ZiiGaat - Odyssey 2

First of all, I wish everyone a good week. As someone who’s been in this hobby for well over a 20 years, I’ve gone through everything from budget Chi-Fi iem's to high-end custom IEMs that cost more than my first car. When I first came across the **Ziigaat**[**Hangout.Audio**](http://Hangout.Audio) **Odyssey 2**, I wasn’t expecting it to impress me much. The sub-$300 price bracket is absolutely saturated right now, and the bar for performance has never been higher. But after spending the past 1-2 days with the Odyssey 2, I can confidently say that Ziigaat has carved out something genuinely compelling here. I hear very interesting details at this price. # Build & Comfort Right out of the box, the Odyssey 2 strikes me as one of those IEMs that just feels more expensive than it is. The shells are made from a resin-metal hybrid, with a faceplate that catches the light in a way that feels boutique rather than mass-produced. Especially the shell is made of aluminum casting, it leaves a very nice solid and cold feeling in the hand. I like this.They’re medium-sized, a little chunkier than something like a Moondrop Aria, but with a nozzle angle that allows them to sit securely without creating hot spots even after long sessions. I wore them for a full three-hour listening test one night and forgot they were in my ears until I stood up to grab water. That’s the kind of comfort that matters when you’re deep into a playlist. The stock cable is a braided 4-core OCC copper, and while it’s not “endgame” material, it’s pliable, tangle-resistant, and has zero microphonics. The modular termination system is a nice touch, letting you swap between 3.5mm and 4.4mm without having to buy a separate balanced cable. In short, the ergonomics and accessories are above average for the segment. One small criticism: I wish the eartips were presented in a more logical way. But they still come in a opaque, frosted bag, and these gel-like, soft eartips make it a pain to remove from the bag. A simpler, smaller box would have made the presentation much better. **\*\*\* (Ear Tips Used : Spinfit NEO)** \>>  [Spinfit NEO Official Link](https://spinfit-eartip.com/#/product/productdetail/99?lang=en) (Spinfit Eartips, which provide maximum insulation performance and are made of medical material, were used throughout the test.) # Sound Signature & Tuning The Odyssey 2 sits in what I’d call a **balanced V-shape with reference leanings**. It’s energetic enough to appeal to mainstream listeners but technical enough to hold the attention of seasoned audiophiles. It has a clear and detailed presentation. You will definitely like it. * **Bass**: Sub-bass extension is excellent, reaching deep into the 20Hz region without rolling off prematurely. There’s a tactile rumble on electronic tracks like Deadmau5’s *Strobe* that feels authoritative without bleeding into the mids. Mid-bass is a touch elevated but controlled — think tight rather than bloated. Kick drums in rock and metal tracks have punch without overwhelming guitars or vocals. * **Mids**: The midrange is slightly recessed compared to the bass and treble, but not scooped out to the point of losing detail. Male vocals carry a natural warmth, while female vocals sit a hair forward, benefiting from the tuning’s upper-midrise. On *Phoebe Bridgers – Motion Sickness*, her voice comes through clear and emotional, without that shouty 3kHz peak that plagues so many budget IEMs. Instrumental separation in this region is strong, particularly with acoustic guitar and piano, which retain a lifelike timbre. * **Treble**: This is where the Odyssey 2 surprised me the most. Treble extension is airy and sparkly without straying into harshness. There’s enough energy around 8–10kHz to give cymbals a crisp presence, but not so much that sibilance becomes an issue. The top end has a sense of openness that gives the overall presentation a stage bigger than you’d expect from a closed IEM at this price. **Technical Performance:** In terms of raw technical ability, the Odyssey 2 punches above its class. The **soundstage** is impressively wide, with more lateral spread than depth, but still offering enough layering to distinguish front-to-back positioning. Imaging is precise — you can easily pick out instrument placement in busy tracks like *Snarky Puppy – Lingus*. Detail retrieval is strong, though not on par with kilobuck monitors, of course. Micro-details like the reverb tail on a snare hit or the faint intake of breath before a vocal line are present if you’re listening for them. Transient response is quick, especially in the treble, giving the IEM a sense of speed that makes fast genres like drum & bass or technical metal a real joy. Dynamics deserve a special mention. Quiet-to-loud transitions hit with satisfying impact. Listening to *Hans Zimmer – Time*, the swelling crescendos felt more cinematic than I’ve experienced on many peers in this range. **Source Pairing:** The IEMs scale nicely — they sound good straight out of a smartphone but benefit significantly from a cleaner, more powerful source. On the DAP balanced output, bass tightened up noticeably, and the treble gained more shimmer. Sensitivity is moderate, so hiss isn’t an issue, but they do appreciate a bit of juice to unlock their full dynamics. **Final Thoughts:** The **Ziigaat** [**Hangout.Audio**](http://Hangout.Audio) **Odyssey 2** is, in my view, one of the most well-rounded IEMs in its price range. It nails the balance between fun and reference, offering a tuning that’s engaging for casual listening yet technical enough for critical sessions. Build quality is premium, comfort is excellent, and the stock package is more thoughtful than what many competitors throw in. No, it’s not going to replace a kilobuck endgame monitor, but that’s not the point. What Ziigaat has achieved here is an IEM that makes you forget about the gear and just enjoy the music — and at the end of the day, that’s what this hobby is all about. If you’re an audiophile looking for a daily driver that won’t break the bank, or a younger listener stepping into the world of serious in-ears for the first time, the Odyssey 2 deserves to be on your shortlist.. **\* Disclaimer:** I would like to thank **Linsoul and Ziigaat** for providing the **Arcanis & Odyssey2 In-Ear Monitor** for review purposes. I am not affiliated with **Linsoul and Ziigaat** beyond this review and these words reflect my true and unaltered opinions about the product. **Thanks for reading.. (ADR from Electro Audio World)** **\*** **Youtube Unboxing Video >>** [https://www.youtube.com/watch?v=HixH7-PPx1w](https://www.youtube.com/watch?v=HixH7-PPx1w) **Instagram:** electroaudioworld > >  [https://www.instagram.com/electroaudioworld/](https://www.instagram.com/electroaudioworld/) \* **Ziigaat Odyssey2 Purchasing Link >>** [https://www.linsoul.com/products/ziigaat-x-hangout-audio-odyssey-2?sca\_ref=9444330.aiDThGLeXH](https://www.linsoul.com/products/ziigaat-x-hangout-audio-odyssey-2?sca_ref=9444330.aiDThGLeXH) ..

