NiceHCK Himalaya Flagship 10mm CNT Dynamic IEM

Introduction

By now, I'm sure many portable audio enthusiasts are familiar with the AliExpress shop NiceHCK. No doubt, it has been offering its services for the platform for many years and is highly valued by buyers. It is a well-earned reputation. It is also true that for years it has been selling its own branded products, such as earbuds, IEMS and cables. He has even ventured into top-of-the-range earbuds and IEMS, such as the model we will review in this article. This is the NiceHCK Himalaya, a titanium alloy IEMS with a dual magnetic dynamic driver with a 10mm diaphragm and 22µm CNT double film. As magnets it uses a dual circuit consisting of the duo N52+N45. The capsule has a CNC-machined double cavity made of pure titanium alloy, both on the outer and inner sides. In addition, it has a nozzle-replaceable filter system, consisting of three pairs that provide differences in the high-midrange onwards. As usual, NiceHCK usually includes good cables in their reference models and the Himalaya is accompanied by a high-purity silver-plated OFC two-stranded conductor that incorporates a replaceable pin system (4.4mm BAL, 3.5mm SE and 2.5mm BAL). The connection interface is the secure 2Pin 0.78mm. In this review we will go into more details of this new flagship model from NiceHCK.



Specifications

• Driver Type: Dual magnetic dynamic with a 10mm diaphragm with 22µm double CNT film.
• Frequency Response: 20Hz-28kHz.
• Sensitivity: 110dB/mW.
• Impedance: 22Ω.
• Jack Connector: interchangeable 4.4mm BAL, 3.5mm SE and 2.5mm BAL.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Conductor Type: two strands OFC high purity silver plated.
• Capsule Material: Aviation grade titanium alloy.
• Replaceable Mouthpiece System: Gold balanced style filter, blue low-frequency style filter, grey high-frequency style filter.

Packaging

NiceHCK Himalaya come in a relatively large white box. There is only lettering all over the box. Its dimensions are 208x153x80mm. On the main side you can read the model name in large black letters. At the top there is a description of the model and at the bottom only the logo of the brand. On the back side you can read the specifications, brand data and also the date of manufacture of the product. There is not much else on the outside. After removing the cardboard, you see a black box that has a texture of interwoven threads with the brand logo in the centre in silver. On the side edge is the model name and that flap peels off to open the box. The interior consists of a first layer with a dense black mould, on which the two capsules rest, each protected by transparent plastic. A strip of fabric at the top of the mould allows access to the second layer containing the rest of the accessories, all of which are encased in another black foam mould. There is a black leatherette case with a zip that contains the cable and a transparent box that houses the silicone tips. In summary, the complete contents are as follows:

• The two NiceHCK Himalaya capsules.
• One cable with 2Pin 0.78mm connection and interchangeable plugs.
• Three 4.4mm BAL, 3.5mm SE and 2.5mm BAL plugs.
• Three pairs of screw-in filters.
• Magnetic tape to secure the cable.
• A black leatherette zipped case.
• One cleaning brush.
• Four pairs of transparent silicone tips model NiceHCK 07 sizes SxMxLxXL.
• Three pairs of blue silicone tips model NiceHCK 08 sizes SxMxL.
• One warranty certificate card.
• User's guide.

The package is large, but NiceHCK is used to include the best of their catalogue, such as a large cable with screw-on pins, their best tips in multiple sizes and an excellent zippered case. The only thing missing is a plate for screwing in unused tips, which are relegated to being stored in a zip pouch.



Construction and Design

NiceHCK maintains the premium-level design of its previous top-of-the-line dynamic driver IEMS, Lofty and Topguy, but ups the ante by improving the material of manufacture. The capsules are constructed from aviation-grade titanium alloy. They are machined on a 5-axis CNC machine. They have a matte finish that sets them apart from previous models in the series. They are undoubtedly heavy, even heavier than the Lofty, although this is not a negative. As it usually happens with other similar IEMS, the great ergonomics save the weight. The shape of the external face is of African continent, but thinner in its lower vertex. Its curves are very rounded and, on this occasion, the outer face is completely smooth on the surface. Only the name of the brand can be read near the apex of the right capsule and the name of the model on the left. On the inner side, the Himalaya have all the corners and rounded edges to fit perfectly in all the nooks and crannies of our ears. There are a couple of holes, one located at the foot of the mouthpieces, the other on the edge, next to the 2Pin 0.78mm connectors. Next to it, there is a gold-coloured ink mole inside which is the letter that identifies the channel. The mouthpiece is the classic H-profile mouthpiece, protected by a perforated metal grille. The largest diameter of the mouthpiece is 6mm and its total length is 3.5mm. In this model, the mouthpieces are interchangeable and there are three different models: the gold filter has a balanced style and its inner diameter is 3.5mm. The blue filter has a low-frequency boosting style and has an inner diameter of 2.2mm. Finally, the grey filter enhances the high frequencies and has an inner diameter of 3.8mm.
The cable consists of two coiled strands. The conductor is plated with high purity silver and you can see through the transparent coating that there are two types of wires: silver and blue. It has an interchangeable pin system. The three pins are mounted on grey cylindrical sleeves with matching textured capsules. Each plug has a different connector, the brand name followed by a triangle/arrow and a thread. The connection is made by means of 4 gold-plated pins and is secured by means of a cylindrical nut with a triangular pattern on its surface. The female part of the cable has a white mole that must be aligned with the arrow behind the marking to join the two parts more easily. The splitter is a smooth metal cylinder of the same design and the pin is a disc with a large hole in it. This diameter is larger than the thickness of the two wires and slips more than necessary, so the adjustment function is not very effective as it is too weak. The sleeves of the 0.78mm gold-plated 2Pin connectors are metal cylinders that match the rest of the cable parts, but have two red or blue rings to differentiate the channel. There are rigid transparent plastic ear guides.
As I mentioned, NiceHCK still relies on the shape designed for its IEMS top of the range dynamic driver saga, but has taken a step forward by using the unique material of titanium. The weight is increased, but the entire surface has been kept clean to showcase the exquisiteness of its manufacture. This time it has opted for a cable that has no textile covering, but has included one of the best methods of pin exchange that includes a screw lock, which makes it much more resistant to any tugging. Not much is specified about the conductor of the cable, other than that it is OFC plated in high purity silver. But it certainly looks like a pretty good cable.




