Hidizs MP145 English Review


Do Whales Dream With Planar Drivers?




Construction and Design



  • Refined, rich, vivid, realistic and lush sound compared to the competition.
  • Very well behaved, natural, powerful and voluminous bass.
  • Rich, abundant, profuse, fertile, full, luscious and pleasing mids.
  • Highs select, linear, extended, defined, crisp, descriptive and yet sufficiently smooth.
  • Scene enhanced, with more air, separation, clarity, transparency, spaciousness and three-dimensionality.
  • Despite the size of the capsules, they are comfortable and have remarkable ergonomics and fit.
  • Great design and better construction.
  • Very good cable.
  • Three tuning filters and 9 pairs of tips with different tuning properties.




  • The leather pouch is fine, but I was hoping for a protective case to match the quality of the model.
  • The size of the capsules may be large for some.
  • Its sensitivity is on par with its competition, there is no improvement in this regard and a source with some power may still be necessary to extract its full potential.


Purchase Link




Link to the WEB






It was only a matter of time before Hidizs designed IEMS with a magnetic planar driver. In addition to its whale-inspired design, Hidizs has established a partnership with the world’s leading charity dedicated to the protection of whales, dolphins and their ocean habitats: Whale and Dolphin Conservation (WDC). With their help, Hidizs has designed the MP145 to incorporate a whale tail on its outer face, as well as rorqual folds. The outer face is divided into three parts with a twelve-layer milling pattern that resembles the tail flukes and pectoral fins of whales. In addition, discreetly integrated into the transition zone of the whale tail fin-shaped panel are two hidden ventilation ports. These vents optimise airflow within the earcup cavity, improving transparency and sound balance.
Internally, the MP145 integrates Hidizs’ customised 14.5mm «FAST» ultra-large planar magnetic driver. «FAST» is the name of this driver, it is a symmetrical planar magnetic transducer with a 14.5mm diameter diaphragm and is named after the largest radio telescope on earth. Its magnetic circuit has a precise arrangement of 7+7 N52H magnets, whose magnetic flux is greater than 1 Tesla. As usual for the latest Hidizs models, the MP145 also incorporates 3 pneumatic screw-in sound tuning filters. Together with the meticulously designed vocal, balance and bass tips, the MP145s offer 9 different sound styles.
Indeed, these new Hidizs MP145s hold many surprises, both on the inside and on the outside. But also in their sound, which is precisely tuned to the Harman 2019 target curve. This tuning can be modified thanks to the included filters.
Let’s take a closer look at what this new magnetic planar model called Hidizs MP145 has to offer.





  • Driver Type: Hidizs 14.5mm Ultra-Large Planar Magnetic Driver
  • Frequency Response: 20Hz-40kHz.
  • Sensitivity: 104dB.
  • Impedance: 30Ω.
  • Capsule construction: Integrally moulded aviation aluminium alloy.
  • Jack Connector: Choice of SE 3.5mm or BAL 4.4mm.
  • Capsule Connection Type: 2Pin 0.78mm gold plated and pure copper plated housing.
  • Cable: 4 strands of 6N silver plated monocrystalline copper wire.
  • Cable length: 1.2m.
  • Weight approx. 19g excluding cable.





Hidizs is being restrained in the presentation of its latest creations and the size of the packaging is medium. It repeats black for the background and gold for the lettering. The size of the box is 155x96x55mm. The brand logo is in the top left corner, the Hi-Res logo on the top right. Underneath is an icon representing the magnetic planar driver used in this model. In the centre of the box is a real photo of both capsules with their cable. Below is the model name justified to the left and at the bottom, in two columns, the different features of the model in 3 languages, including English. On the back side you can read all the specifications in white letters and in these 3 languages. The contents of the package are also specified:


  • The two Hidizs MP145 capsules.
  • 3 pairs of tuning filters.
  • One storage bag.
  • 3 pairs of SxMxL size tips for vocal tuning.
  • 3 pairs of tips size SxMxL for balanced tuning.
  • 3 pairs of tip sizes SxMxL for bass tuning.
  • 1 user manual.
  • 1 warranty card.