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** \*

Yeah me too, I have some very expensive sets, like the IE600, and I prefer the EW300 over the IE600... I still prefer my Ziigaat Odyssey, or my Mangird Xenns Top, but damn the Simgot is indeed very very good for the asked price

**Pros:** \-Intense, dynamic but non fatiguing sound \-Bass quality \-Versatile warm tuning \-Good soundstage **Cons:** \-Not the same magical vocals than on the RSV OG \-Opening experience could be better \-A little bit dark sometimes \-Not the most technical \-Treble lacks air and sparkle**Softears RSV Mark II** *-Price :* Around 600 euros *-Driver Setup :* 5 Balanced Armature drivers, four-Way Crossover *The Softears RSV MKII was purchased with my own money, so everything I say will be my opinion and only my opinion.* >!About myself : I am a French student, passionate about sound, and more precisely, "nomadic sound", this ability to access music in high quality even when on-the-go, because I also travel a lot. As a result, I know more about dongles, IEMs and DAPs, even if I had some headphones and still own a desktop DAC/amp. I don't claim to hear better, nor to know everything, but I just want to share this passion.!< >!**IEMs I had or have** : Simgot EW200/300, Moondrop Blessing 3, Simgot EA1000, Xenns Top, Xenns Tea Pro, Ziigaat Odyssey, Sennheiser IE600, ISN NEO 5, Penon Fan 2, Ikko OH10, Letshuoer S12 Pro, Moondrop Crinacle Dusk, Softears RSV, Dunu SA6, Dunu SA6 MKII, Truthear Zero:2, Softears Volume S, Kiwi Ears Aether, Yanyin Canon Pro, Xenns Top Pro, Crinear Daybreak, Theaudio Origin, Punch Audio Martilo, 7Th Acoustics Supernova.!< *Devices used for this test :* Fiio K11, Samsung A16, CX31993 dongle, Ibasso DX180 *Photos by myself with a Fujifilm Camera* **Introduction** Founded in 2017, **Softears** is a Chengdu-based company focused on the research and development of loudspeakers and measurement and calibration tools. The fruits of their research take the form of in-ear headphones with a sleek design and high-quality construction. They are famous in the community for their great tuning abilities and the lively **vocals** some of their sets produce, the **og RSV** was one of their most famous set for this exact reason, for some, it had THE best vocals reproduction in the IEMs scene, will the RSV MKII be able to keep this reputation ? Spoiler alert, it doesn’t even try to. **Personnel rating summary**​ |Attribute| Rating /5|Quick note| |:-|:-|:-| |Build quality|★★★★★|Feels sturdy, looks beautiful, and isn’t a fingertips magnet, nothing bad to say.| |Comfort|★★★★☆|Very comfortable, can wear them for hours, but sticks out of my ears a little bit too much to be perfect for me.| |Accessories|★★★☆☆|It’s ok, you have what you need, but nothing very original, and for this price you could expect better, it doesn’t feel like 600 euros.| |Tonality|★★★★☆|Very natural, a little warm, but not perfect.| |Bass|★★★★★|Very good, impressive for BAs drivers, very rumbly, hit deep and have a great definition.| |Midrange|★★★★☆|Warm and lush, but a little bit too recessed for my liking because of the prominent bass(nit-pick). not as good as the OG RSV.| |Treble|★★★★☆|Good, but not the most detailed and lack some air in the upper region.| |Soundstage|★★★★★|Impressive, very wide for an IEM, holographic, deep and high.| |Technicalities|★★★☆☆|Good, but not class leading in this price category, I would have wanted it to be more technical.| |Value for Money|★★★☆☆|It is a very good overall, but I feel like you can get better at this price.| **Unboxing experience** The unboxing experience of the RSV MKII is original, the form and the presentation of the box is not common, you open it like a christmas gift and you take everything out of it from the top, but the surprises stop here. Inside, nothing really impressive, even more for a 600 euros price tag, I feel like the packaging is a little bit poor. When you open the box you find the IEMs, with the 4.4mm cable already plugged in them, then when taking them out you find some little plastic pouches in an accessories cardboard envelope. Those pouches contain a cleaning tool, two types of tips (classic silicone and UC tips) and a 4.4 to 3.5mm jack adapter. Finally, under all of that, you have the empty carrying case, a round one. The whole package isn’t bad by any means, but it is not great either for this price. The box looks sleek and I like that, but the accessories are limited and don’t really feel premium. For example I preferred the boxes in which the tips were sold for the Volume S, it felt like another product inside the product it gave you this sense of value. Overall I even preferred the packaging of the Volume S, the