My review of the Nicehck ME80 is up on my blog. Despite supposedly being tuned by the same guy who tuned the EB2, which I did not like, the ME80 is an easy recommendation.
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I really enjoyed your blog and excellent reviews.
John
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Greetings! So I just got the Moondrop ShiroYuki a few days ago, and the Yincrow X6 today. I thought I’d chime in with my thoughts on both of them after a little bit of listening. These are just impressions.
Moondrop ShiroYuki is supposedly a cheaper version of the Nameless, a well-renowned pair made by Moondrop. The ShiroYuki (Or “White Snow”) is a pair of earbuds using some very cheap drivers and a standard shell (EMX/MX500). I don’t have much nice to say about this pair. It sounds…bad. I mean, I can only expect so much from a cheap earbud, especially something at half the price of the Nameless, but come on. Soundstage is wide on this pair, but it makes everything sound like a low-fi live version of itself. It also offers no bass, and doesn’t work for metal or rock. Mids are off, and vocals have a very edgy and shouty quality to them. These also lack treble extension. Overall, they sound very weird and I wouldn’t call these a good earbud at all. They could grow on me in the future, but I doubt it. I’ll have to listen to them more to see any merits they could have.
The next pair are a pair I had previously, before they died on me. I now have a new pair of Yincrow X6. These are roughly the same price as the ShiroYuki, but offer much better sound quality. I have the mic copy, and safe to say I can recommend these to almost anyone, even those who don’t dabble into audio. They have quite a strong V signature, and offer very strong bass performance for an earbud. It’s even deeper than my Qian69. That’s impressive. Impressive alone for an earbud to have sub bass. The mids are definitely recessed on this pair, but you can still make them out. They have some good upper midrange performance as well, but lack in the highest registers of the treble. Bass is very thumpy, and even rumbles. These are great performers for neurofunk and other bassy genres. Mic quality is alright. However, one of the biggest aspects the X6 suffer in, is detail. These suck at detail. I only get the very surface of what I’m listening to. Which is fine for a beater pair. I didn’t buy these for critical listening, but it’s still something worth considering. If this is something that bugs you, I wouldn’t pick these up. However, if you don’t mind having very surface-level detail, and enjoy a fun earbud, these work great.
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I wish I can get into the ear buds game again. But my ear now seem to protest and would begin to bleed every 30 mins or so (In literal meanings). Is there anyway to help with this issue?
literal blood? umm you should see a doctor!
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It’s a problem with my ear shape tbh. After a while it create friction in my ear and that part of my ear is really soft.
Yes, please see a doctor!
Personally, I eat protein-rich foods (e.g., Greek yogurt, eggs, etc.) and take Vitamin A for skin strength.
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I recently received the Smabat M1 Pro earbud for review from Sunny at Better Audio US at Amazon USA. I was very impressed by them, and here is my review:
The Smabat M1 Pro is a high quality earbud featuring a large 14.2mm diameter dynamic driver with a composite diaphragm, MMCX removable cables and a unique Maze bass enhancement system inspired by transmission line speakers.
The packaging is clean, simple and neat. A simple white box with the Smabat logo contains the earbuds with the silver-plated MMCX cable attached. Also included are two pairs of foam covers, one pair of rubber covers, three pairs of ear hooks and an instruction manual. All in all, this is a good presentation.
The earpieces are very well made from metal and there is a double vent on the top of the housing which is the output for the Maze chamber. This channels the bass output of the driver along an extended path in order to supplement the bass response, and it works very well (see text below). The supplied MMCX cable is of high quality silver-plated copper with a straight 3.5mm brushed aluminium plug and a matching Y-split barrel. A clear plastic chin slider is also provided.
The M1 Pro was used with a Hifi Walker H2 DAP via line out with a Fiio A5 amplifier for evaluation with a wide range of music across various genres, and a burn in period of 100 hours was carried out.
Having used IEMs for at least the last eight years, the different presentation of an earbud took a little acclimatisation. Getting a good seal was the key to maximising the potential of the M1 Pro, and I achieved this by using the supplied foam covers and earhooks. The lack of isolation was another difference and this was compensated for by increasing the volume. In fact I found the M1 Pro particularly power-hungry and the best results were obtained with the amplifier volume increased by around 25% compared to my regular IEMs.
