Mangird Tea Pro SE

Thanks for suggestion. ​I think I found next attempt, jaytiss must have been onto something. Tea pro SE has monarch mkIV type of midbass to upper mids range, abit less sub bass than top pro but more upper mids and lower treble - than same treble 2500-4500hz (with touch less sub bass it should make vocals less recessed - as they are on mkIV but less peaky (safer for all-arounder use case). Than again mkIV type of air (above top pro level, which is what I want, more technical and airy without sibilance of k and 10-12.5k https://preview.redd.it/8jbk9e9ywycg1.png?width=2400&format=png&auto=webp&s=5f1368f835e716413f7f4c28fbbd0549bf15f2cb

Arcanis I have compared and I did not like treble and technicals on that IEM, mids are equally good sure. Bass good, not better than top pro. So thank you sincerely, but I do not think it is for me I found tea pro see to be basically same low end with slight reduction in sub bass, while it boosts upper mids and lower treble - where vocals live + it boosts air region and technical ability (which will open up upper vocals - make vocal sound more open environment rather than sound proofed studio recording) https://preview.redd.it/28ze4tv3xycg1.png?width=2400&format=png&auto=webp&s=cf95ccd7a18c5052e7146b1696b504c7ab5099d7

* tighter sub bass, a touch less warmth due to midbass reduction = less bleeding to mids (most reviewer don’t say but I do find top pro bass to be a touch boomy/overflowing due to amount of low end boost or luck of perfect control) Those changes sound EXACTLY how I would want to adjust top pro on low end - they alone would allow for vocals to shine more as right now I think mids over take higher mids and treble where vocals live. * update is that the one? https://preview.redd.it/vn9k8hjjmycg1.jpeg?width=1320&format=pjpg&auto=webp&s=a9fc0ca889c5c5f7b4ba74ab59bb4759cae9f0a2

https://preview.redd.it/e8k9ytcswycg1.png?width=2400&format=png&auto=webp&s=400f6ec92dff58f4daaf5fd6161ce7cbb9daeaaf Thanks for suggestion. ​I think I found next attempt, jaytiss must have been onto something. Tea pro SE has monarch mkIV type of midbass to upper mids range, abit less sub bass than top pro but more upper mids and lower treble - than same treble 2500-4500hz (with touch less sub bass it should make vocals less recessed - as they are on mkIV but less peaky (safer for all-arounder use case). Than again mkIV type of air (above top pro level, which is what I want, more technical and airy without sibilance of k and 10-12.5k

Tea pro feel more premium because it is aluminium. My question to you - would like to show off you cnc IEM to friends or enjoy WEIGHTLESS feel of Top Pro, 0 ear tension and weight hanging out of your ear canals? So yes top pro is hollow resin, and I’m happy about it. Tea pro feel so heavy after top pro that it is hard to go back to them. I have dropped mine on a floor a few time, no issues. Top pro is not a tank like tea pro, they are fine acoustic instrument. Tea pro only get an edge by a tiny amount over top pro in how coherent low end is, but you will not notice it unless you really listen to both back and forth for some time, ao don’t stress. Vocals, treble, air, technical abilities and even mids are all better on top pro than tea pro DaVinci is just meh it sounds low res low quality compared to top pro - completely lacking in air and technicals (not worth the money at all there are so many better sets for same price, like Astrals and even Crescent would be better by a lot) Performer 8 is not even in competition, lower mids / lows are bad. Bass is mediocre. Treble and technicals are good, but what’s the point if everything else is not on par. — Actually I would also disregard tea pros and get Astrals if this is $ limit! Otherwise top pro! Astrals are better or at least equal to tea pro in every aspect, but they might sound peaky to you (due to your sensitivity - if it is in air region and not 6-7k region, most sibilance is not actually caused by peaks above 10k, but rather by peaks 3-7k region!) So my final conclusion for you would be: - got 450-500$ get top pro and never look at another IEM for long time, if you don’t step on your IEM… - out of budget, than find some where / some one who may be sells and can let you listen Astrals (they are better than tea pro man, or equal depending on your ear, so over all more consistent high result = safer buy at great price tag!) - if you REALLY can not get astral to listen to before buying than … buy Astrals I’m 99% sure your “sibilance sensitivity” comes from type of music you listen to + quality of recording + previously lower grade headphones most likely, so I don’t think Astrals will sound harsh at any point to you 👍🙂 (other wise save money and get top pro those do AMAZING on metal and hip hop or any genre because they never actually become harsh / sibilant while having good amount of bass and amazing mids and treble)

xenns top pro xenns tea pro se nicehck rockies are the only ones i can really see in this price range that can be endgame imo. you can make an argument for thieaudio hype 4 mk2 and ziigaat arcanis but not convincingly.

Against the Tea Pro SE and Top Pro it really comes down to really subtle differences like in the treble where the Top Pro edges out the Hype 4 Mk2 and Tea Pro SE but only by a bit from what I personally tried and demo'd a bit ago with a buddy of mine. All 3 of the sets are pretty damn good and trade blows in a lot, and from what I tested with a bit of PEQ, they all take PEQ phenomenally well. Kinda crazy how even 4-5+ years ago sets were coming out at double to triple the price that trade blows with modern cheaper additions in the 4-600 dollar range. I might cop these honestly but I already have the DUSK AND the Top Pro lol. Might instead save for a Monarch or IE900 or U4s but I need to demo all 3 at once before pulling the trigger.

Dont need to spent that much but Arete II , Tea Pro are good . I like the EPZ G30. Sounds very good for its price and I use it for gaming mostly FPS.

