The Immortal Dynamic Driver

Ratings

Pros

• Very clear, clean, defined, precise, transparent, bright, decisive, well separated, vivid, fast and sparkling sound.
• Great soundstage, wide and surrounding.
• Three pairs of tuning nozzles to tune the sound to different tastes.
• Fairly sized presentation, three sets of silicone tips and silver-plated cable.
• Excellent value for money and sound quality.

Cons

• They lose some of their magic with the Bass nozzle.
• Despite the effort, it is not the best capsule design on the outside, and the inside may be a little too large to fit in smaller ears.
• It still does not come with a zippered case as an accessory.
• The tuning is a classic rising V with a moderate roll-off in the treble that deviates from the current balance.
• Male voices are somewhat distant due to the excitement of the upper mids.

Purchase Link

https://www.kickstarter.com/projects/hidizs/worlds-1st-12mm-large-91-magnesiumtm-diaphragm-earphones

Link to the WEB

https://www.hidizs.net

Introduction

Hidizs, which started out known for its DAPS, is increasingly putting all its efforts into the IEMS sector. Following the success of its MP145 and MP143 planar headphones, not to mention the MS series IEMS and all its dongles, Hidizs is back in the game with an ambitious model whose main selling point is that the 12mm diaphragm of its dynamic driver has been manufactured with a 91% pure magnesium alloy, making it the first brand in the world to achieve this level of purity. The diaphragm has an M-shaped dome, while the dynamic driver uses a 1.5T magnetic circuit. This diaphragm is 0.03mm thick (0.06mm for PET diaphragms) and is 30%-40% lighter than PET diaphragms. This combination achieves a dynamic range of 118dB and a THD <0.3%. The capsule design was inspired by the immortal jellyfish Turritopsis and its metal has been CNC machined. It is available in several colours (Ocean Blue, Gunmetal Grey or Classic Black), and you can choose between a 3.5 mm or 4.4 mm plug. As usual, the MK12 comes with three pairs of tuning nozzles, as well as three sets of silicone tips to further tune the sound to the consumer’s liking. Let’s see what this new IEMS model has to offer, along with an additional MP145 cable with a 4.4mm plug.

Specifications

• Driver type: dynamic with external ring and N52 magnetic circuit, 12mm diaphragm made of 91% magnesium alloy.
• Frequency response: 10Hz-50kHz.
• Sensitivity: 111dB.
• Impedance: 32Ω.
• Capsule material: CNC-machined aluminium alloy.
• THD: <0.3%.
• Three types of tuning nozzles: Hidizs Pneumatic Sound Tuning Filters: High-Frequency, Balanced and Low-Frequency.
• Cable material: 2 strands of high-purity oxygen-free copper.
• Cable length: 1.2m.
• Capsule connection type: 2-pin 0.78mm gold-plated.
• Jack connector: choice of 3.5mm SE or 4.4mm BAL.
• Weight: approximately 19g without cable.
• Official price: 199$.
• Early bird prices: 109$, 129$, 139$.

Packaging

The Hidizs MK12 Turris comes in an elongated grey box measuring 162x103x62mm. At the bottom of the front panel, you can see the model name in large grey letters and, to its right, a real photo of a capsule, also grey. At the top, from left to right, is the Hi-Res Audio logo, a diaphragm icon, a description of the model in small letters and the brand logo, all printed with holographic ink. On the back is the full product description and specifications in Chinese and English. The brand name can be seen on the sides of the box, as well as the importers. After opening the lid, you can see a foam base lined with cardboard of the same colour as the box, which contains the capsules, the model name and the slogan. It has a ribbon to remove this first layer. Underneath are the three sets of silicone tips, inside another similarly lined base. On the third level, there is a matching box containing the rest of the accessories. In summary, the complete contents are as follows:

