Category: news

Emo music has always been about expressing your emotions loudly, and thankfully, this particular music genre has been thriving in recent years. There are many artists and bands who are not afraid to share their feelings with like-minded people, but not many of them do so in a sincere, confident, and passionate way like Tired […]

Michigan crushers KING 810 will head down under for their first ever Australian headline tour in March, joined by guests THE GLOOM IN THE CORNER and DREGG. KING 810 have unveiled their local support acts for each show. Kicking off in Adelaide is extreme metal band KIN. bringing speed and heaviness, while MELTING will bring […]

TISM presents Wankers Of The World, Unite! An exclusive one-off performance this May at PICA in Melbourne. Set to take the PICA stage on Sunday, May 2, following two sold out concerts this April at the Sydney Opera House, the band’s upcoming singular Melbourne show will deliver a one-off experience not to be performed anywhere […]

Live Nation has today announced that progressive metal band Between The Buried and Me will bring The Blue Nowhere Tour down under in 2026. The tour sees the band showcasing material from critically acclaimed 2025 album The Blue Nowhere, alongside tracks spanning their storied, 11 album career. It is their first run of Australian dates […]

SABATON are excited to announce that their explosive concert film Sabaton – The Tour To End All Tours has officially landed on Amazon Prime Video, Apple TV and YouTube. This means fans can now experience The Tour To End All Tours – which travelled across Europe in 2023 and hit cinemas worldwide in 2024 – […]

THIS IS IT! The final blaze before the long dark. BEHEMOTH are descending on Australia next week with their blasphemous Chant of the Eastern Landstour, which will be their last visit for the foreseeable future. If you’ve ever felt the pull of their ritual, their fury, their unholy grandeur, now is the moment to answer. Grasp the […]

The Softears Story

Softears has carved out a distinctive reputation in the premium IEM market since their emergence in the Chinese audiophile scene. Founded by a team of acoustics engineers and music enthusiasts, the company operates under the RSV Technology umbrella—the same company behind the well-regarded Studio 4 and RSV MKII. What sets Softears apart is their commitment to measurement-driven tuning combined with real-world listening validation, creating in-ear monitors that are crafted with scientific accuracy while still sounding fun.

Their philosophy centers on creating what they call "reference sound with musicality"—a balance that's easier said than achieved. With models like the RSV, Enigma, and Twilight sitting in their catalog, Softears has proven they can compete with the best, despite being a relatively young player in the game.

What Is the Softears Volume S?

The Volume S marks Softears' return to the hotly contested sub-$350 IEM battleground, and they're bringing some serious firepower. The Volume S is a complete reimagining of the original 2022 Volume. At $319, this features a hybrid configuration that pairs a custom dynamic driver with dual full-range balanced armatures and a passive radiator system, all through a 3-way crossover.

Softears collaborated with HEYGEARS to optimize the shell geometry using actual ear contour data rather than just eyeballing ergonomics. The result is a larger shell that fits like a small IEM. They've also thrown in a dual-tuning system via a physical switch on the faceplate—low and high impedance modes that supposedly cater to different source pairings and tonal preferences.

Unboxing

What's In The Box?

• 1 x Volume S IEM
• 1 x Cable
• 6 x pairs of Silicone eartips (2S/2M/2L)
• 3.4 / 4.5mm terminations
• 1 x Carrying Case
• 1 x Soft Carrying Case
• 1 x Microfiber cloth
• 2 x Impedance Adjustment Tool
• 1 x Metal Demo Card

For the price, this is certainly one of the most packed unboxings I've seen. Softears gives you so many different accessories and even unique mementos like the metal Demo identification card. They also include the well-regarded, clear Softears silicone tips that many people really enjoy.

The stock cable is made from high-purity oxygen-free copper, with soft paracord braiding that is less likely to tangle. The modular termination system uses a switch-lock mechanism to swap between 3.5mm and 4.4mm balanced. The y-split and connectors feel robust, and the all-black colorway matches the shells perfectly. It's a stock cable you won't feel compelled to replace immediately, which says something.

Overall, I'm very impressed by the number of accessories included with the Volume S at it's $300 price.

Build Quality & Design

The Volume S opts for a stealthy aesthetic that isn't flashy but does stand out from many other IEMs with its almost industrial appearance, which I quite like. The shells are crafted from medical-grade resin with a soft matte black finish that feels comfortable against the skin without being slippery. These are noticeably larger than the previous Volume, but the ergonomic shaping compensates—more on that later.

