TANCHJIM - FOLA

In this review, I'll try to compare the Octave with a few different IEMs (Ziigaat x Hangout Audio Odyssey 2 , Oriveti Lowmaster, BQEYZ Frost, Hidizs MK10 Arcsonic, Kiwi Ears Quartet, Tanchjim FOLA, ddHiFi Memory, Oriveti Dynabird, BQEYZ Ni, Hidizs MP143 Salt Gold Titanium Edition) and dongle DACs (Tanchjim, Hidizs, dd Hifi) that I have in my bag. let's get started. I've been testing DACs/Amps a lot lately, and the Octave has managed to become one of my favorites in terms of sound character. A Compact Powerhouse Some DACs impress you with their loudness, brightness, or immediate dramatic effect. The NICEHCK Octave, in my opinion, feels like it was designed by engineers who love long-lasting, comfortable music, not just a test track, but the ability to enjoy full albums to the end. The Octave's greatest strength is how it maintains the musical tapestry as a whole. Bass lines are felt separately from the kick drums. When the mix intensifies, the vocal texture remains stable and balanced. Treble details are heard without turning every cymbal into a spotlight. I appreciate the Octave for its confident sound without being aggressive. And this device has a hidden surprise. Especially from the 4.4mm balanced output, it's really powerful for its size. This extra headroom doesn't just boost the sound. It improves grip, transient stability, and dynamic contrast, especially for planar iem's and stream-loving hybrid headphones. Octave feels more like a small, serious portable front-end than a typical phone accessory. **Technical Specifications and Hardware Overview:** DAC chip: ESS ES9039Q2M Amplification: Dual SGM8262 op-amplifiers Inputs: USB C - Outputs: 3.5mm single-ended and 4.4mm balanced Output power: 150 mW at 32 ohms from 3.5mm, 550 mW at 32 ohms from 4.4mm Supported formats: PCM up to 768 kHz 32-bit, DSD up to DSD256 Dynamic range and SNR: 130 dB, listed as class performance Gain: Low and high gain modes, plus independent hardware volume steps Controls: Dedicated playback controls, app-based EQ support, and firmware updates These numbers matter because they describe the listening experience: This dongle is not only clean, but also has enough voltage and current headroom to keep demanding IEM loads under control, and It doesn't produce a forced sound. **What Does the ES9039Q2M Bring and Why Does It Sound Different Than Normal Cirrus Dongles?** Many portable dongles in this price range rely on Cirrus Logic chips like the CS43198. These generally offer an easy, smooth, slightly rounded presentation, usually a friendly treble, and a softer starting edge. Octave's ES9039Q2M takes a different approach. In a well implemented design, ESS chips generally deliver stronger edge definition, more pronounced separation, and a higher sense of contrast between quiet and loud micro-events. Specifically with the Octave, the ES9039Q2M character isn't used to chase brightness or sharpness. Instead, it's used to improve structure. Transitions start and end more precisely. The image feels more locked in, especially in left to right layouts. Low frequency texture becomes easier to read. You hear not just the bass weight, but also the bass articulation. I quite like that. The main point isn't that the ESS is always better than the Cirrus. It can be explained by the Octave placing more emphasis on control, structure, and dynamic stability, while most CS43198 dongles prioritize flow, smoothness, and comfort. The Octave is still quite listenable, but its way of holding music together feels more like a miniature desktop chain. This difference becomes very apparent when switching between the ES9039Q2M on the Octave and the CS43198 dongle on a heavy metal track or a planar IEM with sharp transition behavior. The Octave keeps the image cleaner and more stable. You get less blur, more space, and a stronger sense that the device isn't reaching its limits. **Overall Sound Characteristics:** Generally, the Octave sits in a neutral to slightly warm region, but with a distinctly controlled backbone. It's not a thick, syrupy dongle. Nor is it treble focused. The bass is tight and well damped, the mid frequencies are clean and realistically weighted, and the treble is extended but rarely sharp. The soundstage isn't artificially large, but it's cleanly layered with noticeably strong imaging. If I had to describe the emotional feel, I'd say it's the sound of a device that relaxes you because it maintains its calmness. You think less about the equipment and spend more time following the setup. **Buttons, Usability, and Daily Life:** The Octave is one of those dongles that feels like it was designed by someone who uses dongles outside the home. The hardware volume control (100-step) is important. The gain shift knob is important. The playback controls are important. App EQ support is important when you want small, subtle adjustments instead of changing equipment. In practice, the dedicated controls make the Octave feel more like a real component than a fragile accessory. You can keep your phone's volume stable, manage the gain correctly, and keep noise low with sensitive IEMs. Software updates and sound memory behavior also help reduce daily friction. **Comparisons with Other DAC Amplifiers:** **Octave (ES9039Q2M) vs Tanchjim Luna (dual CS43198)** The Tanchjim Luna is a device that captivates people with its smoothness and fluidity. It's built around dual CS43198 DAC chips, and this Cirrus foundation tends to create a smoother treble energy and a more rounded crossover shape. When you switch from the Luna to the Octave, the first thing you'll notice isn't the volume, but the structure. The Octave draws cleaner lines around instruments. The Luna, on the other hand, blends them a bit more, which can give a fuller and more forgiving feel. The bass on the Luna tends to be a bit softer on the attack, and comes