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BGVP Astrum Review- Edit by Headfonics

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On 2025-12-29

Nihal reviews the BGVP Astrum, a new hybrid universal in-ear monitor featuring dual 8mm dynamic, dual BA, and dual 3rd-gen Sonion EST drivers. It is currently priced at $699.00.

Disclaimer: This sample was sent to me in return for my honest opinion. Headfonics is an independent website with no affiliate links. I thank BGVP for their support.

You can click here to learn more about the BGVP products we have previously reviewed on Headfonics.

This article follows our current scoring guidelines, which you can read in more detail here.

BGVP Astrum Review

Summary

The hybrid multi-driver BGVP Astrum is one of those IEMs that does not shout for attention yet slowly grows on you. The tuning is relaxed without turning dull and balanced without feeling clinical. Nothing leaps out or pokes the ear. Everything flows like one continuous seamless musical ribbon rather than three separate frequency bands stapled together.

Sound Quality

8.7

Design

8.9

Comfort & Isolation

8.8

Synergy

8.8

Slide here to add your score on the gear!35 Votes

8.2

Pros

Smooth, rich and natural tonality.

Easy, relaxed tuning for long listening hours.

Grand packaging and good quality accessories.

Cons

Micro details feel a bit subdued.

Mid-bass lacks punch.

8.8

Award Score

$699

BGVP

Musicteck USA

BGVP has been quietly gaining more attention lately. Outside China, the brand was still not as widely recognized, but the last few releases have definitely pushed its name around.

BGVP is not a new player either. The brand has been at it for close to a decade, slowly building a catalog but mostly in the budget to mid-fi segment.

Releases like Phantom and Solomon helped a lot. A few months back, I spent time with the Solomon and liked not just the tuning but also the whole experience around it.

The packaging, the accessories, the way it is presented when you open the box – it all leaves a strong first impression. Since then, I have been much more curious about what BGVP is doing.

Their latest release, Astrum, lands in the mid-tier territory with another stacked driver setup and a design and unboxing that have impressed a lot already. It’s time to see if there is more to it than just looks.

In this review, I will assess how the Astrum performs and competes in the crowded mid-fi segment that includes the likes of the Noble Audio Van Gogh, Softears RSV MKII, and the THIEAUDIO Oracle MKIII.

Features

The Astrum uses a tribrid driver configuration, which consists of two dynamic drivers, two Knowles balanced armature drivers, and two Sonion 3rd-gen electrostatic drivers.

The foundation is a “double bass DD combo”: two 8 mm dynamic drivers sitting coaxially. Diaphragms use a PU and LCP mix, tuned to act like one big, controlled woofer rather than two separate drivers fighting each other. This is what should give Astrum that deep, rounded bass.

Above that, BGVP leans on Knowles balanced armatures for the midrange and treble. The ED series BAs handle the midrange and upper midrange regions. The RAD series takes over the higher treble, sharpening edges, and adding bite when recordings call for it.

Right at the top, Astrum brings in a third-generation Sonion EST unit. That is the super tweeter, there for the last bit of air and shimmer.

Design

Astrum looks as if someone cracked open a galaxy jar and poured the contents straight into a shell. The design fits the whole “celestial” theme really well. The shells use a hand-painted abstract swirl of blue, red, and purple.

Looking closely, you can feel a nice depth to this random mix. It does not look like a printed pattern at all, more like someone mixed pigments in resin and let them flow on their own. The random patterns on the shells also mean each set is literally one of a kind.

The gloss coat is glass-smooth, amplifying the nebula-bright hues. Size is moderate, so the shells do not feel like one of those chunky ones. In hand, the resin is feather-light, a lot lighter than the photos suggest.

At the front, you get a stainless metallic nozzle with a mesh grille to keep dust and earwax out. The nozzles feel sturdy and well finished.

On the lower side of the shells, there are three visible vents. Overall, Astrum combines a bold, cosmic look with a very practical and easy-wearing shell. The IEM uses standard 0.78mm 2-pin connectors.

Comfort & Isolation

Comfort on the Astrum feels very dialled in, almost like BGVP already knew what ear shapes they were designing for. The shells are not large at all, and that instantly helps with the fit.

Pair that with the lightweight resin build, and you basically forget they are hanging in your ears after a few minutes. They sit flush enough to avoid that chunky, protruding feel some mid-fi hybrids tend to have.

The nozzle size is pretty normal, not too thick and not too long, so once you settle on the right ear tips, the seal comes in naturally.

