ooopusX op.24

A promising debut: modern looks, smart tuning, and a genuinely useful tuning dial

The ooopusX op.24 is the first in-ear monitor from a new brand called ooopusX, and it lands with a distinctive design sensibility and a fresh take on “tuning switches.”

Instead of the usual tiny dip-switches, the op.24 uses a tuning dial that toggles between two clearly differentiated but musically coherent modes. It’s one of the best implementations of a simple tuning system I’ve tried because both “modes” are both different but interesting tuning but also super simple to switch even without removing the IEM from your ears.

I have been listening to the Op.24 for a few weeks now, and I have really enjoyed my time, its implementation of tuning dial is great with 2 almost great tunings, but I will get to that later in the review.

Aesthetically, the op.24 looks strikingly modern—think the translucent, industrial design language you might associate with companies like Nothing—blended with a bold, futuristic, mecha‑inspired motif as the manufacturer describes it. See below with the Nothing headphone comparison shot.

The design is clean and intentional, and with the dial actually changing the sound in a meaningful way, it is also very functional.

So let’s get into the unboxing.

Unboxing and Build Quality

The packaging is compact and efficient with a nice futuristic design on the cover:

The back of the box proudly shows both frequencies as measured by the company and some specifications:

Removing the outside cover reveals the inner box:

Opening the box reveals the IEM shells:

Inside you’ll find everything needed to get started:

The included eartips are decent for the price and seal well enough, though I preferred third‑party tips for the most consistent bass response.

Here is what you get in the box:

• op.24 IEMs (2-pin)
• Detachable cable
• A selection of silicone eartips
• Carry pouch
• Documentation

The shells look and feel well-made, with a modern, semi‑industrial aesthetic. The tuning dial is the star of this design:

As I mentioned in the intro, compared to typical “tuning switches”, this is vastly more usable day‑to‑day.

The included cable is serviceable but nothing special, especially with the quality of cables we have seen on recent IEMs like the Truthear Gate.

Fit and Comfort

The op.24 uses a medium-sized shell with a gentle contour.

Nozzle length and angle should suit most ears; I had no discomfort over extended sessions. Isolation is good for a vented dynamic design, and the faceplate geometry sits flush without hot spots.

If you have very small ears, consider using smaller tips with slightly gripper silicone to keep the seal consistent when using the “smoother mid-bass” dial setting.

• Approx. nozzle outer diameter: 5.2–5.5 mm
• Nozzle lip: present; tip retention is good
• Venting: yes; normal driver flex not observed during testing

What’s notable is that both modes retain similar upper‑mid and treble energy. You’re not trading away clarity; you’re choosing your preferred bass foundation. In practice, the dial’s effect is strongest in the bass and lower mids, while treble remains largely consistent between modes. I would have loved a slightly more balanced treble interplay across both positions—something like distinct “JM‑1” and “Harman”‑leaning presets would be fantastic in a future model. Crucially, the dial is easy to adjust without removing the IEMs from your ears.

Features and Performance

All‑New Tunable Acoustics (per manufacturer)

The op.24 uses a physical dual‑mode tuning dial to switch between two sound profiles. Internally, the dial is paired with an independent dual‑channel electronic crossover, enabling rapid, reliable changes without tiny dip‑switches. In use, it behaves exactly as advertised: a quick, intuitive twist to adapt to different listening scenarios.

Hybrid multi‑driver acoustic configuration

The op.24 features a three‑way hybrid architecture: two dynamic drivers plus four balanced armatures. According to the manufacturer, driver duties are split across the spectrum to reduce distortion and improve integration:

• One dynamic driver is dedicated to low frequencies, providing deeper, more controlled bass.
• The second dynamic driver assists with high‑frequency impedance optimization and transition behavior.
• Two balanced armature drivers handle mid‑to‑high frequencies for clarity and detail.
• The remaining two balanced armatures extend ultra‑high frequencies, complementing the full‑range handoff.

In practical listening, the result is a rich yet balanced presentation with notably low bass distortion and a cohesive hand‑off between bands. The op.24’s paired silicone suspension edge acts as an elastic buffer, helping the diaphragm move with high elasticity and low damping for cleaner dynamics and smoother integration.

Sound Impressions

While I mostly like the distinctive tuning offered by both modes, my preference was the mode 2 (smooth) as the bass felt more balanced with the treble, but the treble / presence region in both tunings is a little too forward; I think a different ’tilt’ of the balance of the tuning would have made this an exceptional IEM, as it is, the smoother tuning is very pleasant and pushes the vocal forward into the mix but might be too much for some people on some tracks. I especially would not recommend this tuning for 1980’s Pop where producers often pushed the region forward in the recording, but for other genres this forward presence region might be an interesting alternative in some recordings. Don’t let anyone tell you there is only one tuning is correct.

Bass

• Default mode: Sub‑bass extension is solid; mid‑bass is tastefully tucked, which prevents bleed and improves bass-to-mids delineation. Kick drums are punchy with better definition on fast passages.
• Smooth mode: Adds 2–3 dB of perceived warmth in the mid‑bass. Bass notes have more bloom and tactility without turning boomy. Works wonderfully for live recordings and intimate singer‑songwriter material.