with a nice bloom that makes vocals and guitars feel warmer. The Octave tightens this behavior. It doesn't reduce weight, but it reduces glare and increases grip. In kick heavy heavy metal tracks, Octave makes it easy to follow double kick patterns. In Luna, the same pattern feels more rounded and musical, but not as sharply defined. Mid frequencies are a matter of personal preference. Luna can make vocals feel more intimate and emotionally rich, especially in vocal centric music and slower rock. Octave keeps vocals honest and stable with excellent clarity and separation when the mix gets crowded. With Luna, you might feel the singer is closer. With Octave, you feel the band is better organized. The treble also creates a distinct contrast. If you are sensitive to treble, Luna is easier to listen to. Octave is still controlled, but it reveals more upper frequency information and does so with a stronger contrast. In well recorded material, Octave feels more complete. In warm recordings, Luna might be a safer choice. If you want a dongle that feels like a warm lamp in your room, Luna is nice. If you want a dongle that feels like a clean studio window without being sharp, Octave is the right choice. **Octave (ES9039Q2M) vs ddHiFi Eye3 (dual CS43198)** The Eye3 is built on ddHiFi’s concept of portable power and compact elegance. Many Eye3 variants in the family utilize the dual CS43198 design, and the overall sound identity tends to be powerful, vibrant, and instantly engaging. Compared to the Octave, the Eye3 generally feels more eager in its presentation. The leading edges of the bass hits are more noticeable. The sound may feel more lively on first impression. The Octave responds with calmness and scaling. When you listen for longer periods, the Octave tends to feel more balanced across the spectrum. The Eye3 can emphasize excitement, which is great for energetic pop, EDM, or rock music where you want a little more adrenaline. The Octave feels more linear. It keeps the mid-frequencies centered and avoids forcing treble energy just to appear detailed. In complex music, especially intense metal mixes, the Octave has the advantage in organization. The Eye3 can deliver bigger and more instantaneous sound, but the Octave keeps the layers more separate. If you value the clarity of guitar harmonies, the separation of the bass guitar from the kick drum, and the stability of vocal placement when the chorus explodes, the Octave is generally more reliable. The treble on the Eye3 can feel more lively depending on the headphones. The Octave, despite being an ESS implementation, remains more controlled with a slightly softer top energy. This may not seem intuitive, but the Octave's tuning prioritizes consistency over showmanship. In short, the Eye3 is a great choice for those who want energy and punchy sound with minimal effort. The Octave, on the other hand, is for those who want a dongle that acts as a stable reference point in a wider collection. **Octave vs. Hidizs S9 Pro Plus (ES9038Q2M) Comparison** This is the most interesting comparison because both devices are in the ESS world and present music differently. The S9 Pro Plus uses the ES9038Q2M. It's known for its clarity, distinct details, and very clean, precise presentation. The Octave, on the other hand, uses the ES9039Q2M and, on paper, offers noticeably higher balanced power. When switching between the two, the S9 Pro Plus generally has a sharper focus. It highlights micro-details, making the edges of cymbals and the texture of strings more prominent. The Octave feels a little more natural in the way it integrates this detail. It doesn't hide the information, but it doesn't force it into the spotlight either. The result is a presentation that feels more musical and less like a review lamp. Bass control is strong on both, but the Octave's higher headroom gives a more secure hit feel, especially with stream-loving IEMs on 4.4mm. The S9 Pro Plus can deliver an extremely clean sound, but the Octave feels more effortless when the track dynamically gets heavier. I hear a greater philosophical separation in the mid-frequencies. The S9 Pro Plus can deliver very clear and precise sound, sometimes veering to a cooler tone depending on the headset. The Octave keeps the mid-frequencies stable and slightly more tolerant; this can be a boon for in-ear monitors that are aggressive in the upper mid-frequencies. The treble is more pronounced in the S9 Pro Plus. The Octave has a softer and more natural damping. If you live for maximum clarity and sharp separation, the S9 Pro Plus will excite you. If you want high resolution with less fatigue and a larger power field, the Octave becomes a more flexible everyday use option. **Octave (ES9039Q2M) vs ddHiFi Mountain 3 (pair CS43198)** The Mountain 3 is a small device that often surprises people with its musical weight. Many Mountain 3 designs are based on the dual CS43198, and the typical result is a warmer, fuller tone with easy highs. The Octave, again, takes on the role of structure and grip. The Mountain 3's bass can feel a bit thicker and more relaxed. It provides intensity, especially in the mid-bass. The Octave tightens this area and increases the sense of speed. In fast rock and metal, the Octave is generally a cleaner and more distinct choice. In vocal jazz and slower acoustic music, the Mountain 3 sounds more intimate and romantic to your ears. The Mountain 3's mid-frequencies feel fuller and a bit smoother. The Octave feels cleaner and more detached. The balance here is between emotional warmth and analytical organization. Neither is wrong, but they serve different moods. The Mountain 3 invites you to sit back. The Octave invites you to follow the arrangement. The Mountain 3's highs are generally safer, with less emphasis on the upper end. The Octave covers a wider area and shows more air. If