After removing the outer cardboard, a rigid plastic box with a micro rough texture appears. The logo, brand name and slogan are inscribed in the centre. Under the lid, the capsules are revealed inside a foam mould lined with black cardboard. Its outer side is covered with a transparent protective film. Underneath is a box, also made of black cardboard, with the brand’s logo in the centre and a description of the model at the bottom, all in holographic ink. Behind this first layer are the 9 pairs of tips arranged according to their characteristics in a mould that indicates both the size and the type of tips they are. On this layer you can see the user manual, the warranty card and the quality certificate. Inside the box is the storage bag, in black leather with the logo in the centre. Inside is the cable and a small transparent box containing 2 pairs of tuning filters, the third pair is installed in the capsules. It should be noted that the methacrylate box is screwed open and not snapped open, you have to turn the two pieces together and the box will open. Inside there is also a kind of desiccant sponge.
It is appreciated that the presentation is neither ostentatious nor overly large. The size is adequate and the presentation is elegant, repeating patterns of black and gold as on other occasions. The idea of the box containing the filters and the foam base that houses the tips is appreciated. On the other hand, being a product of this category, I miss a more rigid carrying case than a leather bag.



Construction and Design


The Hidizs website is quite eloquent and descriptive. In the case of the MP145, the presentation page is extensive and discusses every external and internal detail of its manufacture. It is clear that the MP145 has a whale-based inspiration, the result of their collaboration with the WDC organisation. The outer face has a raised Y-shaped part. This is actually the tail fin of a whale. The adjoining parts on each side of the fin form a staggered pattern, a twelve-layer milling pattern, also inspired by the pectoral fins of whales. On both sides of the whale tail there are two ventilation slots. The shape of the capsule is slightly elongated and has 7 faces, 4 on the bottom and 3 on the top, if you take the top where the cable connection is. The part near the nozzles ends in a slightly tapered arrow shape. The 2Pin 0.78mm connection is completely shallow and the plastic part containing the contacts is integrated inside the capsule. Of course, the connectors are gold-plated.
The inner face grows with a regular slope from the connector area towards the nozzles. The surface is curved on both sides of the sloping line. On it and near the connector, the name of the model can be read and towards the inside, there is a mole with the lettering of the channel. The ink used is dark grey. Near the nozzle but offset from the slanted line is a hole. The nozzle is cylindrical and ends with a thread to secure the filters. There are 3 filters, the standard filter is the Balanced / Rose Gold filter. The high-frequency filter is grey (Quiet Silver) and the red filter (Charm Red) enhances the low frequencies. Their diameter is 6.9mm. The total length of the nozzles with filters is slightly more than 5mm.
The material used for the capsules is aviation aluminium alloy.
The capsules are available in three colours, grey, light grey and dark blue.
The cable can be chosen in two terminations, SE 3.5mm and BAL 4.4mm. Once again, I am pleased that Hidizs is now offering this option as standard, without the need to buy an additional cable. The sleeve of the 4.4mm plug is cylindrical, regular, very smooth, has a golden ring near the cable exit and on it you can read the brand name. The cable consists of 4 strands of 6N silver-plated monocrystalline copper wire. The splitter piece is simple, another small, smooth, shiny metallic cylinder. The pin continues this minimalist style and is a simple metal ring in the same pattern. The cables have over-ear guides and the connector sleeves are two cylinders to match the rest of the metal parts of the cable, which have two grooved and painted rings to indicate the channel. The two pins protrude from a transparent plastic disc and are gold-plated. The 4.4mm plug is gold-plated and protected by a translucent plastic sleeve.
The capsules are slightly large and elongated. The finish is very good and the design is distinctive, bearing little resemblance to other models. There is a strong effort to be original in this model and the combination of whale inspiration is noticeable. The weight is 19g per capsule.
The cable has a shiny silver plating, each strand is of good thickness, forming a cable of medium thickness, attractive enough and of good quality not to have to change it. It is also comfortable, has good flexibility and the balanced 4.4mm termination makes me forget to look for a replacement cable. Excellent.