The Tea Pro can be a bit sharp. Especially with stock tips mine have too much treble and not enough bass. Changed the tips to Velvet tips (no wide bore) and now the Tea Pros sound great. Punchy, well controlled bass, nice treble and details. Martilos clearly have more subbass which I enjoy with my Drum n Bass collection.

Congrats I would say that you found out what works you best. I can imagine how you feel about enjoying music and analysing it. That’s the right way imo. Maybe sometime I will give the Odyssey a listen. The Xenns Tea Pro are better with bassy eartips to even out the slight treble accentuation and give some warmth.

My latest one…hard to say, I bought many the last weeks. ;-) but my current favourites are : Punch Audio Martilo, Xenns Tea Pro, Juzear Defiant. As well love to use some cheaper ones which are more lightweight and fit very easily in my ears like the Tanchjim 4U, Crinacle Zero 2.

Cool impressions about the Monarch MKIV. Nice pics, too. I get the size factor on IEMs. I feel that is so often only a small side in reviews but on the other hand how to you exactly want to takle it when reviewing? I think the side wing is always worth mentioning, semi custom fit and overall size of the IEM. Otherwise ears are so different, best to always try them before buying if that is possible at all (unfortunately where I live there are almost no options). Ear tips is the other variable which can help actually a lot with the IEM fit and of course with the sound. Tip rolling has helped me a lot here and I tried now six or seven different types and brands to get the best comfort and seal. But I definitely own some IEMs which just dont fit exactly how they are supposed to fit. Interestingly how you described it, some IEMs like the Monarchs might be chunkier but still fit better and some smaller ones. I have kinda middle sized average ears and I like to wear the Dunu Falcon Ultra, Juzear Defiant, the different Tanchjim variations like Bunny, 4U etc and they fit easily and are super comfortable. My more expensive Martilo and Xenns Tea Pro are bigger but I found good tips to make them as comfortable as possible (velvet tips). As for endgame IEMs, I will have one as well at some point. The Monarch MKIV are a candidate but I am curious about the BGVP Solom (similar price) which is supposed to be a bit smaller and I like the shell overall design better. As well the Monarch's accessories suck for that price point. The case is a bad joke. Anyways, thanks for your impressions, sharing them here and congrats to the Monarch MKIV, enjoy :-)

For around usd 400, YU9 Audio Que is one of the best sets you can get. Just to my ears in terms of natural replay one of the best IEMs even up to 1k usd. But any kind of rec can be a hit or miss depending on your prefs. Tea Pro is ok if you get it very cheap as the sound is not coherent and drivers seem to be disconnected from each other . I wouldn’t rec FlipEars Aegis either. Own the set , you can buy it from me , it is nothing special to my ears . Mega5 was mentioned, very good set , too. Overall my favourite is the Que , most coherent sound.