Adjustment and Ergonomics

The design is repeated, the fit and ergonomics are repeated. Only the weight is increased and the connection is made with a lighter cable.
The fit is trivial and simple. The lower apex fits very well, as do the curves of the inner face. It is possible that the upper indentation of the inner face may rest too much on the lower branch of the antihelix due to its weight. This may cause some discomfort on long listens in more sensitive ears. Personally, I feel this contact, but its rounded curves make it not very annoying. The fit is very good and they do not move once in place. The cable is lighter than in the past, but the capsules are heavier. I don't feel any discomfort from the cable on the ear and, although the weight is higher, thanks to the good fit, it doesn't have a negative influence.
It is worth mentioning the high degree of isolation, even though the insertion does not go from shallow to medium.
In conclusion, it is clear that NiceHCK keeps the mould of this saga of models and I think it is a successful design and although the weight of the capsules is not negligible, it has lightened the set with a lighter cable, despite the thickness it has.



Sound

Profile

I still think NiceHCK doesn't stray too far from a reference profile that was already present in their previous high-end models with a single dynamic driver, like those Lofty. Back then, I already commented that I found that profile somewhat classic, based on a smooth V-tuning, with a greater predominance of upper midranges. This time, the Himalayas are like a redefinition of that tuning, but again with improved materials: a new diaphragm and a titanium capsule. But they have also added three tuning mouthpieces to distance themselves from the Lofty and the Topguy. Without a doubt, the filter I find most interesting is the blue filter, basically because of the difference in profile it generates, smoothing out some treble and balancing the whole frequency response to a flatter line. In this case, there is a collateral effect because the treble is also reduced to the same extent and you lose that more descriptive and analytical feeling that is more present with the gold and grey filters. With that gold filter, the profile is more like a W with more emphasis on the central peak. Whereas the Lofty's were V-only, Himalaya adds more treble extension and a subtly smoother, more homogeneous profile. The blue filter drops a few dB's from 2kHz onwards, for those looking for a slightly less splashy and fatiguing sound, gaining a little more warmth and presence in the low end. For the record, the bass hardly changes at all, but the upper midranges and onwards are calmed down. The grey filters release a little more energy and precision in that same upper area to gain precision, a little more sensitivity, greater cleanliness, transparency and clarity. It is clear that this grey filter allows the Himalaya's sound to flow with all its quality, although the sound becomes a little more splashy, also more abrupt and raw, even, subtly metallic. The gold filter comes in to polish those sharper edges of the grey filter and also rounds out the bass, adding texture and musicality to the whole. This review is mainly based on the use of the gold filters.
Finally, the NiceHCK Himalaya are an easy-to-move IEMS.