Adjustment and Ergonomics


As mentioned, the shape of the Hidizs MP145 is unusual and its size tends to be large. Rather, the elongated shape of the capsules does not compromise ergonomics. The slight arrow shape, where the tip part coincides with the position of the mouthpieces, favours positioning and placement. Fortunately, the inner shape of the capsules is flat, rounded and has a very soft, sandy micro-texture. The other end of the capsules stretches beyond the pinna. In my ears the integration is very good. With the right tips, the capsules float in the pinna and do not rub against any part of the ear, except for the bottom, where they sit lightly. The mouthpieces are not very projected but have a good angle and I don’t find any fault in their placement, the fit being firm and durable. It is true that the capsule can rotate, but its optimum fit point is at the end of its travel, as further rotation is not possible. The whale tail shape and the folds make it easy for the fingers to adjust the IEMS in the ears. With a shallow or light insertion the level of sound insulation can be high, as long as suitable tips are found. As usual, I have used my large foam-filled tips that I make at home and the fit and ergonomics have been quite good. But I don’t dispute that the size, shape and perhaps also the weight might be controversial for other people.
Finally, the position of the over-ear cable and the fit of the capsules does not feel compromised by their combination. Thus, the cable does not disturb or negatively affect the fit of the capsules or rub uncomfortably on the ears. At least, not in my case.







I have been lucky enough to try several planar IEMS before I got to the MP145 and it is true that the sound coming from this particular driver has a characteristic and special sound. But it also adapts to a curve that can be more or less similar. The good thing with the MP145 is that there are 3 filters to tune this curve and bring it even closer to our preferences. In addition, there are 3 types of silicone tips that allow you to tilt the sound a bit more. In total there are 9 different tunings. In my case, most of the standard tips don’t work for me. I have unusually wide ear canals and can only use very large tips. So most of the standard tips don’t work for me because they barely hold in my ears. But I found a solution, to fill with foam a certain tip whose canal is quite wide. This type of tip is similar to the Simbio tips, but a bit bigger. It is true that this limits the tuning produced by the tips, but it reduces the choice of the best tip for my anatomy to 95% of the cases. It is for this reason that I have not been able to test the tuning tips that come with the MP145.
On the other hand, as I mentioned when I reviewed the LetShuoer S12s, I don’t have a target or preference curve in Squig.link. But it is true that I do lean towards a strong and powerful low end, a full midrange and a treble that slightly exceeds softness, with some personality. In fact, I like all bands to be well represented, with a preference for lows and mids. I also lean towards an analytical sound. The curve of the S12s was very much in line with my preferences, but their sound is generally soft and not as detailed as I like. What are the MP145s like? Well, the curve between the two bears a lot of resemblance to the standard Balanced filter. The curve of the Hidizs is a bit more balanced and rounded. It’s like a polished version of that one. The sense of fullness and wall of sound is present, but I feel there is a hint more analytical and descriptive ability, but without the brightness being predominant. The truth is that this planar driver gets that great representation in all the bands that I look for.
The profile could be categorised as U-shaped or soft w. The inclination towards the sub-bass is linear, without being predominant. But there is a good extension towards the midrange. The transition into the mids is smooth, generating a body and density in the initial zone of the midrange. The rise into the upper-midrange is subtle and once there it is maintained into the treble with a fair amount of linearity, adding explicit and quite explicit upper range, but without losing the smoothness. If you want a little more spice in this transition zone between mid-high and first treble, just choose the treble filter to add that extra sparkle. If, on the other hand, you are looking for a slight bass boost and a smoother mid-high, but without losing sight of the treble, then the bass filter is the one for you.
The use of the red bass filters limits the volume slightly and orients the sound towards a darker, denser profile. Voices lose some sparkle, both female and male. The bass gains in prominence, but some of the representative grace of the balanced curve is lost, such as the great balance between the three bands.
The use of silver treble filters subtly softens the lows and excites the mid-highs and first highs, adding more life and presence in this area. Male voices return to naturalness, while female voices become more seasoned and vivid. The highs have more presence in the mix and the details gain prominence. The sound becomes more splashy, but also more intense in that more sensitive range. This can be a double-edged sword, the sound becomes somewhat more analytical and descriptive, but also more penetrating, becoming more fatiguing.
The gold filter offers the most balanced sound and manages to balance that mid-high and high range in a sweeter point that allows for long hours of use, without losing the descriptive ability, but softening it to a much more comfortable point.