**Full review and comparison against Fir Audio Radon 6, BGVP Solomon, Monarch MKIV, YU9 Audio Que, Oriolus Szalayi, FatFreq Quantum, Tea and Top Pro** **TL;DR: Aful Dawn-X is a slightly warm-leaning, mostly neutral kilobuck IEM with excellent coherency, natural timbre and very strong technical performance that works across almost every genre without obvious weaknesses. It trades “wow” extremes for a refined, fatigue-free, highly musical presentation that makes long listening sessions easy and often makes me forget I am evaluating gear at all.** **Tuning & tonality: Slightly warm but still neutral-leaning with punchy, controlled bass, clean natural mids and well-extended, smooth treble that stays friendly even for treble-sensitive listeners while still delivering detail and air. Nothing really sticks out or dominates, which is why it feels so balanced and “just right” tonally.** **Technicalities: Soundstage is wide and deep with a somewhat holographic feel, imaging and layering are precise, and resolution is high without becoming clinical or sharp, helped by very good driver integration and overall coherency. The Dawn-X lets you follow small details and background cues easily but never forces an analytical mindset. ​** **Bass & dynamics: Sub-bass and mid-bass have satisfying rumble and slam with very good control, staying clear of the mids while still giving drums and bass lines proper weight; only extreme bassheads might wish for a bit more impact on some Rap, Hip Hop and EDM tracks. For most listeners, bass quantity and quality will feel spot-on for an allrounder. ​** **Comparisons: Versus more “showy” sets like BGVP Solomon, RN6, Monarch MKIV or Oriolus Szalayi, Dawn-X is less extreme but more relaxed, natural and forgiving, making it the better daily driver for longer sessions. Strong mid-tier options like YU9 Audio Que or FatFreq Quantum can approach its performance for less money, but Dawn-X still wins for its slightly warmer timbre, comfort and do-it-all character. ​** **Use case & value: It fits comfortably despite the multi-driver shell, is easy to drive and works with many sources, scaling with better amps without demanding them. At full MSRP (1,299 USD) it sits firmly in kilobuck territory, but can be seen quite below that price point where it becomes a very competitive “endgame-worthy” daily driver in the 1k segment for listeners who prioritize musicality, timbre and non-fatiguing refinement over maximum bass or treble fireworks. ​**  **Who is it for?** * Treble-sensitive folks who want still great details and natural treble * If you want a well implemented and extended treble without sharpness * If you prefer a detailed yet natural sounding IEM * Listeners who prefer a slightly warm coloured listening experience * Those who prefer a non-fatiguing sound on longer listening sessions * People who like listening at higher volumes * Listeners who prefer a great timbre and musicality over the last bit of technicalities * If you want a set that covers all music styles good to excellent * Listeners who have issues with very big shells in this price bracket * People who need something easy to drive **Not ideal if you are:** * An extreme treble head * An extreme bass head * Chasing the last technical ability * Looking for a complete neutral sound signature *First, I will start with the spotlight on the Aful Dawn-X and in the end I have some additional contenders’ impressions if you are interested.* *I purchased the Aful Dawn-X and all other sets with my own money; it reflects my subjective impressions after 150+ hours of testing across my library (Jazz, EDM, Rock, Classical) and extensive tip-rolling, here are my thoughts on this "kilobuck" contender.* **The "Friday Night" Test** I went into this set skeptical. Having previously owned and sold hyped sets like the **Monarch MKIV** and **BGVP Solomon**, I’ve learned that "highly praised" doesn't always mean "right for me." I intended to listen to the Aful Dawn-X for a few songs after a long day at work; I ended up glued to my desk until 3 AM. The Dawn-X made me forget I was "reviewing" and let me simply enjoy the music. As to my own preferences which play of course a role when reviewing set, I prefer clear but not harsh treble extended sets which have a good lower end foundation with textured mids to give the right tonality to male vocals and an accurate size and layering to music instruments. I love to listen on mid or high volume and prefer fatigue-free sessions or at least for long hours. To me fun, musicality and timbre go over clinical perfection of an IEM. **The Benchmark** The $1,000 price bracket is often cited as the "end-game" gateway - a myth for most of us, perhaps. In this review, I’ll explore whether the Dawn-X hits that mark and how it compares to the heavy hitters I’ve previously owned, providing options for those who want "end-game" performance at lower price points. *Let’s dive now into my review of the Aful Dawn-X.* **Specs** * Quad-brid, 14 drivers per side * **1× Dynamic driver** (for bass) * **8× Balanced armatures** * **4× Electrostatic (EST) drivers** * **1× Bone-conduction driver (BCD)** * Impedance: **15 Ω ±13%** * Sensitivity: **101 dB @ 1 kHz** * Frequency response: **5 Hz – 35 kHz** * Connector: **0.78 mm 2-pin** * Termination: **3.5 mm or 4.4 mm (only one included)** **Build** * **Housing:** Shell: medical-grade resin with **stabilized wood faceplate in red-like colour** * **Connector:** Flush 0.78 mm 2-pin * **Cable:** Detachable, brownish **6N single-crystal copper**, 8-strand Litz style * **Nozzle diameter:** 6mm / no lip **MSRP:** $1,299 USD **Included in the box** * Dawn-X IEMs * 0.78 mm 2-pin OCC copper cable (thick brown) * 18 pairs of silicone tips (S/M/L) * Carry case (more for desktop use, not very pocketable), dark blue leather * Cleaning tool **Sources used** * iPhone 15 Pro Max * Qudelix 5K * Hiby R4 Evangelion * Fiio BTR15 * Fiio K13 * Streaming from Qobuz * Tips used:Velvet Wide Bore Size L,Velvet Narrow Bore Size L,Eletech Baroque Stage M **Build, accessories experience, comfort and fit** Despite their "small-large" size, the medical-grade resin shells are surprisingly light. The fit is a comfortable "pseudo-custom" shape that sits well in my mid-sized ears. I experienced no pressure build-up and achieved a perfect seal with a standard insertion depth - no need to "shove" them in. The fit and comfort is ideal for me for long listening sessions. The look is "boutique" rather than generic. The plain black body is contrasted by stabilized wood faceplates with deep red and copper swirls, making every unit unique. The brown cable is thick but not memory prone, not microphonic and flexible. I ordered my cable in balanced 4.4 mm but there is the option for a 3.5 mm unbalanced, too. I would have liked to see an