First impressions were of a very wide and deep soundstage with an unusually good depiction of height. Detail retrieval was exceptional, especially in the treble, which was very extended and clear. The overall balance was neutral with a very linear profile in the bass, which also showed good extension and superb texture. Imaging was also above average. The overriding impression was one of “naturalness”, with the effect similar to listening to high quality speakers. That “intimacy” found when listening to IEMs with a perfect seal was replaced by an airy, relaxed and open presentation. In more detail:
Bass
With the Maze bass enhancement being a USP of these earbuds, I was keen to hear what the bass was like, especially since my home speakers employ a transmission line bass system. I am pleased to report that it is a success, with the bass having a very natural, unforced quality with excellent extension. Sub-bass was deep and beautifully textured and resolution was top class. The powerful bass drums in the beautiful 88KHz Reference Recordings issue of Rachmaninov’s “Symphonic Dance No.1” performed by the Minnesota Orchestra provided a perfect example with great immediacy and impact underpinning the impressively wide and expansive orchestral arrangement. Electronic music also benefited from this with the deep synth bass tones of “Music from the Sky” by Charles Crevier and Francois Kiraly reaching down effortlessly to the nether regions! Mid bass carried on in a linear fashion to the border with the midrange with no undue emphasis, lending a very neutral quality to this region and allowing all the detail to come through.
Midrange
The midrange, like the bass, was neutral in character and again showed an open, transparent quality, enabling details to be heard which other transducers fail to resolve. There was no sense of a recessed midrange. The wealth of detail on offer here was certainly surprising and I was able to hear things I had not noticed before, even in familiar recordings. The guitar and percussion elements in Chris Spheeris’s “Lovers and Friends” from his album “Desires of the Heart” came over more clearly than I have ever heard, providing extra detail and producing a very “live” effect which was very enjoyable. The transient response was very incisive and lent an attractive immediacy to everything I played. Geoffrey Bush’s “Music for Orchestra” performed by the LPO under Vernon Handley displayed this perfectly. This is a piece written in 1967 showcasing all the instruments of the orchestra in a lively, modern composition and the M1 Pros revelled in it, showing excellent natural timbre and giving a dynamic, enervating performance.
Treble
The treble was exceptionally clean and clear with a remarkable extension. There appeared to be very little roll-off even in the highest frequencies which allowed the finest detail and elusive harmonics essential for accurate timbre to be resolved. This was very impressive for a single dynamic driver. Such resolution is normally to be found in multi-driver units with dedicated HF BA drivers. As a result of this, electronic music fared particularly well. Andrew Forrest’s latest album “Freefall” is a set of three long electronic pieces featuring an impressive array of keyboards and electronic effects. The crystalline high frequency details in the first part displayed a wealth of detail with the various textures clearly differentiated and the complex arrangement showing excellent separation of the different elements. George Deuter’s “Petite Fleur” from his “Land of Enchantment album similarly impressed with all the delicacy of the percussion sounds coming over cleanly and precisely. Orchestral strings were also well-resolved with the high violin parts in the second movement of Benjamin Britten’s “Four Sea Interludes”, “Sunday Morning”, beautifully rendered and presented with verve and animation.
Soundstage
The soundstage on the M1 was exceptionally wide, deep and high, much more so than any IEM I have heard, and it resembled the stage of a full-size pair of headphones. It was also reminiscent of listening to high quality speakers in a large room with a spacious and airy quality. Imaging and separation were also very good, with positioning of orchestral instruments very well portrayed. The deep brass accompaniment at the beginning of Liadov’s “Enchanted Lake” in a recording conducted by Charles Gerhardt displayed a wonderful sense of depth and distance with the horns and harp occupying opposite sides of the image and the percussion section rumbling menacingly in the background, all of which combined to convey a wonderful live quality. Pink Floyd’s “Cluster One” from the “Division Bell” album also impressed, with Rick Wright’s keyboards and Nick Mason’s drums spread across the stage, complemented by Dave Gilmour’s moody guitar solo placed high in the centre of the image to great effect. “Antarctic Echoes” from Vangelis’s soundtrack to the Kurosawa film displayed a cavernous acoustic punctuated by the evocative synth elements which possessed an impressive decay which added to the atmosphere of the piece.
