HifiGo (at the time of writing this review).

Where the Performer series are based on hybrid technology with multiple drivers, the MagicOne is as simple as it gets, a single balanced armature driver. There is plenty of mention of it being a special custom design BA, with innovative SE-Math Electro-Acoustic Intermodulation Technology (I have no idea what that means) and Nautilius Acoustic Maze (which sounds difficult), but at the end of the day, we want to know what it does when we plug it into the device of our choice and hit play!


Presentation…

A black sleeve featuring the IEMs on the cover and specifications on the back, slides away to reveal a simple black box with AFUL shown in small letters on the top. Inside this box we find two cutouts for the IEMs and a larger cutout for the storage/travel case.

The case is round, black, and made of what feels to be aluminium, with AFUL on the top in white letters. These round cases do offer quite a bit more protection but are more difficult to carry around in a pocket.

Opening the case reveals the included cable, along with two packets of additional tips. One packet contains 3 sizes of simple white silicone tips and the other contains 3 sets of black silicone tips with a slightly smaller, and more robust, core.

A nice touch is that the black tips have one blue core and one red core for each size, this means that you can easily identify the left and right IEM when using these tips. I actually found the black tips to be comfortable and to grip and seal very well, being my choice for this reviews.


Build and aesthetics…

Starting with the cable, it is quite a nice cable although it does feel a little plasticky on the outside. A quadruple weave in gray and silver, featuring all metal hardware, including the chin slider for those who prefer it. The cable terminates in a 4.4mm balanced connector (also available in 3.5mm) that sports AFUL on it, leading to the two pin connectors at the other end that sit flush with the IEMs. The cable matches the IEMs and gives a quality aesthetic to the package.

The IEMs themselves are of clear resin with a faceplate that is white but is not just a simple white plate. It is more of a sprayed finish under the clear layer, along with a silver design that has been “inspired by snowflakes” sporting matching silver letters underneath that read AFUL on one IEM and MagicOne on the other.

The shape is rather generic and on the smaller side with longer nozzles, which I think will work well for many people. However, one thing to note is that there is no vent on these IEMs, meaning that those who suffer from pressure build up will notice it with the MagicOne. I personally noticed it after some longer sessions.

As the shells are clear, we can see what is going on inside and, although this is a single BA driver set, there is quite a bit in there. The HifiGo page refers to an RLC Computning Network, along with an Acoustic Computing System, so it is more than just 2 wires to a BA driver.

I have to say that I like the looks of the MagicOne, they are clean and smart (in my opinion), with the comfort only being an issue when suffering from pressure build up due to the lack of vents.

Edit: After putting this review together, I realized that the MagicOne is actually vented. This does not change the fact that I suffered from pressure build up after longer listening sessions, which may or may not affect others. It does mean that my comment about the being unvented is totally wrong though. I apologize for the misinformation!


Sound…

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

It has been a long time since I have had a single BA driver come across my desk, at least that I can remember. I have had plenty of multi BA sets, along with even more hybrid sets containing BA’s, but no single BA. There may be a model (or models) that I am forgetting but when thinking of a single BA, I have memories of IEMs from a couple of years ago that were not that impressive. Yes, some of them could be decent as far as details but usually came with an unimpressive bass and a sort of metallic shine in the upper ranges.

Therefore, when sitting down to listen to the MagicOne, I wasn’t exactly expecting much. This is one of those cases where we prove once again that preconceived opinions are not much use until we actually get to listen to an IEM, they are not always what we expect.

As usual, let’s first take a look at the frequency response in relation to my usual personal preference:


Now this is not one of those cases where I am going to say that the IEMs sound nothing like the graph, as I find the graph to be very representative of what I am hearing. However, the performance of the BA driver, along with whatever magic that is that Aful jargon I mentioned earlier, gives for a very good outcome, even if it is not my favourite tuning.

Starting off at the lowest notes, as I always do, with my usual subbass test, there is a noticeable lack of rumble in these ranges, even if there isn’t a noticeable lack of presence. Let me explain… there is extension down into the lowest sub notes on “Chameleon”, with them being reproduced, yet there is no sensation of vibration or rumble from those notes.

This gives the sensation of a lack of subbass, which I guess is true but not because it isn’t there, it is because it is not reproduced in the usual rumbling low note way. A frequency sweep proves that there is extension down to the 25Hz mark, yet it is more of a polite tone than it is what we would normally associate with subbass. Listening to “Royals”, due to the politeness and cleanliness of these tones, it does make the track seem to not have subbass at all.

While the midbass is more boosted in comparison to my usual preference, again that cleanliness and politeness of the single BA makes things lack punch in this area. For example, with “Shot Me Down”, there is no real bass presence, with a focus more on clarity than reproduction of EDM.