interchangeable terminated cable at this price point included in the package. The Dawn-X comes with a nice premium dark blue leather case which is not pocketable in my opinion but more for your backpack or desktop. I don’t mind it but would have wished again at this price point for an additional pocketable pouch. The set comes with a total of 18 sets of silicone eartips in various sizes, a cleaning tool, and a leather strap. While the selection is functional and should allow most users to find a decent fit, the accessory package could be described as adequate rather than lavish. The Dawn-X features a nozzle of average width and slightly extended length. This design choice is beneficial for achieving a deeper, more secure fit and a consistent seal for many users. The nozzle opening is protected by a metal mesh filter to prevent debris from entering the acoustic chambers. **Sound experience and source notes** I find that any source works pretty well with the Dawn-X as it is only slightly coloured and mostly neutral. I used mostly the Fiio BTR15 and Fiio K13 which are a good fit. That way the Dawn-X stayed “cleaner” and more balanced.     **Now, let’s get into the practical part, the sound check.** **Metallica** The Aful Dawn-X hits pretty hard for an allrounder. Kick drums are impactful, subbass has a nice rumble and the tonality is something between thick and contrasty. Every detail is well represented without going either in one direction too far, not too bassy, not too bright. Guitar riffs, kick drums and bass guitar are dense but still well separated, positioning of instruments are great. In **“*****Enter Sandman*****”**, the opening guitar has a good texture and clarity, drums sound substantia and impactful. Bass, mids and treble are very well implemented and don’t get in each others way without sounding artificial. Very coherent presentation and fun sounding. While I was not able to listen on very high volume, it still scales very well until I reached high volume due to the Dawn-X’s excellent treble extension which gave percussions and guitars some edge. The tracks presentation comes nicely forward without being shouty. As described before, soundstage is excellent in width and depths, detail retrieval is excellent and sound natural. On some rock/metal tracks I felt, that the last spoon full of bass could have been added for some better note weight. **Sara K.** Her vocals sound rich and detailed, full and intimate. Her 4-string guitar is very prominent on her album *Water Falls* where strings feel very detailed and life-like, beautifully layered. I can hear here fingers on the guitar strings moving up and down, the strings sound so detailed and ground from its accurate replay and timbre. Instrument separation and air between instruments is excellent and well defined without sharpness. On the track *Water Falls* the Dawn-X presentation is impactful and clean with good natural decay lingering slightly longer as intended. The Piano is played as a gentle support more located in the back. Terrific presentation of each instrument and vocals.  Very enjoyable and coherent. **Ed Sheeran –** ***Shivers*** **(Live)** The track opens with only acoustic guitar and clapping audience, then the bass kicks in with satisfying heft after about a minute and, with the keyboard entry, Ed Sheeran’s vocals come forward with great tonality. The live atmosphere is captured very well: guitar strings, percussive claps and low‑string bass notes sound life‑like and clean, with the audience clearly audible in the background. Everything stays well arranged and musical rather than messy, and the soundstage plus left/right separation are excellent, strongly supporting that convincing “live” feeling throughout the performance. **Boards of Canada –** ***New Seeds*** **(EDM)** The Aful Dawn-X is not a bass-head set but has still a solid bass rumble and hefty kick to present with perfect control and impact. It is very well suitable for EDM tracks as it brings together clear synthesizers and bass with accurate contrast and control. While the bass is not earth-shattering, it has an unexpected slam without taking over the stage. The track sounds airy with a good amount of contrast without sounding overwhelming or harsh. I like to crank up the music as the Dawn-X scales very well on higher volume. **Beyoncé –** ***Upgrade U*** There is a *lot* of sub-bass in this track and it can get uncontrolled and very boomy. It feels like sitting in a car with a bass tube in the back, hitting hard. The Aful’s bass is nicely bouncy but is not burying vocals under its impactful subbass and it does not extend of discolouring the mids or treble. Everything keeps well separated and while the bass boom is pushed to the front, vocals and details still manage to shine. The bass is a main driver in this track but it is well combined thanks for the Dawn-X’s capabilities of great instrument separation. **Beyoncé –** ***Beautiful Liar*** The track starts with clear female vocals, followed by hard‑hitting bass punches and a well‑textured guitar; Beyoncé’s and Shakira’s voices sound sweet and slightly velvety, still very enjoyable even at higher volume. The bass quantity and quality hit a real sweet spot for me, with both sub‑bass and mid‑bass landing harder than the FR graph would suggest. There is nothing crucial missing here unless you compare directly to bass‑heavier sets like Grand Maestro or Fir Audio Radon 6, which have more quantity and at least slightly higher quality. As a bass fan, I would still rate the Dawn‑X’s rumble and slam on this track at around 8/10 – more than enough to turn what could be a mediocre presentation into something genuinely fun.     **Moderat –** ***Fast Land*** **(EDM)** Another great EDM track I like to listen to. The immersive atmosphere requires a good amount of underlying subbass and the contrast to the treble is very well executed in this track by the Dawn-X.  I bump up the volume and all the details come even more alive without sounding overly sharp, blurry or too bassy. Again, even though the bass is prominent, all the details pop-out nicely and make this track so enjoyable – even more so on high volume. **Public Enemy –** ***Resurrection – Go at it – Bring that beat back*** One of the few times I really crank the volume is on these tracks, where the bass hits hard but treble with wide‑bore tips can get borderline incisive; Divinus Velvet narrow‑bore tips help tame that edge. I also notice distinct vinyl‑like crackling at the start of “Resurrection” that I would usually miss, and even at mid/high volume the bass moves enough air to feel physically “massaging” and very fun. In “Go at it” the dense electric guitars, fun bass and forward, textured vocals create great contrast, though it slightly limits how loud I can listen and leaves me wishing for a bit more bass impact versus true bass cannons like Grand Maestro or Quantum. The same applies to “Bring that beat back”: the beats and slams are enjoyable but lack that last smidge of bass a bass‑head would crave. On the technical side, detail retrieval is excellent, pulling out small background samples easily, and vocals sound natural and nicely forward, with clear nuances and well‑layered, textured mids that stay clean. On ***Air – How Does It Make You Feel?