NF Audio – IEM brand that we’ve been eager to try out for a long time but never had a chance… Shenzhen Ningfan Acoustics (NF Audio) has one of the most expensive IEM models (JD24) with 2 electrostatic tweeters + Knowles 4 BA combination and price tag of USD1,800. Electrostatic drivers are still rare among IEMs and we hope to review some models of this type soon. Besides that, NF Audio offers a wide selection of other models for different budgets and we would start our journey with this brand from NM2+ single dynamic driver IEMs (USD169).

As found in the description, NM2+ are revised version of initial NM2 monitor dynamic IEMs. It is now based on MC2L-1OII dual magnetic circuit, dual-cavity dynamic driver, built from different materials, still maintaining comfortable fit. Higher resolution and wider frequency response range are stated among improvements as well. Anyway, we have not tested the predecessor, therefore, taking all improvements for granted and would be examining NM2+ solely, not referring to its previous iteration.

NF Audio NM2+ specs:

• Driver: MC2L-1OII, dual cavity, dual magnetic circuit, polymer composite dynamic driver
• Frequency range: 9 – 40kHz
• Impedance: 18 ohm
• Sensitivity: 108 dB
• Distortion: ﹤1%
• Max SPL: 125 dB
• Passive noise cancelling: 25 dB
• Cable: 5N silver-plated OFC
• Cable connectors: 2pin 0.78mm
• Plug: 3.5mm + 6.35mm adapter
• Net weight: 300g

NF Audio NM2+ IEMs are available at Aoshida Audio store: LINK

Packaging and design:

NM2+ has a unique packaging with some interesting design findings and much of attention paid to details. Grey square-shaped outer cover of the box contains plenty of company information, large silver names and product picture.

Counterfeit protection sticker is present and located at on of the edges. The box itself maintains similar grey appearance with logo imprints and made foldable – consists of two equal parts that opens like a book, retained by several integrated magnets. Left part has the special podium for user manual and compartment for storage case.

On the right – round cutout holds soft IEM podium with compact disc shape with round ear tips holder and cable stored in the compartment underneath. Even the user manual has a special aluminum clip in its binding to slide it out from the compartment. Tips are stored in pairs according to different sizes and types (bass oriented, neutral). Quite interesting design and clever layout. Full list of accessories is as following:

• NM2+ IEMs
• audio cable with 3.5mm plastic cap
• 3 pairs of neutral ear tips
• 3 pairs of bass ear tips
• storage case
• 3.5mm -> 6.35mm adapter
• user manual

NM2+ IEMs shells consist of two aluminum parts. Top cover is precisely aligned with the base, no gap or sharp edges and also features logo cutouts. Main design element – another logo cutout with blue paint is located at front edge near the output nozzle.

Back edge of the base has one more CNC element of design – its model name. Output nozzles are a part of the bases and end up with aluminum filters. Both IEMs have corresponding channel indicators, transparent plastic 2-pin cable connectors and compensational openings.

Despite the chosen material, MN2+ are lightweight and relatively small (we would say mid-sized) IEMs. Output nozzles are reasonably long and in combination with small weight, custom-like shape and flexible ear guides on the cable NM2+ would provide very comfortable fit for the most of the people.

This model also impressed with its stock audio cable. Not only it’s elements are perfectly crafted but also it is thicker than usually included by the competitors in the similar price segment. Another good feature of this cable – it is hard to tangle, thanks to such type of braid.

In overall, NM2+ design and build quality are close to perfect. Lots of elements, excellent crafting, precise alignment, natural shape, comfortable fit. We would prefer other more attractive colors to be available, but it’s definitely not a complain.

Sound quality:

Testing setup: Hidizs AP80 -> xDuoo XD05 Plus -> NF Audio NM2+

Lows:

First of all, NM2+ are definitely not bass-ordiented IEMs. This range doesn’t have any accent and feels linear with mids while both hang behind the treble. Some additional gain by EQ, MSEB or Bass Boost in our case (xDuoo XD05 Plus) would be necessary if you are a bass head. We personally prefer this type of sound more than having to get rid of extra influence of lows on other ranges. Besides, lows are evident, texturized and contoured in high quality tracks which exposure and presence is being perceived more as balanced, monitor-like sound rather than inadequate exposure. Not that we always like such linear performance but at least it gives you a good base for further tuning whenever needed. Mid bass is totally different story – dynamics, power, speed and articulation are all decent.

