Punch Audio Martilo VS Softears RSV MK II

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Punch Audio Martilo steps in as a new-brand debut with a confident package: a hybrid array (planar + BAs + DDs), a metal nozzle, proper venting, and a recessed 2-pin socket set into a shell that sits securely thanks to an anti-tragus catch. The faceplate gives off AFUL Performer 7 vibes, the included cable is supple with clear R/L markings, and the textured carry case plus two tip sets round out a thoughtful accessory kit. Priced around $329—with occasional deep discounts during big Linsoul sales—build and accessories feel dialed in for the bracket.

Sonically, this is a bassy set that still behaves like an all-rounder. The bass shelf rises from roughly ~150 Hz, bringing weight and warmth without turning podcasts and vocals into mud; upper-mids are present yet controlled, minimizing shout, while mid-treble energy keeps things crisp. Female vocals avoid huskiness, note weight is satisfying, and the tuning strikes a balanced, fun profile that works across genres. On the graph it hugs a safe line, then sprinkles in extra low-end for flavor—bass-head friendly, but not a blunt instrument.

In A/Bs, it addresses the AFUL Explorer’s softness with more bass and mid presence, and compared to similarly priced Kiwi Ears Astral (the safer neutral pick), Martilo offers the spicier, more engaging option. Against “specialist” bass sets like Deuce or Quantum, Martilo feels cleaner in the mids, less abrupt in its slam, and more universally usable; versus warmer bass champs (e.g., Mega 5 Bass), it trades some warmth for clarity and refinement. This isn’t sterile “audiophile-neutral”—it’s audiophile-fun done with taste. Scoring reads like: bass (10/10), note weight (10/10), mids (9/10), with surprisingly solid highs, stage, and imaging for the money. Not flawless, but distinctive, well-tuned, and easy to recommend—especially for listeners who want real bass without sacrificing everyday versatility.

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Softears RSV MK2 takes the original’s idea and pushes it into a bolder, bass-centric direction. The compact shell is comfortably contoured, isolates well, and uses a slightly recessed 2-pin; the angular faceplate gives off an “evil Voltron” vibe in the best way. Packaging and accessories feel premium—a silky cable terminated in 4.4 mm with a matching 3.5 mm adapter, tip selection, cleaning tools—though the bundled case looks nice while feeling a bit faux-leather and questionable for durability. Under the hood is a 5-BA array around the ~$700 mark, presented with the fit and finish expected at this tier.

The tuning is unabashedly bass-heavy with a warmer rise through ~150–200 Hz and a slightly dark-leaning top end; not super airy, but undeniably full, rich, and musical. That weight can introduce occasional roughness/sibilance in certain vocals and can muddy spoken-word content, so this isn’t for everyone. Within Softears’ catalog it stands out: far more low-end than RSV (OG), Volume S, Twilight or Studio 4, and a different philosophy than Enigma’s vivid upper-mids. Versus sets like Monarch MK4, this goes for a deeper, thumpier shelf with a gentler upper air—trading a bit of “technical” sheen for tonal density and groove.

As a “tactfully executed bass-head” Softears, RSV MK2 delivers: impactful low end, natural mids, comfortable build, and a coherent, down-sloping balance that suits modern music exceptionally well. It isn’t flawless—moments of aggressiveness, plus a case that feels more pretty than tough—but the overall package is compelling. In the $400–$900 bracket it scores a 9.4 on this scale, while strong lower-priced options (e.g., bass-shelf specialists like Punch-tuned sets) may satisfy similar cravings if budget leads. For listeners craving a plush, powerful low end done with intent, this is a distinctive and deeply enjoyable take from Softears.

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Softears RSV MK2 shifts from the OG’s vocal-centric tilt into a bass-forward all-rounder. The sub-bass and mid-bass hit with real slam and weight, giving drums and bass guitars a satisfying, dynamic punch. Upper mids (3–6 kHz) are tamed to avoid shout, while a gentle 1–2 kHz rise keeps vocals open and natural—slightly less pushed than the original but still clear. Treble is smooth with decent air; not super sparkly and there’s no EST “sauce,” but it stays clean and non-fatiguing.

As a package, MK2’s standout is the low-end texture—thunderous yet controlled—making it one of the more engaging bassy sets under four figures. Technical performance is solid for the tier, though some rivals at lower prices bring more raw detail and EST extension. Build and accessories get a tasteful, modern refresh. For best balance, the stock tips work well; bass-boosting or treble-opening tips can shift it toward a more V-shape at the expense of overall smoothness.

