HIDIZS MP145 PRO: A More Refined Incarnation

This is my second audio product review from HIDIZS in the first quarter of 2026, and what I have here is the third model from their highly-successful IEM model line-up, the MP Series which exclusively utilises planar magnetic driver technology. We all know in the audio community that the MP145 is one of the most popular and capable IEM with planar magnetic driver in both tonal and technical performance that somewhat dictated the tempo on the battle of the magnetic planar IEM game that still rages on now up to this day since it was started on the late 2021 and this model was previously lauded as a top dog in 2023 and 2024 among audio enthusiasts.

And now, what I have here is the latest model of the MP series, the HIDIZS MP145 PRO and this one is definitely more a successor of the widely acclaimed MP145 rather than the MP143 SALT that still takes a back seat as it was still eclipsed by its predecessor, in terms of popularity among audio enthusiasts. But this model is quite different in terms of execution on its product presentation, uses newer components and also, perhaps on tonal and technical performance.

The MP145 PRO is still equipped with a 14.5mm planar magnetic driver but according to HIDIZS, they revamp its structural design, from a precise  implementation of more material density like copper on its flat diaphragm for a better transient response, good detail retrieval and fuller dynamic range, and also, it has  stronger magnetic flux on its uniform magnetic circuitry layout with a septuple high-strength neodymium magnets that were arrayed for better stability and power efficiency. As we all know that planar magnetic drivers also known as orthodynamics are type of transducers with a structure consisting of a thin, flat diaphragm with some even-surface conductive traces on it that was suspended between the two strong magnets that it will respond accordingly through power current as electric signals keep passing through those conductive traces that causes consistent motion for a faster transient response, low distortion and wider frequency response.

The driver was then housed in a solid aluminium alloy shell chassis which is still quite pretty large and chunky just like the original MP145. It still follows the design language of its predecessor which was inspired with ventral grooves of the rorqual whales with a well-placed pair of vent slits that allows it to escape excessive air pressure generated from its high performance driver. Like most of the HIDIZS sets that I've reviewed in the past, it still utilises a 0.78mm bi-pin connector as its interlocking mechanism for its detachable cable which is known for its stability and secure fitting.

The stock cable of the MP145 PRO is quite an upgrade over the stock cables of the previous MP series models. This one has a bit thicker build, flexible and a resistance from entanglement, and it has a braided four-core structure made of 6N high-purity monocrystalline silver-plated copper wiring that ensures seamless lossless audio transmission for a pure and clear audio output. Another feature that this stock cable has was its modularity as it has swappable termination plug for better compatibility to any hi-fi audio devices, and it includes a 3.5mm single-ended and 4.4mm balanced plug adapters.

When it comes to wearability, despite its large size profile, on my medium-size Asian ears, it still provides a comfortable fitting into my lugholes without any discomforts at all as I was able to achieve through the suitable pairing with stock eartips that were included (using the large size Sea Anemone Eartips). As I have a proper sealing, it delivers a passive noise isolation as it is able to block unwanted external noises from the outside.

As for its product packaging, the MP145 PRO offers more compelling product presentation as the contents are well-organised inside akin to a midrange set, and it has a substantial amount of quality accessories that were included inside of its packaging box. Some of the contents inside are definitely an upgrade over its predecessors, from eartips up to the storage case that shows HIDIZS’ dedication on their customer’s feedback, and also, since this is still an extension project with WDC (Whale and Dolphin Conservation) a non-profit charitable marine conservation group for the protection of cetacean mammals like whales and dolphins that they ensure that their product boxes are biodegradable for recycling and sustainability to lessen water pollution on marine ecosystem that these wonderful and majestic aquatic mammals thriving upon.

