New Sage

Ratings

Pros

• Fun and energetic tuning.
• Powerful and extended bass.
• Tuning that is a slight alternative around several models in its price range.
• Very good level of construction.
• Complete set of tips and good case.

Cons

• Driver Flex.
• Somewhat short nozzles.
• Not too refined.
• Bass is not too technical.

Purchase Link

https://es.aliexpress.com/item/1005006660245454.html

Link to the Store

https://es.aliexpress.com/store/1825606

Introduction

JIALAI presents itself as a sister brand of NiceHCK and the Carats are the first models under its belt. All ChiFi fans know the AliExpress shop NiceHCK and it may come as a bit of a surprise to start with another parallel brand. But be that as it may, here are the JIALAI Carat, an IEMS using a dynamic driver with a 10mm titanium-plated DLC diaphragm. The capsule is made of aluminium alloy using a five-axis CNC, while tuning is based on the IE 2019 curve. Finally, the Carats come with a good number of accessories for their price, as well as a high-purity OFC cable with 2Pin 0.78mm interface. Let’s take a closer look at what this new model has to offer.

Specifications

• Driver Type: Dynamic driver with 10mm titanium-plated DLC diaphragm.
• Frequency Response: 10Hz-28kHz.
• Sensitivity: 106dB/mW.
• Impedance: 32Ω.
• Capsule material: Aluminium alloy.
• Jack Connector: SE 3.5mm.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable: High purity OFC.

Packaging

The JIALAI Carat comes in a square, silver box whose dimensions are 115x115x67mm. On the main side is the name of the brand and model in the centre, in large black letters. The brand name can be read from top to bottom in silver letters on the left side. There is a small description at the bottom right base. On the back side all the lettering is black. At the top left is the brand logo. To its right the m model and below it the description. In the next section are the specifications. Then, the brand’s contact details and other information. The box opens like a chest and on the lower part of the lid, the characteristics of the model are repeated. The capsules are inside a black foam base with a cloth strip for easy removal. On the second level there is a leatherette case with a magnetised clasp and the rest of the accessories. In a summary:

• The two JIALAI Carat capsules.
• A black imitation leather case with magnetic closure.
• One user’s manual.
• One 4-strand high purity OFC cable.
• Three pairs of black silicone narrow core tips, sizes SxMxL.
• Three pairs of black silicone wide-core tips, sizes SxMxL.
• Three pairs of blue silicone tips model NiceHCK 08, sizes SxMxL.

Currently, the JIALAI Carat can be bought for less than €60. The standard of the accessories is pretty good. But I think the cable, coming from a brand like NiceHCK, could be a bit better, as it feels a bit basic in its outer construction.

Construction and Design

The JIALAI Carat has a mix of classic design and a blend of newer features. It is an aluminium alloy capsule with a mirror finish, which is a fingerprint magnet. Its size is on the small side of a medium-sized shape. It is quite flat and because of its somewhat short mouthpiece, its integration in my ears is quite flush. The outer shape is based on an almost rectangular triangle, with the vertices cut off. The outer face is composed of 5 flat sides in a triangular shape. Surprisingly, it is not too thick. At the bottom of the border, the full name of the model can be read, as well as the letter indicating the channel. All this by means of a perfect inscription on its surface. On the other side of the rim is the 2PIN 0.78mm interface, inside the capsule, on a plastic plate. Next to it, there is a hole. The inner side has a first part away from the nozzles which is flat. Then there is a flat slope going upwards and almost at the end there is another hole. Immediately after are the matt golden mouthpieces, which look like brass. Their interior is protected by a metal grille. The approximate length is 4.5mm, while the inner diameter is 4.8mm and the crown is 5.8mm. It is surprisingly light weight, compared to other similar capsules.
The cable consists of 4 strands wound together in two pairs. The outer sheath is black and somewhat coarse. The sleeve of the 3.5mm gold-plated SE plug is a dark metal cylinder. It has the brand name written in white letters lengthwise. It has a small rubber protection at the cable outlet. The splitter piece is the same shape but smaller, without any lettering. The pin is a ring that fulfils its fitting role very well, as it does not slip easily. The gold-plated 2Pin 0.78mm connection interface has a very classically shaped half-angled sleeve, with that all-too-simple black plastic look that is so common on budget models. There is a letter inscribed to indicate the channel. Then, the cable has a semi-rigid sleeve to shape it over the ear.
The construction of the capsules is quite good, with that medium/small size, that somewhat distinctive shape and its low thickness and weight. The cable is a bit basic, not the classic ChiFi cable, but it is a bit stiff and has parts, such as the 2Pin termination sleeve, that could be improved, as well as the cable sleeve itself. NiceHCK has much better cables for a very low price.

