Hidition Viento VS Dunu Mirai

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Hidition is framed as an OG IEM house (founded 2003), and the Viento is praised as the rare decade-old set that still sits in the top tier. Released in the height of the driver wars, it rejected driver-count inflation for a 4-driver, 4-way crossover architecture—each BA handling its own band: sub-bass, lower mids, upper mids, treble. The result is “efficiency” engineering that prioritizes clean division of labor over headcount, following the neutral lineage of the NT6 while modernizing with a subtle sub-bass lift.

The Viento’s two-switch system is highlighted as unusually precise: one switch for sub-bass, one for lower mids, yielding four distinct tunings—A (neutral), B (sub-bass boost), C (lower-mid warmth), and D (both). It’s noted that the custom shell outperforms the universal demo (which can sound a bit bright/shouty due to fit depth), making this one of the few customs actively recommended. In 2023 it sits at S- on the ranking list: versatile across configs, close to an IEF-neutral target, and—relative to today’s market—“cheap” at about $1,000 from Zeppelin & Co. Overall, the Viento is portrayed as lightning in a bottle: enduring tuning, elegant engineering, and real-world usability that keeps it in regular rotation years after release.

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Hidition Viento B aims for a reference-lean balance: a leveled sub-bass shelf to around 200 Hz, a lean lower midrange, and very emphasized upper-mids with a notable mid-treble lift. On paper it graphs cleanly, but in practice the contrast thins out note weight and exposes a ringy decay on upper harmonics, pushing cymbals and sibilants forward more than natural.

Technicalities are mixed. Microdynamic contrast is the standout, with low-level inflections popping more readily than peers, yet imaging and stage size hover around average for the price. BA timbre remains audible, and the elongated nozzle that mimics a CIEM fit can be uncomfortable unless a deep insertion is possible; the CIEM version is said to mitigate several of these concerns.

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Dunu Mirai comes as a headphones.com exclusive seven-driver hybrid—1DD + multiple BA with a super tweeter—priced around $950–$1,000. The tuning sits a few clicks toward the analytical side without abandoning fun: crisp, clean, and ruthlessly revealing of recordings and chain noise. Expect intimate staging, surgical separation, and a bass response that’s tight rather than head-rattling (forget any “+11 dB” slam claims in practice). Feed it a noisy amp or a bad master and it will tell on you; give it quality and it layers beautifully.

Build is a mixed bag: the green shells are chunky and a bit plain for the price, but ergonomics and nozzles work well. The included DUNU modular cable is light, comfy, and well-executed, and—bless—this one uses 2-pin. Accessory spread is generous (SS tips, “candy” tips, case, adapters). Still, aesthetics won’t scream “kilobuck,” which may irk some.

Tuning is the story: this is a precision instrument that doesn’t sugarcoat, closer to a studio mindset than a party trick. Tip rolling (e.g., foam-silicone hybrids) can nudge low-end weight and bring the midrange forward for a more emotive hit without breaking its composure. It stands apart from DUNU’s Glacier—the two make a complementary pair: Glacier for relaxed, expansive chills; Mirai for focused detail and truth-telling. Verdict: a full pass for listeners who want refinement and honesty over gloss, and who can curate their library and source to match.

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Dunu x Precogvision Mirai arrives after years of iteration, priced at $1,100 with a hybrid array—1DD + 6BA and an unusual open-back tweeter. The earpieces wear a handsome green finish and ship (retail) with a matching white cable and swappable terminations. Fit can be contentious: a more generic shell and a long nozzle may require tip rolling; shorter, spin-fit-style tips helped achieve seal and comfort without pushing the nozzle too deep.

Tonally, Mirai blends a leaner lower-midrange and sub-bass emphasis (think Helios-style low end) with a relaxed upper-mid à la 64 Audio. The result avoids sounding thin, delivering taut, weighty bass, excellent imaging, and incisive instrument separation with convincing front-to-back depth. The weak spot is treble timbre: cymbals and highs can skew a touch digital/crunchy, and while tips can tame it somewhat, the top end isn’t perfectly natural.

Versus 64 Audio U4s, Mirai is the sharper, tighter listen with stronger imaging, while U4s plays warmer, smoother, denser but a bit blurred by comparison. Against ThieAudio Monarch MkII, Mirai offers fuller bass and body, whereas Monarch is brighter, more forward with a notably smoother treble and slightly higher apparent resolution—but can feel thinner and has its own fit quirks. Overall, Mirai earns a solid 4/5: a distinctive, future-leaning tuning that trades blows at its price, with caveats on fit and treble polish.

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Treble-forward without being a razor blade—that’s the Dunu Mirai’s vibe. Sparkly highs with notable peaks around 4 kHz, 8 kHz, and past 10 kHz inject energy, immediacy, and sharper imaging than smoother sets like Supernova. Vocals are clean, airy, and extended with no lower-mid bleed, giving indie/alternative tracks a lively “facelift,” though the same brightness can turn fatiguing on already hot mixes (EDM, J-/K-pop) and encourages lower listening volumes on those genres.

Bass is rumbly and punchy in the sub-bass but light on mid-bass weight, so rock benefits more from sets like Zen Top or SA6 Mk II. Technicals are strong—resolution, layering, and imaging keep pace with pricier peers; versus Monarch MK3 and LTD, Mirai sounds brightest and most exciting, while MK3 has better bass texture/more natural vocals and LTD offers airier staging with smoother treble. Compared to Harmon/diffuse-field staples (Top, Studio 4, E7M), Mirai pulls a touch more detail but is brighter. It’s essentially a more technical, bass-enhanced take on Blessing 3 / Simgot EA1000—yet at $1,100, the value debate is real, especially with unit variance and a somewhat plasticky backside (nice cable/case, though). Best for listeners seeking a lively, detail-first upgrade to EA1000/Blessing 3; not a treble-head special, not a do-everything allrounder.

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Build quality and presentation are the Mirai’s calling cards: a premium cable, a robust case, and those quirky little IEM booties make for an unboxing experience that feels luxury at its price. Sonically, it sketches a spacious, almost holographic stage where higher voices shine, drums hit with conviction, and guitars sound convincingly natural. The trouble starts lower down: bass and alto vocals can feel thin, with a mid-bass dip that leaves some tracks lacking body; strings on certain orchestral pieces skew sharp or plasticky, and there’s an ~8 kHz glare that can bite. Metal and electronic are a treat; well-recorded R&B is a poor match.

EQ—whether to Precog’s target or a similar in-house curve—fills in mid-bass and steadies the balance, but it raises the question of whether a pricey set should require tweaks. In context, Supernova offers flatter treble and fuller mids, Monarch MKIII brings livelier dynamics and a safer overall tone, and the Binary Chopin delivers a more consistently “fun” V-shape with fewer problem tracks. Mirai ultimately suits big-spending listeners who value build and staging panache over benchmark value; mid-tier collectors may find stronger all-rounders elsewhere. Verdict: a solid 4-star recommendation with a pure audio score of 8.9—impressive on the ears, if not the outright class leader for the money.