Where things get interesting is the faceplate. Softears went with an aluminum frame housing a forged carbon fiber center piece with an abstract pattern that catches light beautifully. It's understated luxury rather than flashy showboating, and it's a refreshing change from the resin art galleries most IEMs sport these days.

The nozzle length hits that Goldilocks zone—long enough for a secure seal without going uncomfortably deep. There's a small pressure relief vent on the faceplate that works in tandem with the rear chamber venting to prevent that stuffed-ear feeling during long sessions. The recessed 2-pin 0.78mm sockets sit protected from accidental damage, a smart design choice that'll pay dividends over years of cable swapping.

Now, about that tuning switch: it's a flat dial integrated flush into the faceplate, rotated via the included tool. It's more elegant than the protruding switches you'll find on some competitors, though swapping modes mid-listening session isn't exactly convenient. The low-impedance mode is where we conduct the majority of this review, but more on that soon.

Sound Quality

Bass Response

Let's cut straight to it—the bass on the Volume S is its strongest suit and is competitive with all IEMs in its price bracket. The titanium-domed dynamic driver paired with that passive radiator creates a low-end that's got both impact and refinement. Sub-bass extension digs deep without strain, delivering proper rumble that you feel in your chest rather than just hear. Mid-bass hits with satisfying punch that gives kick drums and bass guitars real physical presence.

What separates this from typical basshead tuning is the control and texture. Complex basslines don't turn into mush—you can track individual notes even in busy metal or progressive rock tracks. There's genuine layering happening here, with sub-bass and mid-bass maintaining distinct identities rather than blending into generic low-frequency thump. The speed sits in that sweet spot where decay feels natural without dragging, though it won't match the lightning-fast snap of pure BA bass.

The bass quantity flirts with basshead territory without fully crossing the line. It's elevated enough to satisfy low-end cravings but stays disciplined enough to keep the midrange clean and uncolored. For electronic, hip-hop, and modern rock, this tuning absolutely slaps. Jazz and classical listeners might find it a touch generous, but the quality is high enough that it rarely feels excessive or poorly integrated.

Mids

The midrange follows Softears' house sound philosophy—warm, rich, and prioritizing musicality. Lower mids have good density and body, giving male vocals a natural fullness and adding weight to guitars and pianos. There's a slight warmth that makes the presentation inviting rather than clinical, which will either charm you or frustrate you, depending on whether you prefer reference neutrality.

Female vocals sit slightly forward in the mix, benefiting from the upper midrange presence without crossing into shouty territory. That said, this is where the Volume S shows some minor flaws. The upper mids thin out a bit compared to the lush lower registers, but overall, the mids feel smooth and very satisfying.

Detail retrieval is solid if not spectacular. You're getting good resolution that reveals studio production choices and vocal nuances. The dual full-range BAs help maintain coherence across the midrange, avoiding the timbre weirdness that multi-BA designs sometimes introduce. Instruments sound convincingly organic rather than artificially processed.

Treble Response

The treble on the Volume S takes the diplomatic route—enough presence to complete the frequency response without demanding attention for itself. The transition from upper midrange into lower treble maintains decent energy and detail, but the upper treble rolls off gently. You're getting smoothness over sparkle here.

For treble-sensitive listeners, there's no harshness. Cymbals decay naturally, hi-hats have appropriate texture, and there's enough extension to prevent the presentation from feeling dull or veiled. But if you're a detail junkie who wants every breath and room reverb pushed forward, the treble does err on the side of politeness.

The roll-off in the upper treble does sacrifice some air and openness. The soundstage doesn't expand into that holographic "outside your head" territory, and the highest harmonic overtones get slightly muted. It's a fair tuning choice that prioritizes long-term comfort over intense brightness, and for most listeners with most music, it's the right call.

Technical Performance

Timbre sits firmly in the "natural and convincing" category. The hybrid configuration avoids that metallic BA character that haunts some multi-driver designs, keeping instruments and voices sounding organic. Pianos have proper resonance, guitars retain string texture, and brass instruments maintain their characteristic warmth. This is a dynamic driver advantage working in the Volume S's favor.

Soundstage width and depth are respectable without being exceptional. You're getting a moderately sized three-dimensional space that's larger than a lot of IEMs, but not competing with more expansive flagship imaging. Height is the weakest dimension, though well-recorded tracks still create a sense of vertical layering. The soundstage never felt lacking, and the Volume S more than makes up for its moderate soundstage with its sound.

Imaging precision is good, and instruments occupy distinct positions in the mix with clear separation, making it easy to follow individual elements in complex arrangements. The center image anchors vocals solidly, and stereo panning comes across cleanly with precision. Some microdetails get lost in busy passages, and the resolution doesn't quite match what you'd get from a planar or higher-end BA setup, but it's quite good for the price.