• Two Hidizs MK12 Turris capsules.
• Three pairs of translucent white silicone tips (Vocal ear tips) in sizes S, M and L.
• Three pairs of translucent grey silicone tips (Balanced ear tips) in sizes S, M and L.
• Three pairs of black silicone tips (Bass ear tips) in sizes SxMxL.
• Black suede-like pouch.
• Two-strand silver-plated copper cable with gold-plated 4.4 mm plug.
• Warranty card.
• A user manual.
• A pair of High Frequency – Silent Silver ear tips: Improved softness, ideal for ACG and classical music.
• A pair of Balanced – Rose Gold ear tips: HIDIZS’ signature style, perfect for pop and folk.
• A pair of Low Frequency – Enchanting Red ear tips: Vibrant and energetic, ideal for rock and heavy metal.

The packaging is compact and unobtrusive. The three sets of silicone tips are always appreciated. Foam tips are no longer missed, as their use and development have stagnated. It comes with the usual black suede-like pouch from Hidizs, although I always miss having a zippered case, even if it’s not as big as the one that came with the MS5.
On the other hand, it is possible to add a special set of Hidizs silicone tips (HIDIZS Sea Anemone Hi-Fi Eartips) to the package, but they are too small for my wide ear canals, so I haven’t been able to try them. Finally, the set comes with an additional cable, the MP145 model with a 4.4mm plug.

Construction and Design

As usual, Hidizs often seeks inspiration when designing its capsules. This time, it was inspired by the Turritopsis dohrnii jellyfish, nature’s ‘immortal wonder’, combining 580 million years of evolutionary resilience with cutting-edge acoustic technology. The MK12 Turris combines CNC-machined precision aluminium alloy with elegant jellyfish-inspired curves for a lightweight and durable design. The truth is that the capsules have a four-layer V-shaped design that is more reminiscent of an insect shell than the Turritopsis dohrnii jellyfish itself. You could even say they have a certain alien or plant-like appearance, if you push me. Be that as it may, the outer face is made up of those four V-shaped layered capsules. The last layer forms a relatively sharp vertex on the outer face of the capsule. This is only the outer face, as the inner face, which is the same colour, is rounded and plump. It has a slight edge that protrudes subtly at the end. The curve leading up to the nozzles is also very smooth. There is a hole near these nozzles. On the edge of the capsule is the 2-pin 0.78 mm connection plate, which is fully integrated into the surface. Following this edge, on the short side is the model name and a mole containing the channel letter. There is also a hole above this text. The nozzles are short, with a length of 4.3mm, a diameter of less than 5mm and a crown of 6.1mm. It should be noted that there are three types of nozzles, which differ in colour, possibly in material and in the grilles or filters themselves.
The cable consists of two strands of high-purity OFC copper plated with silver. The plug housing is a micro-sandblasted silver cylinder with a groove at the top. The brand name is engraved near the cable outlet. The plug is a gold-plated 4.4 mm BAL. The cable outlet is protected by a small plastic cylinder. The two strands are intertwined. The splitter piece is another small micro-sandblasted silver cylinder. The adjustment piece is a small ring made of the same material and with the same surface. The adjustment of this ring is very slight and not very efficient as it slips too much. The cable has ear guides and the gold-plated 2-pin 0.78mm connector sleeves are small cylinders with the same surface and colour as the rest, but with a red or blue ring located near the cable outlet, indicating the channel.
The additional cable is the MP145 BAL 4.4mm model, which is the cable for the MP145 IEMS model. The big difference is that the cable is made up of 4 strands of 6N silver-plated monocrystalline copper wire.
I am not a believer in cables, but the most important parameter is resistance. While the standard cable offers a resistance of 1.2-1.3Ω, the MP145 cable has a resistance of 0.7-0.8Ω. It is clear which cable is better. These resistance measurements were taken with a basic multimeter, so the measurements may differ slightly from reality, but they do allow us to observe the differences between the two cables, as the same measurement method and multimeter were used.
Finally, I would just like to mention a slight problem with the MP145 cable pins: they are a little short for the MK12.