The description of the bands has been made with the rose gold filter balanced.





The planar bass is particularly characteristic. If the definition of natural bass is described and executed with a good dynamic driver, the planar bass adds a point of technique and speed that normal dynamic drivers do not achieve. The sonority is slightly different, dynamic drivers move more air and can generate a point of greater power and visceral capability. However, the first test I performed with the MP145s was my usual pure tone test. Here I could see that the MP145s decay in the more extreme range and lack a little more presence from 20Hz to 35Hz. From 40Hz onwards is when the driver emancipates itself and demonstrates an improved ability. In that initial range there is subtle colouring, although the behaviour is realistic, but not as sensory. From 40Hz onwards the driver improves in all aspects, sounding natural, punchy and fast. When you get back to the real music this behaviour translates into a dense, but fast punch. The decay is fast and there is hardly a trace of bass in the room. The beauty of this behaviour is the sense of space it is able to generate: the bass opens up the environment and makes it deep, when it disappears that space is filled with the rest of the music and the details remain prominent. It may sound like an inappropriate but eloquent comparison: the bass behaves like a bomb that clears the way.
As I say, they don’t move as much air, but their punch has power and presence. Bass lovers won’t be able to overlook that punch and energy level. And that’s where I find myself, enjoying them.
With fast transients, the bass limits the boominess without losing the natural, elastic feel of fat, thick bass drums. This is a vitaminised band, with many hours in the gym. There is muscle, a tight bass capable of layering with ease, following complex, unfiltered lines without distortion. It’s everything you look for in a bass range. If you add power, punch, richness and, above all, naturalness to all the technical skills, precision, resolution and definition, it becomes an exquisite range, and that’s what the MP145s represent.





Despite the representative density in the mids, the relatively slow, but subtly accentuated drop in the low end generates quite full, but not foreground-sounding male voices. For example, the strings, drums and bass are subtly in front. Despite this, their timbre is quite adequate and realistic, more so when it comes to planar. We are talking about a complex and effective representation, which has a good base and whose details are presented in the right measure. Its complexion is rich and almost exuberant. The pity is that they are sometimes subtly distanced. A slightly closer presence would have made them absolute and excellent protagonists. As I say, in this first half I find more prominence for the instruments, except in those songs where the vocal presence is prominent. It is, then, where all that descriptive, precise, rich and completely musical power is shown in the male voices. I have to refer again to the concept of mid-range musicality. The blend of instruments and voices is very good, the level of resolution of the driver offers a very extensive palette of notes, really separated and precise. The transients generate a very accentuated dynamism and all the sounds are appreciated individually, but put together in a very harmonious and… musical way.
The female voices are stellar, the true protagonists of the mid-range, though fully supported by the rest of the instruments. The sibilance with the gold filter is controlled and the treble tuning adds the necessary richness and sparkle to bring the timbre up to a reference standard, halfway between softness and sparkle, harbouring the best of both worlds.
As I have already mentioned, the instrumentation is quite prominent and alternates its major presence between male and female voices. This virtue is determined by the Hidizs MP145’s great capacity for recreation, a semi-analytical and very descriptive character. Also evident is the technical skill and the level of resolution so broad as to be explicit in many details, while maintaining musicality. In the background, the expressiveness of the music is high, but its presentation remains simple, because it does not stun, because it is elegant, it is harmonious, it is evident, it is transparent and it is precise. And, returning to the mixture, to the conjunction of voices and instruments, to the overall music, the mutual benefit, their conjunction and symbiosis is obvious, because there is no overlapping. The elements are unique and differential, the notes bring out their individuality and the music is the winner.