you're sensitive to high frequencies, the Mountain 3 might feel softer. If you want more space and clarity, the Octave is a more complete window. Power is another practical difference. The Octave's balanced output headroom is in a different league on paper, and listening generally translates to better control and dynamics. The Mountain 3 might be magical for IEMs. The Octave, on the other hand, feels magical and can deliver even more powerful performance when needed. **NICEHCK Octave vs IEM Pairings:** **Octave × Ziigaat x Hangout Audio Odyssey 2:** The Ziigaat Odyssey 2 has a sound character I quite like, naturally offering a wide and somewhat cheerful tone. With the Octave, that cheerfulness has become more disciplined. I first notice the change in the bass. The Odyssey 2 can sometimes be a little loose or exuberant depending on the source, but the Octave tightens the low frequencies and provides a cleaner start and finish. Kick drums become more prominent, and bass guitar lines gain a clearer pitch instead of becoming a single low frequency blot. The mid frequencies benefit from the Octave's separation. The Odyssey 2 has a sense of airiness that can sometimes make the vocal placement feel a little relaxed. The Octave brings the vocal image to a more stable center position by cleaning up the surrounding space, rather than aggressively pushing it forward. This makes the guitars more textured and the layering more pronounced, especially in intense rock tracks. The treble remains open and lively, but the Octave reduces the glare. You still get that airy soundstage, but the cymbals feel more controlled and less bouncy. The biggest gain is how the Octave improves the layering of depth. The Odyssey 2 remains wide, but now feels more three dimensional. Instruments are positioned from front to back, not just left and right. This pairing feels like taking an already enjoyable IEM and giving it a more mature backbone. It remains fun, but becomes more reliable, more coherent, and more trustworthy in a full playlist. **Octave × Oriveti Lowmaster:** The Lowmaster is another IEM I like, entirely designed for impact and rhythm, but when driven correctly, it feels less like just a loose bass toy. The Octave is a surprisingly good pairing as it provides control without sacrificing weight. The bass hits hard, but the damping remains clean. The sub bass feels deep and confident, but the mid bass doesn't spill over into vocals. This is important because the Lowmaster can sound thicker on warmer sources. Octave keeps it energetic, but not clogged. The mid frequencies become clearer and more readable. Vocals gain better articulation, and guitars have more impact without becoming sharper. In metal and hard rock, this helps the mix breathe. You can follow double hit passages more easily because the low frequencies remain consistent. Lowmaster retains its identity, but delivers a more serious sound. The treble is safe and not tiring. If Lowmaster is tuned to avoid harshness, Octave respects that tuning while extracting enough detail to preserve the texture of the cymbals. You don't suddenly get a bright iem, you get a cleaner one. The soundstage isn't huge, but Octave improves separation and imaging precision within that space. The result is a punchy and controlled feel, like a cramped club space rather than a large concert hall. If you love Lowmaster for its physical structure but want a more structured sound, Octave is a resource that quietly corrects that. **Octave × BQEYZ Frost:** The Frost has an airy, expansive character and a treble presentation that can be energetic depending on the chain. The Octave makes the Frost feel more balanced. The bass becomes a bit more solid and distinct, which is valuable because The Frost sometimes prioritizes clarity over weight. With the Octave, the low frequencies feel more solid. It's not bass heavy, but it sounds more complete. I feel fast and clear beats. The Frost's mid frequencies can feel a bit weak if the source is overly clinical. The Octave adds a bit of fullness and keeps the vocals stable. This makes vocal centric tracks feel more intimate without crashing the stage. Guitar textures also become more believable, especially in the lower mid frequencies where the Frost can sometimes feel a bit light. The treble is where the Octave feels more secure in matching. The Frost still retains its airiness and sparkle (thanks to its great micro planar driver), but the energy in the upper frequencies feels less sharp. Cymbals remain clear, but damping feels softer. You hear sparkle and roomy hints without the feeling that the upper frequencies are being forced for dramatic effect. The soundstage remains wide and open, offering powerful imaging. The Octave helps the Frost maintain its breadth and improve separation. In a dense mix, Frost sounds cleaner and less chaotic with the Octave. The overall effect is a more mature Frost; still airy and detailed, but less likely to tire you out during a long listening session. **Octave × Hidizs MK10 Arcsonic:** The MK10 Arcsonic is a fast and resolving IEM that can quickly reveal the personality of the source. I didn't think I would like this IEM this much. It performs great for its price. Combined with the Octave, the MK10 finds its right companion. The bass remains tight and fast, but gains a density that makes the MK10 feel less thin. You get impact without losing speed, which is exactly what you want in technical in-ear monitors. Mid-frequency clarity remains excellent. Vocals are clean and instantly audible, but Octave prevents them from becoming sharp. This is important because the MK10 can feel aggressive when paired with a bright source. Octave keeps the upper mid-frequencies under control while preserving articulation. Guitars sound clear, and complex arrangements remain layered rather than collapsing. The treble feels