From A Galaxy Near At Hand
- Fun and warm V-tuning, with a nice, pleasant midrange and smooth treble.
- Ideal set for everyday use and as a first choice for newcomers.
- Very comfortable and lightweight.
- Good cable for the price.
- Very good value for money.
- Minimal accessory set, just enough, without even a storage bag.
- For the price, don’t expect a technically outstanding set.
- The tuning is soft in general, especially in the treble, which is also not very extended.
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Hidizs is still in the race. In a very short time it has presented a whole range of IEMS. From the top of the range MS5 (1DDD+4BA), to more economical and versatile hybrids such as the MS3 (1DDD+2BA), to its latest planar technology model, the MP145. Now, it is back with a very economically priced IEMS, the MS1 Galaxy, a sub-$20 IEMS featuring a high-performance 10.2mm dual-circuit magnetic dynamic driver customised by Hidizs. Its PU+PEEK high polymer composite diaphragm is recognised as the most stable and mature diaphragm solution in the driver manufacturing industry. German high-density Makrolon resin is used for the capsules, which guarantees excellent stability, skin-friendly comfort and non-irritant properties, making it safe for long-term use. The injection moulded design ensures both durability and a premium look, providing a feeling of sophistication and quality. The Hidizs MS1 Galaxy have been tuned based on B&K’s HATS target frequency response curve, following the guidelines of the H-2019 target frequency response curve. After extensive testing by the Hidizs Acoustic Laboratory, the MS1-Galaxy features a full-range non-linear frequency distortion of less than 0.05%. Of course, the MS1s use a 2Pin 0.78mm cable to increase compatibility with any use, be it with a balanced replacement cable or Bluetooth devices that adapt to such a connection. They have an impedance of 32Ω and a sensitivity of 108dB which makes them relatively easy to use with today’s smartphones. Let’s see what the overall performance of this new model is and, of course, what they sound like.
- Driver Type: High-performance dual-circuit magnetic dynamic driver.
- Diaphragm: 10.2mm PU+PEEK composite diaphragm.
- Cartridge: Made of high density German Makrolon resin.
- Frequency Response: 20Hz-40kHz.
- Sensitivity: 108dB
- Impedance: 32Ω
- Distortion Ratio: less than 0.05%.
- Jack Connector: SE 3.5mm gold-plated, L-shaped.
- Capsule Connection Type: 2Pin 0.78mm.
- Cable: Oxygen-free, silver-plated copper cable. Optional microphone and in-line control.
- Weight: about 10g.
The Hidizs MS1 Galaxy comes in a white box with very compact dimensions, 111x76x42mm. On the front face is a realistic photo of the capsules and their colour. At the top left is the Hidizs logo in silver ink. In the same way is the model name, bottom left. At the bottom right is a symbol indicating the use of a dynamic driver and the Hi-Res logo, in the same silver ink. On both sides there is an anime girl and the logo and model name are repeated above and below. On the back are the specifications in several languages, including English. It is also specified whether or not the cable has a microphone. After removing the vertical sleeve, a white foam mould protected by a white cardboard cover is revealed. The MS1 capsules are embedded in it. After removing this layer, you can access the bottom of the box which contains the rest of the accessories, protected by transparent zip bags. In summary, the contents are as follows:
- The two Hidizs MS1 Galaxy capsules.
- One cable with 2Pin 0.78mm connection and gold-plated SE 3.5mm plug.
- Three white translucent silicone tips, sizes SxMxL.
- Instruction manual.
- Social media card.
- Business card of the anime girl, named Lin.
Apart from the fact that if you don’t present or put an anime girl on the box it looks like you can’t sell IEMS, the MS1s come with just enough to function. Any storage accessories are missing, but there is no bag, let alone a zippered case. Brands would do well to save any anime girl designs, make a product-focused presentation and invest the money in protecting the IEMS during storage. Very basic.
Construction and Design
The capsules are medium sized, made of high density German Makrolon resin, with a very good finish. They have the classic semi-custom shape in the shape of an African continent. Their outer face has a very well achieved holographic pattern, on which is the Hidizs logo in silver ink. It is available in four colours, black, red, blue and transparent. The 2Pin 0.78mm connection is mounted on a translucent plastic oval base with gold-plated connections. The connector is flat, which makes it easy to use any replacement cable. On my transparent model you can see that the dynamic driver is close to the mouthpiece and the rest of the inside of the capsule is hollow, only the wires to the cable connection interface are visible. There are two grey moles with the channel lettering on the inside. There is a dynamic driver breather hole. The mouthpieces are metallic and have three parts, the base, the longer central part with a diameter of 4.8mm and the mouthpiece rim with a top diameter of 6mm. The orifice is protected by a dense metal grille.
The cable consists of two coiled strands. Each has a kind of metal braid and a transparent PVC sheath. The 3.5mm SE connector has an L-sleeve which mixes a black plastic part with a metal cylinder. The splitter piece is an equal but longer cylinder. The 2Pin connectors have an angled transparent plastic sleeve. Each of them has a blue or red mole to indicate the channel. Both sides have semi-rigid, ear-shaped sleeves.