Adjustment and Ergonomics

The shape of the outer surface suggests that fitting them might be complicated. However, this is not the case, as the capsules are thick enough that the lower beak does not pose any problems when fitting them. However, it is also true that the thickness and size can be a problem for small ears. In my case, the thickness is not a problem, but the size can be more critical as the hours go by, since the inner face of the capsule occupies the entire ear and fills it completely. The discomfort does not occur when pressing the tragus of the ear, but rather the antihelix. Although the protrusion of the edge is very slight and soft, the considerable rounded and bulging size of the inner surface exerts pressure on that area.
As it takes up a lot of space in the shell, the fit is quite unique and does not leave much room for rotation. The nozzles are short, and you may need to play around with the silicone tips to find the best fit. In my case, with the large silicone tips filled with homemade foam, in their most classic version of the set, they provide a very good, occlusive, durable fit that achieves great isolation and also a good level of physical contact.
Apart from the size, the other most negative point would be the weight, at 19 grams. However, the good ergonomics of the set and the softness of the surface minimise the effect of the weight.

Sound

Profile

The profile of the Hidizs MK12 Turris ranges between a rising V-W of the Balanced and Treble filters and a falling W of the Bass filter. There is a clear difference between the first two filters and the Bass filter, which significantly changes the sound, making it darker and heavier. This is undoubtedly a specialist profile that can be quite appealing and remains popular on the market, but it detracts from the breadth effect offered by the Treble and Balanced filters. However, the difference between these two filters is based more on refinement and a somewhat more analytical and raw profile. The Treble filter does not offer a big difference in frequency response, but it does offer that purer, unfiltered sound that sharpens the notes. The Balanced filter is rounder and somewhat more musical. It will be the filter used for this review.
Although the profile is somewhat classic and has a clear drop in the early treble, from which it fails to recover, the MK12s are characterised by offering a very surrounding, large, dramatic sound, with great laterality and an excellent stereo feel. Without a doubt, the sound is spectacular, vivid, lively, seeking to impress with a somewhat artificial performance that nevertheless draws you into your armchair when you use a good DAP and the lights are off. Hidizs has proposed an immersive, surrounding, three-dimensional sound experience, although it has ignored some rules of balance to achieve this.
As for cables, I repeat that I am not a big believer in the effect of cables on sound, although I must confess that I have encountered cases where a relatively good and verified cable has performed terribly in some models, to the point of thinking that the IEMS were broken. This is not the case here. I have tried the MK12 with its original cable and have really enjoyed this model. But when it came to analysing it in depth, I preferred to use the MP145 cable because of its better conductivity and the extra physical properties it can bring to the sound. Is this a lot or a little? I think there is a lot of subjectivity here, and I don’t want to add to a sound review that is already purely subjective.