*** The vocal intimacy is almost unsettling – in a good way. Vocals sit very close, with guitars and drums layered precisely while still sounding musical rather than dissected. Female vocals can fill the space with a kind of silky shimmer. *Air’s 10 000 Hz Legend* plays a lot with left/right and front/back effects, and the Dawn-X presents that A/B separation extremely well: sometimes the vocals are pulled back, sometimes they’re right in my ear, always with a strong sense of micro-detail and nuance. Male vocals have a natural timbre, and the playful, experimental synth work on tracks like “*Caramel Prisoner*” becomes a real highlight. That track in particular can feel almost “sci-fi cinema” – as if you’re sitting in a theatre with a proper surround system. Great sound stage both in depth and width and this almost holographic sound are one of the strengths of the Dawn-X without sounding sharp or artificially pushed.    **The Herbaliser** ***– The Blend*** Female vocals sound very natural and clear on the Dawn-X. On this track female vocals are slightly on the sharper side of “S” sounds, but without any hurtful sibilance or harshness. Her voice comes across airy, nuanced and nicely forward. The whole track has a very life-like, almost holographic presentation – every instrument is clearly separated and the arrangement feels clean and well structured. Depending on the track, the Dawn-X can be highly immersive, but it never turns claustrophobic. Bass impact is super nice and precise. Another great exercise where the Dawn-X’s bass presentation is remarkable without being overbearing. **Dire Straits -** ***Sultans of Swing*** On ‘*Sultans of Swing’*, the Dawn-X nails the separation between the two guitars and keeps Knopfler’s lead lines perfectly centered and textured, while the bass and drums stay tight and don’t colour the mids. While replay stays clean, there is a phantastic timbre and musicality to it thanks to the Dawn-X’ slight warmth. I love the rhythm, perfectly transported. **Supertramp -** ***School*** On ‘*School’*, the Dawn-X keeps the intro ambience and solo harmonica clean and distant, you can hear a quiet guitar and children playing and screaming in the background, very life-like. Then the Dawn-X opens up a wide stage once the band enters – the Wurlitzer, sax and piano solo all stay separated without turning into a bright mess, which is exactly what I’m looking for as a treble-sensitive listener. On a good set you can follow the build-up from the intimate intro into the big piano solo and full-band climax without the stage collapsing – each instrument keeps its own space while the track still feels like one coherent performance. The track requires some decent technical abilities in order to represent the stage in width and depth. An excellent life-like presentation by the Aful Dawn-X! **John Coltrane –** ***Mr. P.C.*** **(2020 Remaster)** On *‘Mr. P.C.’* the Dawn-X keeps the ride cymbal crisp but never sharp, lets the walking bass stay clearly outlined, and gives Coltrane’s tenor sax just enough bite and body without becoming piercing. This track is a fast-paced jazz classic with a good amount of energy and swing. Instruments carry a good amount of weight and sound life like, very well separated with a great airy soundstage. It is pure joy and fun to be able to listen so distinctively to all instruments, all nuances and enjoy the life-like and dynamic presentation with great contrast and texture. The Dawn-X manages again the stretch between technicalities, the right tonality and musicality. Nothing sounds overemphasized and still the track comes alive on the Dawn-X with its coherent abilities to let tracks shine. Awesome presentation especially on mid/high volume. **Fleetwood Mac** **–** ***Dreams – The Chain - Sara*** A great classic, *Dreams* by Fleetwood Mac, released 1977, remastered 2010. Starting with drums, cymbal, bass guitar and electric piano immediately creates this specific atmosphere reminiscent to the Fleetwood Mac era and already very well replayed by the Dawn-X on lower volume. As Stevie Nicks vocals begin, it is getting very tempting to listen on high volume to get closer to her great voice and be part of this intimate sound stage. Her voice sounds sweet, soft and clear. Instruments carry this very nice and subtle timbre with great separation. Sound stage is easy to catch, little details and background vocals by Christine McVie and Lindsey Buckingham are offered on a plate. The Dawn-X is bringing technicalities and timbre easily together to form this very enjoyable, emotional music piece. Coherency is the magic glue. Just wonderful.  In *“The Chain”* Is a great test track because it goes from quiet, vocal-focused tension to a layered, high-energy finale. The track starts slowly with kick drums and guitars. In the beginning of the track, I am able hear some noise from the guitar before the kick drum starts. The thumb of the drum is precise and well defined while guitar strings vibrations sound life-like and detailed. Male and female vocals are a bit in the back with good tonality but come more forward while increasing the volume. Limiting factor is the hefty punch from the kick drum which prevents me turning the volume up even more. The bass guitar, snare drum and electric guitars play a bigger part more in the end of the track, starting at around 3 minutes. The bass guitar has a nice texture, electric guitars are well accentuated, drums have a slightly sharp edge and vocals stay clear and clean.   