Mids:

NM2+ mids get the additional resolution, especially in the upper range. The nature of this resolution is virtual since single dynamic driver is not aided by any additional HF elements and this is the result of gain tuning. Excellent experience on bow and string instruments that show the most amount of micro details and great emotionality of female vocals. Surprisingly, male vocals and lower portion of instruments have managed to maintain adequate thickness and warmth despite the tendency towards emotional appeal. Although, NM2+ are susceptible to whistles and hisses due to its tuning with low quality tracks or cold audio sources. For example, for us, personally, old records (from 1960-70yy) were sounding much worse than most of the tracks from 90s and later. At the same time AP80 DAP own output was significantly worse than xDuoo XD05 Plus DAC/amp with its warmer and more developed sound. But in overall, feeding only high quality records, NM2+ are highly resolving, quite emotional and adequately thick on mids.

Treble:

Of course, with this type of tuning and capable driver unit NM2+ goes all the way up to become one of the best treble performing single dynamic IEMs. Clean, clear and transparent sound with evident accent, great extension and bright overall sound picture. Dynamic IEMs with such performance are quite rare, we can only point out several examples for past 4 years – Kanas Pro, Oxygen and SSP (although, SSPs are less delicate on treble). Here (together with tight and juicy mid bass) you get the full notion of modern fast moving lightweight diaphragm which is used in NM2+ structure.

Soundstage:

One of the most valuable virtues of NM2+ sound is the size of the virtual stage it builds, especially in width. Stereo panorama is very wide, perhaps the largest one that we’ve experienced with IEMs so far. Of course, partially it is a result of high-quality DAC/amp in or setup but even with the simple AP80 SE output NM2+ shows very good stage.

Sound summary:

If to summarize sound of NM2+, we would say that it has colder tonality which further gives the effect of high resolution on upper mids and treble. Treble is accented, clean and crisp while mids and lows are in good balance and retaining good thickness and texturing. Altogether this creates emotional and transparent sound with wide stage and plenty of details. Monitor-like performance on the lower half of the FR range is mostly achieved by the conservative presence of bass portion. Again, NM2+ are definitely track quality / source quality-hungry IEMs and best to be paired with some warmer sources.

Compared to Moondrop Kanas Pro:

Moondrop Kanas Pro also based in single dynamic driver but the tuning is quite different. It is evidently more V-shaped, with much accent added to lower end. Mids are slightly recessed. Soundstage is smaller and fit is not that perfect as with NM2+. But in overall, both models deserve good scores, just the preference in sound should be different. NM2+ more linear while Kanas Pro are obviously V-shaped. Perhaps, NM2+ are even closer to Tanchjim Oxygen but lacking some delicacy and transparency.

Compared to TFZ Secret Garden HD:

Quite similar IEMs in terms of performance on treble and mids, whereas Secret Garden HD have more gain on lows and more suitable for bass heads. Soundstage is not that wide, treble starts to show some minor artifacts at higher volume. Again, both models are close in the resulting sound and most of the difference lies in the amount of bass they produce.

Conclusion:

Our first encounter with NF Audio brand and NM2+ model as its representative went totally positive. “Monitor” label among the declared features is reasonable with the concern of its performance on lows and mids. However, treble portion, despite all of its virtues, is slightly out of this definition. It brings more juice and emotions than mostly inherent for monitor-like delivery. On the other hand, neither we treat it negative, since NM2+ IEMs are nowhere near being dry or anemic. Most of applause go towards its stellar mid bass and treble performance while mids and lows deserve good scores for its accuracy, texturing and resolution. Not less important is the wide soundstage NM2+ are capable of. Definitely a strong contender among single dynamic driver IEMs to play within its price segment and market niche.

NF Audio NM2+ IEMs are available at Aoshida Audio store: LINK

«All we want to do is just to conquer your ears» — this is the slogan printed on HIFI BOY OS V3 IEMs box. Pretty intriguing declaration the meaning of which promisses better sound quality in the corresponding price range. Noted, this review would be based on higher expectations 

Despite that there are only 3 models listed in HIFI BOY brand portfolio, the amount of reviews, comments and feedback from the customers is numerous and widespread. Sources are found in Asia, USA, Europe and CIS region. Either people around the globe really like it or brand is doing very good marketing. We believe it’s the first and sharing the proof in this review.

Short brand description:

«HiFi boy is a high-end hifi audio brand launched by China Chengdu Fallante Technology Co., Ltd. The company is an integrated research and development, production and sales technology company, mainly engaged in development, manufacturing and sales of hifi headphones, multimedia speakers and Bluetooth audio equipment.»     

HIFY BOY OS V3 technical specifications: 

• Drivers: 2 BA + 1DD
• Balanced armature drivers: ultra-high frequency BA + high frequency BA
• Dynamic driver: 7mm strong magnetic composite diaphragm
• Impedance: 19Ω
• Sensitivity: 109dB
• Frequency response range: 20Hz-20KHz
• Cable connectors: 2pin, 0.78mm
• Cable Length: 1.2m
• Wire: 5N OFC silver-plated cable
• Plug: 3.5mm

You can get HIFI BOY OS V3 at PenonAudio store

Packaging, design and build:

OS V3 box is wrapped with the additional cardboard slipcover which provides the information about main technical specifications and box contents. Removing it would reveal black matt box with shiny silver brand name and logo imprints.