Conclusion
It is many years since I last used earbuds, it goes back to when I used a portable cassette player. The M1 Pro is the first earbud I have tested after discovering IEMs around nine years ago and I have to say it was a revelation. The presentation is different from an IEM with a more open perspective. Coming from a V-shaped IEM, the initial impression was of a bass-light and mid-centric sound, but with further listening, a beautifully balanced neutral or “flat” response emerged which enabled music to be heard the way the artist (or producer) intended. Bass was in fact, well extended with excellent texture.
Comparisons, therefore, are difficult, but the closest-sounding IEM I have in my collection to the M1would be the Tin T3, which has a similar neutral character with a somewhat bright upper range. If you are looking for a transducer capable of accurate and musical reproduction, then this M1 Pro should be high on your shortlist.
Product link: https://www.amazon.com/gp/product/B07YCF8C7X/ref=ppx_yo_dt_b_asin_title_o01_s00?ie=UTF8&psc=1
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Following on from the above review, I have now received the ST-10 model as well. Here is my review:
The Smabat ST-10 is the flagship model from the company and sits above the new M1Pro. It is a high-end earbud featuring a large 15.4 mm diameter dynamic driver with a triple sandwich diaphragm and titanium coating. Like its sister model, it features MMCX removable cables and the same unique Maze bass enhancement system inspired by transmission line speakers.
The packaging is simple and sophisticated. The box is black with an embossed shiny Smabat logo also in black. Opening the box there is a cover over the foam insert containing the earbuds with the cable already attached. Below this there is one pair of foam covers, one pair of donut foams and one set of perforated rubber covers. Under the foam insert you will find a faux leather storage pouch and an instruction manual. The presentation is very nice.
The earpieces are constructed from CNC machined aluminium and are finished in an attractive sage green color with a grained effect and emblazoned with a white Smabat logo. There is clear channel identification and on the top edge there is a silver-coloured output vent for the Maze system. This channels the bass output of the driver along an extended path in order to supplement the bass response… The supplied MMCX cable is of high quality silver-plated copper with a straight 3.5mm brushed aluminium plug and a matching Y-split barrel. The portion closest to the MMCX plug is reinforced and intended to be worn over the ear. There is also a clear plastic chin slider. The build quality is excellent.
As with the M1 Pro, getting a good seal was essential in order to unlock the potential of the ST-10. I found it impossible to obtain an effective fit wearing them over the ear. This was partly due to the springy nature of the cable, but also to the large diameter of the earpieces. I therefore followed the procedure I used with the M1 Pro and fitted earhooks and the supplied standard foams, wearing them cable down using the cable from the earlier model.
The ST-10 was used with a Hifi Walker H2 DAP via line out with a Topping NX1a amplifier for evaluation with a wide range of music across various genres, and auditioning was carried out after a burn in period of 100 hours. Similarly to the M1 Pro, I found the ST-10 power-hungry and found that I had to increase the volume by around 25% compared to my regular IEMs. This was partly necessary to offset the poorer isolation common in earbuds.
The immediate impression was one of “speed”, with the snappy transient response making music exciting and portraying rhythmic elements very well indeed. Like its stablemate the M1Pro, the ST-10 displayed a largely neutral sound signature with a good deal of air and space and brimming with detail. However, where the M1 Pro was somewhat brighter than neutral, the ST-10 possessed greater warmth in the lower registers, not enough to make the overall sound V-shaped, but with greater bass extension and mid-bass output. The detail retrieval was similar with excellent layering and separation. The tonality more resembled that of an all-BA earphone rather than a dynamic driver model, and the presentation was also reminiscent of listening to speakers or full-sized headphones.