carrying case also felt better to me, but was also bigger. At the end, what really counts is the sound, the IEMs themselves, so I don’t judge the product on its opening experience, but I wasn’t quite satisfied with the one of the MKII, It made me feel like a step down compared to the Volume S package, but I can understand that Softears wanted to try something different. **Accessories** While Softears was not really generous with the amount of accessories, they provided quality ones. *-Cable* : Very good 4.4mm braided cable, feels very solid, but is flexible enough to be comfortable, not too thick nor too thin, it is a very good cable. *-Adapter* : This cable doesn’t come with interchangeable termination, so for letting you use a classic 3.5mm one, Softears provided a 4.4 to 3.5mm adapter with the RSV MKII. It feels robust, and does the job perfectly, without any “pop” noise or raising the noise floor, it is just an adapter, and a good one. *-Tips* : The black silicone tips included with the RSV MKII are very classic, the same that you can find on a lot of other brands's own packaging, however, the transparent tips are great, they feel very comfortable and are sealing your ear canals better than the original tips. I liked them the most, like on the Volume S. *-Carrying case* : The advantage of this round carrying case is its size, it is not pocketable, but very easy to put in a little bag, it is nicely built, rather soft, and has a leather-like texture. I prefer the rectangle case from Softears, but this one is also very good, and feels premium enough to transport such an expensive product. **Build and comfort** *-Build* : This is, in my opinion, a very strong point for the RSV MKII, like a lot of Softears IEMs. The build of the RSV MKII is very very good, it feels sturdy, like if it was made in one unique piece, the materials used are very qualitative, and it looks absolutely stunning. I am digging for this type of class and sleek looking IEMs, without being lifeless. Those **are** classy, without looking too fancy, but still have a very original and complex faceplate design. They are probably the most beautiful IEMs I have had. They look even better in person than on the Softears's website, and the cable completes them perfectly... The build and design are one of the best points of this IEMs for me. *-Comfort* : Comfort is a very personal subject, even if some IEMs are famous for being uncomfortable for most people (hello Thieaudio Origin). I have medium-sized ears, and small ear canals. The Softears RSV MKII are comfortable, I can wear them for hours without any problem, they sit well in my ears, without going too deep. My only complaint would be that they are sticking out a little bit too much from my ears, but it doesn’t affect the comfort at all and it is really nit-pick. **Sound quality** *Overall* : The sound signature of the RSV MKII is a total departure from the OG RSV. The RSV was very special to me because of its beautiful vocals reproduction and mid range overall, but I found it lacking in quality, whereas the RSV MKII is (very) bassy but is not as pleasant when it comes to vocals. The MKII is aiming for a more “all rounder” sound, and for that it becomes more dynamic, with an emphasis on its treble and bass. It makes this iteration more versatile, but also less special than the RSV was. The RSV MKII still has a lovely and very cohesive sound, as Softears know how to do. But for me, the RSV MKII will just be a “good” set, and not a specialist. While I can understand this new trend of “good at everything, great at nothing” to make more people interested in your product for its versatility, I find it sad to lose all those IEMs with a very “special sauce” and reputation. *Bass* : The bass of the RSV MKII is surprisingly its shining area, where it was the vocals for the OG, on which the bass felt less powerful and deep. Here, despite the all BAs setup, you get very meaty bass, with a deep impact, a very good texture, and a pleasant rumble to it. The sub bass feel natural and are well extended. The sound signature is warmer because of the bass taking over a part of the mid range, but in a satisfying way. The bass is very prominent and could be overwhelming for some listeners. For me, they rarely became too much, unless on some very special music. Overall the bass of the MKII are very good, they are prominent but are not making the sound muddy and they stay controlled, very fast, while hitting deep. The MKII has better bass than a lot of IEM with dynamic driver bass. *Midrange* : This is where this set becomes more controversial for me. Not that the midrange of the MKII is bad, far from it, but coming from one of the best midranges I ever