Bass

In a rising V-shaped profile, bass is not the star of the show. But that doesn’t mean its role is inferior or less important. The low end is the supporting actress, carrying the weight of the film, and her role is fundamental. But returning to the bass tuning, it is a fairly uniform range that stands out in the midrange and holds its own in the sub-bass. I would have liked a higher elevation in the sub-bass, something that would have given more depth to the whole and a greater presence/power/energy/volume/physicality to the sound. However, it has remained a little more limited in this respect, trying to be cleaner, less impactful, but with enough strength to carry the whole film.
The transition to the midrange is smooth, allowing for a certain amount of warmth and body to be transferred to the central range.
The very low frequency pure tone test begins with the lowest LFO that is slightly perceptible. It has a limited physical and sensory component, while the audible part is more prominent. There is no negative undulating character and the wave is executed very naturally and with control. As the hertz increase, the auditory and physical components increase almost simultaneously, without losing control or introducing artefacts such as colouration or undulations that dirty the sound or alter the good performance of the driver. Undoubtedly, the test is not spectacular in physical, sensory or depth terms, but it does demonstrate great control, natural and realistic reproduction, speed, efficiency and resolution. It is clear that there are dynamic drivers within this price range that offer a more enjoyable experience to my ears, adding that sensory, physical, dark and deep component that this MK12 lacks. On the other hand, the experience offered by the Turris in the low end is not without character, with good punch and great technical ability. This is where this supporting actress shines: she allows the rest of the sound to be big while also filling the stage.
In the dirty, complex, unfiltered bass test, our actress rolls up her sleeves and sinks into the mud, fighting and emerging completely unscathed from the most complex battle without even a hair out of place. None of the traps seem to affect her; the most complex bass notes are reproduced immaculately and under control, without excessive roughness, artifice or gruesomeness. The worst-filtered bass lines are musical and always below the rest of the sound, giving centre stage to the main actress, which is the melody. The bass is fast, very efficient and does not overdo it when it comes to generating superfluous or excessive lines. It is a decisive bass that seeks to do the job flawlessly, but without frills or excesses. Without a doubt, this is a job well done, with a somewhat controlled texture and a somewhat analytical character, perhaps too tight, concise, measured and polite. Sometimes, a bass lover misses a little more passion and wildness. But the MK12s are on the other side, in search of a more perfect performance.

Mids

As I mentioned, the transition from bass to midrange is not very steep, which means that the central range begins with a touch of musical warmth and a slightly higher physical component. However, this physical component is more noticeable in the instruments in this range than in the male voices, which sound slightly subdued, although radiant in their performance. Yes, the male voices are a step and a half, or two, away from the listener. Their presentation is slightly smooth and soft, with no special texture, nor do they lavish too many nuances. It is a restrained, natural and controlled performance, even a little austere. But it is undoubtedly clear and transparent. However, the midrange does not vibrate because of the male voices, but because of the instrumentation, which feels much more enveloping, gaseous and volatile between the male voices, which are more centred. What brings greatness, laterality, breadth, space and volume are the instruments that expand in all directions, extending the scene and elevating the sound around and above the voices. That sense of extension is understood by the fineness of the notes, by their delicacy, by the distance and space between them, also by the darkness of their background and by the transparency of the sound. This is by no means a cohesive or nuanced sound; on the contrary, the sound is very airy, open, explicit, expressive, informative, but without being analytical. The level of detail is quite high, the recreation of layers in the midrange is broad, and it is very capable of revealing the micro details hidden in the background and beneath other instruments or sounds. However, the best thing about this ability is that it is achieved almost better with the Balanced filter, which offers added musicality without the need to sharpen the sound or reduce the bass. In this way, the MK12’s midrange presents a sonic grandeur fuelled by technical capability and highly informative, expressive, even eloquent resolution, but without losing the depth of the bass or the musicality of the whole.
Female voices are in a different position, one step closer, more present and prominent, as well as more mixed with the instrumentation. In them, the nuances and textures can be better observed, as well as a deeper, more complete and extensive base. Comparatively speaking, the male voices are smoother and less resourceful, while the spark, passion, detail and resolution are evident in the female voices. Without a doubt, they are on a par with the rest of the instrumentation and are part of the sound display offered by the MK12.

Treble

Despite the initial sparkle, the treble of the MK12s has a clear roll-off that makes them smooth and gentle, preventing them from being too sharp and reducing their physical component and energy level. Despite this initial drop, the treble manages to hold up and extend to sound natural without being nuanced, rounded, or too dull. Despite what the frequency response may suggest, the treble remains fine, delicate and sparkling, even though its energy level is lower. The tuning feels controlled but expressive, displaying a warm and calm nature that does not detract from the informative capacity, finesse and resolution of the high end. And that is not something that is easy to achieve. Many other IEMS with this type of tuning are darker and have treble that is not as sparkling and vivid as that of the MK12. Hidizs has undoubtedly achieved a good balance between fine treble and low energy levels. And despite what we see in the graph, the sense of air is also quite good.