extended and detailed. Octave doesn't turn the MK10 into a dull listening experience, but it eliminates that glassy sharpness that can appear in some ESS applications. The result is energetic but not piercing. Cymbals have texture, not just brightness. The soundstage and imaging are strong. The MK10 already offers good imaging, and Octave provides a stable foundation. You get better separation and a more stable center image. This pairing is ideal for listeners who want technical performance but prefer to enjoy the music rather than analyze it. It feels sharp and capable, but surprisingly comfortable for extended listening sessions as well. **Octave × Kiwi Ears Quartet:** The Quartet is one of those in-ear headphones whose sound can vary depending on the source. With the Octave, it became more consistent and emotionally satisfying. When paired with the Octave, the bass gained a more prominent and slightly stronger beat. The Quartet didn't suddenly transform into a sub bass beast, but the low frequencies feel better shaped, which helps the rhythm sections sound more confident. The mid frequencies became more defined. Vocals sound fuller and more stable, with a clean sense of placement. The Quartet can sometimes feel a little unbalanced when the chain is too hot or too bright. The Octave neither dulls nor screams the mid frequencies, it's right in that sweet spot. It gives vocals believable body and preserves the texture of the guitars. The treble remains smooth and controlled. The Quartet has enough energy to sound open, and the Octave maintains that openness while keeping the edges clean. Cymbals and strings retain their sparkle, but you don't feel any harshness. The soundstage isn't exaggerated, but the imaging is orderly. Octave helps organize the Quartet's sound, which is important when the mix gets denser. This pairing feels like a well balanced everyday setup that doesn't require much attention. Genre changes, long playlists, and different listening moods work seamlessly. **Octave × Tanchjim FOLA:** FOLA can be a lively and detail-oriented IEM that sometimes benefits from a limited source. Octave delivers exactly that. The bass remains fast and controlled, and Octave prevents the bass from sounding too weak. You still get a clean effect, but there's a bit more weight, which makes the drums feel more physical. The mid-frequencies become smoother and more natural. While FOLA tends to be bright in the upper mid-frequencies on some sources, Octave gently calms this area without flattening details. Vocals remain clear, but are less prone to sharpness. Guitar harmonics and string overtones feel more integrated rather than standing out as separate bright elements. The treble remains extended and clear, while Octave prevents it from becoming tiring. You still hear the micro details, room cues, and the final tones of the cymbals, but the overall presentation offers a more relaxed experience. It's the kind of match where you find yourself not wanting to turn the volume down when you finish an album. The soundstage is clean and offers good separation. FOLA is capable of delivering very high quality sound, and Octave supports this, while also making it more musical. If you love FOLA for its clarity but want a more forgiving chain for longer sessions, Octave is a very smart choice. **Octave × ddHiFi Memory:** Memory has a warm and inviting tone that sometimes risks sounding a little too soft on very soft sources. Octave gives it structure. This headset works quite efficiently with its planar driver. The bass has become tighter and more readable, and the mid bass region has gained better control. This means you still get warmth, but with less muddiness. I like the bass texture in their planar drivers. The mid frequencies retain the emotional quality that makes Memory special. Vocals remain intimate and textured, but Octave has increased the clarity around them. You hear more separation between vocal layers and background instruments. Acoustic guitars gain clearer string definition. Piano notes become more distinct and dampen more steadily. I'd say these two get along quite well. The treble remains smooth, but Octave seems to open up the upper end a bit. You get more air without sharpening Memory. This helps to broaden the soundstage perception and makes the sound feel less closed off. The overall effect is that Memory retains its relaxed identity but gains resolution and organization. This pairing is perfect for vocal jazz, acoustic sessions, and any kind of music where you primarily want tone and emotion. Octave didn't turn Memory into an analytical monitor, but it feels like it cleaned up the Window, making the warmth feel intentional, not blurry. **Octave × Oriveti Dynabird:** The Dynabird is a fairly balanced dynamic driver IEM. It's all about speed, punch, and rhythmic accuracy, especially for instrumental work and metal. Octave fits this purpose perfectly. With this pairing, the bass is fast and tight. You get impact without blasting. Kick drums are sharp, and bass guitar lines remain distinct even under heavy distortion. The mid-frequencies are energetic but controlled. Dynabird's strength is keeping guitars clear without thinning them out. Octave reinforces this balance by keeping the lower mid frequencies stable and the upper mid frequencies clean. Vocals stand out in dense mixes, but don't scream. This is important for metal, where the mix can quickly become dense. The treble is clear and informative, but the Octave prevents it from becoming sharper. The cymbals have sharpness and texture, and the atmosphere around the instruments feels realistic. You get plenty of detail for instrumental music, but the listening experience remains comfortable. The soundstage is medium sized but very even. The imaging is clear, and the separation remains strong even when the track intensifies. The