If we move over to things that are more based on instrument, such as the electric guitar of Tracy Chapman in “Give Me One Reason”, there is not much warmth in the lower end of the guitar notes. The same could be said with the guitar in “Crazy”, where the midbass is noticeably reduced, leaving more of a clean tone than a warm tone that is usual with this track.

As we move into the mid range and even to the upper mids, the clarity and definition is excellent, with vocals and instruments being the center of attention, allowing us to pay attention to things like nuances in the playing of said instruments. “Dreamin’” is presented in a way that it is much easier to appreciate that the the guitar playing is not quite as simple as it may seem on so many other sets.

With “Diamonds on the Soles of Her Shoes”, the fretless bass guitar may not have the body that other sets would give it but at the same time, it allows me to focus on some of the amazing things that Bakithi Kumala pulls off on this track.

The upper mids really do add clarity into the equation, at the expense of some tracks becoming slightly harsh on occasions, yet things like the brass section in the track I just mentioned are not painful like they can be on many sets. In fact, even the voice of Paul Simon manages to avoid sibilance and harshness in comparison to many other IEMs.

On the subject of sibilance, my usual test track “Code Cool” is not actually that sibilant, I would place Patricia Barber around a +1 or +2 (on my -12 to +12, totally unscientific, sibilance ranking), whereas some other vocals that I dont usually find sibilant, or very rarely, can present sibilance on the MagicOne. One of those cases would actually be Daniella Andrade in the track “Crazy” that I mentioned a moment ago.

I think this is very much due to that slight boost around 6kHz which, although it does avoid my dreaded 5kHz pain point, it can react to certain vocals in a sibilant way. This is by no means terrible but it is noticeable.

Moving into the treble areas, there is a bit of a lack of air and shine, although, that 6kHz boost does sort of take control of that upper range, masking the treble that is found above it. Reducing that 6kHz area (playing with EQ) reveals a treble that may not be the most extended or present but is smooth and pleasurable.

I have already mentioned details throughout the review and they are rather impressive. Added to this, I find that the MagicOne have a very good sense of separation between layers and good placement of those details. The soundstage may not be huge but Aful have done a very good job of using the space, with everything well located and easily distinguished from the surrounding details.

Isolation is also very good due to the non vented shells and the great seal that these IEMs offer. As always, you can see the isolation and compare it with other models here: achoreviews.squig.link/isolation


Conclusion…

The Aful MagicOne are quite a pleasant surprise, even if they do still inherit some of the usual issues with single BA set ups. There is a noticeable lack of bass which will not suit many and that boost just above 6kHz does hide what would otherwise be a rather smooth and elegant treble, even if slightly rolled off.

Other than that, they are a well built, good looking and very well performing set of IEMs. They do a great job of revealing and separating detail and layers, making it very easy to appreciate the nuances in the playing of many great musicians.

If you are in the market for a simple set of single BA IEMs, then I think you can do far worse than the MagicOne, in fact, I think they are a very competent set in a segment that is not really full of options nowadays.

Apart from the link to the MagicOne via HiFiGuides, 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
312

Myer Audio CKLVX D41


TLDR version on YouTube: TDLR - Myer Audio CKLVX D41

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

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

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

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

As always, this is a non-affiliate link.

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

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

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


Presentation…

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

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

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


Build and aesthetics…

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

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

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

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


Sound…

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

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

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


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

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

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

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

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

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

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


Conclusion…

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

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

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

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

4 Likes
313

Has anyone been able to compare the FiiO FA7s and FD5?

314

Hidizs MP143


TLDR version on YouTube: TDLR - Hidizs MP143

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

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

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

As always, these links are non-affiliate.

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


Intro…

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

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

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

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

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

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

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


Presentation…

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

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

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


Build and aesthetics…

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

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

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


Sound…

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

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

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

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


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

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


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


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


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

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

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

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

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

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

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

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

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

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

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

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


Conclusion…

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

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

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

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

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

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

4 Likes
315

That’s a great breakdown

316

Ziigaat x Jay Estrella


TLDR version on YouTube: TDLR - Ziigaat x Jay Estrella

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

Ziigaat official page: ZiiGaat x Jays Audio ESTRELLA

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

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

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


Intro…

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

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

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

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

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

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


Presentation…

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

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

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


Build and aesthetics…

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

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

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


Sound…

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

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


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

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

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

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

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

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

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

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

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

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


Conclusion…

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

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

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

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

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

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

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

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

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Everyone. Let’s give CVJ a round of applause for stealing artwork :clap:

[Edit]

or I guess rather “…for commissioning a lazy artist who stole artwork, and didn’t conduct enough background checks on its concept and where the said artist got his ideas from” (communications among the claimant and CVJ on github)

https://x.com/sayori_nw/status/1835177692536394058