heard on an IEM, I expected the inheritor to do better, however instead Softears went for something completely different, losing the very thing that made the RSV so unique. The bass is transitioning in the midrange later than on the RSV, making the voices warmer, and while it can really work great with some male singers, it makes most of the female voices less natural and emotional, like Agnes Obel for example. The midrange is good, even very good on the MKII, but it’s less forward, because of the now more "V-shape" sound signature, and feels less textured for me. You lose this impression of “in your face” very intense and emotional vocals, which I loved on the RSV. The bass and Treble are now taking a lot more space, and because of that the midrange becomes just an element in the whole mix, not something that stands out a lot. Of course, it allows this set to be more versatile than its first iteration, but it also makes it less special, and less enjoyable when it comes to vocals. *Treble* : The treble on the MKII is good, though not the best. For me, the upper region lacks a bit of air, which can make the overall presentation slightly dark and cost it some technicality. That said, it remains textured, detailed, and more elevated than the first iteration. Still, I miss a touch of sparkle and upper brilliance to feel fully satisfied. It’s understandable, though, as balancing such strong bass without pushing the mids too far back is a challenge. In the end, the treble is smooth, detailed enough, non-fatiguing, and even quite engaging — but it doesn’t quite reach the level where it truly impresses me. It can feel too congested on heavy tracks. *technicalities* : The MKII is technical, but not a technical monster. Its tuning leans toward a more relaxed and pleasant presentation, yet it still delivers micro details, contrast, and dynamics. To give you a reference, the level of detail is similar to the Moondrop Blessing 2 Dusk — not ground-breaking in 2025, but more than enough for me. I’m not a detail head, and an excess of details often makes listening fatiguing, so this balance works perfectly for my taste. Again, I could be nit-picking about this lack of airiness making the set less technical. *soundstage* : The soundstage of the MKII is impressive for an IEM: spacious, deep, and very precise. It creates a holographic image with surprising verticality, giving a truly immersive “around you” 3D feeling. Instead of sounding too “in your head,” it places instruments close around you, with some elements even extending far depending on the mix. That type of soundstage is rare to find in an IEM. Not the best I’ve heard, but still very good. ***Some songs with impression*** *Bodysnatchers* *- Radiohead / 2007* This song is very intense, and is composed of 2 different style, from 00:00 to 02:04, for the more Rock part, the RSV MKII does great, it manages to keep the intensity and energy of the song without any sibilance or being fatiguing, it also keeps the details of all the elements of the mix, I didn't like I was missing something. But again, I would have like more air in the upper region, because of the lack of it, the wholee felt too congested, not open enough, which is important on very busy tracks like this one. For the singing part from 02:04 to around 03:07, this is where the MKII didn't do that great the voice of Thom Yorke wasn't standing out enough in the mix, making it less enjoyable, and giving me less emotion than on some other sets. *Marooned* *- Pink Floyd / 1994* This is one this type of music that the RSV MKII feels the weaker, it lacks this upper sparkle and air, which is making the treble (so most of the mix) not pleasant enough, you don't feel it as much on more busy track, but here this lack of air stands out a lot. I am craving more air more brilliance when listenning to this song with the MKII *Once Again* \- *Clann / 2017* On very ambient and immersive tracks like this one, the MKII is really good thank to its immersive soundstage and powerfull bass, it felt very emotional, I really felt like I was *IN* the music, this type of goosebumps you can have when your device suits this specific track really well, here it's the case, the MKII is warm, lush, immersive and with good bass, exactly what *Once Again* is asking for to be properly appreciated. Because of that, I think the MKII will work really well with traditional warm songs like *Helvegen* for example. *Meds* *- Placebo / 2006* This music has a very intense passage at the end, with lots of instruments, a powerful voice and everything performed in a very dynamic way. This moment is very punishing for IEMs with a sound that is too piercing or not precise enough, because it then