Dynamics are punchy and engaging. The Volume S delivers satisfying impact on transients without sounding compressed or flat. There's energy in the presentation that makes music feel alive rather than reproduced. It's not the most resolving IEM at $319, but it's certainly one of the most enjoyable.

High-Impedance Mode

The high-impedance tuning mode feels like a solution in search of a problem. Switching to this mode tames the bass while pushing upper frequencies forward, creating a brighter, leaner signature that lacks the warmth and body that make the standard low-impedance mode compelling.

I didn't find scenarios where I preferred this tuning, and I will personally be leaving the IEM on low impedance mode. I think, for the most part, the impedance modes are unnecessary, but I give props to Softears for giving listeners another way to listen to these, even if I don't prefer it.

Comfort & Isolation

Comfort & Isolation: Bigger Shells, Better Fit

Despite the increased shell size compared to the original Volume, the Volume S manages impressive comfort thanks to the HEYGEARS collaboration on ergonomics. The medical-grade resin shells are lightweight at roughly 5-6 grams per side, and the contouring follows natural ear anatomy closely enough to avoid pressure points. The smooth matte finish doesn't irritate sensitive skin, and the medium nozzle length works for most ear canal depths without going too deep.

The larger shells actually help with stability—once inserted, these IEMs lock in place and don't shift during movement. That makes them solid choices for commuting or gym use, though the exposed cable connectors mean you'll want to be careful not to snag anything. Extended listening sessions revealed no hotspots or fatigue, which is exactly what you want from IEMs at this price.

Isolation sits above average for vented dynamic driver IEMs. The combination of a good seal from the nozzle design and the carefully tuned venting means you're blocking a decent amount of ambient noise without experiencing pressure buildup or driver flex. You'll handle public transportation and office environments fine, though they won't offer the same isolation as deep-inserting BA monitors or ANC headphones for maximum isolation.

Tip selection makes a noticeable difference. The included Softears Ultra Clear tips provide excellent seal and durability with wider bores that maintain the bass emphasis. The balanced tips offer slightly less bass boost if you prefer a more neutral presentation. I found both stock options perfectly usable, which isn't always the case—many manufacturers include throwaway tips that get immediately replaced.

Volume S vs The Competition

vs LETSHUOER Cadenza4 ($299)

The Cadenza4 is one of my go-to recommendations in this price bracket—a 10mm beryllium-coated DD plus three BAs (mixing Sonion and Knowles drivers) that delivers excellent value and sound quality. It's basically what the Volume S would be if Softears had decided to prioritize smoothness over impact.

Tonally, these IEMs are siblings. Both feature balanced tuning with bass emphasis and warm midrange character. Both prioritize listenability and tonal accuracy over analytical edge. The Volume S essentially feels like a refined, more expensive version of the Cadenza4's core concept.

Bass quantity clearly favors the Volume S with more impactful mid-bass that gives kicks and basslines real physicality. The Cadenza4 feels leaner in comparison, though sub-bass extension is comparable. Where the Softears really separates itself is bass texture and detail—there's better layering and separation in complex low-frequency passages. If bass quality matters to you, the Volume S is worth the $20 premium just for this improvement alone.

Midrange presentation is similar to rich, lush tonality and natural timbre. The Volume S brings better body in the lower mids thanks to that stronger bass shelf, making male vocals and lower instruments sound fuller. Upper midrange extension and female vocal presentation are nearly identical—both do a nice job here without major flaws.

Treble is where the Volume S makes another meaningful jump. It carries more energy and better extension from the upper mids through the treble region, creating a more open, airy presentation. The Cadenza4's treble is smooth but slightly muted by comparison, missing some finer details that the Softears reveals. Neither is a treble-head IEM, but the Volume S gives you more to work with.

Technical performance leans toward the Volume S. The soundstage is wider with better layering, imaging is more spatially accurate, and resolution is a step up. The Cadenza4 is no slouch technically, but the Softears shows why it costs a bit more.

If you already own the Cadenza4, is the Volume S worth upgrading to? Probably not—the improvements are incremental rather than transformative. But if you're deciding between them fresh, the Volume S is the better overall package, assuming the $20 difference doesn't break your budget. Think of it as Cadenza4 Plus with better bass, treble, and technical chops.

vs Kiwi Ears Orchestra II ($349)

The Orchestra II takes a different approach with 10 Custom Balanced Armature drivers—a completely different driver philosophy from the Volume S.