Bass

The grey filter makes the bass duller, drier, smoother and also a little thinner. With the gold filter the bass gains weight and punch, texture and, more importantly, life and realism. It is not a dark or very sensory bass. It's not overly big either, but it has power, weight and punch, indicating a good level of energy. Without being a bassist's IEMS, its profile is somewhat above neutral. A bass lover like me would not choose them as the first choice for my electronic music enjoyment. However, they are totally valid for a large majority thanks to their qualities. As I say, I am impressed by the weight it has, each hit generates a feeling of power and density. It is quite fast and efficient, it recovers quite well leaving little aftertaste. It doesn't linger in the environment and maybe that's why the feeling of heavy impact that each bass drum hit offers stands out. Its sonority is medium, mixing a light, subtly dark sensory capability with a more focused tone at the centre point. In this way, the resulting timbre is almost neutral, realistic, not too dark, but juicy enough and with just the right amount of sub-bass to balance the sonority and avoid unnecessary colouring. Much of this is evident in the very low frequency pure tone test. The Himalaya performs the lower LFOs in a mixed way, offering a low, slightly audible, low undulatory sensation without much sensory punch. As the frequencies go up, this undulatory behaviour is lost, but it approaches a less dark sonority that is closer to a more neutral tone, losing that dark and sensory sensation that is pleasant when the sub-bass is higher. In fact, the test is remarkable, but without being superior on my personal scale.
However, the translation to actual performance is better. The Himalaya are slick, dynamic, very effective, offering just enough texture to enrich the bass and make it more raw and realistic. On the other hand, there is something surprising about the behaviour of the bass. When prominence is required, they are there, offering that weight and strength. But when the vocals come on stage, they are able to stay a step behind them, offering an uncommon and very pleasant respect. This is something that is felt more with the female voices.
In the final test of dirty, raw and unfiltered bass, the Himalaya exemplify a complex sonic reality, but executed in a highly resolute manner. They are skilled enough to make these tricky situations work out in the best way, but also in the most natural way. There is no hint of imprecision, no ambiguity, the execution is close to perfection. The Himalaya are able to discern all the low frequency notes at just the right point, with just enough space, being very adept at separating bass drums, layers and bass lines, even when these are dirty and unfiltered. Simply delicious.



Mids

Again, I start with the grey filter. The feeling of cleanliness and transparency is very high. The midranges are very close, as if you could touch them, they are splashy and three-dimensional. But there is a point of unreality and a subtly metallic one. The gold filter smoothes out the rough edges, rounds out the sound, makes it real and natural. It loses that splashy, expansive and defined feeling. But you gain musicality and authenticity. My fear was that with the gold filter you might lose resolution. But, fortunately, this level of resolution in the Himalaya is a reference. It is clear that NiceHCK have achieved a technically superior driver, but they have also managed to tune it so that it doesn't sound too harsh, explicit or abrupt. I have to admit that these Himalaya should be paired with descriptive sources. It doesn't matter how powerful they are, it matters that they are naturally detailed. That way, the level of information will be higher. And the central range will be the star of the game. I can't say that sound is analytical, should I call it analytical-analogue? Any pun you can think of to explain a sound that is very open, airy, clean and transparent, at the same time explicit, detailed, very, very resolving and tremendously informative would be accurate. It could also be considered a cliché to say that I could feel details I didn't know about in songs I've heard a thousand times. But, so it has turned out. And this is not easy after my entire collection of IEMS.
Another big fear of mine was the classic NiceHCK tuning. But I have to say that the treble control helps to section out the sibilance and keeps it at a point where it is appreciated in a more organic and realistic way. The sibilance is there and the Himalaya is a testament to that, but with a sweet spot. Another plus point has been to fatten up the first half of the midrange, both to add a hint of warmth and a point of physicality and body to this range. Thus, the male voices have a deep, dense and full base, as well as an almost excellent prominence. It is true that they are not in the foreground, but they are very close. And I repeat again the ability of the bass to give up its presence in their favour. But this is explained by the Himalayas' outstanding layering ability. The quality of the midrange is achieved because of it. It is not a forced spatiality, but a realistic one. A truly vast stage, very well placed, sorted, distributed, spaced and layered. This is the way in which both instruments and voices are positioned and get their unique space. This is how the prominence of each of the elements is relevant, without any hollowness. I think that this ability improves the tuning by providing a point of balance and homogeneity of presence, although it is the female voices and those instruments whose fundamental is above 1kHz who gain the favour of being closer to the listener. This is usually the case when the upper midranges are excited. But here is the difference from when it is done in a forced way, to gain clarity, luminosity and transparency, but without foreseeing the collateral damage that this generates. In the Himalaya there is no such damage. Is there excitation in the second half of the midranges? Sure there is. But I wish many could solve tuning in this way. The vast majority of what is achieved in this way is positive. But I stress again that much of the success lies in how a single high quality dynamic driver can resolve this situation. And, in the midrange, special mention should be made of that word, dynamic. Not only is there informative detail and great resolution in the centre range, dynamics is another great skill, not to mention transient capability.



Treble

NiceHCK has gone a step further in the treble. It has gained in extension and with it, in realism. It persists in its initial punch and in its fast decay immediately afterwards. But, the control zone recovers from 8khz to add quality harmonics. Now, the profile is closer to a W and that enhances the final result. But the idea of smoothness, of energy limitation, of a search for musicality and long, more pleasurable listens persists. It is clear that the peak at 5kHz can be negative in this aspect. But the quality of the ensemble overcomes this crisis. So there is this rise and fall that does not represent the entire treble range correctly, but it solves many undesirable situations. It is not crisp, but it feels relatively pleasant, smoothly natural, without losing the subtle brightness of the high notes, but without them being fully represented, both harmonically and in energy. Although there is not an excessive amount of air either, the benefit of the treble zone is entirely at the service of the midrange. In this way, it is an upper range that advances in its complementary state to subtly gain in prominence and extension. That's the extra step.