Top cover features folding design with strong retaining magnet. Inner box compartment is neat and simple — most of the additional accessories as well as IEMs are packed inside the protective case while the additional adapters has their own cutouts in soft podium insert.

Box contents:

• HIFI BOY OS V3 IEMs
• audio cable
• 9 pairs of silicone eartips
• 2 pairs of foam eartips
• protective case
• 3.5mm->6.3mm adapter
• 3.5mm->2 x 3.5mm mono plug adapter

OS V3 shells are made of plastic with transparent glossy resin layer on top. This layer makes the whole construction feel very solid. Shiny silver brand logos are also protected by the resin layer.

Sound output nozzles are protruing from shells and make a single piece. Holes on top of the nozzles have different diameters and are not protected by any filters or grills.

Compensational openings are located on the back edge of the shells. 2pin, 0.78mm connector bases are slightly recessed inside the case and have pretty tight holes for the incoming pins.

Stock cable is 1.2 meters, made of OFC silver-plated twisted cores, features aluminum audio jack housing, Y-splitter, limiter and 2pin connectors made of transparent plastic and flexible earguides. There are blue (left) and red (right) channel indicating dots on 2pin connector housings.

Fit:

We have defined several types of shapes for ourselves that are commonly used in different IEMs: bullet (like Rose Mini2), moon (like TFZ No.3), drop (like Earnine EN2J), triangle (like LZ HIFI A6) and custom (like Kinera Idun). Only two of these are highly universal and always comfortable — bullet and custom. HIFI BOY OS V3 belong to custom design type with complicated shape that’s, in fact, having a perfect fit. No problems with the choice of eartips and very good experience during different physical activities.

Sound:

Tested with HiBY R6Pro DAP (3.5mm regular output, reference mode)

Lows and midbass:

Very good performance here. Bass presence is pretty big and accented which influences entire sound and makes it warm. Although, the extension of bass is only moderate in favor of dense and controured feel. It doesn’t bleed either into higher frequencies or lowest regions and stays perfectly audible (as if we were using closed type overheads). Texturing is above the average but doesn’t surprise too much due to restrained bass extension and mostly compact delivery.

Such behavior on lows builds very good ground for midbass section. It sound powerful, tight, equilally tinted by bass and treble and perfectly controlled. Dynamics is decent, drums sound rich, lively and full-bodied. Moreover, impedance of OS V3 IEMs makes those to be an easy load for the most of audio sources (even smartphones). This also help to maintain good articulation and dynamics at higher or lower volume settings.

Mids and vocals:

Mids feel recessed in comparison to other ranges but only very slightly — just enough to have good warm influence of bass and more resolution on top provided by treble. Female vocals don’t sound harsh or shouting even with recordings that would usually suffer from that. Male voices are pretty close to stage front and pretty thick as well. Resolution on mids might have been better with larger presence of treble but this would also lead to less smooth presentation and more sibilances. In overall, we like that mids have this nice warm timbre and enough thickness — this makes the sound more enjoyable for longer time. Additionally, there is quite good instrument separation and enough distancing from the lower range.

Treble:

Treble is more emphasized than mids but still not sufficeint to make the sound feel bright. We would say that it is quite soft and thick, with moderate extension and just enough to add the adequate clarity and resolution. Such approach is much closer to dynamic drivers, rather than BA units. We’d never take the right guess about driver types in OS V3 in blind test. Hard to judge on that matter if the entire sound is on the warmer side while treble is added that much of body and little accent. Anyway, very good micro dynamics here that should have given us a clue during our guess. Some new experience with hybrid IEMs in overall and rare example of signature affiliation with dynamic models. We can think of the opposite example — TFZ King Exclusive — dynamic IEMs with surprisingly clear and emphasized treble that reminds us of balanced armature sound.

Stage:

Imaginary scene width is slightly above the average. Tight bass doesn’t let it to expand further to sides while treble doesn’t help much to define huge vertical domain. What’s really good is layering and instrument separation in mids which creates a feel of tidy depth.

Sound in overall:

HIFI BOY OS V3 sound can be desribed as only slightly V-shaped, having a warm timbre, with perfectly contoured bass, decent midbass, fairly balanced vocals with good overall resolution on mids and slightly emphasized but not that extended treble. Very good for blues, jazz, vocals, instrumentals and other slow genres with limited amount of instruments.