There is nothing new in the shape of the capsules. But the use of quality resins and the familiar lightweight/ergonomic design is appreciated. The metal mouthpiece adds to the value of the construction, although the diameter is one of the wide ones, for use with wide-channel tips. The cable is nothing special, but there is an effort in the use of the wire mesh that takes it away from being a totally simple and thin cable, although it has a bit of microphony and slight stiffness. It comes with a sleeve to protect the 3.5mm connector. The low weight of the capsules is also very welcome.
Adjustment and Ergonomics
With such a popular design there is not much to say. Classic semi-custom shape with a capsule made of very light resin. The interior has no edges or ridges, the surface is soft and smooth, there is hardly any friction or contact with the ear parts. Good projection of the nozzles and good angle to the ear canals. The width of the mouthpieces implies the use of wide canal tips which guarantees a higher clarity. Very suitable for tip rolling, although the diameter itself limits the insertion which can only be shallow or, hopefully, subtly recessed. Depending on the tips, a good isolation can be achieved. With foam-filled or foam-only tips, this insulation is improved and the sound pressure and bass performance are improved.
Overall, the comfort is quite high, the low weight, the ease of insertion, the almost no rotation and the great fit allow daily use, in public transport and also for sport. Very good.
The profile of the Hidizs MS1 Galaxy could be summed up as a warm V, with a smooth transition between mid-high and first treble. The mid-bass is emphasised, with a good level of energy in the sub-bass, but without being decisive in this aspect. The mids are slightly dipped, especially in the middle, while the rise towards the treble is slight, something that avoids a brighter and more polarised sound, but ensures a good level of harmony, smoothness and a certain balance.
The punch in the low end is authoritative, with a medium speed, where the feeling of rubberiness is more noticeable in continuous bass lines than in single bass drums. Recovery is not very fast, which implies that feeling of a somewhat saturated space in the lower range. Thus, the MS1s are more adept at rhythmic bases than at processing more continuous, overlapping or unfiltered bass lines. In such cases, the energy level can be high and can even overshadow the other ranges. However, this applies to the sense of volume it generates and the response in representing multiple layers of complex bass. However, it suffers no loss of control when reproducing such situations, as it is able to recreate them while maintaining a relatively natural and powerful feel, vibrant and with a good dose of texture. The bass is slightly rumbling, there’s no denying that. It’s one of those that you feel in your ears, it’s sensory and that vibration I’m talking about resonates in your ears. Clearly, this is a bass with quite a lot of power, a noticeable presence, which produces a great deal of fun and enjoyment for those who love slightly thick and heavy bass. Bass-heads may find the MS1s quite satisfying and they can be great allies for sport. Personally, I like that bass boost when playing sports outdoors.
In my classic very low frequency pure tone test, it feels that frequencies below 40Hz have a good balance between colour and sensory capability. Whereas above 40Hz is when the timbre becomes more natural, offering that nice, rough texture that vibrates in my ears. It is true that you notice the thickness of the notes, the power and the average speed that makes them bigger and juicier. But there is also a dark component that gives it a quite appreciable dose of warm realism. For the use and enjoyment of those passionate about bass.
Coming from a low end as notorious as this one, I was thinking of a more recessed midrange. However, the part that could suffer the most, such as the male voices, are not so far away, but occupy a good middle ground. They have a good level of physicality, warmth and softness. It is clear that this is not an analytical presentation, but is more musical and homogeneous, with a pleasantly medium thickness of notes. The overtones are not very prominent, while the harmonics are slightly nuanced, offering a soft, warm, subtly dark, even timbre. The fleshy body coming from the bass settles in the initial part of the mids and that is what creeps into the more powerful male voices to maintain its presence, even to gain in volume. It is true that this volume, which is superior in the bass, sometimes tries to push these voices, as well as other instruments, aside, limiting their space on the stage.
The female voices feel quite velvety, blending softness, warmth and just the right amount of excitement to gain a higher degree of vigour. On the other hand, they are free of sibilance and always secure, never strident. The whole is remarkably pleasant and enjoyable as well. On the other hand, the instrumentation doesn’t feel penalised in its representation, but don’t expect a very high level of detail or resolution, due to the warmth, the homogeneity of the sound and the thickness of the notes. Don’t get me wrong, it’s not a coarse sound or lacking in technique, the MS1s have good dynamics and don’t do anything wrong, as long as you’re OK with the space the bass occupies and its energy level. But their effort is to be more complacent, than technically decisive. Nevertheless, I would like to emphasise once again that the mids are quite well presented despite the power of the bass.
They begin by maintaining the energy level of the mid-highs and open with a controlled, gentle sparkle, but with a degree of vivacity that keeps them from being dark or overly nuanced. They are not completely clean or crisp, but their control zone is also light and then there is a splash that tries to regain presence and some sparkle. The result is still soft, but the performance is fuller in its first half than expected. It is true that the air zone is not very present and suffers from some extension in the upper treble. The execution of the high notes has an average finesse, lacking sufficient edge to offer a higher level of definition, although it is true that the result does not detract from the sound as a whole. One might conclude, as I have commented on other occasions, that the treble fulfils its role, feeling relatively inoffensive, with a polite sparkle, medium clarity and a flare that can have a certain level of spirited excitement.