With a good pair of tips, the fit feels locked in without needing constant micro adjustments. You can walk around, tilt your head, lie sideways for a moment, or even do a quick jog to the door, and the shells just stay put.

The shape of the shell helps a lot. The curves follow the concha in a way that feels organic and ergonomic. There are no awkward pressure points, no sharp edges, or pinching after long sessions. It fills the ear just enough to stabilize itself without stuffing your ear cavity.

Isolation is above average. Every day murmurs like a fan, traffic far away, and someone talking in another room fade out easily once the music starts.

With the vented design, there is no driver flex and no pressure buildup either. The ear never feels plugged or pressurized, which makes longer listening sessions very comfortable. Overall, Astrum hits a sweet spot between comfort, security, and isolation.

Ear Tips

The Astrum comes with a surprisingly generous spread of ear tips, and it feels like BGVP wanted to cover as many preferences as possible.

You get four distinct types in total, packed in the same clear plastic case that shipped with the Solomon, with the addition of one extra pack of foam tips.

The silicone sets include the vocal tips, bass tips, and liquid silicone tips, each available in small, medium, and large sizes. You also get an extra pair of ear tips, not from the regular ones, already mounted on the IEMs.

The bass tips are the smallest of the bunch. They have short stems and wide bores, which usually give a bit more openness and physicality in the low end.

The vocal tips have slightly longer stems and narrower bores, and they tend to tighten the sound a little. These are my go-to ear tips. They feel the most balanced to me, so the midrange steps forward, the bass reins itself in, and the treble stays polite.

The liquid silicone ones are extremely soft and slightly tacky. Not my personal favorite texture, but a lot of people swear by this type because they grip well and create a strong seal. I do not use foams often, but their inclusion still makes the package feel more complete.

Outside the stock tips, I tried a few aftermarket options. Divinus Velvet paired particularly well with Astrum in terms of comfort and tuning balance. Overall, the included tip selection is practical, versatile, and genuinely useful.

Stock Cable

The cable that ships with Astrum is not an afterthought; it is the second chapter of the same cosmic scenery. Its loud, brightly lacquered purple jacket catches the eye first.

The jacket has a rich, glossy tone. If you look closely under good light, you can spot tiny shimmers running through it. They are very subtle, not glittery, just enough to give the cable a bit of depth.

The hardware ties everything together. Both the termination plug and the Y-split carry the same abstract pattern you see on the IEM shells, so the whole setup feels consistent.

The Y-split also has tiny zodiac glyphs circling the barrel around the ends. It’s a nice touch you only notice when you look closely, but it’s impossible to forget once you have seen it.

The cable itself is an 8-strand graphene copper mix, braided in a clean and flexible weave. I would have preferred a more rugged build, but given its lightweight, the handling is easy.

Flex is good, memory is low, and the cable falls naturally without twisting itself into knots. It wraps up neatly when you store it and does not fight you when you uncoil it. The ear hooks are soft and shape themselves gently around the ear without any stiffness.

The cable also comes with a small leather strap with a snap button, which can come in handy when you’re storing the cable.

Packaging & Accessories

The team at BGVP let their imagination run wild, and they clearly forgot they were boxing an IEM.

The Astrum’s packaging feels like fine jewellery, which, for the price, feels overstated. The outer box is wrapped in blue leather with a soft matte sheen. The top of it has tiny star-like dots that form a swirling galaxy. It already feels special before you even open it.

Then the magic happens. When you lift the lid, two tiny spotlights snap on, shining directly onto the IEM display tray like a showcase in a boutique.

The inside of the lid has a mirror-framed window filled with floating silver grains. Tilt the lid up and down, and they drift slowly, like an hourglass turned sideways. It is strangely calming and completely unexpected.

The packaging unfolds in tiers. First is the IEM tray, lit dramatically by the spotlights. The tier underneath it contains a heavy metal carry case sitting in its own cutout bed.

The case has a vintage feel and paintwork, like old silverware. Under the carry case, we have four ear tip packs spread neatly, each in its own labelled box. And tucked underneath everything is a small card hiding a pair of batteries you insert to power the lights.

Every layer rests on plush blue suede padding, soft to the touch from top to bottom. This is not the kind of box you put away. It is the kind you sit with for a minute, appreciating how over-the-top and thoughtful it is.

You cannot help wondering what the BGVP team was thinking when they decided to go all in like this. Other brands should honestly take notes.