These are the following contents that were included inside of its packaging box:

• Pair of HIDIZS MP145 PRO transducer earpieces
• Stock cable with modular termination feature
• Box-type leather storage case
• 4.4mm balanced plug adapter
• 3.5mm single-ended plug adapter
• Pair of gold-coloured Pneumatic Sound Tuning Filter nozzles
• Pair of red-coloured Pneumatic Sound Tuning Filter nozzles
• Pair of silver-coloured Pneumatic Sound Tuning Filter nozzles
• Three (3) pairs of “Bass” silicone eartips in different standard sizes (S,M.L)
• Three (3) pairs of “Vocal” silicone eartips in different standard sizes (S,M.L)
• Three (3) pairs of “Balanced” silicone eartips in different standard sizes (S,M.L)
• Three (3) pairs of Sea Anemone eartips in different standard sizes (S,M.L)
• Badge pin
• Paperwork like postcards, warranty card and user manual

Here is one of the surprising features about this IEM as it seems the HIDIZS is able to achieve this breakthrough of this particular driver technology which is about high sensitivity and excellent power efficiency compared to the previous generation of mini-orthodynamics. As we all know the properties of planar magnetic driver as one of the power-hungry transducers out there along with ceramic dynamic drivers as it demand stronger power output to drive them properly as it energises those stiff flat diaphragms that we need to use some audio gadgets like DAPs, DAC/Amp dongles and desktop-grade headphone amplifiers, but on the case of this model, this one is able to deliver a full, lively and dynamic sound even from a standard gain output mode in which I don't really expect, but I think that it has something to do with newer materials or configuration that HIDIZS implemented on this new generation of planar magnetic drivers. As I’m trying to use my LG phones with ESS Quad DAC in a normal impedance mode/ standard gain mode setting on this test, it seems that it is properly driven as it doesn't sound sluggish and underpowered at medium volume level (45-48 out of 75 volume steps), although if you need a punchier response on your listening session, you might need some portable headphone amplifiers.

(Using HIDIZS AP80 PRO MAX as an LDAC Bluetooth receiver)

(Using the LG V40 and LG V60 to power up the MP145 PRO)

When it comes to its tonal profile, since it has a detachable tuning nozzles, it offers three distinctive sound signatures and here are the following tuning target profiles along with their respective brief description:

Red Tuning Nozzles - It has a U-shaped sound with a warm presentation as it has more mid bass texture while the upper-mids and presence section are smoothen a bit with moderate airy presentation.

Gold Tuning Nozzles - The most “balanced” sounding of the three tuning nozzles, it has a more mild U-shaped sound as it has a good sub bass presence with adequate mid bass texture, less recessed midrange presentation as it has a balanced texture and transparency with enough warmth and energy due to some peaks between the upper-mids and presence section with some added air and more sparkling.

Silver Tuning Nozzles - Still has a mild U-shaped sound but it is the brightest tuning among the three tuning nozzles due to the elevated upper-mids and presence section as it sounds more brilliant, shimmering and even more airy.

With my new methodology of IEM sound quality assessment, I'll choose two random tracks for testing on this set that I usually listen to; Mariah Carey’s Always Be My Baby and Def Leppard’s When Love And Hate Collide.

RED TUNING NOZZLE MODE:

This setting seems to have more midbass texture rather than subbass presence as it has more tactile, punchier and slamming bass response that somehow satisfying to some bassheads out there as it has some definition on it but still it has lack of that boominess and rattling sound if you are type of a basshead looking for a more physical and vigorous bass attack. It seems that it has a fairly sub bass presence that will deliver a decent reverberation depth that was generated from both electric and low-tuned strings depending on how they respond on my selected test tracks. On the track  “Always Be My Baby” I felt those rumbling that were produced from synthesisers and drum machines as it complements with other harmonic layers along with punchiness and weight of the bassline grooves from bass guitars and electronic kick drums, while on the track “ When Love And Hate Collide”, this particular power ballad track from the early 90’s has a very well-polish mixing of instrumental blending between electronic and acoustic as there are some elements of musical progression from the hair/glam metal and hard rock sound up to the early alternative rock on the 90s, that the bass guitar line of Rick Savage sound a bit warmer and sombre as it gives a good structural melodic foundation, along with Rick Allen a.k.a. The Thunder God has its consistent bass kick drum beat that sounds full and monotonous yet impactful.

