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New toys Sunday #14 – ZhuanXu

The law of diminishing returns

ZhuanXu and its stock cable

After the stratospheric sets of the last weeks, it’s time for a reality check, with a set that retails for almost 600USD and comes with a portable amp, see here.

My version came with a dongle, the Venture Devastator Pro Max, which breaks through to over 3.1V RMS. Yes, it can drive Storm and not sound thin.

The ZhuanXu features 2 balanced armature drivers, an 11mm custom beryllium-coated dynamic driver and 2 planar magnetic drivers. The resin shells are on the large side, but comfortable, good looking and they have a metal nozzle protected with a metal mesh. Flawless execution from my point of view.

The tuning is a rather balanced one, with a slight bass boost, but tastefully done, not overpowering any other frequencies. Throughout genres, ZX offers a neutral presentation without any obvious coloration, with good notes weight and decent degree of instrument separation.

The bass is striking with its perfectly judged balance between mid and sub bass. I listen to a lot of metal, so mid bass is critical for my enjoyment. ZX provides enough mid bass to make the bass guitar clearly distinct, but it never steals the focus. Sub bass is somehow restrained, with modest rumble, but vast openness, this particular interplay of mid bass/sub bass delivering one of the most natural sounds I have heard in an IEM.

Mids are forward and transparent, getting out of the way of music, leaving me enjoy the sound without worrying about what’s inside, details, or any other distractions. The note weight is decent, but I would not call it stellar. In the lower mids, I would have liked a bit more roughness, to help distorted guitars sound more gritty. The voices, both male and female, continue on the naturalness line, devoid of any added warmth, any extra clarity sauce, just what you’d expect from Florence and the Machines or Boz Scaggs. I must admit, this is a ballsy approach as, I imagine, some people might be put off by this “naked” presentation. Upper mids have a bit of a boost, such that some guitar solos have plenty of bite, but they are not shouty.

Treble is maybe the most uneventful part of the spectrum, with roll-off starting well before 15KHz. The air is good, probably class leading in its price range, but not comparable with treble monsters like Anni 23, X, Pentara, etc. The treble is a bit closed in, tonally wise. Not a deal breaker, but it is clear this isn’t a treble-head set.

The stage, as expected for this price range, it has good width, decent height, but minimum depth. The instrument separation follows the same line, it is decent, but nothing I’d write home about.

The quick conclusion is that ZX is a set not meant to impress from the get-go. Rather than that, it tends to grow on me and wow me with its natural, uncoloured way of presenting music.

Midweek madness – Ultra madness edition

This here is the Mysticraft Tet, a behemoth with 1DD, 4BA, 4EST and 1BCD. Of course, not the first IEM with such a complex configuration, but it is one of the most impressive ones I have heard to date. There is something magical about the way it replays music, building it piece by piece and placing you in the middle to marvel at everything. Details are layered in depth, in height and in width. Not simply an onion-like presentation like, say Fatfreq GMA, but a more complex one, with the same elements interconnected via different planes. And everything done in a very coherent way, nothing sounding out of place.

The general tuning is warm and slightly dark. But it’s only an apparent darkness, upon listening, it becomes clear that details are abundant, textures have a life of their own and there is no harshness whatsoever.

Big, heavy handed bass, that gets out of the way when not needed, but gently reminds you it’s always there, always ready. Detailed, probably the first time i can say about a bass that it’s sparkling. Velvety mids, even buttery to some extent, with weighty notes, perfectly chosen decays and a lush timbre. Treble, while polite has one of the best textures.

As usual, a full review is in the making.

New Toys Sunday #13 – Unique Melody Maven III- Moonshard

So, what do you do when Unique Melody releases a new IEM?! You make sure you get one, that’s what you do.

The changes between the two successive Maven generations and the Pentara show that, de facto, Maven 3 has more in common with the latter.

