Audiophilepure

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“The whole tube measures 41.5mm long, so not as long as the whopping 80mm of the FiiO FA9, enough to allow the full bass to develop. On the other hand, the high-frequency driver was put as close as possible to the ear canal, to ensure low distortion levels.
In the middle of everything, you find a new physical+electronic three-way crossover, in charge of all that work. It gains some help from FiiO’s patented balanced pressure relief technology (basically two vents) and some tweaks in the internal acoustic structure.”

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“The Zephyr from 2-4k has a more of a bump than the Tux 5 but also less of a treble dominance around 5-7k. Female vocals have a smoother richer tone to them on the Zephyr, as do percussion timbre. The Tux 5 is a little leaner with more treble shimmer on the overtone down to about 2k so higher-pitching notes have this slightly more ethereal quality to them.

On the low-end, the Tux 5 is tuned for a deeper and more powerful response with an L-like dip from the sub-bass down to that 1k marker. The Zephyr does not have the same sub-bass weight, instead it sounds punchier with more of a mild mid-bass rise and a sub-bass response that is more or less linear to the mid-bass.”

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“I do not know why companies have largely dropped the multi-dynamic driver design approach that seemed to be all the crazy a few years back. Ok, so some of them did not turn out to be all that popular, and the BA driver count wars were gathering a lot of marketing speed at the time.

Still, with a bit of time and studied tuning they can, and often do, have a much better timbre than balanced armature drivers, especially on the low-end. They have their fans and for good reason. the Dmagic 3D tuning and that gorgeous design should go some way to proving the doubters wrong. This is a very smooth tuning.Stay tuned for the main review which will include more detailed Dmagic 3D sound impressions, synergy/pairings, and those all-important comparisons in the coming weeks!”

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“Treble is surprisingly sharp and on the spot. In the past, a good treble reproduction was a hard thing to achieve even for pricier equipment. Nowadays I’m amazed by the success of these types of brands regarding a crisp and clean, articulated treble performance. The Shozy Rouge sounds delightful in high frequencies and it does that effortlessly without any fatiguing presentation.
I couldn’t find a particular weakness with the Rouge when it comes to its highs at this price level. The treble is airy, articulated, and transparent. So the definition of the treble is good as well as its resolution.”

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As for controls, there is a multi-purpose button and a touch sensor on each side. You can control pretty much anything. This means that you can start & pause the playback, increase & decrease the volume, summon voice assistant, answer, decline & hang-up calls, tune in to the next or previous track. Call quality is also good for the price. It does handle calling in tough situations like a crowded Cafe. The people I called did not have a problem understanding me. Kudos!”

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“The highs never get harsh or piercing even though the highs seem to extend very well and are not recessed. The highs here are present and well and are not hidden away in the background. There is no ringing or graininess. No sibilance either. I did detect a touch of hiss at certain times but I am unsure if it was a character of the recording or the Balanced Armature hissing away.

Perhaps even my amp was the culprit but I did use more than one amp. If you do some research you will find that hiss occurs at around 8khz and these have a spike at that frequency. The high frequencies on the Kinera Freyas have good air, a medium amount of sparkle, and can handle complexity fairly well.”