Soundstage, Separation

Without a doubt, one of the most impressive aspects of the MK12 is the size of the soundstage, the level of clarity, transparency, separation, brightness, three-dimensionality and holographic/immersive feel of its sound. The soundstage expands even further with the Treble nozzles, thanks to the elevation of the upper mids and highs, which make the sound even more sparkling, gaseous and volatile. However, it does not make it more analytical or incisive. It just seems to highlight the details more, making them finer, but it does not reveal more micro detail. In fact, a bit of depth, base, body and physical component is lost. With the Balanced nozzles, a great balance is achieved between musicality, capacity, technical ability and analytical level. In this sense, the balance between naturalness and coldness perhaps falls more on the side of a colder sound, because it is very expressive, informative, separate, clean and very crystalline. The bass never feels heavy, it is very controlled and very technical, which facilitates the expansion of the sound, without making it cohesive or magmatic. The amount of air generates an expansive sensation that volatilises the notes and adds height to the sound. However, the gaseous sensation of the sound does not cause a loss of detail or disperse the notes. The level of resolution allows all of them to make sense and remain sufficiently attached to the music to enhance the sound and not separate it from the musicality.
The image is wide and the stereo sensation is impressive. With high-quality sources, the MK12’s ability to position sounds, especially instruments, details, and female vocals, is clearly evident. The precision and resolution of these IEMS are clearly felt, giving the impression of headphones that are larger than IEMS.

Comparisons

Hidizs MK12 Rose Gold vs NiceHCK Himalaya EA500LM Black

The NiceHCK Himalaya improves on other IEMS filters, such as the EA500LM Black filters. The result is a frequency response similar to that of the MK12, but with higher treble. The price of the Himalaya is over £250. They are very well built and their ergonomics are based on a classic semi-custom shape, but they have a protrusion on the edge that can be uncomfortable over time. In this respect, the MK12s are slightly better. It is worth noting that the standard cable that comes with the Himalayas, although only two-stranded, has three detachable screw-on plugs.
Both IEMS have very similar FR and also very similar sensitivity. Although the Himalayas are slightly more sensitive.
There is a striking similarity in the very low frequency pure tone tests. Both IEMS have very similar sound and performance, sounding very similar in the test. I think the MK12s are a little cleaner and subtly drier and faster, while the Himalayas have a little more punch, darkness and a little more body and volume, perhaps a longer decay and a slightly more pronounced texture. In the dirty, unfiltered bass test, you can see that the MK12s are cleaner and more precise, while the Himalayas show a slightly darker character and are not as decisive, precise, concise or transparent. The bass of the MK12s is more technical and clear.
Although the upper Himalayas are higher, the mids are warmer and slightly darker. They are also not as clean and transparent as the MK12s. The initial part of the mids is very similar in both models, and it seems that the higher elevation of the upper mids makes the MK12s feel clearer and more transparent. Male voices seem to have more body, physicality and presence in the Himalayas, which I like. Female voices also have more body, are rounder and more present. That is the charm of the Himalayas, in the musicality of the midrange, a touch of thickness in the voices and their softness mixed with technicality. The MK12s are cooler, with both voices thinner and a touch more distant. They are also clearly more technical, clean, clear, transparent, precise and decisive. The Himalayas also have very good resolution and the micro detail is well defined. What happens is that the sound of the MK12s is more open and spacious, with greater separation and volume, making the notes seem more individual and less compressed. The soundstage, space and volume, separation, clarity, cleanliness and transparency are slightly better in the MK12s.
Although the MK12s have less overall energy in the treble, the first part of the MK12 treble is sharper, finer and higher. The Himalayas’ treble is initially rounder and smoother, but has a more consistent energy level in the second half, with more extension, where the MK12s are a little more rolled off.