Compared to LZ HIFI A6Mini:

A6Mini IEMs also belong to hybrid type but feature piezo-electric driver to handle the treble range. This gives the additional microdynamics, extension and clarity to treble with brighter signature in overall. Lows and midbass are pretty similar to OS V3 while A6Mini mids sound a bit thin and distant. Although, the resolution of mids is slightly higher and caused by heavier influence of sharper treble.

Compared to Shozy & Neo CP:

CP IEMs belong to pure armature set of drivers with excellent resolution and texturing. Despite that, signature is on the warmer side as well. The only two things that NEO lacks are more bass presence and more powerful midbass. OS V3 IEMs are exposing bass and midbass better while having less resolution and texturing in overall. Timbre of both models is kind of similar. We would recommend Shozy & Neo CP for faster genres with larger amount of intruments while OS V3 would be better for slower genres and for people that are more susceptible to treble.

Conclusion:

This is the third model of IEMs in our practice that brakes the rules and broadens customer choice in corresponding type or budget. HIFI OS V3 sound differs much from its hybrid siblings by combining armature driver micro dynamics and speed with warm and mild temper mostly common for dynamic models. Such tuning results in very good vocals, pretty balanced overall perception and fatigue free long listening experience. Therefore, HIFI BOY OS V3 deserves a special treatment for its rare sound signature, interesting combination of dynamic and armature driver benefits and their will to go against modern practices of building punchy but tiring presentation.

You can get HIFI BOY OS V3 at PenonAudio store

The process of investigation on the latest products by LZ HIFI Audio brand continues… Last time we have reviewed the new flagship A6 IEMs that was released simultaneously with its less pricy and younger variation — A6Mini. This model is not so tightly packed with the features but at the same time has many things in common. Both models have the base combination of similar 10mm dynamic woofer + piezo-electric ceramic high frequency driver while A6 also incorporates additional 4BAs. Both share the same design, shape and possibility of further tuning options by the means of applying different output nozzles.

All of the above made LZ HIFI flagship model to be a decent performer with unique features and now our quest is to understand whether A6Mini IEMs are as revealing and universal in comparison to its own class rivals.

This review would partially borrow the text from our article about A6 IEM due to shared similarities between two models.

We advice you to read our review of LZ HIFI A6 as well.

You can purchase LZ HIFI A6Mini at PenonAudio store

LZ HIFI A6Mini technical specifications:

• Combination of drivers: 2-way hybrid
• Dynamic: 10mm DLC diaphragm dynamic woofer
• Piezo-electric: 7 layer parallel piezoelectric ceramic extra-high frequency driver
• Frequency response range: 15Hz-35kHz
• Impedance: 20Ω 
• Sensitivity: 112dB
• Cable: 1.3m, 3.5mm single-ended stereo plug, L-shaped
• IEMs connector: MMCX or 2Pin 0.78mm (depending of customer choice) 
• Designed according to CTIA IECQ standard
• Feautres: 3 pairs of sound tuning nozzles

Output nozzles (filters):

• Blue: 3-7kHz +3dB
• Black: 3-7kHz ±0dB
• Red: 3-7kHz -3dB

As stated in the technical specifications nozzles have 3 tuning option. Each nozzle option has different acoustic filter mesh. Switching from +3dB to -3dB should produce quite a change in the frequency response of upper mids / lower treble range. Let’s get back to that after examining the exteriors.

Build quality, design and materials:

LZ HIFI A6Mini box packaging design is similar to the flagshop model. Box has the additional black outer cover with shiny purple brand logo, model name and short description imprints. Back side contains company name and address.

Cover aside, box is orange now and has only brand logo printed on it.

Box inner compartment is split into two layers with top inset holding IEMs and bottom compartment containing storage case along with several accessory boxes.

Box contents:

• A6Mini IEMs
• cable
• 3 pairs of tuning nozzles
• 6 pairs of silicone eartips
• 1 pair of memory foam eartips
• storage case
• warranty card
• user manual

Pretty standard list of accessories if not taking into consideration 3 pairs of output nozzles. Storage case is always welcome to provide long lasting life for your IEMs. In comparison to A6, more budget friendly A6Mini set of nozzles is focused on singles frequency response range and 3 variations of upper mids|lower treble response filters.

A6Mini IEMs are made of two parts — top aluminum cover and base (perhaps — steel). Parts are perfectly aligned, the gap is hardly visible. Top covers are matt black with rough finish, contain neatly printed brand name and additional compensation opening.

There is no LOUD button as in A6 flagship model but A6Mini impedance and sensivity is closer to what we’ve seen in A6 when LOUD was ON.

IEMs bases are black with glossy finish and have a another compensation opening close to the nozzles.