Track notes:

• James Blake – Limit To Your Love: Clean sub‑bass hits remain controlled in both modes; smooth mode adds body to the note envelope.
• Daft Punk – Giorgio by Moroder: Default mode separates bass lines from synth pads more clearly in busy sections.

Midrange

Vocals are slightly forward, which I enjoy, especially with the smooth mid‑bass where the fuller low end supports vocal fundamentals nicely. Instruments have natural timbre with good note weight; male vocals avoid chestiness in default mode and gain some warmth in smooth mode. Guitars and pianos sound convincing without a plasticky glare.

Treble

As I mentioned, there is quite a bit of lower‑treble presence that some might find forward on brighter masters. I personally found it engaging in lots of tracks, particularly with the smooth mid‑bass mode balancing the tonal centre. Detail retrieval is competitive for the price; cymbal transients are crisp. If you’re prone to sibilance or prefer a softer presence region, you might find the OP.24 a touch bright at times; this is easy to tame with some EQ or by trying alternative eartips. Between the two dial positions, treble balance remains largely unchanged; I would have loved the two tunings to diverge a bit more up top for a more clearly differentiated “JM‑1 vs Harman” experience.

Soundstage & Imaging

Stage is average‑wide for an IEM with good depth layering. Imaging is precise with stable center focus. The default mode’s mid‑bass tuck slightly increases perceived separation around the lower mids, which can make the stage feel cleaner on dense mixes.

Specifications and Measurements

Measurements

Below are my measurements taken on my 711 clone coupler, and available on “Pragmatic Audio” online measurements database here

So, let’s start with the Frequency response:

I have highlighted 4 areas in this graph:

1. The Bass extension is excellent with decent sub-bass
2. Midrange in this region is very well handled, this provides that clarity and accurate imaging
3. Presence region is pushed a little too forward for my tastes
4. The upper treble is a little recessed (though I didn’t really hear it that way)

Next let’s look at the other tuning:

I again highlighted 2 areas:

1. The midbass tuck offered by the alternative tuning
2. Both tunings have the presence region pushed forward but with some subtle treble differences

This comparison highlights both the potential of tuning switches used by OoopusX but a limitation in this first release. They managed to get the bass to switch perfectly between a ‘Harman’ tuck and a ‘warm’ JM1 like bass,
but in my opinion, there is not enough of a change in the treble region between the tunings.

I would love to see this simple mechanism ‘dial’ mechanism switch between Harman and JM-1, this would have been an amazing IEM. Since my measurements where taken with a 711 clone coupler, I thought I should also present the more accurate BK5128 measurement made by Crinacle.

Note: these are compensated so will look different from raw measurements:

You can see the smooth “warm” tuning stays within the preference bounds (though at the upper limit), but it shows a similar delta to my measurements, though it does show more upper treble.

As a brief comparison I thought it might be interesting to include one of my favourite IEMs from last year the Meze Alba which also had a little of that typical Meze ‘warm’ tuning:

But you can see the OP.24 is more V-shaped with more sub-bass (not a bad thing) but then that treble presence is very prominent in these measurements.

Distortion

The distortion is very well handled, this IEM can easily be further tuned with some EQ without any issues:

And as a percentage:

EQ suggestions

As I mentioned, I liked most of the tuning with the OP.24, but the lower treble “presence” region is at the upper limits (if not over) what the average listener would prefer, so here is a little EQ to help:

• Lower‑treble comfort: -1.5 to -2 dB shelf from ~4.5–8 kHz with a gentle Q if you’re treble‑sensitive.

Rating

Pragmatic Rating: 4. As a first product, the op.24 impresses with a well‑considered design, a genuinely useful tuning dial, and two tasteful tonal options. The cable is merely okay, and the lower‑treble presence may be a bit forward for some, but the overall package is coherent, competitive, and easy to recommend in its price class.

Who will like the op.24:

• Listeners who enjoy forward vocals and clean midrange separation
• Those who want a quick way to swap between “cleaner” and “warmer” bass foundations
• Fans of modern industrial design aesthetics

Who might pass:

• Treble‑sensitive listeners who prefer a darker upper‑mid/treble balance

Conclusion

ooopusX’s op.24 is a confident debut. The tuning dial is more than a gimmick—it meaningfully shifts the bass foundation while keeping the core character intact, and both modes sound legitimately good. Add the striking modern design and a vocal‑friendly midrange, and you’ve got an IEM that stands out in a crowded market.

Overall, it’s a great first attempt with a unique tuning dial that is the real star. I would have loved it more if the two tunings were a little more balanced in the treble. I have high hopes that a future model using the same dial could offer a clear “JM‑1” and “Harman” option you can switch between—ooopusX almost achieved this already, especially in the bass and midrange.

It shows real promise for the brand’s future, and I’m excited to see where ooopusX goes next.