Nicehck Rockies VS QoA Martini

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NiceHCK Rockies lands in the ~$500 bracket with a 1DD+2BA+2EST setup and a surprisingly premium package. The hollow resin shell feels solid, with a metal nozzle, slightly recessed 2-pin, good isolation, and comfy fit. The swappable-termination cable is thick, pliant, and lays flat—no chin slider out of the box, but easy to add—and the excellent case and tip kit push the accessories into “above class” territory.

Tonally, Rockies goes for tight, controlled bass and a natural midrange, capped by upper-treble that’s sparkly yet refined—detailed without getting shouty or brittle. The graph reads largely flat with a tasteful treble lift, translating to a clean, clear presentation that stays engaging rather than fatiguing. It comes across as an “instant classic” tuning: lively, airy, but still grounded.

Compared with brand siblings (DB2 too upper-midsy; F1 Pro/NX8 fine but not special), Rockies feels like the step up. Versus peers, it splits the difference: more air and delicacy than RSV MK2 (which is bassier/darker), less sizzle than sets that chase treble for effect, and broadly similar endgame vibes to “good” units of Mega5-EST—variance there being the rub. Net: a high-value pick at its price, worthy of a Gold Star—not a universal “benchmark,” but a sweet, natural, clear listen that many will prefer, especially with the standout accessories.

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The NiceHCK Rockies have a balanced tuning with standout treble extension from its ESTs. Vocals are tamer with a cut in the upper mids, trading sparkle-forward presence for a smoother, airier presentation; staging feels more open because bass and vocals sit slightly back, while cymbal decay lingers with a pleasing airiness. Technical performance is very good for the price—punching above many $500–$600 peers—and the unboxing/accessories package adds to the overall value.

Low end is grounded and tidy rather than slammy; texture and separation are solid, but this isn’t for bassheads or those wanting vocal-forward excitement (sets like Top Pro or Volare cover that better). The Rockies excel with rock/metal/indie/classical where the extra air, layering, and controlled upper energy shine; they scale best at mid volumes, and tip rolling should avoid options that over-boost or dull the treble—the stock tips already hit a sweet spot. Net: a confident recommendation at ~$500–$600 for listeners prioritizing treble quality, detail, and spaciousness, with the main trade-off being a more restrained bass and laid-back vocal emphasis.

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NiceHCK Rockies lands as a $500 tribrid (1DD+2BA+2EST) that mirrors the Mega5-EST’s tuning with subtle tweaks. The unboxing is generous—three styles of tips (including AET07-style and tacky “medical” silicone), a large puck case, and a swappable 3.5/4.4 screw-lock plug. Build feels premium with a real pietersite stone faceplate; fit is comfortable but shell geometry is generic, so stability depends on tips. The stock cable looks nice but is stiff and, notably, has no chin slider.

Sonically, Rockies follows a tilted diffuse-field / “new meta” balance with slightly less bass and a touch more lower-treble than Mega5-EST—on the order of ~1 dB each way. That shift tightens the low end and improves separation/imaging, making the set feel more technical; however, it also trims warmth and depth, leaving the presentation a bit dry/brittle at times. Bass quality is clean and controlled rather than showy; treble reads clear without obvious harshness on the 711 rig readout, though it can edge lean.

Against peers, Mega5-EST stays the easier, warmer listen with slightly “thuddier” bass, while DUNU’s Brain Dance is the pick for maximum excitement and staging (more clinical up top). Moondrop x Crinacle Dusk (analog use) offers stronger imaging and notably satisfying bass execution at a lower price. Rockies ends up a very good, balanced all-rounder that some will prefer over Mega5-EST for its tidier bass and clarity, but the trade for brightness and dryness is real—final verdict: 3/5.

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QoA Martini fits right into the cocktail-themed lineup as a 1DD + 4BA hybrid at $599, presented in packaging that feels like unboxing a classic wine bottle and a pair of shells that shimmer like a deep blue, purple and pink galaxy. The included 4.4mm OCC copper cable, AZLA Crystal tips set and neat carrying case underline a sense of refinement and attention to detail, while the multiple vent holes and ergonomic shell aim for a comfortable, stable fit. Overall, the visual and tactile experience already suggests a premium and slightly playful character before any music starts.

On the sonic side, the Martini focuses on a strong yet controlled sub-bass shelf of around 8 dB that dives deep below the jawline, delivering thick, full-bodied impact that stays clean and never turns boomy thanks to a quick decay and restrained mid-bass. The midrange comes across crisp, clear and slightly airy-loose, with vocals that are light and bright yet still intimate, revealing breathing and grain textures without smearing or sounding messy. Instruments in the upper mids are layered bright and crisp with just enough mid-bass body to avoid thinness, so the balance between vocals and instruments feels natural and complementary rather than pushed forward or recessed.

In the treble, the large 3 kHz peak followed by dips and rises through the lower and mid-treble create a bright, cool and airy top end with rich detail, extended yet delicate upper treble and no harshness or sibilance, giving the sense of hearing glasses clink in a spacious room. Soundstage projects with a more distant, mastering-style spread rather than simply a bigger room, and compared to a similarly priced hybrid like the Emerald, Martini trades some warmth and density for greater openness, detail retrieval and sense of space. Altogether it captures the martini vibe of strong but controlled bass, spacious mids and crisp, refreshing treble, earning a solid 8.5/10 with even more potential hinted at by a future cable upgrade.