Nozzles are made of alluminum, have threaded type of connection and rubber seal to protect dust and moisture from coming inside the thread. A6Mini nozzels are interchangeable with A5 and A6 IEMs — same thread diameter and pitch.

MMCX (or 2-pin, 0.78mm) are located at the top edge. No free play here.

Stock cable can have either MMCX or 2-pin, 0,78mm connectors depending of customer choice. All cable elements are made of aluminum — Y-splitter, limiter, connector housings and L-shaped 3.5mm jack housing.

Connectors do feature channels indicators but there are no corresponding indicators on IEMs. Anyway, further identification is an easy task due to specific IEMs shape and fit. We like A5 cable more for two reasons: soft braid and earguides that would hold any given shape. A6/A6Mini cable is packed in more stiff silicone braid while the earguides are springy.

In terms of fit comfort we’d also prefer A5 over the newest A6/A6Mini models. A6Mini is not as heavy as A6 due to loosing extra 4xBA drivers but still less comfortable to wear in comparison to A5. The shape of newer models is not so natural and the profile is kind of thick. It would be much easier if the earguides would be helping better by holding the desired curvature. Consequently, the level of noise isolation is average if not less. Better ergonomics of A5 cuts off the incoming noise more effectively.

Sound quality:

Tested with Hidizs AP200 + AP80 DAPs.

Lows and midbass:

Deep bass shows high amount of textures no matter which nozzle is currently in use.  Bass amount and presence are not overwhelming, neither it is accentuated. Сontouring is precise, good layering allows to distinguish different instruments performing in this range. Subbass reaches good depth whereas bass is totally adequate to balance and accompany other ranges. A6Mini lows remind us of full-sized open back headphones with airy and transparent presentation. In comparison to A6 this range aquired more weight in overall sound picture and got only a bit more «muffle» feel but the rest is left unchanged and sounds quite similar to the flagship model when LOUD is enabled.

Midbass section is adequately articulated, full-bodied and powerful. Drum sections sound pretty natural, creating a good feel of overall dynamics.  The only difference to A6 model is a small descrease in body and dynamics of certain sounds during the drum sessions. This might be a result of additinonal front compensation opening or changes in the volume of woofer cavity — A6Mini have much more free space inside. There is no significant change in midbass coloration while applying different filters which means that this range is perfectly weighted and tuned by crossovers.

Mids and vocals:

Mids are more upfront than lows. Male vocals sound a bit thin and more distant than female ones which adds more emphasis on clarity and emotional appeal.  In comparison to A6 flgship model mids did loose some body, balance and resolution. Not a surprise because 2 extra mid-range balanced armature drivers were removed.  Detalization is  still enough to show good amount micro details on both — voices and instruments.  There is no excessive harshness on upper mids, but the overall tonality feels bright and the sound is prone to sibilances when using blue filter. This filter adds the exceptional clarity and colder crispness to string instrument or female vocals. Switching to red filter would make the presentation darker by cutting off most of the sparkles and giving the mids a touch of warmth. Sibilances almost fade away or at least should draw much less of attention. Going back and forth with different filters give obvious influence to the overall tonality. Chances to find the most suitable sound are good. Tuning of mids can vary from very emotional and thin to thicker and more natural sound.

Treble:

In our previous review we have conlcuded that LZ A6 IEMs managed to set the new standard concerning treble range extension, micro dynamics and resolution. LZ A6Mini IEMs are not as remarkable but get very close…  Speed, micro dynamics and extension are the best for the corresponding budget even with a single piezo-electric ceramic driver. Blue filter is excessively bright and crisp, highly accentuates treble and bringing it to the very front while the red one removes anything too biting and mostly equilizing treble to mids. This range can vary from icy, sparkling and very crisp to more neutral, softer and less emphasized behavior. The main difference to A6 sound with two additional BA units is more dry and less resolving presentation, still managing to keep a similar feel of remarkable transprency.

Soundstage:

LZ A6Mini show moderate spread of instruments on horizontal and vertical planes. Distance of certain instruments from the center in regular tracks is more than the average as well while special binaural recordings are very pleasing to listen to due to significantly enlarged spread and precise positioning. No changes to A6 flagship model with LOUD on.

Sound in overall:

LZ A6Mini sound can vary from fairly balanced with slighty accented upper mids/lower treble to very bright, crisp, treble-emphasized tonality. High resolution, great texturing of lows, good layering and treble extension would remain constant regardless of the filter choice.