As for its midrange, due to less emphasis on the upper mids as it has a tad smoother presentation that makes its more richer and warmer sound which will gives more vocal texture and depth on some vocal types mostly on male ones and also on female contraltos, and a voluminous, brassy and striking sound from brasses and percussive instruments, although I noticed on some strings that it loses a bit some of its crispness and vibrant. And then as I analyse on this setting on it will sound on the Mariah Carey’s track “Always Be My Baby”, as it has some strings, percussives and a blending of richly layered female vocals of both main and back-up singers on its production as it has warm and full sounding piano, a bit buttery sound from acoustic guitars, a resonant but deep sound for hand clapping, a consistent hard and precise sound on its snares, and the well-layered vocals from Mariah Carey’s as it sounds mellow to mild. When it comes to “ When Love And Hate Collide”, Joe’s distinctive nasally and raspy yet melodic tenor voice which is rather unusual characteristic for this vocal type has mellow and emotional delivery along with backing chorale section that adds more anthemic vibe as they sound light, smooth and velvety, and also it is supported by Phil and Vivian’s guitar lines as they sound a bit mellow and buttery on this one, and a drum work from The Thunder God’s in which it delivers a warm and resonant sound on snares and toms.

On the treble section, it appears that it has a smoother, balanced with enough shimmer as it doesn’t sound too dull nor overtly bright as it has an enough lift on the upper mids and presence section enough to give some clarity and definition on its vocal articulation and attack on instruments. This setting appears to be a safer bet for treble-sensitive folks as they won't hear any shrilly, piercing or tinny sound on it. Apparently that it has a modest treble air extension on its brilliance section with enough sparkle. As how the tested tracks sound like on this setting, Mariah’s “Always Be My Baby” on its keyboard section delivers a more lustrous and pale sound that were situated on high notes along with precise and soughing sound of cymbal strikes and dull sound from hi-hats, while on the “When Love And Hate Collide”, the cymbal strike from Rick Allen sound full and a bit dark as the hi-hats have a shortened resonant sound.

GOLD TUNING NOZZLE MODE:

In this setting, it has more balanced bass presentation as it has a subbass presence and sufficient midbass texture as it has more incisive, punchy and rumbly characteristics as it delivers a cleaner bass response. The sub bass depth and presence can be clearly felt as it will deliver a reverberating response that was produced from sub bass-focused instruments such as synthesisers, electronic drums and low-tuned string instruments. About the test tracks, In “Always Be My Baby” I definitely felt those rumbling and reverberation came from synthesisers and drum machines that it blends with other harmonic layers as those bass grooves from bass guitars and electronic kick drums, while on the seminal power ballad track, “ When Love And Hate Collide”, with its well-polished mixing of acoustic and electronic on its production, the bass guitar that was played by Rick Savage has a raspy and resonant sound, while Rick Allen’s consistent bass kick drum has tight thudding and sustaining sound.

In regards to its midrange region, it seems that it has less recessed presentation but compared to the RED TUNING NOZZLE, it has more energetic sound at it has more emphasis on the upper mids  that makes its more open and shimmering sound which will gives more vocal presence and extension on some female vocal types like mezzo-sopranos, sopranos and countertenors as they sound shimmering and expressive, along with airiness from woodwinds instruments, and then the crispness and bright sound on strings. Back to test tracks, Mariah Carey’s track “Always Be My Baby”, that it has well-layered sections strings, percussion and a female vocals on its production as it has rich and sweet sound from a piano, acoustic guitars sound crisp and bright, a snappy and sharp sound from a handclap, a sharper and clattering sound on its snare drums, and the richly-layered vocals from Mariah Carey along with its back-up singers as they sound coppery and satiny in a harmonious manner. And then on the “ When Love And Hate Collide”, Joe Elliott’s distinctive tenor voice which is rather unusual characteristic for this vocal type has a spicy yet raspy sound as it delivers a more expressive voice in tandem with a backing choir with various voices from other members that adds more powerful and atmospheric vibe that were usually found on power ballad sound that they sound light, agile and tender, and also it is supported by Phil and Vivian’s guitar lines as they sound more crisper and sustaining along with drum work from The Thunder God’s in which it delivers a precise, sharp and resonant sound on snares and toms.

On the treble part, it has a brighter, shimmering and lively presentation as it has an accentuated upper mids and presence section that give more clarity and definition on its vocal articulation and attack on instruments. In this setting, It has a more energetic presence and crisper sound that treble-sensitive folk might take some cautionary measures on as they might sound a bit tinny but the sibilance is kept under control and it doesn't sound strident at all. It seems that it has a good airy extension on its brilliance section with adequate sparkle for its harmonics. In regards to the tested tracks, on the “Always Be My Baby”, it has a keyboard section that sounds brilliant and shimmering sound akin to a dreamy sequence effect along with precise and brilliant sound of cymbal strikes and buzzing sound from hi-hats, and then, on the “When Love And Hate Collide”, the cymbal strike from Rick Allen sound bright and resonant along with its hi-hats that has a crisp and resonant sound.