Adjustment and Ergonomics

The weight is low, the shape is very good, I’m surprised how well the whole thing fits in my ear. The problem is that the tips are a bit short. I had to look for longer tips in order to reach a shallow insertion. Once I found them, the fit is simple, occlusive, no movement, no rotation, quite firm. But with the somewhat fragile drawback that the mouthpieces are a bit short and it seems that the capsules could fall off at some point. In reality, this is not the case because my foam-filled tips generate a vacuum-like effect, which facilitates a tighter and more durable fit. But it does give that slight impression. Even so, I don’t have any problems with firm use and smooth movement. Finally, there is driver flex, especially in the right capsule.

Sound

Profile

The JIALAI Carat’s border on the current classic U-V profile. Focused on the lower bass, it also sits energetically in the upper midrange, but without being overdriven. There is a good level of energy in the early treble, adding a good initial extension in this upper band. The midranges don’t feel too recessed, and there is some balance between the lows and the upper mids. But there is always that lighter, more distant initial central range.
The brand itself specifies that the Carats are based on the IE 2019 curve. And what is clear is that this is a tuning that is not unique, as there are many models, even in this price range, that have a similar FR. Another thing is how each model manages to sound technically speaking.
The Carat’s need some power to reach a good volume level.

Bass

Bass is something that feels enhanced in the Carat. Their energy starts from the very bottom and they have a certain dark, springy character that sets them apart from other models that are drier in their execution. For better or worse, the Carat’s generate a powerful, slightly rubbery hit that makes them enjoyable, more extended, more fun to play, with a discernible rather than smooth texture. However, not an ounce of darkness and depth is lost in this feel, as a sub-bass advancing into the low-midrange remains the star of the show.
In the very low frequency pure tone test, one can perceive the reason for this dark, deep, sensory, textured and slightly flexible character. The lower frequency is perceived in equal parts physically and aurally, with some noticeable undulating behaviour. Several of these qualities, as well as a somewhat more prolonged decay, follow from this. I find its behaviour, colour and timbre adequate, as well as the level of energy, naturalness and realism. But that more elastic feel subtly takes it away from a more perfect behaviour, technically speaking. Assuming that there are many higher-priced IEMS that don’t quite execute bass the way the Carat does, the low end of this model is certainly remarkable for its price range. It can be said that the energy level exceeds neutrality and that these are bass-boosted IEMS. On the other hand, the more elastic character, with a slightly longer fade, contributes to this perception. But in the dirty, raw and unfiltered bass test, the Carats endorse their overall good behaviour without generating problems. They are quite capable of performing complex, simultaneous bass lines, and can discern quite well between them. It doesn’t lose control in the heaviest bass and manages to layer layers with little or no mixing. It may not be the most technical, clean or precise when it comes to bass performance under $100. But in its demeanour and execution lies a certain appeal that is more enjoyable than concise. Although, to be fair, the Carat’s bass has the resolution and definition to make the lower range a powerful and well-executed band. And not all of them have that level.