Compared to Whizzer Kylin:

Whizzer Kylin are more bassy and less detailed IEMs. Lows are less textured and more heavy, not showing that much of details. Kylin are almost as bright as A6Mini with blue or black filter options but brighter that the cobination of A6Mini with the red one. Kylin treble range doesn’t catch up with the dynamics, extension and resolution of A6Mini. It sounds more simple and straight forward. At the same time, mids in Kylin feel more balanced, adding some body to male vocals and better exposing instruments in this range. Mids are closely approaching flagship LZ A6 model rather than A6Mini (no wonder why Kylin is so respected amoung audio fans). Unfortunately, Kylin would barely fit my ears due to cone shape of output nozzles. LZ A6Mini are not the best in this respect either but better than Kylin.

Compared to Shozy & NEO CP:

Shozy & NEO CP IEMs belong to pure armature class and produce quite different sound. Tonality is warmer and in overall it feels softer. Not as sharp and detailed as A6Mini in either range. Deep bass lacks the presence and power. The main advantage of CP IEMs is in the combination of gentle delivery with good resolution suitable for many slow music genres. Whereas A6Mini is sharper and brighter, which would be better for hard rock, metal, orchestra and other genres with lots of different instruments in each range.

Conclusion: 

Surprisingly, LZ HIFI A6Mini IEMs has managed to maintain some of the main vitrues of a flagship model and come close to its sound characteristics regarding overall resolution, good texturing of lows and decent reproduction of treble range. Not featuring LOUD button, A6Mini are tuned to deliver the same soundstage and drive as perceived in flagship model only with this function enabled. The variety of further tuning options has been reduced to 3 filters which is still enough to change the tonality  from very bright and crisp to more balanced and much closer to neutral. All of these qualities define LZ A6Mini as the most feature-packed and interesting choice than the most of its class rivals. Finally, with almost half the price off, A6Mini are holding well against the flagship model in various aspects, making these IEMs even more valuable.

You can purchase LZ HIFI A6Mini at PenonAudio store

Short after release of very capable and bright A5 IEMs, young but ambitious LZ HIFI Audio brand presented their new products — A6 and A6Mini targeting totally different budgets. New models share the same 7 layer piezo-electric ceramic extra-high frequency driver along with 10mm dynamic woofer. A6 goes beyond that and offers the additional two mid range BA + two treble BA units and mechanical LOUD switch to change bass and treble impact at lower volumes. We’ve got a chance to test both models, starting with A6 as the most advanced one. And yes, we’d surely compare its sound to the previous A5 IEMs but only if we would survive during very complicated and time consuming test of highly sophisticated A6 IEMs.

Just to remind about LZ HIFI Audio — it is a small company located in ShenZhen, China. Domestic LZ brand popularity came with the release of LZ-02 IEMs that gathered further positive feedback and demand from the western part of the world. Currently, LZ HIFI Audio protfolio consists of 6 products and LZ A6 & A6Mini are their latest models.

You can purchase LZ HIFI A6 at PenonAudio store

LZ HIFI A6 technical specifications:

• Combination of drivers: 6-way hybrid
• Dynamic: 10mm DLC diaphragm dynamic woofer
• Piezo-electric: 7 layer parallel piezoelectric ceramic extra-high frequency driver
• Balanced armature: midrange BA x 2, treble BA x 2
• Frequency response range: 10Hz-40kHz (at max, depending of nozzle group)
• Nominal Impedance: 45Ω LOUD OFF, 20Ω LOUD ON
• Sensitivity: 110dB LOUD OFF, 115dB LOUD ON
• Cable: 1.3m, 3.5mm single-ended stereo plug, L-shaped
• IEMs connector: MMCX or 2Pin 0.78mm (depending of customer choice) 
• Designed according to CTIA IECQ standard
• Feautres: Gain (LOUD) switch, 9 pairs of sound tuning nozzles

Output nozzles (filters):

Group A: frequency response 10Hz-40kHz

• Blue: 3-7kHz +3dB
• Black: 3-7kHz ±0dB
• Red: 3-7kHz -3dB

Group B: frequency response 15Hz-30kHz

• Gold: 3-7kHz +3dB
• Dark gray: 3-7kHz ±0dB
• Pink: 3-7kHz -3dB

Group C: frequency response 20Hz-20kHz

• Dark Blue: 3-7kHz +3dB
• Sliver: 3-7kHz ±0dB
• Purple: 3-7kHz -3dB

We’ve made our own nozzle visual chart to get a better and quick understanding of different nozzels and their influence. We have also rearranged the colors so that it would represent frequency range and upper mids|lower treble descrease going from left to right:

As stated in the technical specifications and as seen on this graph — nozzles are split into 3 different groups and having 3 subsequent tuning option. A group represents specific frequency response range determined by the change of inner nozzle diameter. Each nozzle option inside the group has different acoustic filter mesh. Switching from +3dB of group A to -3dB of group C should produce quite a change in the frequency response and tonality. Let’s get back to that after examining the exteriors.