In *“Sara”* soundstage has an unreal depth. The Dawn-X keeps Stevie’s vocal locked clearly in the centre, smooth and free of harshness, which is perfect for me. The two pianos left and right are easy to pick out as separate lines, while the warm bass and soft drums stay controlled in the background, giving the track a wide, dreamy space without losing clarity or becoming mushy. The layered background vocals from Christine and Lindsey form an airy, life-like halo around the lead, and I can hear the snare hits very clearly – crisp and well defined, but never sharp – which underlines how clean and coherent the Dawn-X is on this track. I enjoy this track on high volume on the Dawn-X which make vocals and details move closer. A beautiful presentation. **Final conclusion** The Dawn-X has a very balanced tuning where nothing really sticks out or dominates. It’s slightly warm-coloured but still mostly neutral, and it backs it up with its strong technical performance. Its super powers lie in natural coherency and how well it manages to apply it throughout all different music genres. Music becomes with it an even better experience where the musicians’ playful details become life-like in tracks. Everything from top to bottom comes alive with ease, no need to analyse, just enjoy the ride. Let’s have a dedicated look into the different frequency parts: **Treble** Treble is well-extended and detailed, seldom harsh or splashy or artificially pushed. As a treble-sensitive listener, this is a big deal for me – I don’t hear any obvious sibilance, and only at very high volume or on bad recordings does it get a bit sharp. It’s one of those rare sets that gives you plenty of detail without turning into a “detail monster” that wears you out. On a few occasions I would miss some extra sparkle on female vocals for more details.   **Mids** Mids are clean and sound natural. Male vocals sound accurate and well textured, while female voices have a nice mix of clarity and sparkle (with some exceptions, see above) without going shouty. Timbre in general feels right: instruments sound like themselves, not like a clinical dissected version. The overall midrange has enough body to feel musical, not thin. Instruments and vocals get their right timbre and layering and don’t sound dry or brittle as it happens when the mids are too much scooped out and the emphasis is too much on keeping the mids “clean”. This results to my ears in unnatural thin mids which affects the whole timbre. The Aful Dawn-X has enough texture in its mids for a very musical presentation without sounding muddy. **Bass** Sub-bass is always controlled, even on very bass-heavy tracks. It’s fun and present but not over boosted or boomy. Mid-bass has a satisfying punch that makes drums and bass lines feel alive, yet it doesn’t bleed into the mids. When not compared to very bassy sets I don’t get any feeling of missing bass impact (as a person who really likes bass) with most track material. Neither sub nor mid bass. Dawn-X hits a very good level of quantity and quality which I prefer over sheer quantity. Occasionally though with some Rap, Hip Hop or EDM tracks I would like to see a smidge more low-end impact. But I think for most listeners there is plenty of bass there to hit the right tonality. If you dislike bass, it might be already a bit too much for you. To my ears it hits the right amount of bass to provide that level of texture and impact which I just need for drums and bass.   **Technicalities** Soundstage is excellent in both width and depth and feels very life-like. Imaging is precise, with a lot of space between instruments and a good sense of layering. The big strength of the Dawn-X, though, is coherence: despite the complex driver setup, it doesn’t sound like a “Franken-IEM”. Everything is stitched together in a way that just lets you relax and listen. I often find myself letting track after track play without wanting to stop – it doesn’t grab your attention with boosted treble or too much bass, but with a very natural, refined and effortless presentation which highlights its timbre and musicality. With good track material the Dawn-X produces a life-like atmosphere where instruments are surrounding you with precise location and voices sound airy and intimate – music comes alive and not only a reproduction. There’s no obvious dealbreaker here for me: it’s not too aggressive, nor bass-bloated or anaemic, and it doesn’t lean too far in any direction either. That’s why I see it as a true daily driver in the >$1k bracket and something I’ll keep around as a reference for future reviews – and for my own fun. **Contender round** I will briefly compare the Aful Dawn-X against other sets in the USD 1K bracket, below and far above. There are interesting options far below 1k USD to be considered with an almost “1k sound experience” though which I want to mention here. I find this important as it provides background how I perceive sound quality, making it more tangible and hopefully help you to find the right IEM for you. In no way I want to downgrade these sets. Each of them is great in what they do – this rather reflects my preferences and own observations with my subjective ears. * **BGVP Solomon** (around USD 1,300) * **Fir Audio RN6** (around USD 3,200) * **ThieAudio Monarch MKIV** (around USD 1,150) * **Oriolus Szalayi** (around USD 890) * **FatFreq Quantum** (around USD 760) – my reference planar IEM * **YU9 Audio Que (around USD 400-450)** * **Mangird Tea Pro / Top Pro (around USD 320 / USD 499)** **BGVP Solomon** The BGVP Solomon sits at the same price as the Dawn‑X but goes for a more technical, “show you everything” presentation and is not very forgiving of poor recordings. It offers sharp instrument separation, very strong micro‑detail and well‑controlled sub‑bass that stays out of the way of the rest of the spectrum, which can be very appealing if you love microdetail and do not mind some treble sharpness for extra contrast. For me, Solomon is slightly fatiguing over time and more of a mid‑volume set: leaner in the mids, brighter up top and less smooth in timbre, even though its accessories and unboxing are basically class‑leading versus Dawn‑X. As a daily driver, Dawn‑X still wins clearly thanks to its smoother, more natural timbre and non‑fatiguing tuning, while Solomon remains a technically excellent choice for treble‑heads who want maximum sparkle and detail and accept thinner mids. **Fir Audio Radon 6 (RN6)** Compared to Fir Audio RN6, the RN6 clearly hits harder and digs deeper in the sub‑bass, especially with bassy modules and narrow‑bore tips, making it more “wow” and fun for R&B, EDM and other bass‑heavy genres while still staying clear and resolving. Dawn‑X is more neutral, less “party mode” and more relaxed: RN6 is the bass fun machine with gold filters, Dawn‑X the neutral(ish) all‑rounder. With silver filters, RN6 reduces bass, gains treble extension and air, and to my ears surpasses Dawn‑X in overall musicality and refinement from bass through treble. Whether that is worth roughly 2.5× the price is a personal call given the different signatures, but Dawn‑X still holds its own very well in this comparison. **ThieAudio Monarch MKIV** The Monarch MKIV is another good contender if you prefer a cooler, more neutral tuning with a bass boost option. It offers a switchable bass shelf, which is a nice feature and its detail retrieval is very good. While the bass is emphasized with switch on, the rest of the show stays in line. The Monarch MKIV is technically very capable and has a well extended treble. The mids sound clean, maybe a bit too lean for my ears, and I like the timbre on Dawn-X a bit better. Size and comfort wise unfortunately there are recurring comments about fit issues because of its very large shells. In that regard, the Dawn-X is clearly the more comfortable and easier-to-live-with choice for me even though the MKIV has a lot of great qualities. Again, the Dawn-X timbre is more enjoyable for me while having great technical abilities, too. As I am not owning the Monarch MKIV anymore, *I won’t be able to sound check it as it was not for my liking* but I can imagine that is covers the taste of many who want the bass boost fun and strong technicality. **Oriolus Szalayi** The Oriolus Szalayi is a very interesting and beautiful bass boosted L-shaped IEM with a nice contrasty and airy sounding treble. Especially the subbass sounds amazing without darkening the mids and treble much at all. Its 10mm dynamic driver has plenty of visceral power and in Billie Eilish’s “*Come out and play*”. The bass sounds very pleasing and bouncy with a good amount of decay.   