Soundstage, Separation

The scene is another of the strengths of these IEMS. As I have discussed in previous sections, the Himalaya has a great capacity for layering, creating distance between elements and placing them precisely in space. This is not a volatile or overly gaseous scene, but rather a more concise one, despite its large size. The scene easily overhangs and envelops the head, but also in height. The lateral sensation is excellent, but even rear elements can be perceived with ease. All in all, the scene feels distinctly three-dimensional. There is also good depth, but the feeling is more semi-spherical as the three axes have similar distances.
Although it is not purely an analytical sound, but has a certain warmth and a point of softness, it has a high level of detail, being easy to find micro-detail, and is even adept at revealing other hidden nuances. So you can see that they have a high level of resolution and not just detail. Among the best dynamic drivers in its price class.



Comparisons

Simgot EA1000 Red Filter

Currently, the NiceHCK Himalaya is priced at over $330, while the Simgot EA1000 is $100 less and is one of the great models in this segment. With a dynamic driver and a passive radiator, the Simgot's construction is excellent, although they are not made of titanium. There are similarities between the two, a similar cable, although the EA1000s do not have interchangeable plugs and only feature a 3.5mm SE connection. Both feature three tuning mouthpieces and an outstanding set of packaging and accessories. It's worth noting that both models are heavy and ergonomically the EA1000s are smaller and have a slightly freer fit, while the Himalayas are more locked in and fixed. That feeling of freedom may tip the balance in favour of the EA1000. But the Himalaya can be very comfortable as they fit very snugly.
The EA1000s are somewhat more sensitive at the same volume.
Arguably, the big difference between the two models is in the treble. The control zone, that initial drop, is hardly noticeable in the EA1000. It is a more homogeneous tuning, with a more gradual descent, as well as a greater extension into the air zone. Thus, the high notes are clearly more pronounced in the EA1000s, while the Himalaya are distinctly softer.
Musically speaking, the bass of both models is very good. I could even say that in the pure tone test there is a similar behaviour. But I think the EA1000s have a less undulating, subtly darker and somewhat more natural character. They also seem to have a little more presence.
In the midrange area, several characteristics come together that give the Himalaya the edge: its stage level, its smoothness and musicality. The wider soundstage and more relaxed sound make the NiceHCK midranges a superior pleasure. The EA1000s are splendid, but they are more explicit, closer, but somewhat more splashy and vivid. That makes them feel flatter, lacking that greater sense of depth and space in all directions that the Himalaya does. The EA1000s have that more analytical profile that can be very useful and intense for short listens. But the NiceHCKs stick with you for hours. The midrange greatness of the Himalaya lives up to its scene.
Anyone could choose any model and be happy with them. But if you're looking for a little more musical refinement, a bigger soundstage and greater smoothness, the Himalaya are the clear choice. While the Simgot EA1000s are a little more demanding on our ears as they are more splashy and vivid.



Conclusion

I can't get it out of my head that NiceHCK have had a fixed idea in this saga of top of the range IEMS with a single dynamic driver (Lofty, Topguy and now Himalaya). But, in the end they have managed to find their most excellent product. I have always commented that this is a classic tuning, which has varied from a soft V to a W with emphasis on its centre peak, where the treble has always been smooth. They have succeeded in keeping that smoothness, but with more extension. They have also improved the weight and impact of the bass. But it's the combination of the big soundstage and the deliciously musical midrange that is really superior. True, the NiceHCK Himalaya are not cheap, but they are constructed of titanium, their cable is up to the brand's standards, with three interchangeable plugs and a screw-on system that separates them from the competition. In addition, they have included three sets of mouthpieces to change the sound. I think NiceHCK deserves the recognition to be among the greats in this price range.



Sources Used During the Analysis

• Aune M1p.
• Hidizs S8 Pro Robin.
• EPZ TP50.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here

NiceHCK ‘Himalaya’

• Single Dynamic Driver
• RRP: $329

Introduction & Caveats

A Head-Fi member reached out to me a number of weeks ago to say NiceHCK were going to be launching a single DD which will be a big step up for them, yet with a goal to compete with IEMs at even higher price points… this member felt as I’m a fan of single DDs, and have own/owned quite a few at various price points, that I might be interested in trying this. I was of course curious, even though I had only been thinking I would take my foot off the review pedal for a while so as to stop and enjoy what I own - the challenge with reviews and especially when a few in the queue is that any spare time is spent just listening to the IEMs pending review so as to become familiar - this can feel a bit like work at times, instead of just reaching out for whatever set in my collections takes my fancy based on mood, choice of music, etc… anyway, I couldn’t resist, and said yes please - how could I say no to a single DD?!

I would like to thank NiceHCK for the opportunity, the Himalaya were sent to me free of charge in exchange for a review - as always, they didn’t cross my palms with silver or gold, nor did they wine and dine me in Michelin star restaurants… my words, my impressions, my pictures etc.



A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking my Mum to put records on the turntable (Abba, Supertramp and Planxty if anyone is curious )

My music preferences are very varied - anything from classical to techno, indie rock to jazz and all in between. In my early teens I was a big fan of bands like The Cure and The Smiths (still am all these years later), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.