Build quality, design and materials:

Seems that LZ HIFI Audio brand has changed the approach towards packaging design all around. Unlike the previous model, A6 IEMs box has the additional black outer cover with shiny purple brand logo, model name and short description imprints. Back side contains company name and address.

Cover aside, box is orange now and has only brand logo printed on it.

Box inner compartment is split into two layers with top insert holding IEMs and bottom compartment containing storage case along with several accessory boxes.

Box contents:

• A6 IEMs
• cable with 3.5mm jack protection cover
• 9 pairs of tuning nozzles
• 6 pairs of silicone eartips
• 1 pair of memory foam eartips
• storage case
• warranty card
• user manual

Pretty standard list of accessories if not taking into consideration 9 pairs of output nozzles. This set has expanded in comparison to A5 tuning options that had only 4 nozzles to choose from. Storage case is always welcome to provide long lasting life for your IEMs.

A6 IEMs are made of two parts — top aluminum cover and base (perhaps — steel). Parts are perfectly aligned, the gap is hardly visible. Top covers are matt black with rough finish, contain neatly printed brand name and LOUD button label.

LOUD button is also located here, closer to the back side of the shells. It is made of aluminum, doesn’t rattle and has pretty large travel: protruding ~0,5mm from surface when pressed and ~2-2.5mm when depressed.

IEMs bases are black with glossy finish and have a single compensation opening close to the nozzles.

Nozzles are made of aluminum, have threaded type of connection and rubber seal to protect dust and moisture from coming inside. A6 nozzels are interchangeable with A5 IEMs — same thread diameter and pitch.

MMCX (or 2-pin, 0.78mm) are located at the top edge. No free play here.

Stock cable can have either MMCX or 2-pin, 0,78mm connectors depending of customer choice. All cable elements are made of aluminum — Y-splitter, limiter, connector housings and L-shaped 3.5mm jack housing.

Connectors do feature channels indicators but there are no corresponding indicators on IEMs. Anyway, further identification is an easy task due to specific IEMs shape and fit. We like A5 cable more for two reasons: soft braid and earguides that would hold any given shape. A6 cable is packed in more stiff silicone braid while the earguides are springy.

In terms of fit comfort we’d prefer A5 over the newer A6 model. The shape of the latter is not so natural, A6 weights more and are kind of thick. Finally, we could get used to that and find the best position but it would be much easier if the earguides would be helping better by holding the desired curvature. Consequently, the level of noise isolation is kind of average if not less. Better ergonomics of the previous model cuts off the incoming noise more effectively.

Sound quality:

Tested with Hidizs AP200 + AP80 DAPs and Group A Red nozzle, LOUD ON.

Lows and midbass:

Deep bass shows high amount of textures no matter which nozzle is currently in use but at the same time is highly dependent of the LOUD button position. It feels more enveloping and significantly expands the soundstage with LOUD ON while being more dry and narrow with LOUD OFF. This effect is further pronounced when changing from Group A to Group C nozzles. Bass amount and presence are not overwhelming, neither it is accentuated. Сontouring is precise, good layering allows to distinguish different instruments performing in this range. Subbass reaches good depth whereas bass is more than adequate to balance and accompany other ranges. One peculiar thing is that lows here remind us of full-sized open back headphones with more airy and transparent presentation, especially with Group A nozzles. Group C, Purple nozzle would show more compact and tight bass, narrowing the soundstage and reminding of closed back headphones sound.

Midbass section is adequately articulated, full-bodied and powerful. Drum sections sound very natural and engaging, creating a good feel of overall dynamics. There are no audible coloration produced by excessive treble extensions or significant change while using different nozzles which means that this range is perfectly weighted and tuned by crossovers.

Mids and vocals:

Mids are more upfront than lows and take the leading role on the stage. Unlike the previous model, A6 male and female vocals are kept almost at the same level and sound similarly close to a listener. Resolution is more than the average with large amount of micro details on both — voices and instruments. Together with excellent layering it made possible to distinguish some instruments in our favorite tracks and find them more perceptible than we thought they were. There is no excessive harshness on upper mids, but the overall tonality feels very bright and sound is prone to sibilances with Group A nozzles. This group adds the colder crispness to string instrument or female vocals and producing a bit thin sound in overall. LOUD ON would bring back the thickness, resulting in wider spread and more body to each instrument or voice but with no further change in the tonality. Switching to group C, -3dB would change the perception by cutting off most of the sparkles and giving the mids a touch of warmth. Sibilances are much better controlled or at least should not draw much of attention. Going back and forth with different filters give obvious influence to the overall tonality. Very good chances to find the most suitable sound thanks to a plenty of options. One more thing: A6 are the first IEMs to show that extensive drive and articulation of string finger pulls which are more common for midbass rather than mids… All in all, mids are musically rendered and can vary from very emotional and thin to thicker, more accurate and natural.