Carry Case

The carry case is a large, thick-walled, solid-metal drum and quite heavy for its size. From afar, one would hardly tell it’s meant for carrying audio gear.

When you pick it up, you instantly get a “grandmother’s silver trinket” vibe of a case that sits on a shelf and collects stories. It feels solid, almost overbuilt, so you do not really want to drop it on a glass table or on your feet. Carrying this case is more like carrying a small trinket box than a regular IEM case.

On the lid, you get this big crescent moon and star, surrounded by tight curls and patterns, all sitting over a deep blue background with some shimmers that shine when you look closely.

The blue has a slightly speckled look, so in certain light it has a faint glossy sparkle. It fits the whole cosmic vibe without shouting about it. The case is coated in an antique-looking silver finish.

Opening it is an easy affair, as you just need to give the lid a short twist, and it easily pops off with a dull yet authoritative click. The floor and underside of the lid are lined with the same inky-blue suede.

This treatment feels plush and protective enough to muffle any rattle. There is enough room inside to store the IEMs along with the cable. Nothing rattles much once the lid is on.

It is not really a pocket case. Put this in a bag or a backpack, as it cannot fit in your jeans. It adds some weight to the whole Astrum packaging.

Sound Impressions

The following sound impressions of the BGVP Astrum were completed using a mixture of my main source, the Lotoo Paw Gold Touch, the Questyle CMA18P, and the Campfire Audio Relay dongle Dac/Amp.

For the review, I paired the IEMs with the stock cable and stock vocal silicon ear tips, size L.

Summary

Astrum strikes one as a relaxed, musical IEM rather than something built to impress with raw power or crazy detail. It does not let any frequency jump out or scream, keeps everything a bit toned down, and favors the midrange for a smooth delivery.

The low end feels honest and a bit polite. It fills out and massages the sound instead of trying to steal the show with punches. Midrange owns the marquee, and the middle band is where Astrum feels most at home.

Up top, the treble stays smooth and controlled. No hiss, no sting, no sharp edges jumping out. You can listen for hours without feeling an itch to remove the monitors.

Astrum is more about comfort than analysis or critique. The stage is reasonably open, and separation is good, but it does not throw a massive 3-D image or dig out every tiny noise.

It is a coherent, calm signature built for long, lights-down sessions rather than track and field analysis.

BGVP Astrum beside Questyle portable amplifier

Bass

Bass on Astrum feels like it’s tuned to favor those who enjoy the low end but do not want it to take over the whole show. It is not a heavy hitter, yet the sub-bass has a very welcome presence.

When a track reaches deep, you do get a proper sense of weight under the music. It hums along in a satisfying way, more like a steady engine than a wild subwoofer.

The mid-bass sits a bit more relaxed. So you get warmth and thickness, but not that gut punch that makes your brain shake.

On hip hop or electronic with strong bass lines, Astrum answers the call and adds a nice bit of fun. On more easy-going songs, the low end just does its job quietly and steps aside.

What stands out is how clean the bass stays. Basslines do not smear into each other, and they do not spill much into the midrange.

Bass guitars can be followed note by note without turning into a dull roar, and kick drums keep their shape even in faster passages. Also, the note texture is pretty good.

The trade-off is attack. Sometimes the bass feels a bit calm on the leading edge, so it does not hit with big dynamic swings. It could be tighter and a bit more aggressive in the mid-bass region.

For bass-heavy genres, this can actually be a blessing, since the rest of the mix does not get buried under a wall of low end. For rock, acoustic, or older recordings where you want a bit more punch, you might find yourself wishing BGVP had turned the knob a few clicks higher.

Midrange

The midrange on Astrum feels very balanced in terms of position. It is neither the intimate whisper-in-your-ear type nor the withdrawn, hallway-distant sort.

Vocals appear at a natural handshake distance, level with the band, never begging for extra credit. The midrange overall holds a gentle warmth that keeps instruments sounding natural rather than analytical.

Down low, the lower midrange keeps to a light diet, which means things like male vocals, lower piano notes, and thicker rhythm guitars show up in slim-fit shirts rather than thick warm winter coats.

If you are used to a dense and weighty midrange, you might notice that missing bit of meat. At the same time, this keeps the sound free from muddiness and gives the overall presentation a cleaner tone. It is one of those trade-offs that will click differently for different ears.

The upper mids are where Astrum really settles into a sweet spot. Female vocals come through smooth and expressive, with enough shine to carry emotion without tipping into shout or glare.