Octave and Dynabird pairing feels like a focused instrument for fast music. It offers drive and clarity without sacrificing tonal stability, which is exactly what instrumental and metal listeners want. **Octave × BQEYZ Ni:** This is a new IEM sent to me for review, and I can say I quite like it. The Ni tends to reward a source that can maintain consistency without softening its character. The Octave does this well. The bass becomes more disciplined, providing a cleaner transition to the mid-frequencies. You get a solid low frequency foundation, but you never feel like it's pushing the rest of the spectrum back. The mid frequencies have very good body and clarity. The vocals are natural and centered, while the instruments have a realistic tone. Octave's separation helps Ni handle complex passages without collapsing. This is especially noticeable in layered rock and orchestral pieces where multiple mid frequency elements compete. The treble is extended and clean. Octave's ESS based structure makes it easy to track micro details without forcing brightness. Ni maintains its open feel while keeping the upper frequencies under control. Cymbals and strings produce a textured sound, not a sharp one. The soundstage appears orderly with good left and right placement and a respectable depth. This pairing is one of those setups that makes you stop thinking about tuning and start thinking about the music. While Ni maintains its personality, Octave provides the stability and hold that allows that personality to emerge in a more refined way. **Octave × Hidizs MP143 Salt Gold Titanium Edition:** The MP143 is a planar iem that loves to work with a source that has headroom and control. The Octave delivers both. The first thing you'll notice is how well the bass behaves. Planar bass can feel fast, but depending on the chain, it can sometimes feel a little light. With the Octave, the MP143 gains body without losing speed. The bass is tight, punchy, and clean, and remains balanced even in fast passages. The mid frequencies remain transparent, which is one of the MP143's greatest strengths. The Octave keeps the mid frequencies stable, allowing you to hear subtle layering in guitars, synth pads, and vocal harmonies. There's a sense of effortlessness that emerges when the track intensifies. Instead of turning into a wall of sound, it remains layered and readable. The treble is airy and detailed. The MP143 can sometimes sound a little dense in the upper region with a sharper source. The Octave keeps this region under control while still providing air and extension. The cymbals and upper harmonics are prominent, not pushed through. The soundstage is wide enough, but the real gain is in imaging and separation. This duo feels like a portable system that could really replace larger systems for certain listening sessions. If you're using the MP143 for instrumental or technical genres, the Octave makes it feel faster, cleaner, and more secure. **Pros** Very high output power from a 4.4mm balanced output for a dongle-class device Clean, controlled ESS-style resolution without harshness Excellent layering and rendering for complex music Useful physical controls and gain options for everyday use App EQ and software support extend lifespan Wits well with both warm and technical IEMs **Cons** If you want a soft, romantic, very warm Cirrus-style presentation, the Octave may feel too structured The soundstage focuses on organization rather than artificial breadth Best performance comes from the 4.4mm balanced output, so the right cable is important **Conclusion** The NICEHCK Octave is the kind of device that consistently deserves its place. It's powerful, but uses that power for control rather than brute force. It's detailed, but the kind that refuses to be sharp. With its actual knobs and gain control, it's practical and feels designed for everyday listening rather than occasional testing. Most importantly, it's scalable across a collection. Whether you're playing a fast planar, a warm musical hybrid, or a clean reference tuned set, Octave does the same thing every time: it refines the music, tightens the bass, balances the mid-frequencies, and keeps the treble clear without turning it into a spotlight. If you want a single dongle that can sit in the middle of your rotation and make almost everything sound more balanced, Octave is a serious contender. \* [NICEHCK Octave Official Link](https://www.nicehck.com/products/nicehck-octave-es9039q2m-flagship-portable-dac?srsltid=AfmBOoqNklilBaYBfI-nLoqrQJyJUXayuqSMBOIKbaTQWwVwlpuvfKlS) **Disclaimer:** I would like to thank **TempoTec** for providing the **V1** for review purposes. I am not affiliated with **TempoTec** beyond this review and these words reflect my true and unaltered opinions about the product. **\* All Photographed taken by me (Ahmet Derici) from** [**Instagram:** **u/electroaudioworld**](https://www.instagram.com/electroaudioworld/) **\*** **Used photo Gear : Sony A7 III + Sigma 24–70mm F/2.8 DG DN II Art Lens** \*