Bass-wise, the Volume S delivers more impact and physicality in the mid-bass, while the Orchestra II extends deeper with better sub-bass rumble. The Softears feels punchier and more engaging for bass-heavy tracks.

Midrange and treble present brighter on the Orchestra II, with a further reaching treble extension. The Volume S instead opts for a warmer, more natural tonality that's less fatiguing over long sessions. If you find bright IEMs tiring, the Softears is the safer bet.

Technically, the Orchestra II has a slightly larger soundstage and some additional imaging. The Volume S is notably more comfortable, comes with a better accessories package, and has a smoother, more musical overall sound.

Bottom line: Orchestra II for technical performance and bright signature fans who want a neutral sound. Volume S for warmth, musicality, and people who enjoy bass more.

vs THIEAUDIO Hype 4 MKII ($329)

The Hype 4 MKII refines the original Hype 4 formula with improved tuning and upgraded components while adding $30 to the price tag. At $329, it sits $10 above the Volume S and represents Thieaudio's attempt to address the first generation's minor weaknesses.

The MKII maintains the dual DD + quad BA configuration but improves bass control and midrange coherence. Compared to the Volume S, it delivers comparable bass quantity, though the Softears still hits harder in the mid-bass punch department. If you want that visceral thump on kick drums, the Volume S delivers it more convincingly.

The MKII's mids are more bright and more energetic, female vocals especially benefit from improved upper midrange extension and clarity. The Volume S sounds warmer and denser, which you'll prefer if you like thick, rich tonality over analytical precision.

Treble favors the MKII; it has airier highs with better extension and creates a more spacious soundstage. Imaging precision is noticeably sharper, and microdetail retrieval surpasses what the Volume S can manage in the treble. This comes with a trade-off, though; some listeners find the treble to be to harsh and some songs can present sibilant, which can become uncomfortable during longer listening sessions.

Bottom line: Hype 4 MKII if you want maximum treble extension. Volume S if you value bass impact and prefer warm over analytical.

Final Verdict

Final Verdict

The Softears Volume S delivers premium sound quality and build at a price point where most competitors cut corners somewhere. It's not trying to be all things to all people—it's targeting listeners who want fun bass presence, natural tonality, and an engaging smoothness.

The bass is excellent for this price—controlled, textured, impactful without being bloated. The midrange nails that warm-natural balance that makes vocals and instruments sound convincingly organic. The treble is smooth and fatigue-free, even if it won't satisfy detail junkies looking for maximum air and extension. Technical performance is above average for the price, even if the soundstage feels moderate.

The build quality and accessories package exceed expectations. Medical-grade resin shells with carbon fiber faceplates, modular cable system, two sets of quality ear tips, proper carrying case, and that HEYGEARS-optimized ergonomic design—this is a complete product that doesn't feel like it's nickel-and-diming you.

Who should buy the Volume S? If you listen to bass-heavy genres, value natural timbre, and want an IEM that sounds good for hours without fatigue, this is an easy recommendation. It's an IEM designed for enjoying music rather

Would I recommend it over the competition? For pure musical enjoyment and tonal accuracy at this price, yes, absolutely.

The Softears Volume S proves that smart engineering choices and focused priorities can create genuinely compelling products at competitive prices. It's not perfect, but its strengths align precisely with what makes long-term ownership satisfying: comfort, build quality, tonal accuracy, and that elusive quality of simply getting out of the way so you can enjoy your music.

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Technical Specifications

• Driver Configuration: Single 10mm dynamic driver
• Frequency Response: 10Hz – 40kHz
• Impedance: 16Ω ± 15%
• Sensitivity: 110dB/mW @ 1kHz
• Cable: 4-core silver-plated copper, modular termination (3.5mm/2.5mm/4.4mm)
• Connector Type: 0.78mm 2-pin
• Shell Material: CNC-machined aluminum
• Weight: 5g per earpiece (without cable)
• Included Accessories: Modular cable, silicone ear tips (S/M/L), soft carrying pouch, termination adapters
• MSRP: $549 USD

Melbourne’s premier exponents of vintage heavy rock are finally back with a new album imminent.

Tahlia sees the return of Devil Electric’s deep mix of classic doom and modern hard rock, an exploration of emotional turmoil and survival as evidenced by the title track and first single. Vinyl can be pre-ordered now or download from February 13.

Instrumental rock project, Spiderweb is helmed by D.R Webster. The band's latest release, "Bionic" brings together a slew of internationally known artists in support of Hungry for Music, a non-profit that provides instruments to children in need.