Female vocals glow, and violins and flutes sing, and yet the moment a note threatens to spice up the eardrums, it politely backs off.

The presentation is not the cleanest, yet there is hardly anything it fails to convey. Details are there, but they are not thrown at you with surgical precision.

Small breaths between vocal lines or subtle guitar slides are present, just slightly behind the bigger picture. The well-mannered bass leaves the stage uncluttered, giving vocal lines a good breezy space.

Timbre stays on the organic side of real: music sounds like it should, nothing rendered with clinical chalk outlines. It is an easy, forgiving midrange that invites long listening sessions rather than constant analysis.

Treble

Treble on Astrum follows the same idea as the rest of the tuning. It is smooth, relaxed, and carefully controlled. There is no hint of sibilance, no extra edge on vocals or instruments unless the recording itself is harsh.

Cymbal hits land softly, with a natural shimmer that says “I am here” without stabbing your ears. Treble notes carry enough energy, and they never dominate the mix or drag your focus away from the vocals. It is one of those trebles that lets you crank the volume a bit without worrying about fatigue.

The extension feels decent enough for everyday listening. There is air and a sense of openness, but the very last bits of sparkle do not jump out. Instead of sharp edges, you get a softer, more diffused glow around treble details.

Treble notes register clearly, then fade away gently instead of leaving a laser-etched afterimage. The upside is that the overall tone stays coherent and relaxed. The treble rises naturally out of the midrange, with no weird spicy spots where something suddenly sounds too bright.

This treble fits BGVP’s own idea of a calm and captivating tuning that lets vocals and midrange instruments carry the emotional weight.

If you are chasing fireworks and hard-hitting treble that highlights every little tick and sparkle, Astrum might feel a bit too laid back.

If you want something you can wear for hours while the top end quietly does its job and keeps the sound lively without ever biting, this approach makes a lot of sense.

Staging & Dynamics

Technically, Astrum is built for long, lazy evenings, not for the “wow, look what I can do” flex. The soundstage is not a massive one, but honestly, it is not cramped either.

Width is impressive; do not expect it to be an out-of-head stretching stage. There is a fair sense of depth, so instruments do not sit in a flat row. Height is more average.

Vocals usually occupy the center of the stage, a couple of steps forward to the ears, with the rest of the band fanning out in a believable arc. It does not create that big, holographic bubble some flagship sets chase; it’s just an easy, breathable room.

Imaging is decent, with left-to-right placement that is easy to follow. You can point to where the main guitar, backing vocals, and snare sit, even if the very far back details do not always pop with laser-sharp edges.

Layering does its job. On busy tracks with lots of overlapping parts, the IEM does not collapse into a mess. Each instrument keeps its own lane well enough that you can focus on whichever one you want with just a little bit of attention.

Dynamics lean toward the softer side. Big hits and drops do not explode out of nowhere; they roll in more gently. Piano notes and drum hits could have more authority and jump, so if you love that sudden punch, Astrum may feel a bit polite.

Micro details are there, but not showcased. You will not get that microscope feeling where every tiny noise is highlighted.

Instead, you get a smoother, more blended picture that favors flow and musicality. In short, the technical performance is solid and competent, just tuned in a way that keeps you relaxed rather than on high alert.

BGVP Astrum with cable and Lotoo PAW Gold Touch DAP

Synergy

Efficiency

The Astrum has an impedance of 12Ω and a sensitivity of 111 dB/Vrms. It can be driven comfortably by most sources, from small dongles to smartphones and compact DAPs.

It may not ask for a powerful source, but a couple of extra volume clicks can bring the sound into full swing. A stronger, more capable source adds a bit more to the dynamics and sense of openness, but none of these are really missing on regular sources.

Even on weaker sources, the delivery feels smooth without any hint of thinness or harshness. On my Lotoo Paw Gold Touch, it takes more than 30 volume steps to reach a comfortable level, and a few extra volume clicks do not make it too loud.

Pair-wise, I find the Astrum works well with every type of source, whether bright or neutral. A warm-leaning source can add more warmth to the presentation, but nothing that would be off-putting.

Source Pairings

With the Relay dongle, the Astrum leans a little more into its analog-like side. The tonality gets warmer, in a syrupy way, so it’s certainly not the clearest delivery.

It is just a touch more relaxed and musical. Sub-bass gets a small but noticeable push, digging a bit deeper and sounding tighter. It adds some fun that the Astrum sometimes holds back on.