becomes unpleasant, being painful or sounding like a jumble of indistinct elements. The RSV MKII preserves all the elements and details well, which is a good thing, but it presents the sound in a very intense and energetic way. As a result, I often need to turn down the volume to continue enjoying the loud passage with the MKII, at the risk of the sound becoming too loud for me. On the other hand, the separation is good and well executed to maintain the overall coherence of the sound. **Comparaison** **.VS 7th Acoustics Supernova** The Supernova are my reference when it comes to all BAs sets, I also liked the SA6 OG from Dunu, and the OG RSV from Softears, but usually I am more of a “hybrid setup” guy. With that said, one of the advantages the all BAs sets often have is the coherency of the sound, with smooth transitions between frequencies while maintaining a good separation between the elements. Some hybrid sets feel like the frequencies are not “working together” anymore, and it kinda breaks the listening experience. Here it is not the case for either of those sets. They have a very pleasant and cohesive overall sound, but this is where the similarities stop. The Supernova has less bass, a more meaty midrange and its treble is more elevated. Because of that, when you crank the volume up, the Supernova has a very natural midrange, near lifelike, a very sparkly, airy treble region while staying neutral, and without being fatiguing or sibilant. The bass of the Supernova are not as good as the RSV MKII’s, they feel less impactful, they aren’t hitting as deep and as precisely as on the RSV MKII, they are enough for me, but not in the best quality. On the other hand, the treble of the Supernova is really magical, while they lack this upper brilliance on the MKII. The mid range also feels more natural and forward on the Supernova. The RSV MKII would work better on very bass demanding tracks, but I would take the Supernova on pretty much any other music genre. **Conclusion** : While they are both great sets and trading blows on some factors, the Supernova really feel more special to me, the RSV MKII really give me this “deja-vu” impression, it is good, versatile, but you can find a lot of similarly tuned sets in the market, whereas the Supernova really is original, and is offering more than just a “good” sound, while staying very versatile in my opinion. **.VS OG RSV** (sorry for the photo, I don't have the RSV OG no more ) It is quite simple here, I feel like the MKII has pretty much the same treble experience as the RSV OG, better bass than it, and doesn't have this very unique and emotional midrange. The MKII will be more versatile and less fatiguing than the OG, but it will not be the “vocals specialist” anymore, it is “just” a good set. Also, the RSV had less bass, allowing me to crank the volume more, and to feel like its presentation was a little bit more airy and detailed than the MKII, but it is very subtle. **conclusion** : The Softears MKII is more versatile in its tuning than its predecessor, but it doesn’t have the very unique vocal quality of the OG RSV. If I could only have one, I would take the MKII, while knowing that this set will be good on everything but will not make me feel the same emotions as the OG RSV **Conclusion and recommendation** *Who is this set for :* \-If you are looking for a very versatile tuning that will suit pretty much any music genre. \-If you want the BAs coherency while keeping very good bass. \-If you are searching for a beautiful IEM. \-If you want a fun and dynamic but non-fatiguing sound. *Who this set isn't for :* \-If you are looking for a specialist. \-If you’re a treble-head. \-If you want the best value for money. \-If you want a neutral/bright sound presentation. **My thoughts** I liked the Softears RSV MKII, but not enough to recommend it, taking its price into account. This set is great, but doesn’t offer anything really special that would make it shine in the mass. Its bass is very good, and is its best point, but the midrange is just good, without anything very special, unlike the first iteration of RSV, and its treble is detailed, has a good texture but lacks some air, even making the set too dark at lower volume. So unless you really love the design of the set (which is beautiful I agree), or you absolutely want all the Softears sets, I don’t think this one is a very good value for its price, the Mega5est or the Supernova as good with a “special sauce” to them making them more unique (lifelike timbre, beautiful treble etc). And like I said, this set is good at everything, special for nothing. It’s disappointing because I loved the RSV OG and the Volume S, which are, for me, really unique.