In “*Fast Land*” by Moderat, treble and mids sound airy and clear - thanks to the Szalayi’s 14mm planar driver which takes care of the mids and the balanced armature which covers the highs. The bass reaches deep and precise, anchoring a solid foundation and immersive space in this EDM track.   On Fleetwood Mac’s *“Sara”* the bass sounds so impactful and I can literally feel the drum hits, even though the Szalayi doesn’t have any bone conductor drivers. Its resin shells are so thin (and fragile) that the impact is transported into the ear canal – amazing if you like bass. On GoGo Pengguin’s albums, the Szalayi excels with its low-end rumble and crispy treble. Instruments have the right size thanks for its textured mids, sound stage is anchored in the middle and layering is mostly good. It doesn’t sound highly technical and is not on the same level as the Aful Dawn-X but makes it up with tons of fun listening. The Oriolus Szalayi is not neutral per se but manages to come across very fun with its big bass shelf and its good mids and clear treble which in most cases doesn’t sound sharp unless listened on very high volume. The Szalayi doesn’t sound overly warm or veiled as the bass is well implemented and not bleeding into mids or treble. So, I wouldn’t call this IEM a pure bass-head set but it shines with many pleasing qualities. One doesn’t need to worry about female vocals and other instruments details. They sound nicely textured without being overly dark or congested but carry a good amount of airy and details with good separation and sharp transients. If you prefer more bass especially for HipHop, RnB, Rap or EDM and more contrast while the rest stays clean, this fun sounding companion could be a consideration compared to the Dawn-X which sounds more neutral especially in terms of bass quantity. **YU9 Audio Que** At around $400–450, the Que is a strong contender in the sub‑$500 bracket with punchy, dynamic, textured bass that stays controlled even on bass‑heavy tracks, avoiding bloat or mud in the mids and highs. In “The Blend” by The Herbaliser, subbass hits hard without overshadowing the vocals, which come forward clear and clean, and this character repeats across most of my library. The Que feels a bit more spectacular than Dawn‑X thanks to higher contrast, with very good details, soundstage, treble and mids, and a genuinely musical overall presentation. It scales well with volume, though not quite as safely as Dawn‑X because of its spicier treble. Tonally it is mid‑focused with crispy treble and very good instrument separation, offering enough sparkle and energy for contrast without becoming a truly bright set, though on long loud sessions I can notice some treble bite. Fit is sensitive due to the long nozzle: shallow insertion can sound sharp, while a deeper fit (e.g. Divinus Velvet TWS tips) emphasizes bass and makes mids and treble more cohesive. On tracks like Dire Straits’ “Sultans of Swing” and Supertramp’s “School”, instruments are well accentuated and separated, there is plenty of air on stage, and the presentation is lively, dynamic and very engaging. There is something special, airy and forward about the Que: not extremely bassy, but with surprisingly solid rumble and enough body for vocals and instruments, plus lifelike, non‑shouty vocals. This mix of bass, mids and treble makes it detailed and contrasty without a typical V‑shape, helped by strong technicalities. Compared to Dawn‑X it is slightly behind overall and tuned differently: Dawn‑X is a bit warmer and lusher, while the Que sounds slightly more transparent and holographic with excellent material thanks to its lower coloration and sense of air and separation. Depending on track and volume, Dawn‑X is the smoother “Swiss knife” allrounder, whereas the Que can occasionally become fatiguing or sharp but will likely be preferred by treble lovers. For anyone who cannot or does not want to spend Dawn‑X money and wants to stay under $500, the Que is a strong recommendation if you are fine with a neutral‑leaning, mid‑centric signature. It is not ideal if you want a very bright, strongly V‑shaped or very bass‑heavy presentation, but it remains clean, non‑sterile and offers slammin’ bass and rumble close to Dawn‑X level when fitted correctly. Turn the volume up a bit and you get forward vocals, treble detail, solid bass and plenty of technical information that make music feel life‑like, which is why this is one of my favourite sets in the $400–1k bracket and end‑game‑worthy to your ears. **FatFreq Quantum** The Quantum is my favourite planar and my all-time favourite IEM up to USD 1,000+ regardless of driver configuration. It is cheaper than the Dawn-X but in reach priced at around USD 760 (Dawn-X around USD 870 during sales). The Quantum is very balanced and yet a hard-hitting bass IEM. Besides the impactful and controlled sub and mid bass, it offers a wide soundstage, very well extended treble and details. The Quantum’s bass doesn’t interfere with mids or treble thanks to its planar driver which is quick enough to avoid bleeding into mids and treble. The Quantum’s sound signature can be described as wonderfully natural with a great timbre which fits all music styles. Soundstage is wide; instruments and vocals sound airy and well-separated. Bass is plenty there when needed – in both **quality and quantity** – but never overwhelming or boomy. Treble extension is simply excellent while almost never becoming harsh (a few exceptions with bad recordings). Compared to the Dawn-X, the Quantum can compete easily with the Dawn-X in terms of bass qualities and quantity. Treble extension is implemented differently but at least on the same or similar level. Both IEMs sound detailed and well extended without being fatigue. I feel that the mids are a smidge better on the Dawn-X though and the overall timbre is slightly warmer than with the Quantum where the Quantum has substantially more bass. **Sound impressions** “*Fast Land”* by Moderat sounds immediately airy, fine resolving and when the immersive bass kicks in the track, it feels well organised and immersive, dense but not dark. The subbass has very good impact but stays always controlled with fast decay. Even on higher volume the presentation stays clean and very enjoyable. **Metallica** Guitar strings are very well contoured and sound organic, guitar riffs have good texture and are well contrasting against the good bass, mids and treble without any sharpness. Soundstage is excellent and airy which good position of all instruments and vocals. I can listen on high volume without being bothered by the well extended treble and dynamics. That’s one of the Quantums assets. Big presentation which sounds natural. **Sarah K.