Maven III Pentara Maven II 
2DD 2DD (10 and 7mm) 2DD 
4BA (mid highs, highs) 4BA (mids, highs) 4BA (mid highs, highs) 
4EST 4EST 4EST 
2BABCD 2BABCD  
 1Freqshift BCD  
6 way crossover 7 way acoustic crossover 5 way crossover 

Soundwise, the resemblance with Pentara continues, with more sub bass extension than Maven II, more mid treble and a lot more air. Unlike Pentara, though, the bass is less tight, while not being as loose as Maven II’s. It is less warm than Maven II, but it maintains some of its DNA, rather than the dry, Work, don’t play* Pentara. The mids remain as good as Maven II’s, with maybe a little more details. It may be that Maven II has more growling in the lower mids, this will be decided after more listening time.

Classical Unique Melody build quality, wonderful, shiny shells, and, much to my delight, a large enough carrying case. Thank you!

The easiest way to highlight the differences is to set Maven 2 as the reference line.

*Metabo, a power-tools company had this logo some years back

New Toys Sunday #12 Brise Tsuranagi OE

I’ve had Brise Tsuranagi V1 for over 2 years now and while I resisted the urge to upgrade to V2, I could not resist the famous Orochi Edition.

What’s new? The OE is basically a V2 with internal Orochi wiring. So by contrast with V1, the volume control is more linear, without the sudden jump in volume characteristic to V1, once the potentiometer reached about 2 o’clock. Also, from V1 to V2 there was an increase of the max input power, from 1,5 Vrms to 3,5 Vrms.

In terms of sound, I was lucky enough to compare the two and while V1 had a very controlled sound, it was more romantic, more lush, with the bass slightly more loose and the treble a bit softer.

OE appears slightly more holographic with the bass having tighter control and a tad more texture, being much better tuned for IEMs that are already warm. In terms of treble, the change is more significant over V1, with OE having a bit more sparkle, more air surrounding the highs. It sounds more…glossy, if you want, like an image that had the brilliance turned up. It’s not bright(er), it remains as neutral as before, but maybe a bit leaner and colder than the v1. Say goodbye to romanticism, the era of realism has arrived.

A particularly preferred pairing is the Oriolus Traillii JP, whose sound becomes bigger, larger, denser and with more enveloping bass, thanks to OE. Funny enough, it reaches a level of refinement that was not possible with V1.

*Technically this is not a new toy, but it just came back to me after a short pit stop.

Midweek madness

I have seen a lot of crazy things in this hobby, but the Cross Lambda Apollo GT might be one of the most outlandish cables I came across.

From the choice of materials to the shielding, everything screams quality. The conductors inside contain Palladium plated Silver, Silver plated Copper, Copper hybrid, with a full braided OFC Copper shielding; the 4,4mm jack is made by Furutech and on the IEM side, Eletech’s Versa offer versatility.

This is not a cable that surprises you. It doesn’t bring a night vs day difference, what is does instead is to make the background really quiet, leaving more room for music. With V shape tuned IEMs, it brings more balance, allowing the voices to sound a bit closer. The bass and treble are prima facie unaffected, bar a subtle improvement of the articulation and note thickness. The biggest plus is an extra layer of coherence. I didn’t know a cable can help integrate the various parts of the spectrum into a more harmonious whole.

Ergonomically, it is one of the softest cables, especially when taking into account the shielding.

New toys Sunday (catch up edition) #10 – Vortex Reference

With 2DD+2passive MEMS, they create a large stage, with the sound extending well into all three dimensions. The layering is particularly impressive and the L/R imaging is one of the best I have heard.

Bassy by nature, they benefit from a fast driver, making them my second bassiest IEM that works for metal (Pentara has even more sub bass). They manage to hide the strong bass until is needed, the only give away being some floor toms that have a powerful hit and good resonance. It is one of the most natural reproduction of drums. Mid bass continues on this trend, being muscular and articulated, with decent texture, quite detailed and never feeling too much or smearing the mids.

Lower mids are markedly depressed, bringing a very interesting separation between the lows and highs. It may sound strange when you read about it, but in real life it sounds very interesting. The first effect is an amazing clarity. The second, a bit of thinness in the lower mids, leading to acts like Amon Amarth sounding a bit lighter than I am used to. Upper mids add some extra energy, so the voices are not remote. Also, the guitar tones are very lively, and they have good bite.

The treble is unapologetic, lively, energetic, with good sizzle and sparkling. With its large stage, there is plenty of air surrounding the cymbals, but the stage never feels empty or hollow. The sound is crystal clear, with a good sense of realism.