About NiceHCK

I suspect most in this hobby are at the very least aware of NiceHCK, a brand probably most known for good value cables, and especially during the famous AliExpress sales where they are often reduced from $1,500,000,000 to $29… I jest, but you get the drift. I can’t find any direct website, as they appear to only sell directly via AliExpress but they’ve certainly been around for a few years now.

Specifications

• Flagship Titanium-Alloy Cavity Dynamic Driver IEM.
• Aerospace-Grade Titanium-Alloy Shells.
• 10mm Dual-Magnetic Dual-Layer CNT Dynamic Driver.
• Replaceable Acoustic Filters.
• 5-axis CNC Machined Ear shells.
• Multi-curved Ergonomic Shape.
• 3-in-1 swappable Termination Plug.

Unboxing

The Himalaya arrives in a nice box and with an overall experience I would say is in keeping with the price tag.













Accessories
There are a nice selection of accessories, to include:

• Great selection of tips that appear to be from Kbear
• Case
• Cable clip
• Cleaning brush
• Tuning nozzles

Design & Fit

The Himalaya are a titanium shell with a nice smooth finish - very understated design which I tend to prefer, literally the brand printed on one shell, and Himalaya on the other. They have a bit of weight to them but don’t feel heavy in my ears, I do not experience any sense of fatigue during extended listening.



The 2-pin connection is flush on the shell, and the stock cable fits nice and securely. I haven’t used any 3rd partly cables so can’t comment here on fit etc.

This is where it gets a bit tricky, possibly not for all as it will really depend on your ears but the small and stumpy interchangeable nozzles could be a problem - I got them to work by choosing the largest tips in my collection, that being the excellent Acoustune AEX07 in XL which are 14mm wide and comprise of a soft yet relatively robust material that ensures a good fit in my ears for any set that proves a bit more challenging. A massive improvement however was brought to my attention by @Dsnuts where he recommended trying the nozzles from the Simgot EA1000, and this was an absolute game-changer - the slightly bigger EA1000 nozzles allow for a much better fit, and also improve the delivery of sound in my experience too.

Pictured below with the XL Acoustune AEX07 tips.



The stock nozzle pictured below on the left, with the Simgot EA1000 on the right.



The nozzles detached, with Simgot EA1000 on the left, and stock Himalaya on the right.



Listening Impressions

I feel somewhat long-in-the-tooth now in this hobby, as I’ve owned and tried so many sets at this stage, be it good value entry-level, to ridiculously expensive top-tier sets, and delighted to report that I continue to be surprised for the most part - especially at lower price points. I would love to have tested Himalaya in a blindfold experiment, as I suspect I would have guessed at least 2x the price point, and probably even more… these sound truly fantastic. I would describe Himalaya as having nicely balanced smooth tuning, warm, and very competent technical capability considering the price point. I have been very impressed with how these handle basically any genre I test, be it atmospheric ambient music to complex experimental music - vocals are a huge strong point too, with both male in particular sounding accurately portrayed with a visceral central position, not recessed yet not too pushed forward either. I often end up pigeonholing a set to a few genres, and only reach for them when the mood calls - with Himalaya I’m definitely finding immense enjoyment no matter what the genre, truly a highly competent all-rounder no matter what music I select. Nothing stands out as dominant, again there is an excellent sense of balance throughout the frequencies. While there is sufficient energy, I wouldn’t class them as an especially ‘energetic’ set, they go for a somewhat more relaxed approach but will do justice to basically any genre you care to throw at them.

I must note that since the discovery of using the EA1000 nozzles instead, I have been unable to switch back - you can’t reverse a ‘game-changing’ experience. I hope NiceHCK take note of this and include some bigger nozzles… but even if they don’t, and you find the stock nozzles a touch too small, I encourage you to buy the nozzles from EA1000, and then send your thanks towards Dsnuts!



Bass

Ample low-end on offer here for both sub and mid bass, with excellent control and speed. I would say sub bass has a slight bias, but not massively so. They have that mid-bass ‘kick’ that lands in a central position, one that I’ve noted in previous reviews as being something that reminds me of the wonderful ‘sweet spot’ when listening to a 2-channel system setup. While they aren’t at that ‘bass-head’ level, I’d be surprised if anyone is left wanting here.

Mids

Beautiful mids that exhibit wonderful lifelike qualities with any instrument from strings to electronic. While the overall experience as noted is quite balanced, there is perhaps a slight bias towards mids where they do tend to grab my attention in terms of a lush and captivating tonality. There is a nice weight to the tone, but by no means muddy - excellent clarity and plenty of space. The note weight I feel leans more towards male vocals than female where the body can be a touch heavy for higher pitched vocals.

Treble

The upper region is what I would describe as ‘safe’ where the lower treble region never overextends, nor do the highest registers ever become too harsh or sharp - there is still however sufficient extension to allow instruments extend as might be called for. They do take a slight step back in the upper most regions, which does mean you don’t quite get that ethereal or visceral ‘zing’ that can be achieved in this region, but on the flip side, this can be a double-edged sword on some recordings, leading to a harshness that interrupts the listening experience - this is not something I’ve encountered with Himalaya. Overall, I find there is nice amount of extension up top and again sits in that ‘safe’ zone but some might prefer more extension and air here.

