A Revised Classic Profile

Ratings

Pros

• Powerful, voluminous, energetic, physical, resolving, effective and technical low end.
• Full upper mids and even more remarkable treble.
• Very good level of construction.
• Great ergonomics, comfort, fit and isolation.
• Good cable for the price range.
• Surprisingly large and original rubberized zippered Pac-Man case.
• Five sizes of silicone tips.

Cons

• Sunken central range.
• Evidence of macro detail obfuscates micro detail.
• Excited and energetic profile at the extremes, moving away from balance and homogeneity.

Purchase Link

https://www.linsoul.com/products/7hz-g1

Link to the Store

https://www.linsoul.com/

Introduction

It seems that China-based brands are going in spurts. In a very short time 7Hz has presented several models: the long-awaited Timekess II, the collaboration with HBB Elua and also the G1. And it is precisely the G1 IEMS that I am going to analyze in this review. They are IEMS with a dynamic driver with a 10mm DLC diaphragm and double magnetic cavity, which mounts N52 magnets. As it is obvious from their name, they are part of the G series, they are HiFi gaming headphones that offer a precise tuning, adapted to the Harman curve, with a careful and ergonomic design, which seeks to ensure comfort during continuous and prolonged use, even suitable for wearing them while sleeping. Its tuning has been meticulously tuned to offer smooth transitions in all three bands, balancing deep and powerful bass, transparent mids and crisp treble to ensure an immersive listening experience. It comes with an oxygen-free copper braided cable with 2Pin 0.78mm interface that can incorporate microphone as an option. Let’s take a closer look at this new 7Hz G1 model.

Specifications

• Type of Drivers: dual-cavity dynamic with 10mm DLC diaphragm and N52 magnets.
• Frequency Response: 10Hz-20kHz.
• Sound pressure level: 107 dB/V at 1 kHz.
• Impedance: 18Ω.
• THD (Total Harmonic Distortion): < 0.5% at 1 kHz.
• Jack Connector: 3.5mm SE.
• Capsule Connection Type: 2Pin 0.78mm.
• Starting Price: $34.99.

Packaging

The 7Hz G1 comes in a white box with dimensions 148x106x47mm. The main side shows a real photo of the capsules. At the top you can read the model name in large black letters, a small description and the brand logo on the right side. On the left side, vertically, the brand name is written. The content of the upper part of the main side is repeated on the back. Underneath is an exploded view of the capsule, the specifications in Chinese and the rest is information about the brand’s own headquarters, importers and the standards it meets. After removing the cardboard the box is still white with the silver logo in its center and the name at the bottom. After lifting the lid you can see a translucent plastic sheet with an introduction to the product. The capsules are inside a block of white foam at the top of the box, lined with cardboard of the same color with the brand and model information. Underneath is a curious zippered case containing the accessories. To summarize:

• The two G1 capsules.
• One braided cable with 3.5mm SE plug and 0.78mm 2Pin interface.
• One black rubber case with zipper.
• Five pairs of silicone tips sizes XsxSxMxLxLxXL.
• One user’s manual.

The silicone tip set is the classic set in five sizes. The cable is not bad at all. But the rubber case is surprising, large and spacious, it reminds me of a Pac-Man.

Construction and Design

The capsules are metallic and black, the material is not specified, but they are certainly made of aluminum alloy due to their light weight. They have a somewhat different shape, moving between a design with flat faces with very rounded vertices. The logo is shown in gold ink in the center of the outer face. The 0.78mm 2Pin connection interface is fully integrated into the capsule and consists of a circular black piece and gold-plated connectors. A red dot indicates its polarity. The edges are very rounded and tend to taper as you get to them. The inner face has a smooth curve, without protrusions, with three curved holes near the rim and another one very close to the mouthpieces. The mouthpieces are gold-plated, possibly brass, with a small ring as a base, a 5.6mm central cylinder and a 6.2mm crown. The approximate length is 5mm. To protect the interior is a perforated gold foil in the shape of a five-petal flower with a soft textile filter underneath. There is a gold letter on the inner side to indicate the channel.
The cable is composed of two gray strands wound together. The gold-plated 3.5mm SE plug has a gray metal sleeve, with a depressed cylindrical shape in its center. The cable outlet is protected by a black rubber sleeve. The splitter is a black plastic-rimmed tablet with mirror-like faces with the make and model engraved on each. The pin is a small oval plastic piece with two open holes inside. It has an over-ear guide formed by a transparent plastic sleeve. The sleeves of the 2Pin 0.78mm gold-plated connectors are black plastic pieces in the shape of a curve and a silver-plated ring.
The construction is very good and I’m glad it has a slightly alternative design, with an effort to find an ergonomic and durable shape. The cable is fine, not immediately inviting to be changed, manageable, not too stiff and nicely colored.