On genre fit, MK2 shines with hip-hop, pop, EDM, and R&B, where its punch and warmth bring rhythms to life; for orchestral or leaner acoustic picks, the bass can edge forward depending on the mix. It scales to mid–high volumes nicely (around the 70–80 dB zone) without turning sharp. Compared with the OG RSV—now likely affected by a silent retune in recent units—the MK2 is the safer buy: less shout, more authority down low, and a broader all-rounder appeal. Recommended, especially if found below full MSRP, for listeners craving tasteful bass with natural mids and relaxed, smooth treble.

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Punch Audio Martillo stands out as the rare basshead set that still reads as competitive. At $329 with a 2DD + 2BA + 1 planar array, it pushes more sub-bass and mid-bass than most, yet the low end is textured, tight, and notably fast in attack/decay. The result is bass that rumbles without smearing: mids remain intact, the treble stays airy and clean, and the stage presents with extra width, depth, and “air within the space.” Imaging feels precise, with strong depth perception and a lack of the bloat typical of warm tunings—distinctly different from anything else on the WallHack certified list.

In Valorant, Martillo scores around an A- (bordering B+): clear separation and layering, wide/deep staging, and crisp reads on lighter cues; only in heavy site pushes—multiple vandals plus abilities—does the extra low-end energy flirt with congestion. In Apex Legends, it sits at a strong B+: even with environmental rumble (thermites, storms, ults), the set preserves gunfire localization, slides, and verticality, handling third parties impressively well. Net: a uniquely exciting pick for those who want a visceral bass flavor that still performs at a high technical level for gaming—arguably the highest-ranking tuning of its type on the list.

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The Softears RSV MK II is a 5BA set at $699 with a sleek, performance-driven look—carbon-fiber “V” and RS badge on the faceplate—paired to an ergonomic shell and fish-mouth nozzle that stays light and exceptionally comfortable over long sessions. The package is solid: a braided 4.4 cable (plus a 3.5 mm dongle), cleaning cloth, two pouches, and two sets of silicone tips; the only nitpick is wishing for a more premium carrying case at this price.

What sets RSV MK II apart is how a generous bass boost/extension coexists with top-tier imaging, separation, and layering. In Valorant, footsteps hit with extra energy and impact yet subtle cues—water steps, micro-movements—cut through even during Vandal spam and 5v5 ability chaos. In Battlefield the set is a standout for immersion (planes, tanks) while preserving precise gunfire placement and the light “clinks” that win fights. The latest mix in Apex plays to its strengths: thermites don’t mask light taps, elevation cues remain clear, slides and shield pops are easy to track; and in Call of Duty, airstrikes and mortar fire don’t swamp critical information. It’s scored as the lowest-priced S-tier on the WallHack-certified list—note the tonality skews a touch dark, so strict reference seekers may prefer something lighter, but for impactful low-end plus elite competitive clarity, RSV MK II is a killer pick.

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Punch Audio Martilo hits the brief for bass-centric listeners. The tuning kicks up from ~200 Hz, driving a potent low end, then rides a flat porch through the mids with a gentle ear-gain that crests around 3 kHz before easing off. It mirrors the well-known Kiwi Ears collab curve but with a touch more upper-mids energy for cleaner, clearer vocals. At $279 with the card (and still competitive around $320), this set undercuts many rivals and, for libraries heavy on rock and hip-hop, feels purpose-built.

The hybrid stack—2DD + 2 BA (branded) with a planar on top—keeps the upper-mids sensible and lets the treble play from roughly 5 kHz+ without glare. Personal preference might lean to EST or a high-end BA super-tweeter, but here the planar’s implementation stays out of trouble by avoiding an overcooked 1–3/4 kHz shelf. Result: strong slam, stable mids, and treble that’s present yet subordinate to the preceding bands—focused on transparency rather than flash.

Beyond sound, the packaging and cable show real forethought—distinct from the usual cookie-cutter unboxings—and the overall execution reads like a brand finally dedicated to the low-end community. With more models in the pipeline (including a budget single DD and a planar+DD combo), Martilo arrives as a market shaker for bass lovers seeking muscle without muddying the mids. For the asking price, it’s an easy recommendation to audition—especially if the playlist is built on rhythm sections and big grooves.

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Boom — time for bass. Punch Audio’s Martilo is a tribrid (2×8 mm DD + 2 BA + 1 micro planar) coming in around $330. The package is stacked: sturdy square case, extra filters, multiple tip sets, and a genuinely excellent modular 3.5/4.4 cable that lays flat, has no microphonics, and a firm chin slider. The shells are ergonomic with venting, metal nozzles with a proper lip, and a small nozzle diameter (5.9/5.0 mm) that helps seal; comfort and passive isolation are both strong.