SILVER TUNING NOZZLE MODE:

It appears that this setting is almost similar to the GOLD TUNING NOZZLES as it also has rumbly, incisive bass response albeit has a bit tighter presentation that gives a tidier low end. The sub bass presence and its depth is clearly felt  as it generates some reverberation produced from both electric and low-tuned string instruments like synthesisers, drum machines and low-tuned strings like bass guitars. On the track  Always Be My Baby” the rumbling that were produced from synthesisers and drum machines is clearly perceived as it also complements with other harmonic layers of musical elements while on the track “ When Love And Hate Collide”, this particular power ballad track with its well-polished blending of electronic and acoustic instrumentation that the bass guitar riff from Rick Savage sound a more resonant and sustaining albeit a bit hollowed that defines its melodic foundation, while Rick Allen with his consistent bass kick drum hits sound resonant and sustaining.

When it comes to its midrange region, it has more energetic and a bit leaner presentation due to more emphasis on the upper mids section as it sounds more vibrant and gleaning but they might sound a bit dry and too sterile that this type of tuning gives will pleased on female vocal and acoustic loving audio enthusiasts, and also on instruments, it seems that it gives more crisp and lingering sound on strings and even more brilliant and airier sound on the woodwinds as they should sound correctly on this manner. Back on the tested tracks, about the “Always Be My Baby”, it has some crisp, clear and sustaining sound on the strings, a sharp, sparkling and shimmering sound from percussions and a distinctive layers for female vocals on its production as Mariah’s soprano vocals has a shimmer and crystalline quality along with clear and vibrant sounding piano.  With regards to the “ When Love And Hate Collide” track, it portrays Joe’s unusual raspy yet twang-y tenor voice delivers a bright and a bit metallic sound that its was backed with chorale section that adds more anthemic ambience as they sound light, airy and agile, along with as supporting guitar lines from Phil and Vivian as they sound a crisp and lingering and a percussive beat from Rick Allen’s in which it delivers a consistent sharp, incisive and resonant sound from its snares and toms.

The treble part of this one is definitely bright, energetic and airy as its upper mids and presence section are quite elevated as highlights on giving more clarity and a sharper definition on its vocal articulation and attack on instruments but this particular setting might bothersome to treble-sensitive folks on their listening threshold as they might encounter on hearing some piercing or metallic sound on it especially that his one is a planar magnetic that gives some energetic buzz timbre. Of all the tuning settings, this one delivers a well-extended treble air across its brilliance section with intense sparkling. Regarding on how the tested tracks sound like, on Mariah’s “Always Be My Baby”, on its keyboard section, it give more brilliant and and a bit jingling sound, and crisp and sharp sound from cymbals and hi-hats, while on the “When Love And Hate Collide”, the cymbal and hi-hats strikes from Rick Allen sound brilliant and metallic although sometimes hi-hats tends to have longer decay on sizzling sound.

SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

Expected from a planar magnetic driver, this set delivers an unparalleled level of technical performance that they sound spacious, well-defined and with sharp contrast on detail and definition. This one can project a spacious sound field size as it has a wide lateral span from left to right, excellent height reach and an immersive depth from front to rear as if I've experienced it on a full-size headphone. The imaging of this one is quite remarkable as on how it presents its soundscape with a holographic, multi-layered section of vocals and instruments with good separation as I clearly perceive each tonal distinction and placement in acoustic space that multi-complex tracks like philharmonic orchestra recordings and jazzes will be a played effortlessly.

The driver coherency of this one is undoubtedly excellent aside from its transient responsiveness, this one is quite power efficient due to its newly-improved design of its planar magnetic driver that became even more sensitive that it can deliver that clarity and detail from vocals and instruments. In regards to its resolution capability, it has a firm macrodynamics as it highlights a varying degree of volume dynamics on both the chorale and instrumental sections from its quietest up to its loudest level, along with its sharp definition on its microdynamics that it can retrieve a lot of fine details and other subtleties from its sonic background like notational attacks, vocal delays and instrumental reverb tails.