Adjustment and Ergonomics

Slightly surprising is the shape of these IEMS and the manufacturer’s description that blatantly seeks comfort for long sessions, even for sleeping. I am one of those who listens to music in bed and I have not even tried it for this occasion. But I do have to comment that the G1s are very comfortable. Their shape adapts very well to my pinna, with no room for rotation. There are no protrusions on the inner side so nothing rubs on the inside of my ear. The mouthpieces are thick, it may be necessary to look for suitable tips for those with narrow ear canals. But, in my case, since my canals are quite wide, using my very large foam-filled tips homemade I achieve a very high occlusive level, a great long-lasting and fixed fit, plus high isolation. It is true that it is very comfortable for long sessions and the weight is not noticeable. The shape of the cable sleeves ensures that the guides over the ears are not annoying.

Sound

Profile

The 7Hz G1 profile is a clear V-U, with clear emphasis on the sub-bass and noticeable energy in the high end. The profile is not overly balanced and the midrange sag is more pronounced, with a 12-13dB difference from the sub-bass and upper mids. The downward slope of the bass is sustained, leaving hardly any hump in the mid-bass, while the rise towards the upper midrange is rapid and more abrupt. Then, from that point, a remarkable level of energy is maintained with hardly any control zone in the treble, all the way to the air zone. Undoubtedly, this is a more emphasized, less homogeneous profile with a higher degree of energy at the extremes.

Bass

The 7Hz G1s are focused on the sub-bass while maintaining a good level of energy and power in this lower band. In this way the lower band is deep, dark, volumetric and forceful. In the very low frequency pure tone test a physical sub-bass is observed, quite sensory, with low undulatory/oscillatory character and little audible. The coloration level is low and you feel that power from quite low, as well as a realistic and natural feel. The power is noticeable from the first note and the energy level floods the ears. As I say, it has a good degree of darkness and physicality, but, in practice, it has a slight coloring that brings it back to earth, affirming that this is a very good low-priced IEM because of the excellent behavior of the lower range. The result is clear: fairly tight and dry bass, with a low elastic feel to bring some rubbery aura and help remarking the texture, quick recovery, low aftertaste, clean but powerful execution, full of energy. Technically it is very competent, quite precise, well marked and resolute.
In the dirty, complex, unfiltered bass test the G1s don’t suffer one iota in reproducing the worst conditions. It adjusts quite well to the worst situations, executing the complex passages clearly, with plenty of control, but trying to simplify the situations slightly, but without being overly noticeable. It does not use the path of reduction to the minimum expression, but shows muscle and control in the worst scenarios, but without reaching a level of excellent resolution, that would be reserved for distinctly higher levels. In any case, the level of fidelity is very good for its range, as well as the level of realism. It is very competent at following bass lines, generating layers and discerning those elements from each other. Although the power level is very high and the energy level feels powerful and prominent, the G1s are capable of sounding quite clean and careful with the rest of the frequencies.

Mids

The transition between bass and midrange is steep, but not as abrupt. The first half of the midrange retains a certain level of power and energy to ensure a good physical and corporeal base for the beginning of the male voices. As the frequencies advance the notes become thinner and slimmer, moving away from both that base and the listener. In this way, the male voices seem to thin out slightly. They have a marked and evident body, but the central part is somewhat less represented, while the high details become somewhat more prominent. The lower voices will feel fuller and more complete, while the higher ones will be very clear, but less physical, due to that central sinking. However, the energy level in the sibilances, details and harmonic nuances will be favored.
I can’t claim that this is a warm profile, while the notes are hardly thick, but veer toward the resolving, even technical and descriptive side. The energy and volume of the lower range might deliver some of that warmth, but, again, the central sinking and powerful second half of the mids, thins out the central range, bringing more light, clarity and emphasis on the top end. This is how darker compositions come across as lighter and cleaner. Density is lightened, even the distance between elements seems to be revived. It is not a sharp or analytical profile, but more neutral in this respect. But it is true that it is fast, decisive, expressive and well defined. The driver is agile in fast compositions and is not slow in any case, being very capable of following fast transitions in an effective and reliable way. The upper middle notes are fine, thin and deft. But they possess a certain control that keeps them from being too sharp or piercing. The G1s have that splashy, obvious sound, but without becoming too exposed or obtrusive. Though of course, there are always tolerance levels around the 4kHz range. But I feel that slight drop in the early treble is much appreciated in this regard. In this way, the female vocals are described almost the other way around than the male ones, they may start with a weaker base, but they gain strength and body as they extend, to end in a quite explicit and extensive way, with very well described and evident details.
The highest details shine with pristine clarity and alternate with the bass in a power hand in hand, evidencing that V-U sound with the central part clearly farther away that can generate a sonorous hollowness in more than one occasion. In this way it acquires a more spectacular presence for its strength and energy, but it moves away from a more musical and calm balance or homogeneity.