Overall, a very detailed set, maybe playing more on its excellent separation rather than adding details that were not present with other sets. Everything has more space to unfold, giving you time to register all the nuances.

Midweek madness

As if Unique Melody Mason Asahi was not crazy enough, the enigmatic Cross Lambda Apollo GT is here to take things one step further. In fairness, Asahi’s stock cable is already extraordinary and it remains one of the best, if not THE best pairing for it.

UM Mason Asahi with the stock cable, UM Fantasy

The CL eases off the dominant bass and adds a bit of air up top. A hint of definition is added to all parts of the spectrum, but it comes with a touch of sibilance. The stage remains large and tall, with more depth than stock cable. The voices execute a more delicate ballet, coming forward a bit and are… unveiled, compared to stock cable. In other words, the Apollo GT improves and highlights technicalities. However, does Asahi need more technicalities? One of their best attributes, for me, is exactly that slightly mysterious air, lush, almost lascivious.

In the end, what CL brings to the table is another flavour of Asahi. If you didn’t like Asahi with stock cable, this cable won’t change your mind. If you did, this cable won’t change your mind.

New toys Sunday #8 – Aroma Fei Wan

Aroma Fei Wan is a high-performance hybrid IEM (2DD, 10BA) that prioritizes extreme clarity, cinematic dynamism, and a sophisticated “bouncy” bass response. Sharing its ergonomic shell design with the Aroma Jewel and NGaudio classics Khaos and Erebus, it offers a comfortable fit paired with a sound signature that leans toward a balanced W-shaped profile.

Sound Profile

  • Bass: The standout feature is a powerful, elastic sub-bass that provides a “cinematic presence” and subtle liveliness. While the sub-bass is massive and well-controlled, it slightly veils the mid-bass, which—though fast and articulated—lacks the ultimate fine detail found in NGaudio Erebus.
  • Mids: Generally uncolored, with lower mids forward and the upper mids slightly recessed. Fei Wan creates a deep sense of space but can leave me wanting more steam in the lower-midrange instruments. While voices have good body and clarity, they can occasionally struggle to cut through congested passages in complex productions. However, for jazz and instrumentals, the mids feel perfectly placed.
  • Treble: Energetic and airy with a fast attack. It lacks the lingering shimmer of EST drivers, resulting in a “biting” character. This high initial energy can lead to occasional harshness or sibilance in specific tracks (e.g., acoustic guitar in Metallica’s fade to black or Dream Theater’s cover of Perfect Strangers), which may cause fatigue for some, though it remains highly detailed.
  • Technicalities: The soundstage is impressively wide and deep, with decent vertical height. Layering and instrument separation are “top-notch,” maintaining composure even during highly congested musical passages.

Synergy and Comparisons

The Feiwan is easy to drive and benefits from warmer, “analog” sources like the Nipo N2 or Audma Brioso to round out its energetic treble. Cable rolling is effective; the Eletech 5th Ode adds lushness and note thickness, while the Nightcraft Spectre tames harshness while maintaining air. The stock cable is good enough, though.

CompetitorComparison to Feiwan
Traillii JPMore “soul” in the bass and superior vocals, but lacks Feiwan’s extreme clarity.
Cadenza 12More balanced and cohesive treble, but feels dull and lacks the Feiwan’s “sparkle of life.”
NGaudio ErebusVery similar tuning, but smoother and more lush; the Feiwan is cleaner and airier.

It’s not the first I hear the Fei Wan, but the first time I get to dive deep into its immersive sound.

NGaudio Erebus (L) and Aroma Fei Wan (R)

New toys Sunday #7

Unique Melody Mest Fortune

Configuration: 1DD+4BA+2EST+3BCD, Quad-brid design.

Continuing the line of successful MEST IEMs, Unique Melody is back with the next iteration, the wonderfully coloured Mest Fortune (available also in red). The shells are virtually the same of the Mest 3, the same pattern, except a more appealing colour this time. Also, the rim is now matte and not shiny like it was on the Mest 3.

In terms of sound, the same lively presentation, with the treble as energetic but more detailed than Mest 3, maybe a bit closer to Mest Jet Black (MJB) than Mest 3.

