185 €

Review published:




per Side






10 Ohm











120 dB








Daily Life


20 - 20000 Hz


FEARLESS AUDIO is an up-and-coming IN-EAR manufacture, which has settled with its IEMs rather in the upper price segment. This is proven by the CRYSTAL PEARL, which is the company's entry-level model, but already has a high entry-level price of almost 180 €.
The CP is equipped with two BA drivers (CI-22955 + ED-29689), with one of them exclusively taking care of the bass and this is where it gets exciting. On first listening I immediately thought: "Man, you know that from somewhere" and lo and behold, the AUDIOSENSE T260 has exactly the same Knowles drivers under the hood and sounds very similar to the CP. But for one third of the price!
Interesting is the approach of the two companies. While AUDIOSENSE relies on a crossover, FEARLESS AUDIO apparently controls the drivers directly by looping them through. Only filters in the sound tubes are used for tuning. The T260 also seems to use an additional filter at the end of the sound tube. Differences in sound are also due to the thickness and length of the openings. Certainly also by the fit of the earpieces and the isolation that comes with it, but more about that later.


The CP looks like it was made from one piece. It is probably made of medically tested resin, which completely encloses the drivers and the integrated sound tubes. I already found this with the HILL AUDIO ALTAIR, but here it is driven to perfection.

The result is an in-ear that is not only incredibly comfortable to wear, but also just as beautiful to look at (here's the name).
The 2-pin connection is slightly recessed to prevent the pins from breaking or bending. However, this is not an innovation, but has been tried and tested for a long time, even with low-budget competitors like Knowledge Zenit.

With it you get an imitation leather case, which is similar in function and form to the TIN HIFI T4, but baby blue and a bit bigger. Inside is the CP, a very good silver 8-core cable and a selection of silicone tips, which can be used as indicators for the channels as they come in blue and red.


Let's talk about the sound and thus also the comparison with the T260. Despite the same drivers and no additional crossover, FEARLESS AUDIO has created a slightly rounder sound experience using analogue technology, which is reflected in the mids. The rest is more or less a matter of phantom differences, which can be perceived very subjectively, even depending on the mood and which company you're more loyal to. If I allow my emotions to flow in, the significantly lower price of the T260 is a big argument in my favour. However, I must admit that I prefer the CP in terms of sound.

With the T260 I was already surprised why the potential of the BA driver used is not fully exploited. The bass has a good punch, but rather in the sub range it gets rather weak on the chest. If you use a frequency generator, you can hear that the bass can be much lower, only that it loses some of its volume. Nevertheless, it is already noticeable from 30 Hz. If you use an equalizer and push the sub-frequencies the bass is suddenly also quite deep, but this makes the CP warmer and covers the mid frequencies. This can possibly be avoided with a crossover (+ for T260, which reacts a bit better to the equalizer in the bass range). Apart from that, both in-ears are very similar in their bass response and reproduction. For me the bass of the CP is a bit softer and fuller, but that doesn't really matter.

More noticeable is the difference in the mids, where the point goes to the CP. The mids are balanced with emphasis on the upper range. The T260 has that too, but the filters of the CP take effect here, because the T260 sounds more aggressive in direct comparison and the sibilants are also emphasized a bit more. Somehow I also have the feeling that the crossover is easy to hear, as the transition from bass to midrange is not quite as smooth as with the CP.
The midrange of the CP has a pleasant warmth and sounds a bit more subdued due to the less emphasised lower mids, which is noticeable with voices every now and then. However, they have a musical tuning and are clearly the tamer in the ring. I like them very much in their presentation, but they could be a bit brighter. Similar to the MAGAOSI K5 or TENHZ P4 Pro they are really strong on vocals. Although I tend more towards the Harman curve in my preference, I'm getting more and more fond of the midrange heavy in-ears.

The highs on the other hand don't have the greatest recognition value. They are rather tuned for safety. Which makes them very pleasant contemporaries, but somewhat lacks the airiness and brilliance. This is no different with the T260. However, the T260's more aggressive midrange makes it appear brighter (by the way, "aggressive" is to be understood here in relation to the CP, as the T260's midrange is basically already quite nice to the ear). They bring out details well, but are certainly not detail monsters. On the other hand, you won't have any problems with them even after hours.

A big advantage of the CP and also a benefit to the T260 is its rather large stage, despite the preferred mids. The T260 appears more intimate, but is on par in the stereo image. But the CP has the better depth. Both have their slight weaknesses in the height.


The CP is for me the more technically versed in-ear compared to the T260. It sounds more harmonic and musical in comparison. Due to the omission of a crossover the CP is also much more sensitive and therefore much easier to control and louder. The workmanship is also more exquisite, as is the appearance. The wearing comfort of both is outstanding. Nevertheless I have the price difference in mind

For me, the CP is a very likeable representative, who means well with you and does not overstrain your hearing. However, this also makes him less exciting.

But honestly, sometimes I wonder what we are all looking for here. Sometimes there are simply no details left, or at least not intentionally planned. Here the question always arises, how much I would really notice, if I would stand live in a room with the musician.Realistically seen, the music we listen to with in-ears is mostly not what we would really hear on location due to its direct way into the ear, because the sound in the ear without plugs also refracts quite differently and doesn't have such a direct effect.

But yes, the other way round it's also fun to listen not only to the "original", but the analytical listening doesn't always have to be and the CP is only partly able to do this. I also have to admit that in-ears do not necessarily add something to the music, because the nuances are also present live. But it's not easy to point them out, which is possible with in-ears, or headphones in general.




Here the processing plays a role and the usability of the scope of supply. Additionally the appearance, wearing comfort and robustness.

Here I evaluate for me subjectively the price/performance ratio - does not flow into the evaluation!

Z: No Brainer

A: money well spent

B: all right, you can do

C: gives better for less money

D: overpriced

E: collector's price

Daily life:
Here, I focus on the long-term audibility and whether I can hear it well out of the box. This is of course very subjective and therefore only a minimal deduction or bonus. 

(-0.1, 0, +0.1)


Rating in Letters

S: 9.5 - 10

A: 9.0 - 9.4​

B: 8.0 - 8.9​

C: 7.0 - 7.9

D: 6.0 - 6.9​
E: 5.0 - 5.9​

F: 0.0 - 4.9​



Second Opinion:


CHI-FIEAR © 2020 by David Hahn

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