Treble

The treble is barely restrained, sparkling and crisp from the very first moment. Although the range starts with a slight control zone, it is almost a mirage. The energy level remains high until almost reaching the air zone, which means a first and second treble band full of power and presence. The result is obvious: a powerful, marked, full, forceful, elevated high zone, where the treble is very protagonist, showing fine, sharp, bright, luminous, crisp and extensive. In addition, although it may be a bit exaggerated, the behavior is not far from a somewhat more augmented and excited reality, but with a sound that is not unreal. Very good level of resolution and descriptive ability, despite the high energy level.

Soundstage, Separation

The clear, evident and powerful presence of the macro detail and brighter elements that stand out in the foreground is superimposed on the micro detail in the background. The latter can be perceived thanks to the good level of resolution of the driver, but it is transposed, even drowned out. The energy level of the foreground mutes that micro detail, losing the opportunity to show itself as such. The exposure level of the foreground is energetic, very vivid, but very unsupportive.
The low zone is voluminous and wide, with which depth is obtained. Although much of the sound is shown in very close planes, leaving the middle part less visible. This generates a sensation of few planes: one very evident, close and very full, and another more expanded one that has a wider range, although not enough. The result achieves a good level of laterality and stereo feeling, although the scene is not too big. There are many splashy and vibrant elements in close proximity that produce a very dynamic feel, while the bass fills the scene, offering a sense of volume and space. In this way, the music seems large, but only up close, with a round image, also with height, but eminently frontal.
The distance between elements is good, but not if they are in different layers. In that case, the elements tend to overlap. And since much of the music is shown in the foreground, though well placed and shaped, the background is less discernible.

Comparisons

Kiwi Ears Dolce

As usual, I like to compare models with similar tunings. In this case, the candidate has been the economical Kiwi Ears Dolce, whose current price is $25 versus $35 for the 7Hz G1. 10$ in such a reduced range can be a differential jump and that is something that is noticeable in the construction and accessories of both models. The Dolce’s are made of ultra-durable medical grade resin, while the G1’s are metal. The cable of the Dolce is a double strand of high purity OCC cable, which has a memory effect and a single set of tips in three sizes. On the G1s the cable is better, there are more tips and it comes with a large zippered rubber case. So these aspects of construction, presentation and content win the 7Hz. The most hard-fought section is ergonomics, with the Dolce’s very low weight and very good fit. But the G1s are slightly smaller and shaped to fit the pinna very well, and they protrude less than the Dolce. Perhaps the smaller size of the G1s would make them better, as well as the better integration into the pinna. But the Dolce are lighter, it’s like wearing nothing. There could be a technical tie but I prefer the G1s.
The G1s are easier to move, with the same power they sound louder.
There are similarities in the curve of both models, as you can see. But the G1s are more polarized: they have more sub-bass and more treble. In contrast, the Dolce seem to have a bit more air, and a more full-bodied first half of the mids.
Although the Dolce’s frequency response seems more balanced, the G1s sound more refined, clearer and more defined. There is a bit more warmth and haze in the Dolce, as well as sounding a bit louder when set at the same volume, with lower dynamics and a more congested sound.
Dolce bass is simpler, with less texture, roughness and depth. But they are also drier and more restrained, even with less aftertaste, and they collect sooner. In the very low frequency pure tone test the G1s behave better, with a more natural character, without that wavy, colored feel of the Dolce. They are more physical and sensory, their timbre is more realistic and both the level of resolution and definition are better.
The Dolce’s better balance in the ratio of lower and upper mids gives them a sonic advantage, generating a more homogeneous, fuller and denser midrange. The G1s are more polarized, with deeper, more distant and less grounded male voices. In contrast, the female voices of the G1s sound crisper, clearer and more defined, while the Dolce’s are more nuanced and rounder, but also live up to their name, sweet.
The G1’s treble is more energetic, bright, thin, incisive, crisp and clear. The Dolce’s treble is softer and a bit more displaced, although you can see from the curve that they follow a very similar pattern. The energy level is different and so is the resolution and definition in favor of the G1s, sounding crisper and sharper, with more sparkle and realism.
The soundstage is closer on the Dolce’s, it feels fuller. On the G1s the soundstage is more oval, with that central dip, but with good depth. There is more of a wall feel in the Dolce, but more separation and volatility in the G1.

Conclusion

I remember a few years ago, the lower range IEMS were more polarized, with steeper profiles, more V-tendency and less balanced. There was more risk and less refinement, but there was always a standout set that provided great bass and treble. For some time now, the economic range has gained in neutrality and has balanced its profile, thanks to more complete and more economical drivers that have allowed to achieve a more homogeneous sound, without showing flaws, being much more all-round and resolute. The 7Hz G1 seems to go back to that older profile, but improving all the weak aspects of then. It certainly loses balance and wastes energy at the extremes. But it shows plenty of power, volume, resolution, technique and control in the lower range, as well as remarkable expertise in the upper mids and treble. The 7Hz G1s are a twist, a higher position, better executed and for the same money, from those IEMS of a few years ago.

Sources Used During the Analysis

• iFi GO bar Kensei.
• EPZ TP50.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.