Treble:

LZ A6 sets the new standard concerning treble range extension, speed and resolution. Extension is significantly expanded which makes us believe that additional piezo-electric driver used in this model contributes much to reach such exceptional result. The amount of micro details is overwhelming leaving most of the IEMs that we have tested before far behind and creating the feel of immense transparency. Even A5 treble feels a bit simplified when directly compared to A6 during our A|B tests. Group A Blue filter is excessively bright and crisp, highly accentuates treble and bringing it to the very front while Group C filters remove anything too biting, not reducing high resolution and equilizing treble to mids. In fact, Group B is actually very close to A5 treble presenation but the impact of going from -3dB to +3dB is more evident. Plus you have three more options to decrease its gain and extension. This range can vary from icy, sparkling and very crisp to more neutral, softer and less emphasized behavior. LOUD was always ON during our treble tests to reveal the full potential. LOUD OFF kind of conjests this range making it less extensive and coherent.

Soundstage:

Soundstage width greatly depends of the LOUD switch. The widest stage is perceived with LOUD ON — it gives more than average spread of instruments on horizontal and vertical planes in which bass and mids create the depth and treble helps to define vertical domain. Distance of certain instruments from the center in regular tracks is more than the average as well while special binaural recordings are very pleasing to listen to due to significantly enlarged spread and precise positioning.

LOUD button:

Button presses result in immediate change in sound. You can have one channel with LOUD activated and the opposite one without. Not sure whether such possibility is safe for the source but we haven’t damaged anything up to this moment. User manual doesn’t state anything about that. The best and safest way would be to switch LOUD ON|OFF before connecting IEMs to a source. Another reason for doing it this way is the excessive force that should to be applied to push the button. Not the best feeling while wearing IEMs.

LOUD actually works as GAIN (amplification of a signal) and could have been called this way to remove some misunderstanding.

Our personal perception is that LOUD can stay ON forever and LOUD OFF is the option that vast majority would leave aside. Or wise-versa… Why wise-versa? Because the manual states that LOUD is ON when button is depressed but we think that this is a mistake and should be other way around — sound gets amplified when button is pressed. Therefore, if the impedance goes down (LOUD ON) the volume rises. Anyway, maybe, technically, LOUD changes impedance, frequency response, sensitivity… but perception-wise it gains mostly in lows and little bit in treble while making the soundstage wider and more satisfactory to our ears. Our testing DAP — Hidizs AP200 has 130mW output power which is enough to drive either 40Ω or 20Ω loads to the appropriate levels but we feel that LOUD OFF is producing kind of underpowered and narrow sound to our personal liking.

One more thing to mention is that the background noise at mid to lower volumes gets more apparent with LOUD position at ON. Of course, gets barely noticeable at higher volume levels.

Sound in overall:

LZ A6 sound is very hard to describe by a single phrase. Its sound characterisitcs and tonality change with different nozzle options and LOUD position. Lets say that sound can vary from only slighty accented on upper mids/lower treble to very sharp and bright. High resolution, great texturing of lows, perfect layering and exceptional treble extension would remain constant regardless of that choice. The planes of treble are also changing from very upfront to a bit laid back.

Compared to LZ A5:

LZ A5 IEMs are more evidently U-shaped even when compared to Group A A6 filter set. A5 lows are more pronouced, less contoured and less textured while treble is at the same level but not catching up with the extension and micro details of A6. With Group B filters applied to A6 we can get very close to A5 sound tonality and overall presentation but A6 would still be better balanced IEMs due to less impact on lows. Group C would force A6 to sound significantly less sparkling (or more neutral) than A5. On the other hand, A5 has much better fit, almost as exceptional treble extension (and much more extended compared to many other IEMs), more pronounced bass and lower price. If only you can get the same filter set for A5 (which we think might be sold separately by PenonAudio) — this option would be quite competing with its own advantages and variety of additional tuning options. Bassheads might also vote for A5 for its obviously elevated lower range.

Conclusion: 

LZ HIFI A6 IEMs are great perfomers concerning the combination of its decent sound quality, technological advance and the variety of further tuning options. Buying a pair is kind of securing audio fan from an improper purchase — there would always be a possibility to tune the sound to own liking, changing from bright and crisp to more balanced, closer to neutral tonality. Other sound characteristics like treble clarity and extension, bass texturing, instrument separation or overall resolution are either setting the new standards or having very adequate performance, at least. Definitely the new benchmark for various aspects in our collection and one to consider while searching for remarkable sound quality.

You can purchase LZ HIFI A6 at PenonAudio store