One thing I like about the planar treble is its linearity and extension. The representative level of the MP145’s high end is high, but controlled with the Rose Gold filter. Perhaps, with this filter, some may feel that it lacks a little more sparkle, not quite as crisp as you might expect. But with the Quiet Silver filter this point is improved. In my opinion I think it is sufficient, even in energy and presence. However, the balanced filter becomes delicious as the hours go by, because of that mix of smoothness, balance and naturalness it possesses, without losing sight of its great informative level. That is why I think the ratio between length and presence is very good. The great advantage remains the level of resolution and definition, keeping the sibilance under control, adopting a relatively soft, but effective and expressive manifestation of the high notes.
The great linearity of the treble offers a more appropriate timbre, with no hollowness, no over-excited highlights and no control drop. This homogeneity gives it an extended and sustained energy, but expressed in a balanced way that provides a much appreciated naturalness. As usual, the air zone feels a little less accentuated, but its impact on the sound is still quite noticeable.



Soundstage, Separation


The large representation of the MP145s on all three bands gives them a wall-of-sound feel, which is also characteristic of other planar models. But one of the differences that can be felt in this model is produced by the ventilation holes on the outer side. With them, the impression of openness of the sound is increased. The characteristic density seems to be relieved, the scene decompresses and expands, becoming more volatile, extensive and vaporous. In the same way, the separation is more evident, while gaining in clarity and transparency, but also in height. In this way, the scene appears wide, broad, quite deep, 180 degrees are clearly exceeded and the music is able to surround the head, but without offering a sensation outside it that disperses the sound in an unrealistic way. No, the music still maintains its grip, offering a body that is large and full, but not as dense or impenetrable as in other planars. The sense of air is higher than the competition, while positioning remains fairly tight. The high level of definition, resolution, together with the representational capacity, the ability to generate layers, lines and the great power of layering, allows the placement of the elements to be very good, generating an expressive, even eloquent image.
In the end, the MP145s are still not detail monsters, and while the Quiet Silver filter may be more explicit in this regard, there is still a musical softness that allows many nuances to be revealed, but without describing them in detail. I have commented that it is semi-analytical, because it has notable technicalities that manage to reveal a lot of information. But it does not expose it in a surgical way. But, in this way, it gains in musicality and a subtly warm and pleasant quality.