Mids

The Carats have that in-vogue tuning of relatively thin initial midranges and hot upper mids. Although the unevenness is not that great, the increased bass can make that initial phase more distant. There is no obvious bleed from the bass into the midrange, but the limited technical level of the Carats in the lower range can disturb the tranquillity of the midrange.
The initial phase is slightly lean, with well-represented male voices, with an acceptable timbre and naturalness. In this case, they seem to have a good base, but lack a certain body in the central part. You can feel a deep bass in them, but as the frequencies rise, they are a bit more distant and it is there where you can perceive a certain thinness in their development. The harmonics are well represented thanks to the extension of the upper mids and first highs. In this sense, the male voices feel relatively full and with an adequate timbre. However, they can be susceptible to some trace of sibilance.
Again, the energy of the lower range can make the initial phase denser, somewhat darker and not quite clean or transparent. In that sense, there is a level of warmth that combines with the energy of the upper mids. This creates a certain imbalance and the dreaded hollowness in the middle of the central range. That certain valley in the higher range instruments is the weak point of Carat-style midranges (and many IEMS suffer from the same characteristics). The tuning enhances the base and the details. But fortunately in the Carat this feeling is not so evident and the plateau of the upper midrange helps in this respect. In this way, the energy resulting from the V of the midrange is slightly nuanced and compensated. It’s not about a totally splashy or vivid sound in the second half of the midrange, but it’s about seeking a certain calmness by softening the peaks. Some of this is achieved, but at other times there is a more sibilant feeling that contrasts with the initial warmth. In this way, the central range is not so well resolved: it is not explicitly clear, transparent or clean, but neither is it totally balanced, smooth or homogeneous.
Things improve in the female vocals and in the instruments better represented by the second half of the midranges. Here there is that more solid base, a fuller body, plus a more prominent and evident presence. It’s still not a completely clear or transparent sound, but it does get an edge when the musical load is focused on the early midrange. The problem? As usual, you have to deal with that amount of energy.
In short, the Carat attempts to overcome certain aspects of the trend towards thin midrange and energetic upper- mids by homogenising the mix. But, it remains incomplete by forgetting the middle part and by keeping more energy than necessary in the final phase. On the other hand, it is not very technical and has a relatively limited range of resolution. In this respect, it is more musical than analytical. This results in a lesser sense of clarity, transparency, distance and separation.

Treble

The high notes start with a good initial sparkle and then gradually fade away, in the interest of a natural execution of the higher notes. In many ways this is the case, and I don’t think it’s a tuning problem. But there is a certain rawness in the sound that takes it away from a more natural performance and sonority. The treble can be a bit harsh in this respect. There is a sense that the sound lacks some refinement and this seems to be more noticeable in this upper range. That mix of technical limitation and the subtly uncontrolled energy level can create that less musical, rougher feel.
Turning to the treble, it is slightly crisp, not overly thin or penetrating. Although there is no control zone as such, there is an attenuating aspect that makes them tolerable. But again, the technical level is the limiting aspect. Nevertheless, there is a good level of extension and airy feel.

Soundstage, Separation

The Carat scene is moderately wide and deeper. It does not have a 180° sound, but it has a lateral perception beyond average. It does not have an expansive character and the pitch is average. The scene feels tight and natural, with no signs of volatility or three-dimensionality beyond the ordinary. The level of detail is not very evident, nor does it feel forced, although the upper midranges and first highs may make the macro detail and highlights more noticeable. In the background, the level of resolution is somewhat limited and the micro detail is not very noticeable, but is somewhat relegated to the midrange, even diluted. The notes are not described as very sharp and thus the separation is not so evident, nor is their background. There is clarity and a more than decent level of transparency. But the sound can be a bit abrupt, raw, without a superior refinement that would make it musically smoother, informative and descriptive. Still, none of these negative aspects fully influence the final sound. This description is being more incisive than usual, given the amount of competition in this range. But overall, both the scene and the image, as well as the level of detail, informativeness and descriptiveness, and the sharpness and clarity of the sound, are in the upper part of the average.