Bass
The larger 15.4mm driver, coupled with the Maze system, delivered a bass response which could best be described as “effortless”. Extension was good, but did not achieve that “rumble” often delivered by a good DD unit, rather it remained accurate, clean, well-defined and musical in nature. “The Flow of Time’s Arrow” from the album “Thousand Star” by spacemusic maestro Jonn Serrie was a good example of this. This track contains some deep bass tones and the ST-10 delivered a very well-balanced performance here, enabling the atmosphere of the piece to be appreciated. The bass extension was also showcased well in Mike Oldfield’s “Tubular World”, from the album “The Songs of Distant Earth”. The synthesised low frequency percussion elements in this piece displayed excellent impact and remained clean and precise. The timbre of classical instruments was particularly lifelike. In the second movement of the “Moorside Suite” by Holst, in a string arrangement conducted by David Lloyd-Jones, the warmth and character of the basses towards the end of the piece came over very authentically with the natural ambience of the recording venue reproduced very well. The prominent organ part in Saint-Saens’s Symphony No.3 in a recording conducted by Louis Fremaux and the CBSO came over with a lifelike breathy quality, providing a solid foundation and underpinning the dramatic orchestral writing in a most attractive way.
Midrange
Moving to the midrange, there was little or no bass bleed thus allowing the lower mids to display an open, clean and natural sound with lots of air and space. The upper mids were a little brighter, which allowed plenty of detail to come through. Julian Lloyd-Webber’s cello solo in “Un Apres-Midi” accompanied by Vangelis on keyboards, was a very good example with the solo instrument possessing a natural timbre and placed high in the centre of the stereo image, producing a perfect foil for the sparkly synthesised accompaniment. “Castilla” from the “Suite Espanola” by Albeniz, in an orchestral version conducted by Rafael Fruhbeck de Burgos was full of verve and elan, with the brass shimmering, lively percussion creating animated rhythms and strings with incisive attack all combining to produce a very enjoyable effect. The slightly forward nature of the midrange resulted in excellent reproduction of vocals. Enya’s “Echoes in Rain” from her “Dark Sky Island” album has a very powerful accompaniment but the ST-10 managed to project her voice effectively above the background and enable the lyrics to be clearly heard.
Treble
Like the M1Pro, the treble was clear, open and full of detail. There was a slight emphasis in the lower treble and another rise in the upper frequencies which added sparkle and detail, but overall the impression was neutral with perhaps a little extra brightness. Alexei Zakharov’s “Above the Stars” is an electronic piece with a synth drone and powerful drum accompaniment and a string-based melody line. Above all this there was a wealth of treble detail which was handled with aplomb and preserved all the finest nuances, producing a beautifully balanced performance. The delicate cymbal work in Jacques Loussier’s “Air on a G string was very clearly depicted, allowing the subtle brush sounds to be appreciated and in Linton Kwesi Johnson’s “Man Free”, Sly Dunbar’s superb percussion was exceptionally clear with excellent transient attack, cutting through the dub production to great effect.
Soundstage
Soundstage and imaging was very good, due in part to the immediacy and fast transients with the detail resolution equally fine. The stage was roughly spherical in shape having equal dimensions in width, depth and height. Vangelis’s “Metallic Rain”, from his album “Direct” was a good example. A myriad of electronic effects danced across the stereo image, whilst maintaining precise detail and tonality, even when accompanied by the heavy synth bass and melody lines. Classical music also benefited from the great clarity, with the aggressive woodwind tone clusters in Ives’s “Unanswered Question”, performed by the NYPO under Leonard Bernstein, creating a marvellous contrast to the serene string background, with the prominent trumpet solo clearly defined in a natural hall acoustic.
Conclusion
Having recently tested the M1Pro earbud, I had some idea of what to expect from the top model in the range. The two models share a similar sound quality, but the ST-10 added some extra bass extension and mid-bass warmth, a more defined midrange and a faster transient response. Soundstage was perhaps slightly more intimate than the M1 Pro, which excelled in this respect, but definition was superior. The closest comparison to IEMs in my collection would bring to mind the recent all-BA TRN BA5 and (like the M1 Pro), the Tin Hifi T3, both of which have a clear, neutral/bright presentation and linear bass. To achieve this with a single full-range dynamic driver is an achievement and the extra cost over the M1 Pro is certainly justified.