** To my ears the track “*All your love*” sounds close to perfection. It is not a very busy track but rather well arranged and recorded and slightly easier to reproduce. Vocals sound very pleasing and I love the guitar’s details, strings vibrations, great A/B separation and again the rich but accurate detailed reproduction which comes so natural and easy. No need to focus on anything in this track, everything is very enjoyable and flows. **Mangird Tea Pro / Top Pro** Both Xenns sets are strong in their price brackets and sound very good. The Mangird Tea Pro (around $320) is bass‑boosted with warm mids and elevated, detailed treble; at higher volume it can get a bit spicy for my ears, but overall it sounds fun, not extremely V‑shaped, with good sub and mid‑bass slam and great value, especially on sale. The Top Pro (around $499) has noticeably less bass and a different treble emphasis, with a strong 11–18 kHz lift that creates an airy, spacious stage and clear instrument separation; as I am a bit treble‑sensitive, I prefer the Tea Pro, but the Top Pro is technically more refined and a very good option if you do not mind extra treble. Each brings a lot to the table, but for my taste the Dawn‑X is the more complete set, combining great bass with non‑fatiguing yet detailed treble extension – all the fun and technicalities coherently brought together. **Sound impressions Tea Pro** **Metallica** Vocals are not very forward and carry some sharpness. Instruments are more in the back but details retrieval is good. The bass rumble reaches deep and hard and overall, the sound of the Tea Pro is somewhat V-Shaped contrasty. Mids sound warm. The sound in “Enter Sandman” could be described as a bit darker but then there are some details popping out. A bit spiky to my liking but there is contrast some may like. **Sarah K.** Good A/B separation and nice guitar string texture. Like in Metallica, the tracks sound a bit overly dark. Changing to wide bore tips is changing the tonality. Now the Tea Pro sounds airier, better accentuated and not overly dark. Sara K.’s voice comes across with the right tonality while her voice is anchored in the middle of the stage. Soundstage doesn’t sound overly wide. **Beyoncé** The Tea Pro’s bass stays surprisingly clean while the bass is pored into “*Upgrade U*”. There is substantial boom and some covers the vocals but I have heard definitely worse. Vocals come nicely forward without being shouty, good instrument separation. The vocals in “*Sweet Dreams*” have a good tonality while they sound more resolving with the Dawn-X. The Tea Pro performs well with bass heavy tracks staying most of the time clean and clear. The added treble contrast gives it an excitement boost. **Public Enemy** Subbass is more the business of the Tea Pro. Midbass has a good heft but nothing very outstanding. The treble gets sharp on higher volume and I can listen to “*Resurrection*” only on mid volume. As I don’t own the **Top Pro** anymore, I can’t provide detailed hands-on sound impressions. **Listening from Daylight till Dawn (X)** Many IEMs nail one thing but compromise elsewhere – great bass but fatiguing treble, technical but thin, or smooth but dull; with the Aful Dawn-X there is no obvious “yeah, but…” trade‑off. It does not have the very last word in treble air or earth‑shaking bass, and the accessories are underwhelming for the price, but in actual listening it brings together natural timbre, strong coherency, non‑fatiguing treble, punchy controlled bass, very good staging/imaging and a tuning that works across almost all genres. In short, it is highly enjoyable and genuinely fun to listen to, which is ultimately what matters most to me. **Price to Performance** In terms of value, USD 1,300 is pretty steep where there is already plenty of value in much lower price brackets. The YU9 Audio Que is a good example which punches hard above its price point. But in recent sales, the Dawn-X was sold “already” quite a bit under its MSRP. Especially then it is very competitive and offers great value in the $1k and above segment. For my ears and preferences, it’s endgame-worthy and easily my new daily driver over $1k – not because it’s the flashiest or the most extreme at any one thing, but because it brings so many good qualities together without any real dealbreaker. **Truly, the Aful Dawn-X is a worthy “kilobuck star” under my current top IEMs.** Thank’s for stopping by and reading. Comments and questions are welcome.

Out of all the IEMs I’ve used, which includes the Ziigaat Arete 2, Xenns Tea Pro SE, Softears Volume S and Kiwi Astrals. The Astrals have been my go to for FPS gaming. The soundstage is perfect in my opinion and I find it the easiest out of those IEMs to pinpoint audio cues. Also fantastic for music playback with exceptional low end texture and the right amount of high end sparkle.

Soundstage wise I’d say Astrals > Tea Pro SE > Arete 2 > Volume S

I listen / produce Drum and Bass. I like both bassy neutral and warm tunings. I really love the warm midbass focus on the Softears Volume S as it really gives the kick fantastic impact/slam and the sub bass extension isn’t overpowering. High end is subdued, but detailed and good if you listen at higher volumes. Xenns Tea Pro is another good warm set that will emphasize the kick with even more sub bass extension. Kiwi Ears Astrals are great with instrument separation and extended sound stage. The tuning is emphasized sub frequency and high frequency sparkle. Lots of energy in the high end that can really shine with tracks that have a lot of high frequency percussion but can get fatiguing if listened at super high volumes. These are all midrange suggestions at around 300 dollars USD new. You can definitely pick up open box or used for slightly cheaper. For instance, I picked up my Volume S second hand for 225 with all the accessories and it works great.