Comparisons

EPZ Q5

In a very similar price range, the EPZ Q5 can currently be found for $78 versus $70 for the JIALAI Carat. I prefer the all-metal construction of the Carat over the other model-inspired design of the Q5. Both have a good set of accessories, pretty evenly matched, but I find the Carat’s cable to be inferior to the Q5’s, which I don’t like either. However, the Carat’s cable seems thicker. The EPZs come with a zippered case, although it’s more common, I appreciate it over the Carat’s case with magnetic closure, as it’s more manageable and narrower. While the Carat comes with three sets of tips, the Q5 comes with only two, although it does come with a cleaning wipe.
The ergonomics of the Q5 are very good, with a longer mouthpiece. The Carat fit flatter and fuller to my ears and provide a better isolation, maybe that’s the trump card of the Q5 in this aspect. But the driver flex is annoying.
The Q5s are subtly more sensitive. In terms of profile, the Q5s are brighter and less bass-heavy in the midrange. While the Carats are slightly warmer, a little darker and more bass-heavy. Both share a distinct sparkle in the upper-midrange and early treble. While the Carats are somewhat more restrained and even in this upper range, the Q5s are more penetrating and incisive.
The lower range is somewhat more technical and cleaner in the Q5s, the bass representation is drier. The Carat’s are deeper, darker, with a more natural presentation in timbre and colour, although they are more elastic, with a more pronounced texture, more power in the low-midrange and more body. The Q5’s bass is more compact and quicker, while the Carat’s bass has a longer fade and slower recovery. Their travel is longer, but they linger longer in the room.
The first part of the Q5 midrange is thinner, leaner and lighter than in the Carat. There is more body and base in the JIALAI, also more warmth, something I appreciate more. The midrange of the Q5 seems more pushed forward, especially in the upper range, but it lacks a solid base, it gets lost in the midrange leaving just the base and top notes. That way it becomes leaner and more incisive. The Carat has more meat at the inflection point and is not as exalted in the upper midranges. In this sense, I find it more pleasant, fuller, more homogeneous and balanced. It is also a little darker and somewhat less refined.
The macro detail is more explicit in a more splashy profile of the Q5s. In the background, the micro detail is the same for both, not too visible. Being sharper, the Q5’s detail is closer, in the foreground, which makes it sharper, but also more persistent and fatiguing. Underneath, the technical skill is similar and the descriptiveness of the smallest detail reveals that both models are not overly analytical. It is only a difference in exposition, but not in refinement. There is a little more rawness in the Carat and a little more abruptness in the Q5. But, the 5kHz peak of the Q5s seems to me to be more intense overall and makes it and can be more unpleasant at times. The Carats also have a good level of energy in the upper midrange, but slightly nuanced by comparison.
The Q5’s treble is thinner and crisper, with a higher initial energy level that makes it more penetrating and incisive. The Carats have a slightly more restrained and slightly more extended treble. A slight initial homogeneity of the Carat’s treble is traded for a little more lift and power in the Q5. Perhaps, lovers of crisper and more powerful treble will prefer the Q5s. I prefer the less insistent tuning of the Carat.
The cleaner, thinner sound of the Q5s generates a greater sense of separation. The soundstage is similarly wide on both, but many elements feel closer on the Q5s, while the Carats are deeper. I’d say the scene is slightly wider on the Carat and the image is sharper on the Q5.
As I comment, the Q5s fall victim to their insistent peak at 5kHz. The Carats have more bass and a subtly more restrained upper mids region. Overall, I would choose the Carat over the Q5. They are even cheaper and more solidly built.

Conclusion

In my opinion, the JIALAI Carat is a remarkable IEMS. They have a good design and better construction. They possess a tuning that hovers around several successful models in their price range. They start with a deep, energetic and full bass. They continue with the classic, subtly warm midrange, somewhat lean in their initial phase and more emphasised in the upper mids. Finally, the treble has good extension, energy level, but limited so as not to generate too much incisive listening. Overall, the sound is somewhat raw, with an average technical ability that doesn’t become analytical, but neither is it completely relaxed or musical. It moves into more fun, flashy territory because of its energy level. But it doesn’t reach a level of refinement capable of offering a higher level of information and description. Perhaps that is not its purpose.

Sources Used During the Analysis

• Burson Audio Playmate.
• EPZ TP50.
• Hidizs S8 Pro Robin.
• Tempotec V3.