Yeah, the RSV MKII are definitely a fun set, they are too dark for me, but it is still a great set overall, this hobby is very hard because pretty niche, in France we don't have shops where we can try IEMs, so it is always kind of a blind buy at the end. The Odyssey 2 is very good, and would be a good all rounder for sure, the Mge5Est is also a very safe pick, nothing special but also nothing to hate on it.

Odyssey 2 for me... God I love the design of it.

I'm trying the Odyssey 2, amazing pair for 191 eur

Some tips: 1, Get a good seal, stock tips are often good enough, but you most likely will need to buy third party tips of various sizes to see what works for you. Most people will swear by tips like Penon Orange, Dunu S&S and Spinfit W1. 2, Some IEMs need wide bore tips to let through all frequencies, while some need small bore tips to accentuate the bass and calm the treble. You'll have to see what you prefer depending on how treble sensitive you are and how the IEM graph looks like. For example my Ounch Audio Portazo really sounds bright (too much treble) if I use a wide bore tip, but when I use a smaller bore tip like Penon Orange or the included foam tips, suddenly it's one of the best IEMs in my collection. The eartips are crucial and make all the difference. 3, You will eventually get a new set of IEMs, and you will have to base the new purchase on some factors. Did you like the sound of the Aful Explorer? Then get a similarly tuned IEM, or take a gamble and try something new. I loved my Explorers, then switched to other stuff and loved it more, so now I gave the Explorers to my little cousin because I wasn't wearing them anymore. Some people have different IEMs for different genres. I for example love the Ziigaat Arete for gaming and PC use, Punch Audio Portazo for classical music, low frequency heavy music and sound stage, and Ziigaat Odyssey 2 and soon Aful 5+2 for commuting and all kinds of music. 4, Use AliExpress, it will save you a ton of money on things like eartips, DACs and more. With their coins system I just have to login every day through a phone widget and claim daily coins, then I can use them to cut the cost of what I buy, every day the discounts change so I can sometimes find a pair of eartips for like 60% off and build my collection for much less than on Linsoul.

If you can afford the MKIV, it is truly amazing, metal shell, tuning switches that make it a very close MKII tuning or a MK3-LTD. If not that I would say the tea pro or odyssey 2 for less bass, I personally regret and truly hated the top pro, I loved the vocals but there was in fact some weird warm. And the 3D shell IMHO was a downgrade from resin builds, felt like I could crush it. Could be a pro for you if you really hate the weight of IEMs. The RSV MKII looks nice and graphs amazing but for a 5BA set, 700$ seems a little much tbh. Dawn X looks great, but the only thing to consider is if you care about bass it definitely is more balanced or reference tuning, so is the MKIV but has 2 options if you ever want to tone it up or down. PLUS, it doesn’t have a lip on the nozzle so tips could get stuck in your ear every now and then. I'll end by saying that the MKIV is basically a better top pro, with rumble off it graphs almost identical, and has ESTs. Top pro has a very noticable mid bass scoop and thats what most reviewers dislike when they say it doesnt have enough bass. If you want something more affordable than the MKIV while being like the top pro I would look at the NiceHCK Rockies, for the same 500$ you get more for your money (BUT doesn't have a lot of bass, tea pro would be the better alternative).