Hidizs MK12 Balanced vs 7Hz Timeless II Flat Gold

The Timeless IIs were my first 5-star rating of 2025. With a starting price of £229, they come with a great cable, a large circular metal box with a screw cap and four tuning nozzles. They retain that special round and pyramidal design that makes them so unique. Like all good planars, they require considerably more power than the MK12s and their fit is perhaps not the best.
The frequency responses are quite different. While the Timeless II has a more balanced W-shaped tuning, the MK12s have a more pronounced V-shaped response in the upper midrange and early treble, and this is noticeable. Right off the bat, the sound of the MK12s feels clearer, brighter, and more excited.
The bass of the Timeless II feels deeper and more relaxed in the mid-bass. The MK12 has more volume in the second half, generating a rounder and more extensive bass. The bass of the Timeless II is darker and rougher. In the very low frequency pure tone test, the bass of the MK12 behaves canonically, while the Timeless II has a slight undulating and vibrating aspect that makes its performance not as good as large dynamic drivers. It is very good for planar headphones, but not as good as the MK12. You may prefer the bass tuning of the Timeless II, as well as its texture. But the technical prowess of the Mk12 is very good. They really are different beasts.
The first part of the Timeless II’s midrange is somewhat thin, but the male voices have a very good presence, sounding a little warm, somewhat dry, very natural and clear. The male voices in the MK12 are somewhat lighter and brighter. There is more of a sense of transparency and luminosity in the MK12. The Timeless II are more balanced, sounding sweeter, although less sparkling. The sound of the MK12 is more spectacular and larger, seeking to surprise. Meanwhile, the Timeless II are more subdued, but also very precise. This is demonstrated in the level of detail and micro detail they present. Despite being darker and more homogeneous, the Timeless II have a planar technical ability on par with the best. The MKL12s are sharper and finer. Their volume is greater and their sound more expansive, big and loud. The Timeless IIs are somewhat deeper and wider, but the MK12s are more three-dimensional, volumetric, gaseous and surround sound. The finer notes seem to be more separated in the MK12s, although technically nothing is missing in the Timeless IIs. It is a different presentation, more homogeneous, dark, calm, with that impression of a wall of sound.
In the treble range, the MK12 continues to deliver that initial sparkle, with a higher, sharper, crisper and brighter level on the first strike. The extension, homogeneity and amount of air is on the side of the Timeless II, although the energy level of the planars and their type of brightness is also different and a point of controversy among enthusiasts. The fact that there is no drop in the high frequencies of the Timeless II is a plus when it comes to generating and restoring all the harmonics of the music.