The midrange keeps its detail; nothing feels blurred or softened, but there is a mild warmth that seeps in and fills the notes.

Female vocals come slightly closer, with more body and emotional weight. Treble is not the star here, yet it supports the overall tuning well. Air and sparkle feel balanced, present but relaxed.

Switching to the Lotoo Paw Gold Touch shifts the focus. The Astrum feels more resolved and clearer, as if someone wiped a thin layer off the sound. Details are vivid, though not plentiful, and still delivered in Astrum’s relaxed manner.

Stage depth improves, layering feels better organized, and imaging, while still not pinpoint, becomes cleaner.

Bass texture improves, but the overall impact stays calmer. Midrange warmth is more controlled, giving a more accurate and smooth tone. Treble is smooth but resolves better, keeping detail intact.

On the CMA18P, the Astrum opens up even more. The extra power brings a more dynamic, spacious sound. Resolution may not reach LPGT levels, but nothing feels missing.

Treble gets a slight lift, making the presentation a bit more energetic. The stage expands a little with cleaner separation.

There is a faint static noise in the background, something the device tends to have with many IEMs, but the overall pairing is lively and engaging.

Selected Comparisons

Noble Audio Van Gogh

Technical

Noble Audio released the Van Gogh earlier this year. The IEM features a humble four-driver setup, with one dynamic driver and three balanced armature drivers on each side.

Specifically, it uses an 8 mm dynamic driver with a magnesium-aluminum diaphragm and a dual magnetic circuit for the low end, two Sonion E Series balanced armature drivers for the midrange, and a Knowles RAD Series balanced armature driver handling the ultra-highs.

Astrum also uses a Knowles RAD Series driver for its lower treble frequency region.

With a sensitivity of 107 dB and an impedance of 29Ω, the Van Gogh is easily powered by most portable sources. Like the Astrum, I find it fairly stable with additional power, and it can take a couple of extra volume clicks to hit with a full swing.

Design

Van Gogh borrows its entire mood board from the famous painting “The Starry Night.” The swirling bursts of blue and yellow and the way the paint seems to twist and mix into each other feel close to Astrum’s design. Astrum, with its own celestial-themed abstract shells, has the same spirit.

Both carry that dreamy, night sky vibe, just expressed differently. Van Gogh goes for a smaller canvas, literally.

The shells are tiny, one of the smallest I have come across in a long time. They almost disappear once you put them inside the ear. For people with small ear canals who struggle with bulky IEMs, Van Gogh is nothing less than a blessing.

Both use metal nozzles, covered with a metallic grille on the top. Both the IEMs stick to standard 0.78 mm 2-pin connectors. These stock cables come only in 4.4 mm termination, and while they are nice enough on the Van Gogh, the Astrum cable feels more thought-out and matches the shells and design scheme better.

Same story with the packaging. Van Gogh keeps it simple, maybe too simple for this price. No carry case, fewer ear tips, and the whole thing feels bare next to the grand, almost over-the-top unboxing of Astrum.

Performance

Van Gogh hits harder in the low end, no question. It arrives with more volume and weight, with proper body in both sub-bass and mid-bass.

Astrum feels polite in comparison, though the impact does not fall that far behind. It still kicks, just with more restraint.

If you lean into basshead territory, Van Gogh is the one you will admire. The good part is that this big low-end does not blow up into the rest of the tuning.

In the midrange, Van Gogh steps back a touch. Vocals and instruments sit a couple of rows behind, with better resolution and a cleaner delivery. You hear separation and clarity first.

Astrum feels closer and more emotional. Notes carry more sweetness, especially female vocals, which have a lovely stretch in their upper reach. Van Gogh has a bit more energy in the upper mids but manages to stay just short of sharp, while Astrum keeps that region smoother and easier.

Treble on both the IEMs is on the smoother side, nothing harsh or splashy. Van Gogh, however, pulls out more detail. There is a tiny lift that gives it a bit of extra edge and energy, so small accents and cymbal hits pop more. It is not ultra-airy or super sparkly, but it definitely feels livelier.

Astrum stays more polite and relaxed, keeping the whole response more even and coherent from top to bottom.

Technically, Van Gogh stretches the stage wider and feels more open around the head. Imaging is very similar between the two, though Van Gogh has a slight edge in pinpointing positions.

Astrum counters with slightly better instrument separation, keeping busy passages nicely sorted even with its softer bass. Macro dynamics, those big swings and punches, come across stronger on Van Gogh.