Sonically, this is unapologetically bass-focused without being bass-only. Expect massive sub-bass depth and a punchy mid-bass, yet the low end stays tight, controlled, textured and doesn’t bleed. Mids retain clarity with non-shouty presence, while treble is crisp, smooth, non-fatiguing with decent extension (not ultra-airy). For a bass-heavy set, technical performance is solid: detail is good, and imaging/separation keep busy tracks coherent and energetic.

Against Hisenior’s Mega5EST Bass Plus, Martilo hits harder, feels more engaging, and offers better vocal clarity — and it steamrolls on value at the lower price. Compared with Xenns Tea Pro, the Tea Pro is a bass-lover all-rounder that spotlights vocals/instruments more; Martilo goes full bass-head with bigger rumble and impact. Ideal for listeners who crave deep slam but still want clarity, comfort, and great accessories; not for neutral/reference chasers. Final verdict: 4/5 — it truly punches above its price.

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Martillo is a hybrid (dual DD, two BA, one planar) tuned as a sub-bass-boosted U-shape with roughly 14 dB lift and a hard mid-bass drop. The low end hits like a quick hitter—fast, clean, and free of boom—while the sharp cut through the mid-bass keeps the presentation uncluttered and lets vocals come through clearly.

Mids favor female vocals with notable clarity, but lower mids and male voices sound thinner due to the deep mid-bass dip; timbre skews a bit digital and body is reduced. Treble avoids harsh BA/planar timbre and is generally clean, yet not especially airy; smoothing and a touch more body would improve naturalness.

Stage is wide with some height, yet depth and dimension are flatter around the midrange gap. A small EQ lift of about 2-3 dB in mid-bass fills in body, improves transparency, and broadens genre flexibility. As tuned, Martillo suits pop and dance where sub-bass drive matters, while listeners seeking weighty mid-bass impact may want that EQ or a different flavor.

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The Punch Audio Martilo shows up screaming BASSHEAD on the box, but the tuning is smarter than that. A hybrid stack—2×8 mm DD + 2×BA + 1 planar—delivers bass that hits when the track calls for it, then gets out of the way. The surprise is the huge soundstage: airy, wide, borderline cinematic, so pianos, crowds, and live recordings feel expansive rather than claustrophobic. Low 9 Ω impedance and easy efficiency keep the power demands chill, though a low-impedance cable is recommended.

Tip rolling matters. With thin-wall silicone (e.g., Dunu S&S) the stage opens up and balance feels right; foams and some wide-bore options can push treble into a slightly sharp zone on certain tracks. Tonality reads clean and natural—warm-adjacent without a blanket—so everyday music stays unbloated, while proper sub-bass test tracks pressurize with that “firm hand on the chest,” not a sledgehammer.

Build is solid: thick, comfy modular cable with swappable plugs, flashy red shells, and a comically oversized box for a modest accessory set (silicone + foams). Street price around $330 lands in the sweet spot—easily justifying $375 by ear. Think “poor man’s Mega 5 EST Bass Plus”: similarly satisfying slam and stage, with the pricier set showing a touch more upper-mid/treble refinement. Not just for bassheads—more like a full-range thrill ride that lets music breathe and hit when it should.

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Softears RSV MK II brings back the all-BA ethos at $700 with five armatures and a promise of “re-engineered BA bass.” Build and accessories feel premium (sleek shells, plush case), while the cable choice is quirky—4.4 mm only with a 3.5 mm pigtail. Fit is outstandingly secure and custom-like but on the larger side with a longer nozzle, so comfort depends on ear size. Softears’ Ultra Clear tips work well; the new metal-ring variant adds little beyond novelty.

On the graph, bass looks like gigabass, yet in ear it settles into a warm, weighty foundation without steamrolling the mids. The midrange follows a “new-meta neutral” tilt—fuller than Harman with forward upper-mids—while treble lands clean and sparkly without fatigue. Imaging is tidy rather than cavernous; separation and delineation are convincing, with the top end executed better than the bottom. BA bass here is among the more physical and satisfying of its kind, though tactility can be track-dependent and turn a bit tubby on very bass-heavy mixes.

Against peers, Symphonium Meteor sounds warmer and more “special” but less all-round; DUNU SA6 MK2 is more colored with janglier treble and the least convincing bass; 7th Acoustics Supernova trades warmth for vivid, bright-tilted imaging; Softears Studio 4 is lighter on bass and airier; and the old Moondrop S8 stays the lively, vocal-centric counterpoint. Net take: a supremely competent, character-light all-rounder that favors bass weight over panoramic staging. Verdict: 4/5 stars—a welcome throwback done right, and notably cheaper than the original RSV launch price.