Haha, I mean I would say 700$ is pretty much “on the higher end” for the majority of people. Which is why as the other person mentioned, companies need to push each other, 5 drivers for 700$ is too much. When it comes to 500$+ driver count and namely branded driver count is one of the bigger determining factors, no one said it’s the single biggest. The RSV mk2 is a 4 way crossover (crossovers also matter) but more times than not, the quantity of branded drivers kinda impacts the technical abilities, you can’t replace pure displacement. I would say the mega5 with the sonion ESTs (well know brand), should more times than not, be better at separation and imaging.

Just got mine, They're pretty good. I think I like them slightly more than hype 4s because the bass is less fatiguing. Definitely worth it. Although I'm looking for something with better soundstage, imaging and little more detail so I might return them

the monarch mkiv can sound jarring if you’re coming from a warmer iem (i have the sa6 mk2 and it’s hard for me to categorize. sometimes it sounds warm, sometimes it sounds open and bright—not sure how you hear it). but, since it’s already in your hands, i’d give it some more time. just today, i put mine on and found them to be warmer than i remembered. sometimes it just depends on what you heard last, how tired you are, etc. otherwise, maybe the mega5est. it’s more vocal forward than the sa6 mk2 and more conventionally tuned, so it would complement your sa6 by giving you something that sounds a little more proper while being more laid back and natural than the monarch mkiv. you also don’t give up too much in terms of technicalities. coming from the monarch mkiv, the bass will definitely sound less defined, but i think it fits the overall sound signature well. some people call the mega5est boring, but musicality is subjective and hard to define. i’m a neutral head and the mega5est has a touch more warmth and bass than what i consider neutral, so in that sense, it’s musical to me. if you want to be risk-averse, the ziigaat arcanis has pretty much replaced the sa6 mk2 in my rotation. it’s what i expected the sa6 mk2 to sound like (and what i wanted the mega5est to sound like). a bit more sub bass and bit more satisfying bass overall. i find the upper mids and vocals of the sa6 mk2 to be too recessed and the arcanis addresses this by bringing them forward just a smidge (but not as much as the mega5est). vocals have a vibrant quality to them that you might consider musical. and there is just enough treble extension to give it air and sparkles. it doesn’t come across as technical as the sa6 mk2, but all of the details are still there. it’s unique and i actually like it more than the mega5est, but that comes down to how it fits in my collection penon/isn has been recommended a lot. i can vouch for the ebc80. its warm, has phenomenal sound stage, and is super fun. it isn’t fatiguing at all to me, but it doesn’t really fall under the category of laid back. their other iems might for the bill, though. these recommendations i think would be an “upgrade” to the sa6 mk2. however, my philosophy is that for a laid back sound, you don’t need to spend a lot of money. so personally, my warm, laid back iem is the ziigaat arcadia. it’s warm, punchy, has just enough treble, and with the right tips, can sound just as well-executed and beautiful as anything in the $200-$250 range. i prefer it to my penon serial and canon 2 for this purpose. i’ve also been going to the odyssey 2 a lot for a laid back listen, though it is not as warm. the punch audio martilo is also a good choice if you think you can tolerate a lot of sub bass. it sounds mostly normal and conventional, which, like the mega5est, could complement the sa6 mk2 well. when there isn’t a lot of sub bass in a song, it doesn’t sound like a bass head iem. but when there is, the bass sounds like you have a sealed subwoofer in front of your face.

I would suggest go for 50-80$+ upgrades rather than huge jumps. To be safe its better to go for iems that are more in the balanced category and check if it suits with the graph of your latest used one. What I personally noticed is that going over the 150$ price point most iems get studio quality details, textures and insturment isolation to the point that some tracks sound uncompressed and it falls on you to adjoint the parts together in your head. This kinda gives a new sense of sound perception I never experienced before. This happened when listening to OG oddysey, Astrals and now Oddysey 2.

I currently own the Odyssey 2 and I think it sounds amazing. Would love to try the Horizons!

Ziigaat Odyssey hands down lol

Wow those look nice bro, that accessories game is no joke either. Yeah I was going to say the same thing with my Odyssey 2's hooked up to my FiiO QX13 on high gain they're not bad but I have to run desktop mode to really get them to come alive lol. Nice job bro.