Technical

The sense of instrument positioning and layering of music jumped out at me immediately when I first got these, it was one of those moments where you are almost caught off guard - in spite of the warmth and smoothness, the Himalaya still manages to portray a very precise sense of imaging. I’ve said it many times with regards to single DDs, I love how they remind me of a 2-channel system where the centre image becomes a focal point, with everything emanating out into a wide stereo field - think of the ‘sweet spot’ in 2-channel. They don’t go for microscopic detail but certainly provide enough not to be dubbed as a slouch here - I’ve tested some of my more complex favourites and not been left wanting.

Test Tracks & Comparisons:

I’m using the Sony NW-WM1AM2 for the test tracks, a DAP that I really adore and pairs wonderfully with Himalaya.



Oberst - Marble Arch (electronic / Krautrock)

It only takes a few seconds for this track to kick off and my foot it tapping and a big smile on my face. As often happens when I’m at this section of a review, and scrolling through my albums, stumbling upon one I’ve not heard in a while and decide to give it a spin. This has a classic Berlin School / Krautrock type electronic vibe going on, melodic synths and nice driving percussion - the kick drum has a really nice visceral thud, the synths sound lush and spacious across the stage, the overall listening experience sounds quite analogue.



Aukia - Rekindle (modern classical / electronica)

It is phenomenal to hear how this sounds on Himalaya - the combination of note weight, timbre, stage, imaging, and layering all make for a beautifully engaging experience… utterly captivating from start to finish. The upper realms of strings sparkle out left and right, the bass upon arrival feels like it reaches to the depths of my chest… and again it all sounds very analogue, wrapping you up in a blanket of smoothness.



Cigarettes After Sex - Keep On Loving You

I really love this cover, probably as much as the original. The vocals are central, full-bodied, and delivered with fantastic clarity within the overall presentation - probably a slight touch forward. Very impressive to hear the various components of the band presented in a warm/engulfing somewhat intimate and highly captivating experience.



Agnes Obel - Run Cried the Crawling

I haven’t listened to this album in a while, but often choose a track for a review - I must do a session with the full album. The vocals are again nicely central, a touch forward and with excellent body - perhaps a touch too much where Agnes might be best with a bit more in the upper mids, but will see when I compare with other IEMs. Having listened to the others to compare, and now coming back to Himalaya again I can confirm this set has a smoothness and warmth that provides a more intimate experience.



Pitch Black - Lost in Translation (electronic / dub)

This is a great test for sub bass where a deep/rumbling bass line pulses throughout the track, along with a fantastic offbeat percussion. Absolutely 5/5 here with Himalaya, while the sub does occupy a reasonable amount of space, it is in no way overwhelming or drowning out any other elements within mids. Nothing sounds out of place or harsh, the DD keeps up wonderfully with all of the minute details and brilliantly represents the entire FR spectrum on show.



Leif - Seven Hour Flight to Nowhere (experimental electronic)

Taken from the really spectacular album ‘9 Airs’, one which hardly a month goes by without me listening. This is a great example of how well Himalaya renders imaging and layering, in this case sounding quite holographic - it has that sensation where I find my eyes almost trying to ‘see’ the location of what I’m hearing! The timbre is beautiful, bass has a nice depth and visceral but not massive in quantity which is what I expect in this track.



Lone - Realise (downtempo electronic)

A dreamy electronic track that has nice early 90s vibes going on… one for either building up a night, or on the other end when chilling out. While it’s not particularly complex, there is a reasonable amount going on in terms of drums and synths and the overall ‘ethereal’ vibe the track gives which is very well represented on Himalaya - the warmth and smoothness coupled the sense of space and imaging is fantastic. I feel inclined to really keep increasing the volume on this.



KiloWatts - Night Writer (IDM… ish)

Another that performs without flaw, and another that really drives that ‘wow’ factor from an imaging perspective - there is a lot of detail in this track and you hear each element with such stunning pinpoint clarity, it’s one of those where you almost question how just a single DD at play here.



Heogen - Glas Blackbirds (IDM)

This is taken from the really fantastic ‘Full Spectrum’ compilation from the wonderful Touched Music - as always with this label, all proceeds go to charity and in this case to REACH who help young people with autism. 2x CDs of some of the best modern electronic music, and this was one this really jumped out at me on first listen recently. Beautifully rendered on Himalaya, the melodic synths sending shivers through me from start to finish.



Comparisons

DITA Project M ($330)

This is a brighter set, and steps back from a sub bass perspective. There is a lighter note weight which lends itself more towards female vocals, strings etc when you want to soar a bit higher. The overall presentation sounds more airy, as such giving a greater sense of micro-detail.

Final A5000 ($300)

The A5000 sounds more neutral overall, and could be considered a touch ‘boring’ possibly when switching from one to the other, but upon adjustment it’s just simply a more balanced/less coloured set. It performs incredibly well as an all-rounder and a bit of a ‘jack of all trades’ for any genre. It’s a set I often choose for out walking due to the small and incredibly light shells.