The volume occupied by the lower zone expands the scene in depth, width, even height. The overall space is not very large, though, which is why the rest of the range sometimes feels occupied by the lower end. In a realistically sized soundstage for this price range, the space is finite and the bass presence feels close, almost in the foreground. This gives a good sense of laterality, but clumps the notes together, limiting an expansive upper range feel. In this way, the scene appears relatively rounded, becoming oval towards the sides, but without reaching too much depth due to the proximity of the bass.
The average level of resolution, the thickness of the notes, the warmth and homogeneity of the sound enhances the harmony, but prevents details from being more volatile and prominent. The musical cohesion limits a perception of a cleaner and darker background, as well as the level of transparency. Despite all this, the MS1s do not come across as stuffy or claustrophobic, although there is some unavoidable pressure that comes close to the listener. Finally, I was surprised by a good level of incipient detail in later layers of the music. The MS1s have been able to insinuate micro details that I wasn’t expecting. It doesn’t reproduce them clearly, but, at times, they can be intuited. Quite curious.
The industry of inexpensive IEMS is very diversified and there is always a clear competition for any model. In this case, the KBEAR Rosefinch is the ideal opponent for the Hidizs MS1 Galaxy. With a very similar, if not almost the same price, the Rosefinch has many similarities to the MS1. The size and shape of the capsules are similar. The main difference is the metal outer face of the Rosefinch, which gives it a heavier point of weight. While the inner face of the KBEARs is more depressed and lowered at the edge, the MS1s are somewhat thicker, with that peak at the end of the inner face that seeks the ergonomics of the bell, as an anchor. As far as accessories are concerned, both are minimal, but it is worth noting that the MS1s have a better cable than the generic and hackneyed Rosefinch cable. Ergonomically they are almost identical if it weren’t for the protrusion of the MS1’s rim, which is the only thing that might make a difference for some. For me, this point is an improvement in favour of the Hidizs and their lighter weight as well, even if it is not very distinguishable in the ears. The Rosefinch are 16Ω, the Hidizs 32Ω and despite the higher sensitivity of the MS1s, the KBEARs are subtly easier to move.
In terms of sound, the graphs are very eloquent and the differences are obvious, or rather, the similarities. Both graphs, from 200Hz onwards, are very similar. From that point back, the Rosefiches rise steadily towards the sub-bass, offering a more powerful, energetic, wide and deep low end. But it is also more noticeable and intrusive. Their greater presence affects the rest of the bands, offering a more oppressive volume than the Hidizs. Really, the graph says it all, the level of vocals and instrumentation are at the same level, while the bass excels in the Rosefinch. Whereas, in the MS1s, there is a lot of power, but it is better integrated with the rest of the frequencies. Basically, the Rosefinch is like an MS1 that has been equalised to boost 6dB at 20Hz, with all its consequences. If you are looking for bass-free songs, those similarities are obvious and there just seems to be a bit more clarity and transparency in the MS1s. The Rosefinch’s seem a little darker, with a hint of lower resolution. But the midrange and treble presentation is very similar, with a drop of more brightness and extension in the Hidizs, but this is something that could be changed with the use of different tips, even cables. On songs with full frequency range, the Rosefinch’s suffer in representing detail, the wide, energetic bass masks any attempt to recreate detail. On the other hand, the Hidizs manage to show it, even if only in an insinuating way. In this sense, the KBEARs are niche IEMS, while the MS1s can be much more all-round IEMS, despite the power of their low end. In general, the background is more visible in the MS1s, the separation is more obvious, there is a little more light and freedom in their presentation. The Rosefinch’s fall victim to their big bass and sub-bass rumble, oppressing the scene and detail, despite their more obvious depth.
The Hidizs MS1 Galaxy are IEMS with a fun and warm V-tuning, very light and comfortable. They are perfect allies for those looking for an energetic sound, very suitable for everyday use and highly recommended for sports, due to their powerful low end. But despite the power of their bass, vocals and instruments aren’t distant and you get a remarkable overall musicality, softened by homogeneous and friendly treble. Their performance for the price is good and they may be a first choice for those looking for powerful bass, but without losing the rest of the frequencies, offering a more all-round suitability than other rivals, as well as a smooth, attractive and melodious sound. Also not to be overlooked is its high level of ergonomics, its fit is durable and firm, with a negligible weight. All these features emphasise its value as an IEMS for daily multidisciplinary use, thanks also to the choice of a more than acceptable cable with microphone.
Sources Used During the Analysis
- Hidizs AP80 PRO-X Red Copper LE.
- Hidizs DH80S.
- Hidizs S9 Pro.
- Hidizs XO.
- Tempotec BHD Pro.
- Burson Audio Playmate.
- Aune M1p.