ND Planet VS Tanchjim Zero Ultima

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ND Planet is a 12 mm beryllium-plated dynamic driver set that targets a relaxed, bass-boosted balance rather than a true Harman curve. Marketing references to Harman 2017/2019 do not line up with the actual response: there is an early ear-gain rise around ~2 kHz that climbs toward ~10 dB and becomes shouty as volume increases, so the set behaves best at low listening levels. At roughly $17, it is not positioned as a standout, but it clearly aims at a different audience than typical budget Harman clones.

The low end presents a heavy, full bass shelf that sounds reasonable at low volume and grows thick quickly when pushed. Mids are on the thicker/relaxed side with more lower-mid body and less upper-mid energy; compared with KZ's more energetic 3 kHz approach (e.g., Saga Bass), ND Planet feels more centered and less V-shaped, with extension that rolls earlier. Listeners who dislike lean mid-bass and hot upper mids will likely prefer this presentation.

The treble is 2–7 kHz-centric and rolls off in the upper registers, trading air and sparkle for treble safety. That choice keeps fatigue down but flattens perceived brilliance and keeps the soundstage largely inside the head, with limited projection. Overall, ND Planet reads as a preference-tuned, low-volume, bass-forward single-DD that intentionally diverges from Harman 2019 rather than a technical showpiece.

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Tanchjim Zero Ultima follows Origin almost one-to-one, right down to the single dynamic driver and the easy bullet-style fit with inline mic and fixed cable. The tonal balance skews neutral-bright: sub-bass is modest, the 2–5 kHz region sits a bit high, and upper treble adds extra sheen, which can make notes feel lighter in weight and vocals a touch lean.

The upside is a competent driver that takes EQ gracefully. Pulling the 2–5 kHz down a few dB (below a Harman-like target), trimming the upper treble ~1–2 dB, and adding a small sub-bass lift steers the presentation toward the more natural, Oxygen-style balance with fuller vocal body and cleaner timbre. Stock tuning is a bit bright, but with that simple tweak Zero Ultima becomes a very pleasant, well-behaved daily set.

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Tanchjim Zero Ultima comes in dirt-cheap and unapologetically simple: an attached 3.5 mm cable with inline mic, featherweight shells (~2.3 g), and hilariously oversized nozzles for such tiny housings. Build cues scream budget—y-split quirks and all—but the box stuffs in a plush pouch, a stack of tips, and a manual with more pages than dollars. Under the hood sits a 10 mm double-chamber DD (DMT4), and it can want a bit of juice, yet nothing a normal source can’t handle.

Sonically, this is shock therapy for the price bracket: huge, cinematic soundstage that projects like a mini “screen” in front, with a surprisingly balanced tuning—not a bass cannon, not a treble sabre. Kick drums land with a clean thump, strings float way out without turning sharp, and the overall presentation stays cohesive instead of “fake-detail” crispy. It’s the kind of set that makes $20–$25 feel like a typo, happily chewing through AC/DC, Barry White, Pink Floyd, and Deadmau5 without crying mercy.

Value play is off the charts: call it a $40 performer sold for pocket change, perfect as a daily beater or keychain set. If a detachable cable is a must, the Bunny sibling stands by, but Zero Ultima’s stage and easygoing balance are the party trick here. Bottom line: audiophile nonsense in the best way—ridiculous width, no harshness tax, and an infectious fun factor that embarrasses pricier toys.