Simgot EA1000 ($230)

The EA1000 is a much loved single DD in the community, and that very much includes me. From a bass perspective, I would say the EA1000 excels with mid-bass where there is better impact and definition, and sub steps back vs Himalaya which extends deeper with a more visceral rumble. The note weight is lighter, and again better suited to female vocals vs Himalaya - it has that more CD-like presentation vs a smoother, analogue vinyl-like presentation with Himalaya.

Conclusion

This price segment continues to excite me - the quality on offer really does drive the whole ‘diminishing returns’ argument event further, you get serious bang-for-buck with the $329 asking price for Himalaya. If you are seeking a smooth set, with a nice robust/full-bodied sound, reminiscent of an analogue vinyl-like presentation, the Himalaya should certainly be on your shortlist. As noted, if looking for a brighter and more airy set, this probably won’t meet your requirements and I would suggest the likes of Project M in this price category - two sides of a coin with both sets, each arguably offering incredible value for money, punching significantly above their asking prices and offering a very different take on your library - highly complementary sets should you choose to invest in both! Hats off to NiceHCK for this step up to a more expensive segment, I’m very impressed.

DISCLAIMER

I would like to thank the NiceHCK for providing this review unit.

The Himalaya can be gotten here: https://www.aliexpress.com/item/3256806504567632.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm CNT dynamic driver
• Frequency response: 20 Hz - 28 kHz
• Impedance: 22 Ω
• Sensitivity: 110 dB/mW
• Cable: 2-pin, 0.78 mm; silver-plated OFC; modules for 2.5 mm, 3.5 mm and 4.4 mm terminals
• Tested at: $329 USD

ACCESSORIES



Other than the IEM, these are included:

- 3 pairs of NiceHCK 07 wide-bore silicone eartips (S/M/L/)
- 3 pairs of NiceHCK 08 narrow-bore silicone eartips (S/M/L)
- Plastic case for eartips
- Leatherette semi-rigid case for IEM
- Cable
- 3 modular terminals for 2.5 mm, 3.5 mm and 4.4 mm modules
- 3 pairs of tuning nozzles
- Magnetic clasp
- Cleaning brush

Other than the lack of foam tips, the accessories are fit for a king. This is definitely befitting of a midFI IEM packaging, and almost everything that a discerning audiophile should require is inside.




We have 2 variants of silicone tips provided. The narrow-bore NiceHCK 08 tips boost bass with some soundstage compression, whereas the wide-bore NiceHCK 07 tips increase treble and staging. It is a nice touch that these eartips even come with their own plastic insert case.


A silver-plated OFC cable graces the packaging. This is very well-braided and supple, with minimal microphonics or tangling. It comes with a chin cinch and 3 pairs of modular terminals for single-ended (3.5 mm) and balanced (2.5 mm and 4.4 mm) terminations. Unlike some other modular cables which are just plugged on, this stock cable has a screw-on sheathing to prevent the module from inadvertently dropping out, which may be potentially disastrous if a connected phone or DAP drops off it!




We have a black leatherette semi-rigid case, which is compression-proof. The innards have webbing and a soft lining to cushion the contents, with a zipper mechanism to close it.

NiceHCK has added some other nice goodies such as a magnetic cable clasp and a cleaning brush, the former to tidy up the cable, and the latter to remove debris from the IEM.




We also have a trio of tuning nozzles, which we will discuss about in the subsequent sections.

The rest of this review was done with the stock cable and stock NiceHCK 08 silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Himalaya's housings are fashioned from aviation-grade titanium alloy, via 5-axis CNC machining. It is no exaggeration to say that they are literally built like tanks, and the Himalaya feels extremely solid and robust. With a matte grey finish, the shells are elegant yet practical - indeed, some prettier mirror-like shells may prove to be scratch or fingerprint magnets, unlike an unassuming matte faceplate.



Ergonomics are top-notch, and the earpieces are light yet comfortable, with no awkward protrusions to poke the ears.

I did not encounter any driver flex, and isolation is surprisingly above average.


TUNING NOZZLES/INTERNALS

The Himalaya's engine is a 10 mm CNT dynamic driver, which has front and rear cavities with coaxial dual-layer diaphragms, inlaid with N52 and N45 dual magnetic circuits. The 22 um ultra-thin CNT dome is clad with a CCAW copper aluminum voice coil.

Tuning nozzles and switches seem to be the flavour of the year, and the Himalaya comes with 3 pairs of tuning nozzles:

Graph of the NiceHCK Himalaya via IEC711 coupler. 8 kHz is a coupler artefact peak.

As above, the gold and black nozzles are pretty similar - and some might say, borderline gimmicky - in furnishing a Harmanish tone with some sparkle in the lower treble, due to a slight 4 kHz uplift. These 2 nozzles are kings in technicalities, providing fast transients and crisp tones, with a textured and nimble bass. Do note however, that these 2 tunings feature an 11 dB ear gain, so these may be borderline shouty, especially at louder volumes (Fletcher Munson curve).