**Meze Alba:** \+is small and comfortable \+is v-shaped \+fits budget \- Defiant is better. The sound on this is ngl, very meh. Not horrible. Not bad. Just meh. Defiant stomps. **Tanchjim Origin:** \+is small and comfortable \- not really v-shaped in the literal sense. But could be. But v-shaped with a slight bright slant. More neutral-bright. Not like Defiant at all. This isn't what you asked for though. \+fits budget \+ imo better than Defiant. **Tanchjim Fola** \+is small and comfortable \- not really v-shaped. More neutral-ish with a slant of warm. But not enough to call it neutral warm. Think warmer than Truthear Hexa but not quite as warm as Truthear Pure. This is basically the Truthear Hola on steroids (ie better vocals, better soundstage but similar vibes to Hola, a discontinued IEM). \+fits budget \- I find Defiant more engaging. **IE200:** \+is small and comfy \+ People call this V-shaped. People call it U-shaped. People call it L-shaped. I honestly don’t buy the V-shaped label at all unless you’re tape-modding it. Stock, this can’t really be V-shaped because the sibilance regions are dipped down *hard* (in a good way). This has way way way less treble than Hexa; how can it be called V? NickyoungWTF.gif. \+fits budget \- Defiant sounds better though. But this is probably your closest bet. **Dunu Kima 2** \+ is small and comfy \+fits budget \- Neutral-warm. Think Truthear Pure. Think Lush. Think Tea Pros. That kinda warm. Not what you asked for though. \+ Sounds better than Defiant. But isn't what you're looking for. **Kefine Delci** \+is small and comfy \+fits budget **--** V-shaped. Thin vocals. Kefine Klean over Delci for me. \- Defiant stomps this. **Sennheiser IE600** \+ is small and comfy \- Does not fit budget \+ V-shaped undoubtedly. \+ better than Defiant or on par with a similar signature. **Kiwi Ears Astral** – Not single DD – Not as small as you’d like * Comfort is actually very good * Fits budget * Better than Defiant * Has the sound you’re looking for * Also excellent for gaming (especially FPS) — people don’t run long FPS sessions on this if the comfort sucked

Damn. A lot of the ones I think hit the mark are either discontinued or recently went out of stock. I really wish they still had the Westone Mach 60s deal for $350. They used to have this deal where it was the Westone Mach 60s + Ifigo for $350. That imo is pretty spot-on accurate with vocals, microphones, etc, and doesn’t compromise on soundstage. Overall it’s like perfect for your application. But yeah, they don’t have the deal anymore. That said, here’s what I’d recommend, trying to calibrate to what you’re saying. Since you have the Studio 4, I can calibrate to that. If you want something with more bass than Studio 4, accurate vocals, but less soundstage and technicals than Studio 4, you can go for the Xuan NV. They’re basically like the Audio Technica M50x, over emphasized bass but accurate vocals. They imo completely replace the Audio Technica ATH-E40. TLDR: accurate vocals, exaggerated bass, not as good soundstage. Shure SE846, 1st gen or 2nd gen, but go 1st gen. Use the neutral blue filter and either the included yellow sponges or just plop on a Final Audio E large. This imo gets pretty close to JBL 305s. Don't bother with the 2nd gen. The only draw of the 2nd generation is the red filter and the red filter isn't even good. Blue filter is closer to neutral. Zigaat Lush with Moondrop spring tips. I tested a bunch of tips but for some reason the Spring tips help a lot. These have an HD600 tonality and sound. It does tend to dull out sibilance a bit, so it’s not good for critical editing, but it’s pretty warm-neutral. Tanchjim Fola, but use the D filter. D filter equals a better Nora. Warmer than Truthear Hexa, but a bit less warm than Truthear Pure. This is the Truthear Hola upgraded, if you have it from years past, but with better technicals and better vocals. Hard to explain, but you’d only understand this if you have all of these to understand: Truthear Hola, Truthear Pure, Truthear Hexa. Totally different company though. If you use the S filter (default filter) it'll sound like a 90% Tanchjim Origin. Which still actually is useful for your application too. Dusk, Tea Pros, RSV Mark 1 if you’re looking more for the Meta sound and you think Meta is neutral. Beyerdynamic DT70IE. These are very accurate with vocals, but also have bass. These are sort of a refined version of the Xuan NV. Think Xuan NV but better soundstage. A bit overpriced as all Beyer stuff are, but even voiceactors swear by this (they talk about how accurate vocals are on it). I have it and these have amazing comfort. I feel like the fair price for this is $300, but these are great for what you’re looking for. Cadenza 4. Odd choice, I know. But I pegged these as accurate enough for mixing and critical editing. No weak bass on these. Vocals are accurate. U-shaped. Excellent for enjoyment. You might love these. Letshouer Galileo. This is honestly the closest I’ve seen to dead-neutral. I have these and these are insane. When I wear a microphone and speak into this, this sounds exactly like me. It’s insane how neutral these are. But good luck finding these. They’re very hard to find. But imo much closer to my notion of neutral. Kiwi Ears Aether. Think better Hexa. This is not an enjoyable set at all, but I respect its existence. It’s neutral-ish, less harsh than the Hexa, and has better soundstage than the Hexa. But it’s joyless. You might like these. Keep the Studio 4s since they bring so much joy.

Get the Tanchjim Fola. Oddly enough the whole time I kept listening to it I kept thinking this was a Truthear Hola but upgraded. But use the D nozzle.

I own both the Fola and the Force, and the Force is outstanding for two traits that matter most to me: • the best instrument separation I’ve heard in any IEM, • exceptionally clean bass and mids that let me pinpoint differences in note texture.  It’s highly technical without being fatiguing or overly bright. A friend who doesn’t know IEMs blind-tested my (not huge) set and strongly preferred the Force, describing it as the difference between digital and film in photography—the Force (being film in this weird metaphor) feels more natural, with richer texture. If you value those two aspects, the Force is imo the more extraordinary pick I like the Fola at first, but i feel nothing extraordinary from them; it’s true that they are technical and very well tuned; they feel like a very good allrounder and the fact it’s only one driver always make it safer than multi driver setup; (tbf my feeling about it could change because I haven’t found tips that fit me yet—the fola doesn’t seat deeply enough in my ears with included tips).