The track starts with a short drum intro before introducing classic hard rock guitar as multiple technical guitar leads bounce around the mix, quickly creating a progressive showcase of guitar instrumentation. Thumping bass lines from Tye Zamora (Alien Art Farm) and groovy drum patterns from Gordon McNeil (Gun) complement the vast guitarscapes that are created.

The track is fully instrumental, and the guitar-driven sound lets each of the guest soloists deliver their unique sound. "Bionic" showcases its biggest influence to me as a 80s era hard rock song booming with energy. While the classic rock sound is built and maintained throughout the song's 7 minute length, clear progressive and technical guitar shines, and there is even a section that reminded me of doom metal like Black Sabbath.

From start to finish, "Bionic" feels like a showcase of talent and comes across like one huge guitar solo. Fans of instrumental music, hard rock, and prog genres will enjoy Spiderweb.

You can stream "Bionic" available everywhere now or buy on BandCamp here.

Stay tuned below to read an official interview with the band and read the full list of contributing musicians.

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Interview with Spiderweb

1: How would you describe your music?

Heavy, energetic, riff-based hard rock with a technical edge and undercurrent of groove to it.

2: What are the band's biggest influences?

For this particular project, a lot of instrumental rock obviously, the usual big hitters like Steve Vai, Joe Satriani, along with others like Buckethead, Neal Schon, Ronnie Montrose, Steve Morse etc. Aside from that a good mixture of classic bands like Deep Purple, Rush, Led Zeppelin, Van Halen, Guns N’Roses and countless others.

3: What is "Bionic" about/what does it mean to you?

"Bionic" is a showcase for guitar playing more than anything, it moves through several different sections, each with it’s own vibe and builds up ultimately to a big solo section at the end. This part of the song is all about highlighting the skills and unique qualities of each player as they are giving their personal take on what the solo should be in that section.

Interestingly enough, a lot of them hadn’t heard each other’s solos when they went to record their own parts, but they still all ended up in a similar vein in the end. It was surprising how well they all fit together, actually. That was one of the main inspirations behind the song in the first place, to bring together a variety of top musical talent within the same space to see what that would sound like, and of course, to put something significant together to help benefit the great cause of Hungry for Music, which I believe we have certainly achieved with this track in the end. Getting the likes of Steve Hackett, Kee Marcello, Marcelo Barbosa, and John Wesley, all these top high-level musicians to play on the track, is a pretty big deal in my opinion, especially being a new, unsigned artist without any industry backing.

4: How did Spiderweb form?

The origins of this project go back several years and started out as an Instagram channel actually, just me doing riffs and solos of songs that I liked or had written, mainly as a hobby during the lockdown in 2020 for about a year. I decided to revisit it last Summer and really try to do something special with it this time. I didn’t want to just release something for the sake of it, which led to the idea of pairing up with a music charity to release a single that would help contribute to a worthy cause.

5: What is the story behind the band name Spiderweb?

It’s inspired by my surname, and I felt it fit the overall vibe of what I was going for. It also gives me enough creative freedom to branch out musically in the future if I want to take the project in different directions.

6: What is one band/artist you hope to collaborate/perform with in the future?

I have a long list of artists that I would love to work with, of cours,e but for this project, at the moment I would have to say Buckethead. I’ve been a big fan since first discovering him during the Chinese Democracy era of Guns N’Roses. From that point, I delved deeper into his vast–to say the least–catalogue, and when it comes to my playing and some of the parts I played on Bionic, there are definitely some nods to Bucket in there.

7: What’s next for the band?

Right now, the focus is on promoting "Bionic" over the next few months and getting as many people as possible to hear the song and support the cause that inspired it. After that, I’d definitely be interested in putting together a full Spiderweb EP or album, if the right circumstances come together.

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Contributing Musicians:

• D.R Webster — Guitars, Keys
• Gordon McNeil — Drums (Gun)
• Tye Zamora — Bass (Alien Ant Farm)
• Dylan Tann — Keys

Guest Guitar Soloists

• Steve Hackett (Genesis)
• Kee Marcello (Europe)
• John Wesley (Porcupine Tree)
• Marcelo Barbosa (Angra)
• Vanny Tonon
• Gus Barros
• Maria Barbieri

Artwork

Cover Art Guest: Gene Snisky (ex-WWE professional wrestler)

Charity

Created in support of Hungry for Music, a nonprofit providing musical instruments to children in need.

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The 2026 Winter Olympics are putting ’90s pop in the spotlight, everything from the Spice Girls to Backstreet Boys and even Britney.

The post Spice Girls, Britney Spears: ’90s Pop Has Taken Over Olympic Figure Skating appeared first on Audio Ink Radio.