The bass has learned some tricks from the older brother, Pentara, being also mid bass focused, fast and precise, with a rather dry tone, very good for metal. Mids are only slightly recessed, giving it a slight W profile. Lower mids stay slightly elevated compared to Mest 3 and even Maven 2, and have full bodied textures, possessing a very pleasant grit. Very slow rising pinna gain, shifting a lot of emphasis on the treble area, this being one of the most fun trebled UM. Where MJB had a relatively short fast attack of cymbals, followed by a short decay, Mest Fortune has a slightly slower attack, raising higher and decaying a bit slower. This adds some sizzle and splash to the cymbals, as opposed to the highly technical, perfectly controlled MJB. The results are mixed, with the ride having a natural sound, but during the congested passages, the splashes tend to turn into a continuous sound. This is, to me, the mark of Mest 3.

Stage is large, tall and reasonably deep. Layering is more pronounced than Maven’s, with less defined edges than MJB.

I think Mest Fortune stands between the utterly musical Maven 2 and the sober, technical MJB, combining technicalities with musicality, at a reasonable price.

Maven 2 still has the best price/value ratio, followed by Mest Fortune and MJB (which is cheaper than Mest Fortune, but it has a bit less wow factor, due to its more reference tuning). Pressed hard to choose one, I’d go for Fortune, as it’s got a bit of everything.

A weekend at the races!

New toys Sunday #6

MMR Balmung 

Thanks to a good friend, I had a chance to borrow MMR Balmung for an extended period of time. This is an all BA IEM, containing a number of 12 drivers. 

These little guys have a mighty bass, that comes very close to a DD bass. What is missing is that one last drop of physical sensation. The amount is as impressive as Trifecta’s. But, because this is all BA, the bass is very fast. I believe only BA or a planar could have so much bass while maintaining decent speed. Something’s gotta give, and in this case it is the drums impact, getting a bit drowned out. 

The mids are only slightly depressed, but they have good note weight. They are not 100% free from bass incursions, but these are kept to a minimum. Overall, the mids are very smooth, meaning there is not much grit. Said grit is important for metal, so I can safely say that metal is not their main focus. 

Treble has good extension and air. The cymbals sound lively and nicely textured. The tall stage gives them enough air, but there isn’t much sparkle. I’d say the highs are tuned for balance and accuracy rather than sparkle. 

The stage is quite wide and tall, with some depth, but not quite spherical. More like elipsoidal. The separation is good, most instruments being a  

Listening to Death Spiritual healing, Balmnung sounds like a well done V, with ample bass, mostly in the sub bass range for this piece, and energetic treble. The hook is the mid bass. Muscular and articulated, with a smooth transition to the mids, such that nothing feels bloated, despite Balmung having a considerable bass shelf. You only notice when the music stops and the constant rumble is gone. Listening the bass underlying the pre-solo bridge, is a great experience, just like the clunky bass line after the solo. And speaking of solos, they are loud and clear. The upper mids are quite elevated, so the guitar solos are sparkly, but somehow remote. What this means is that you get a bit of a pumping effect. The lower notes are quieter than the higher ones. 

For some genres, like the Ethereal Treason’s All is vanity, the bass is simply too much. At low volume it bleeds into the mids more noticeable. For this metalcore subgenre, I prefer less bass and more grit, as the low end and lower mids are quite crowded and they start blending into a perfect cacophony if the bass is too much or too slow, or in general, anything other than perfectly dosaged. 

They pass the 2Pac test with flying colours, being almost as bassy as Trifecta. This is as closest as BA bass ever got to DD for me. As the volume goes up, a slight trace of sibilance is present, but well within tolerablelimits. The voice is central, forward, loud and clear and the words are easy to understand. 

Melissa Aldana’s La Sentencia reveals a lot of details, but the star is the way that tenor sax sounds. The richness of textures, the split sound, sometimes at the breaking point is all very life-like. While the saxophone is doing its thing, there are enough details from the drum brushes and bass. In yet another layer, you have the cymbals, delicate, a bit dark, but with good note thickness. I would have loved a bit more energy in the treble, but for an evening session, these are perfect.