This item was provided at a substantial discount by Sunny of Better Audio US, at Amazon USA
Product link: https://www.amazon.com/gp/product/B07YBWVNC3/ref=ppx_yo_dt_b_asin_title_o01_s00?ie=UTF8&psc=1
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What an excellent review. The detail you have gone into with the description of song choice and sound is very good. I really like your style of review.
Hello Paul
Thank you for your kind message. I like to write from a musical perspective. There are others who have technical knowledge and that is very helpful too, but after all, listening to music is what this hobby is all about!
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I find it creates a whole picture and it’s something you can try to follow yourself if you have the corresponding gear and music. It ok talking in technical terms but not everyone can visualise what you may be trying to get across. I find your way of writing (and others) easier to follow sometimes. Keep up the good work.
Thank you. Yes, I agree with you, if for example, I read in a review “there is a peak at 4KHz” I cannot visualise that. I do know that middle C is 260Hz and a concert A is 440Hz, but it is difficult to understand these things unless you have a frequency generator so you are familiar with the sound and can recognise it when it occurs.
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Here is a frequency generator for you:
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I agree with @prfallon69, excellent review. I’d started reading this thread recently, and went back to the Wikipedia to refresh my knowledge of transmission line speakers. Apparently the maze configuration here is somehow similar, but is not a transmission line.
Do you know anything about how the maze system is supposed to work? The venting would suggest that they are routing the sound generated from the back of the driver out, perhaps after doing something with it to reduce the effects of air mass??? Any pointers would be educational.
Thanks for the reviews.
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Thank you for your comments! Regarding the Maze system, I believe it extends the path of the sound from the rear of the driver in the manner of an organ pipe or similarly to that used in the Bose Wave design. It certainly results in a breathy quality to the bass reminiscent of a TL speaker.
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Thank you!
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Nice review as always. I’m always curious on ear buds, as I still prefer them for certain situations where I want something lightweight, breathable and open.
I am still loving my Moondrop Chaconne. Just gotta find time to write a review of it.
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The KB EAR Knight is an earbud with a 15.4mm biodynamic driver. It has a bright and detailed sound signature that is fatiguing to me at my typical listening volume. It has exceptional build quality for its price point but there are more balanced-sounding earbuds at the sub-$20 mark.
My full review with comparisons to the Nicehck ME80 and QianYun Qian69 can be found on my blog: KB EAR Knight Review
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I’ve had Sony MDR-7506 and Sennheiser HDR something for a decade. I’m taking my first foray into BT totally wireless earbuds.
I’m wondering if its too late to call me an “early adopter.” I don’t think so. Many of this genre of buds seem to be quite quirky, given the troubles many folks are having as I read reviews on Amazon, Best Buy and general web comments. Sound quality has improved from BT of just 5 years ago. However, other issues like getting a proper seal, touch sensitivity or lack thereof for changing settings, and proper interaction with other devices, e.g. “static”, whether their phone, Pandora, or other BT devices.
I’m coming from the perspective of trying out the Amazon Echo buds for the first time beginning two days ago. I was originally first impressed with them - sound quality better than expected and love the Alexa feature. However, as I use them, I’m having the following issues. Some might be “leaning curve.” Others may be quirks in the unit itself as confirmed by many other user comments.
First, difficulty with the ear tips and proper sealing. Even the largest tip seems to not work well for many who either end up ditching the buds out of frustration, or trying other aftermarket tips for anywhere from $6 to $15 - something that Amazon should have provided in the beginning.
The other major issue folks stuggle with is touch sensitivity to change the settings. Some, like me, experience the touch feature not working at all. Some report it to be very finicky, sometimes working; sometimes not.
Some “learning curve” issue relate to how it interacts with other BT systems and apps. When does it disconnect from Pandora? How does it interact with the BT connection in your car. How does it interact with other EQs and music players such as Poweramp and Media Monkey. I haven’t had these long enough to explain consistent switch off/turn on functions in dealing with these various scenarios.
I would like to hear other opinions of 1) Great sounding, and 2) Bullet proof user friendly, no hassle, totally wireless earbuds that may not be as “feature rich” as Echo buds, but which might be more solid as far as fit, settings, and consistency/ease of operation.
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