For folks who want a more laid back upper midrange and lower treble, the blue nozzle is a match made in heaven, bestowing a more chill soundscape, though there is admittedly some blunting of resolution with this nozzle.


DRIVABILITY

I tested the Himalaya with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easily driven, and additional amplification is not 100% required.


SOUND & TECHNICALITIES



The following impressions were done with the gold nozzle installed.

On this configuration, tonally, the Himalaya sports a balanced Harmanish tone, as discussed above.

Bass is just slightly north of neutral, and this is not a basshead IEM by any means. There is a sub-bass preponderance, however, there is just a tickle of rumble heard in sub-bass heavy tracks. Bass has good texturing, with a nimble and fast bassline heard, with not an ounce of mid-bass bleeding.

The lower midrange is just a tinge depressed, but is very transparent in view of no mid-bass encroachment. Upper mids have a 11 dB ear gain - perhaps reminiscent of its Himalayan namesake? - this pushes vocals forwards, but there may be some shout heard, especially with louder volumes (Fletcher Munson curve). Narrow-bore tips, lower volume playback and warmer sources may mitigate this area somewhat.

Treble continues on from the upper mids peak, with moderate extension. Sibilance is kept minimal, though we still have a decent sprinkling of clarity and resolution.

Timbre is natural, which isn't surprising for a single DD configuration, though note weight is slightly on the thinner side.

The Himalaya aces technicalities, amongst the midFI single DD contenders. Imaging, instrument and micro-details are very well portrayed. Soundstage is a highlight, with music going to beyond the ears in width and height.


COMPARISONS

The Himalaya will be compared against other midFI single DDs that are "tunable". Planars, multi-BAs, and hybrids are left out as the different driver types have their pros and cons.

The gold nozzle is used on the Himalaya for these comparisons.


DUNU Falcon Ultra


Graph of the Falcon Ultra via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Falcon Ultra has 2 tuning nozzles, with the blue ones offering a Harmanish signature, compared to the gold nozzles, which decrease resolution but provide a laid-back darker tuning.

With the blue nozzles installed, the Falcon Ultra has a bit more bass, but with less shout in the upper midrange. It has a thicker note weight, and is less fatiguing in the upper-end.

The Falcon Ultra is behind in soundstage and micro-detailing, but is superior to the Himalaya in imaging. The Falcon Ultra is also easier to drive, and has a better accessory packaging, though it is a scratch and fingerprint magnet due to its mirror-like faceplate.

I would consider these 2 as sidegrades.


Oriveti OD200


Graph of the OD200 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The OD200 also has 2 tuning nozzles, veering between a very shouty neutral bright tonality (on the black nozzle), versus a laid back tuning on the silver nozzle.

Most users find the black nozzle unusable, due to an over-zealous 13 dB upper mids ear gain, so we will be doing the comparisons with the silver nozzles in-place.

On this setup, the OD200 sounds more placid and laid back, with a thicker note weight, and slightly better timbral accuracy. However, the OD200 pales in comparison in technicalities, having a more claustrophobic stage, weaker micro-details and sub-par imaging. The OD200 is also harder to drive.

The OD200 is in an inferior league in terms of tuning and technicalities, and I would recommend the Himalaya over it.


Simgot EA1000


Graph of the Simgot EA1000 via IEC711 coupler. 8 kHz is a coupler artefact peak.

OK, theoretically the EA1000 isn't a pure single DD. It has a passive radiator for the bass, but it functions mostly as a single DD, and is one of the midFI benchmarks, so definitely there will be interested readers for this comparison.

The EA1000 has 3 tuning nozzles, but all give a bright Harmanish tone, which is classical of Simgot's house sound.

The EA1000 has less bass and is brighter in the treble. It may be more sibilant as such, but the EA1000 has a bit less bite in the upper mids.

The EA1000 has a smaller soundstage, but has a hair better imaging, micro-detailing and clarity.

These 2 IEMs are sidegrades, with some variances in tuning.


CONCLUSIONS



The Himalaya should definitely be in the conversation when discussing midFI single DDs, keeping esteemed company with pace-setters such as the well-regarded Simgot EA1000 and DUNU Falcon Ultra.

In terms of non-sonic tangibles, the Himalaya has impeccable ergonomics, accessories and build, with easy drivability. Additionally, there are 3 tuning nozzles to vary the sonics.

On paper, 2 of the 3 tunings are very similar, so in essence, there are only 2 legit different tunings, between a brighter and resolving signature, and a more restrained and chiller tone; the latter has some compromise in resolution, but may be less fatiguing in the upper midrange.

On the brighter nozzles, this IEM has an expansive stage with competitive technical chops, with a transparent midrange and solid bass quality. It isn't one for bassheads in view of some sub-bass roll-off, and the upper mids may be a touch peaky at louder volumes (Fletcher Munson curve), but this can be tamed with tip or source choice, or even just swapping to the warmer tuning nozzle, or using it at lower to moderate volumes.

Overall, the Himalaya is certainly a competitive midFI single DD, and gets my recommendation.