Hidizs MK12 Bass vs Apevoix Grit

The second five-star product of the year was the Apevoix Grit, a very personal choice that I really enjoy. In this case, I’m going to use the Bass nozzle on the MK12s to see if they can hold their own against specialists in this type of tuning. The Grit are 1DD+4BA+1BC tri-hybrids with a starting price of 219$. They feature a medium-large, thick, semi-custom resin capsule with projected nozzles. In this sense, the ergonomics feel a little compromised, although they are very comfortable and lightweight if you find the right tips.
They come in a large Pelican-style case and include a long cable with a 3.5mm SE plug, but only one set of silicone tips.
The Grit are slightly more sensitive.
The combination of DD and BC drivers creates an extremely enjoyable experience, spectacular in the lower range. Both drivers are completely coordinated and in sync. It is clear that the Grits have a bass tuning that is more accurate in a more balanced and homogeneous profile, as they have a higher sub-bass and lighter mid-bass. This makes the transition to the midrange cleaner. The bass of the MK12 is more linear, less elevated in the sub-bass and more extensive towards the midrange with the Bass nozzle. This filter limits the clarity and technical ability of the set, and the early mids feel a little muddier. But going back to the low end, the MK12s with the Bass filter become more fun as they have much more presence in the mix, gaining depth, punch and extension. But of course, they are up against 1DD+1BC, which are the kings of the physical and sensory component. Given that, in terms of punch, forcefulness, power, energy and fun, there is little to be done. I repeat that the 1DD+1BC combination is worth trying, it is a distinctive listening experience. Just as the MK12 with the Balanced nozzle also provides a great listening experience, so do the Grits in their low end. In the very low frequency pure tone test, the MK12s are better, while the Grits have a vibrating and undulating character in the lower tones. The bass of the MK12s is more technical, skilful, fast and realistic. As the frequencies increase, the bass of the Grits regulates itself and becomes very physical and more natural. That’s where it stands out. In the test of very dirty and unfiltered bass, the Grit does not falter or suffer, although it may give that impression. It maintains control despite the level of violence and weight it generates. The Mk12 is very skilful, fast and resolving in this test, more resolute. But it also has less texture, is somewhat smoother and less deep, and at times lacks a little soul.
The midrange of the Grit starts off cleaner than the MK12, but retains its foundation and physical component. The MK12 is fuller in this transition and can become somewhat thick in the first half, leaving male voices not as well defined or clean. The MK12’s instrumentation is not as rich with this Bass filter, which gives the Grit an advantage.
In the upper midrange, things even out, but the Grits demonstrate that their 4BA drivers are more expressive than what the MK12’s Bass filter lets through. I prefer the female vocals of the Grits; it’s clear that the Grits are more specialised in this tuning, while the MK12s have a filter that limits their expressiveness.
The treble of the MK12 with the Bass filter is softened, rounder and darker. Once again, the Grit is in its element in the high range, which does not feel limited by its softness, but is even more homogeneous, better defined, with more energy and naturalness.
The Grits have a good level of micro detail that is not overshadowed by their bass. They are not a technical beast, but they are very resolving. The MK2s with the Bass filter are more nuanced, and although the micro detail is there, it feels darkened and limited. The same goes for their soundstage and separation. With the Bass filter, the MK12s lose their advantage and their great sound.

Conclusion

Following the success of its planar IEMS, Hidizs has set its sights on redefining the classic dynamic driver by creating a large transducer with a 12mm diaphragm made of 91% magnesium, powered by a magnet that generates 1.5 Teslas. The combination generates a very large, very precise, defined, high-quality sound with separation, resolution, detail, transparency, clarity and brightness that has an analytical tendency given its great informative and expressive capacity. Without a doubt, the technical ability of the driver is very high and the tuning helps to extend these capabilities. The bass is not too deep and has greater emphasis in its central range to add overall weight to the entire sound. Thanks to the speed and precision of the driver, the bass is very tight, dry, fast and has just the right amount of punch, presence and adequacy, going beyond neutrality. The midrange starts off somewhat distant, especially in male voices, which are slightly thin compared to the more prominent instrumentation, although very well defined. Female voices benefit from the greater emphasis on the upper midrange and are enriched with a brighter and more exalted tone. However, the best thing about the midrange is the overall expressiveness of the instruments, with their separate, precise and defined notes, which generate a very rich, open and high-resolution sound. The first trebles start off in the same vein and moderate with the classic drop after the initial spark, extending with moderate energy.
It is in the technical section and at the scene level that the Hidizs MK12 Turris exceed expectations and generate a more distinctive sound experience compared to their rivals of the same or higher price. This is where their driver shines and demonstrates its full potential. Without a doubt, the Hidizs MK12 Turris deserve to be heard to appreciate their magic for such an affordable price.

Sources Used During the Analysis

• Hidizs S9 Pro Plus.
• Hidizs S8 Pro Robin.
• Hidizs AP80 PRO-X Red Copper LE + Hidizs DH80S.
• iFi GO bar Kensei.
• EPZ TP50.
• Burson Audio Playmate 2 + OpAmps Burson V6 Classic Single + OpAmps Burson V6 Vivid Dual.
• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 3.
• Tempotec MARCH V.