LetShuoer S12


The S12s are perhaps one of the most famous planar IEMS along with the 7Hz Timeless. Although I also own the S12 Pro, I have opted for the original S12s because of their similarity in frequency response, which is more than evident.
On a physical level, the construction is stellar in both models, both are metal, but the size is quite different. For small ears the S12s may be much better, but the shorter length of the nozzles makes them feel shallower, whereas with the MP145s I get a slightly deeper insertion. The S12s are more susceptible to dislodging, although they fit better in the pinna because of their shape. Again, the fault lies in the slightly shorter length of the mouthpieces. Despite the larger size of the MP145s, I feel that their insertion is more durable, but I can’t help but think that their larger size may be more critical for some amateurs.
The cable is thick on both models and both have 4.4mm balanced connectors. But I prefer the more manageable cable of the Hidizs. The S12s have two thicker strands that are comparatively stiffer than the 4 thinner strands of the MP145s. The S12s have a hard case which I love, while the MP145s have a leather pouch which is less protective. It’s also a bit fair in size. Both come with 9 pairs of tips, while the S12s have foam tips, the Hidizs are accompanied by three types of tips with tuning change capability.
In terms of sensitivity, the S12s are subtly easier to move, requiring less energy to reach the same sound pressure level. Both models are grateful for a powerful source, though.
Although the bass tuning is very similar, the differences are in the performance. I find the bass on the S12s to be somewhat smoother and silkier, while the bass on the MP145s possesses a point of greater punch, energy, but, above all, roughness and texture. Yes, texture is more noticeable in the Hidizs and that makes them more engaging and enjoyable. There is a superior descriptive feel, a more exuberant vibe that makes them a more fun, even addictive choice. The MP145s even seem to possess more depth, volume and expansion in this area. In the pure tone test the behaviour is very similar, it just seems that the MP145s have achieved a slightly better playing stability, a little more control, something that makes for an improvement in the realism of their behaviour and timbre.
In the mid-range, I had commented that the male vocals in the MP145s can lose prominence to the instrumentation in some songs. This effect is also present in the S12s, but is more pronounced in the LetShuoer. However, the big difference is in the mix, in the exposure. The S12s seem flatter and more uniform, while the MP145s are more three-dimensional, more dynamic. The mids seem more excited, more vivid, more exalted, with more sparkle and life. They feel closer and offer the sensation of surrounding the listener within the music, giving an impression of greater volume. In the same vein, the level of clarity, transparency, definition and resolution is more evident in the MP145s. This is noticeable, for example, in female vocals. While the S12s are well represented, in the MP145s they seem fuller, more full-bodied, with a more evident base, a more evident fullness. There is a clearer descriptive level that makes them larger and closer, as well as more discernible, projected, even detached.
In the treble, the sense of refinement is also noticeable in the MP145s, the timbre seems more appropriate and the behaviour seems more natural, even if the tuning is similar.
The S12s present the music more homogeneously, more densely. But there is more space, separation, distance and air in the MP145s. Of course, the scene is larger and more surrounding, but the image is more precise and the elements are easier to locate because they have a more pronounced individual prominence. In the background, the ability to extract simple details is similar, but the complexity and reconstruction of instruments and voices is greater in the MP145s. This gives them a higher level of musical richness, which puts them a step ahead of them.





If there is currently a really attractive, eye-catching, attention-grabbing attribute in the world of IEMS, it is the magnetic planar technology. Every brand wants to have a model with this driver and the race to create their own driver has been going on for some time. Hidizs has now launched its model. This is the MP145, as the name suggests, it uses a 14.5mm magnetic planar driver with a precise arrangement of 7+7 N52H magnets, whose magnetic flux is higher than 1 Tesla. Its design is inspired by whales and collaborates with leading global charity Whale and Dolphin Conservation (WDC). Hidizs has also realised the importance of a great cable as standard and the need for a balanced connection as a purchase option, without the need for additional accessories. But more importantly, within the relative homogeneity of the sound produced by the current planar drivers, the brand wanted to introduce variations to increase the quality of the sound produced by these transducers. In this case, the size of the capsules is larger, something that gives them an image of greater magnitude. On the other hand, the ventilation ports on the outer face help to generate a more airy, expansive, volatile and three-dimensional sound. The level of precision is very high, as is the level of resolution, and the music is more crisp, descriptive, individualised, rich, lush, but also organic, highly dynamic, detached, clean, expressive and with a more natural and accurate sense of timbre than its competition. In addition, as usual in the brand’s latest models, three filters have been included to modify a sound profile whose base is the planar reference, as well as 9 pairs of silicone tips that allow a more personalised alteration of the curve, even more customised. With all this, Hidizs has entered the planar IEMS market ahead of other models and placed itself in the front line where the best models are to be found. In short, the Hidizs MP145 has embraced magnetic planar technology and all of the existing background to date to perfect its new model with superior refinement. It’s not a huge leap, but it is a noticeable improvement. And that’s always a great achievement.



Sources Used During the Analysis


  • Hidizs AP80 PRO-X Red Copper LE.
  • Hidizs DH80S.
  • Hidizs S9 Pro.
  • Hidizs XO.
  • Tempotec BHD Pro.
  • Aune X8 XVIII Magic DAC + EarMen ST-Amp.
  • Aune M1p.