Just updating that the Dunu S&S are working the best at creating a seal and having a nice sound balance for the FOLA for me; in case some people have the same problem with the FOLA being too shallow of an insertion with included tips, I invite them to try the Dunu (I had to go one size bigger than usual and make it a shallow insertion).

After trying out most of the IEMs from Tanchjim's current lineup (Origin, Fission, Nora and Force), **I can say without a doubt that FOLA is my favorite out of all of them.** On paper, it is tuned in the same essence as of Origin, Fission and Nora or in other words to Tanchjim’s House Sound. There are some minor differences here and there, but in totality you get the same neutral signature, which is easy to like and plays whatever you throw at it well. But when I listened to FOLA for the first time, **I was surprised by how “technical” it sounded.** It was pretty clear that FOLA was using a quality dynamic driver in it. Each note sounds sharper, transients are on the faster side and you can hear the faintest echoes in the recordings.  However, **what really stood out to me was how good FOLA is at imaging.** The way FOLA images is quite unique among IEMs I have heard. The imaging is laser focused, precise and almost feels tactile, like every time a sound cue moves across the stage, you can literally feel it. So far I have praised FOLA for its technical abilities, but no IEM is without any flaws. Each IEM comes with its own strengths and weaknesses. Let’s discuss in more detail starting with: **Bass** The bass of FOLA is predominantly focused on the mid bass, giving the overall presentation a warmer tone. Unlike IEMs with bass shelves, FOLA’s bass doesn’t sound separate or like it’s playing on its own field. It feels coherent and well integrated with the lower mids, creating a cozy and full bodied sound. Bass notes have a defined transient attack and decay naturally, just like a good dynamic driver bass presentation. There is an appropriate amount of weight behind each bass note and it delivers each impact with a good amount of physicality. Where I think FOLA is better than all other Tanchjim sets is in the bass texture. Depending on the recordings you are listening to, the bass texture almost feels tactile and tangible. Despite that, FOLA doesn’t rumble that much in the sub bass. The sub bass is present in the mix, but it stays in the background, diverting the focus towards the mid bass punch. **Mid-range** FOLA has a vocal-forward midrange tuning with a hint of warmth. The emphasis in mid bass and lower mids adds slight warmth to the tuning, which balances the boosted upper midrange. However, the treble boost and extension keep the midrange from sounding too thick or drowned out, allowing FOLA to present both female and male vocals equally well, without favoring one over the other. As a result, FOLA never sounds shouty or aggressive, it leans more towards being musical than being analytical. Overall, the mids are smooth, lush and pleasant to listen to without any trace of harshness for my ears. **Treble** The treble is well controlled and doesn’t have any major peaks that distracts the listening experience. Treble starts elevated in the lower treble and keeps the energy throughout the mid treble then rolls off smoothly into the upper treble while maintaining the extension. Because of this, FOLA doesn't have an exaggerated sense of airiness, it just sounds bright and smooth to listen to. This type of treble tuning does not have a specific wow factor that draws your attention to it. Instead, it is a solid execution of treble tuning without many flaws, keeping the overall presentation energetic, crisp and enjoyable to listen to. **Presentation** Like I said in the beginning, I am very impressed by FOLA’s imaging performance. This could indeed help in gaming, which the IEM is marketed for, but it could also keep audiophiles impressed by its performance. In the rest of the subjective qualities, it performs well for its price range.  It brings out details from songs effortlessly. The notes are sharp, with faster transients and the overall presentation has a quick sense to it. The staging feels spacious, with great width from left to right, though it’s not very tall vertically. FOLA is also good in terms of instrumental separation and layering, it plays through busy tracks without breaking a sweat. It is impressive that all these are coming from a single dynamic driver. **Build, Accessories and Comfort** Starting with the build, FOLA has a metal shell with a sapphire glass faceplate. The glass faceplate is shiny and is a fingerprint magnet. However, it has remained scratch free throughout usage. The IEM itself is on the smaller side and feels premium in hand with a sturdy build. The included accessories are plentiful and are on the premium side too. It comes with Tanchjim’s premium line of T-APB eartips (three pairs of wide and narrow bore) which are of great quality. The included cable is also of good quality, it is modular, behaves well and is easy to handle. The cable can be equipped with right angled 3.5mm, 4.4mm and Type-C (DSP) swappable terminations. As for the case, it is quite bulkier and is made for maximum protection over portability. Lastly, the comfort for me is good enough for a metal shell IEM. It doesn’t fit as snugly as a custom mould resin shell IEM, but fits comfortably enough without causing discomfort. Due to the combination of a small shell, shorter length and wider diameter nozzle, a shallower fit is the only option and I had to tip roll a lot to get the best fit. I ended up using the largest size of wide bore stock eartips to get the best fit, seal and sound. **Tuning Nozzles** FOLA comes with three tuning nozzles in the box - “S,” “D” and “L.” Each nozzle makes subtle changes to the sound. Here is how I rank them: * **“S” nozzle** \- The most balanced sound. It’s the default nozzle and the one used for this review. * **“D” nozzle** \- Adds a bit more bass but makes the vocals slightly restrained. * **“L” nozzle** \- The brightest sounding nozzle of the three. **Tanchjim App** Before talking about the DSP adapter, I have to mention the Tanchjim App which helps to configure the DSP. It is available on the Play Store for Android users and a Windows version is also available for PC users. The app is stable and easy to use. It does not ask for any pesky permissions to access your data or device features. Some permissions are asked for to connect Bluetooth devices (for TWS), but the app works properly without granting them if you do not have any Tanchjim TWS.  