PEER COMPARISONS:

HIDIZS MP145

• The original model and like its successor, it has the same build and similar driver configuration.
• It sports a 14.5mm planar dynamic driver which is less power efficient compared to its current incarnation and it was packed in a solid aluminium alloy structure with a thematic design inspired from the ventral grooves of a whale.
• While it is well-furnished with accessories inside of its packaging box, it has a simple carrying pouch with magnetic clasp as its storage case and less appealing stock cable.
• Like most of the HIDIZS sets, it still features a detachable tuning nozzle that allows us to choose a suitable tonal profile in our listening enjoyment session.
• As for its tonal profile, I will choose the balanced tuning filter nozzle mode on this comparison. This one has a more sub bass-focused bass response as it has more rumbly but a bit less punchy and warm midbass, while the midrange presentation of this one is more recessed, less warmer sounding but it has more energetic tuning as it will give more air, vibrant and gleaming on female vocals and both string and woodwind instruments, a bit more brighter treble presentation with similar airy presentation but more susceptible to shrill, piercing and tinny sound.
• On its overall technical performance, it has less spacious soundstage projection with a concave-like stereo imaging presentation compared to the current variant but it also has a layering and separation.

LETSHUOER S12 ULTRA

• The last variant of the S12 model series, and like the MP145 PRO, it has a planar magnetic driver inside of its shell chassis.
• It features a bit larger planar magnetic driver with a size of 14.8mm and it was encased in solid yet lightweight aerospace-grade aluminium alloy that still follows the design language of S12 series.
• On its packaging box, it is fully-packed with a quantifying amount of accessories including different types of eartips, a good quality stock cable with modular termination feature, and an easy to open storage case.
• Unlike the MP145 PRO, it doesn't have an interchangeable tuning nozzle feature, and also while it has some improvement on its power efficiency, it still needs a proper amplification from a portable headphone amplifier.
• This one has a balanced-neutral type of sound signature, it has a rumbly and punchy bass, a well-balanced midrange presentation as it has warmth and energy while retaining a smooth and organic sound from vocals and instruments, and then a smooth, even yet airy treble response.
• As for its technical performance, it has a moderate soundstage size compared to the MP145 PRO, but the rest is pretty similar, from holographic stereo imaging and pretty well-resolving resolution capabilities.

KIWI EARS AETHER

• One of the few models from KIWIEARS that features a planar magnetic driver.
• It uses a large 15.3mm planar magnetic driver and it was encapsulated in a large resin shell chassis with a dedicated acoustic chamber inside.
• Inside of its packaging box, its contents consist of three types of eartips, leather storage case and a good quality stock cable but it doesn't have a detachable plug.
• It doesn't feature any detachable tuning nozzles and like most miniaturised planar magnetic drivers, it is less power efficient.
• This one has a warm-ish neutral sound signature as it has punchy and rumbly but a bit soft and hollowed midbass, a well-balanced midrange presentation as it has an ample warmth and energy for vocals and instruments, and then a bit bright treble response similarly tuned with MP145 PRO's gold tuning nozzle albeit it has more airy presentation.
• As for its resolution capability, among the sets that was featured here in the peer comparison section, this one absolutely has the widest and most spacious soundstage among them that is quite comparable to some semi-open back full-size headphones that I've tested.

In conclusion of this product assessment, many will wonder if this model is indeed an upgrade over its predecessor. All I can say is that it has some features that I consider as an upgrade compared to the original model as there are some changes in terms of accessories, design and some improvements on its sound quality and technical performance. First would be the quality of accessories as this is the first HIDIZS model that has a new and upgraded stock cable and it features modular termination, and a better storage case which is more premium and offers more space aside from IEMs.The second would be the implementation of the new generation planar magnetic which is probably the most power efficient planar magnetic driver IEM in the market with a high sensitivity that it can be powered by devices even with a standard gain output, and the third one will be its overall tuning, as they are some refinements on its overall that I noticed on its tuning as it more controlled and well-defined bass, a more balanced midrange with retaining some natural and smooth sound on vocals and instruments along with clear and detailed treble response while it minimises some planar glare timbre, and also noticeable of its technical performance compared to the original model.

And all I can that this one will be on a high recommendation list of you are looking for a planar IEM with a slightly coloured sound profile that will enjoyable to both casual listeners and experienced audio enthusiasts, with rich and lively tonal profile, excellent technical performance and a well-optimised power usage that you can connect it to your device with less complexity that it will sound very dynamic already.