Once you plug in the Type C adapter and open the app, it will automatically detect FOLA and from there you can use any presets from "Official Presets". An EQ forum is also available for where users upload their EQ presets which anyone can try. These EQs are only published in the forum once they are reviewed and approved by Tanchjim. The process of applying these EQs is easy and straightforward. The Windows version of the Tanchjim App offers many more features than the Android version as of now. The Windows version has a Virtual Surround Sound feature (5.1 Virtual Surround Sound and 7.1 Virtual Surround Sound), which actually makes a difference to the sound. It makes everything sound bassy and diffused, like the sound is playing in a clubhouse. I enjoyed these effects in some songs but not with others. The Windows version also has a Low Pass Filter along with Peak Filters, whereas the Android version only has Peak Filters for some reason. Hopefully, they add these features to the Android app soon. **DSP Adapter (EQ presets)** There are 5 EQ presets included in the DSP adapter - Default, Balance, Musical, Natural and Popular. Out of these, Popular and Natural were my favorite presets.  The DSP adapter also includes a 5 band Parametric EQ for those who want to tinker with the sound to make it closer to their preference. These can be accessed by clicking “EQ Customize” and once you are done adjusting the EQ, it can be saved to the cloud or published in the forum. I was very impressed by the Natural Preset, as this preset makes FOLA to new meta type of tuning, making the midrange sound much more natural. Since the bass was boosted a bit too much in this EQ, I made my own version of it by adjusting the filters and uploaded it to the EQ forum. The preset is called “Natural EQv2 - Improved Edition.” These are a few more things to note about the DSP Adaptor: * Pre-amp shouldn't exceed -4 dB to avoid clipping. * All filters are Peaking bands (PK). * Frequency setting range is 30 Hz to 20,000 Hz. * Gain setting range is -12 dB to 12 dB. * Q setting range is 0.1 to 10. * It supports up to 24 bit - 44.1 kHz, 48 kHz or 96 kHz. * It outputs sufficient power to run FOLA without any issues, even after applying heavy EQs. **Conclusion** For the asking price of $200, FOLA offers excellent build quality, premium accessories and solid overall sound performance. It is a solid upgrade from Fission and could also be considered a “technical sounding” Fission with a better set of accessories. However, it is still a step down from FORCE in terms of subjective qualities. Despite that, I prefer the tuning of FOLA with its neutral signature over the vocal forward tuning of FORCE. The included Type C-DSP adapter also adds versatility to the mix. It allows mobile gamers to use the IEMs without needing a separate dongle and gives EQ enthusiasts the freedom to fine tune the sound to their heart’s content. Overall, FOLA stands out as one of the few IEMs I can confidently recommend to anyone regardless of the price. Disclaimer: This IEM was sent to me by Tanchjim for review purposes. They had no input into the content and I am not paid for this review. All thoughts and opinions are entirely my own. As audio is a highly subjective hobby, please consider my opinions as one perspective among many.

Thank you:) >Need to demo them. You should! I was pleasantly surprised by its performance.

Got all 5 that I wanted Crinear DayBreak Tanchjim Origin 7hz Crinacle Divine, Tanchjim Fola Tanchjim Fission Black $500 total I really like single DDs they’re my endgame. I just dabble in multi driver but honestly I’m ready for kilobuck on that front.

Anything from Tanchjims Lineup. (Nora, Fission, Fola)

It depends on what you want. Variations is tuned towards Harman. If you want something that is like the variations but a bit better I would either look into the I/O Volare or wait for the Mooondrop Meteor x Crinacle DE (The issue with the meteor is the lack of bass, only decent mids but really good treble and crin said collabed with mooondrop to fix that. Like with the blessing series). [https://graph.hangout.audio/iem/5128/?share=JM-1\_Target,Variations,Volare,Moondrop\_Meteor&bass=8&tilt=0&treble=-4&ear=0](https://graph.hangout.audio/iem/5128/?share=JM-1_Target,Variations,Volare,Moondrop_Meteor&bass=8&tilt=0&treble=-4&ear=0) If you want an iem next to your Variations that is just more vocal forward I would either go for something cheaper like the Tanchjim Lineup (Nora,Fission, Fola) or for a bit more something like the Softears studio 4. If you want something that has good vocals but also bass, I would look into the Softears Volume s or any other jM1 tuned Iem like the crinear daybreak, Ke4, Ziigaat Odyssey 1/2, Mooondrop Dusk (and many more) or something like the Ziigaat Luna. Ps. You could also consider to try out some EQ and add a bit more lower midrange and maybe a bit more mid bass. Something like this might work for you. https://preview.redd.it/zn3o9psp46tf1.jpeg?width=1080&format=pjpg&auto=webp&s=1a11b179c593b4f5707192bf77cd1be58c94e415