The HIDIZS MP145 PRO is available at HIDIZS' own online store in which I will provide a link below and there is an early bird promo for you to have a chance to purchase it with a good discount and some freebies.

LINK:

https://www.hidizs.net/products/hidizs-mp145-pro-14-5mm-ultra-precision-nano-grade-planar-hifi-iems

SPECIFICATION:

MODEL: HIDIZS MP145 PRO

IMPEDANCE: 30Ω

SENSITIVITY: 104dB

FREQUENCY RESPONSE: 10Hz – 20KHz

CABLE LENGTH: 1.2m

PIN TYPE: 0.78mm 2-PIN CONNECTOR

PLUG TYPE: (MODULAR) 3.5mm, 4.4mm

DRIVER UNIT(S):  (1) DYNAMIC DRIVER

PROS:

● Aerospace-grade aluminium alloy shell chassis with a solid build quality.

● Retains that distinctive thematic design profile.

● Detachable tuning filter nozzle to switch on different tuning styles as it has three distinctive tuning profiles to choose from according to your tonal preference.

● The product packaging of this one is fully packed with a quantitative amount of inclusions.

● Its new stock cable with modular termination feature.

● Four different types of eartips that are included inside of its packaging box.

● Surprisingly, this new generation planar magnetic driver that was implemented on MP145 PRO  is quite pretty power efficient that makes it more easy to drive.

● Its coloured tonality has a lively and engaging sound that will be enjoyable for casual listeners and experienced audio enthusiasts.

● Punchy, tactile and striking bass response. (Red tuning nozzle)

● Incisive, precise and rumbly bass response. (Gold and Silver tuning nozzle)

● Clean, detailed and transparent midrange presentation with sufficient warmth and energy.

● Vibrant, crisper and energetic sound on vocals and instruments. (Gold & Silver tuning nozzle)

● Almost natural sounding vocals and instrument especially for a planar magnetic driver.

● Lustrous and good airy extension on its treble response. (Gold tuning nozzle)

● Bright, energetic and lively treble quality (Silver tuning nozzle)

● Somehow it lessens the planar timbre that the original MP145 is known for, therefore less buzzing and less metallic sounding.

● Excellent technical capabilities that make a drastic improvement compared to the original MP145.

CONS:

● Still a bit coloured sounding for neutralheads.

● Its large and chunky profile might be problematic to some small-eared individuals.

● On the red tuning nozzles, compared to the original MP145's red tuning nozzles, it has less punchy and less textured midbass.

● Lack of airy extension. (Red tuning nozzles)

● Instances of  shrill-y, piercing and metallic sound. (Silver tuning nozzles)

TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *

Jade Wiedlin - Blue Kiss**

Led Zeppelin - When The Levee Breaks **

Mountain - Mississippi Queen *

Queen - Killer Queen **

Guns N' Roses - Patience *'*

Eric Clapton - Tears in Heaven '*'

Sergio Mendes- Never Gonna Let You Go '*'

Pearl Jam - Daughter **

Roselia - Hidamari Rhodonite *

Assassin - Fight (To Stop The Tyranny)*

Celtic Frost- Visual Aggression *

New Order - Blue Monday *

The Corrs- What Can I do (unplugged version) *

Jimi Hendrix Experience - Voodoo Child *

The Madness- Buggy Trousers *

Metallica - Motorbreath **

Mariah Carey- Always Be My Baby *

Destiny's Child - Say My Name *

Malice Mizer- Au Revoir *

Mozart - Lacrimosa *

New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *

Eva Cassidy - Fields of Gold (Sting cover)*

Michael Jackson - Give In To Me *

Exciter - Violence and Force *

Diana Krall - Stop This World **

Debbie Gibson - Foolish Beat *'*

The Sisters of Mercy – Lucretia My Reflection**

Suzanne Vega – Luka **

Lauren Christy – Steep *

Ottoman Mehter - Hucum Marsi *

Diana Damrau - Mozart: Die Zauberflöte*

Type O Negative - Black No.1 *

Felix Ayo - Vivaldi: Presto **

Three Tenors - Nessum Dorma *

Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to HIDIZS nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to the HIDIZS REPS for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.