Acho Reviews (in English & Spanish)

[SenyorC]

Tin Hifi T3 Plus

(just in case you haven’t read any of the reviews above this one, the following is also available in Spanish on my blog and on YouTube, links at the end of the review

The Tin T3 Plus have been sent to me by HifiGo in exchange for this review. The only thing that they have requested is that I leave links to the T3+ on their site and via Amazon, which I will do as usual. Other than that, they haven’t requested anything in particular and my review will attempt to be as honest and unbiased as possible, but as I always say, it is good to take into consideration that these IEMs have not cost me anything.

As normal, I will not post purchase links outside my web and channel, even though none of the liks are affiliate. So to see the direct links to the T3+ on HifiGo, please visit the version posted on my blog.

Preamble…

Before I get on with the review, I want to mention that I have actually received 2 sets of T3 Plus, one from HifiGo, which is the set I am reviewing, and a second set direct from Tin Hifi, who have donated the set to be given away on Acho Reviews. Check the blog or YouTube channel in the next few days to find out how to win these.

Intro…

The Tin Hifi T3 Plus, which I will just call T3+ from now on, are the latest release from a company that has a well established name in the IEM world, especially in the economical ranges.

My first introduction to Tin Hifi was the T2, which I believe was the same for many people. It was a fairly neutral set that was very good for its price, I still see it recommended. Since then I have reviewed a couple of their IEMs, although they have released many more than I have reviewed, and the T2 Plus, which I reviewed last year, was my main recommendation for a sub 50€ set for quite a while. In fact, I think it is still a great set of IEMs for the price.

I didn’t get to try the original T3, released back in 2019 I believe, but I remember it receiving its fair share of praise, so when I was offered the T3+ for review, I was of course happy to take a listen.

Presentation…

The T3+ arrives in a simple white box, the same as previous models I have seen from them, and inside this we find a grey box with a lift of lid and a felt covered interior. The IEMs sit in a cutout with a small white box underneath containing the accessories. Underneath the lid, which is also felt covered, there are a couple of ribbons that hold the user manual and warranty card.

Inside the smaller accessory box we get a cable, various spare silicone tips and a small cloth carrying bag with the Tin Hifi Logo.

The presentation is nothing out of the ordinary but as I always say, with economical IEMs I prefer to see that a large percentage of the budget has not been destined to packaging and accessories.

Build and aesthetics…

Starting with the IEMs, Tin Hifi has moved away from the usual aesthetics that I automatically associate with the brand, opting for a more generic shaped resin shell, with a very nice grey marble effect on the faceplate and the Tin logo in gold.

These aesthetics do take away some of the instant recognition that the majority of Tin models have, blending in more with many other brands, however, this is a shape that is very comfortable and lightweight, so I am happy with their decision. I also must say that I do like the finish on these, not a boring single colour but also not a bright “look at me” finish.

The shells are dark enough to not allow me to see the insides of them but from the outside they look to be well made. I guess only time will tell but I can’t foresee any specific issues with the build.

The cable is also a simple black cable with a “rope style” weave, or rather wrap, which is very reminiscent of the cable included with the Kinera IEMs that I reviewed earlier this year. However, it has a nice feeling to it and also has connectors and hardware that look to be of good quality and do add an elegant touch to the cable.

One thing that certainly deserves praise, at least from me, is that they have opted for 2 pin connectors instead of MMCX! Yes, I know that the T1 Plus also had 2 pin connectors (which were similar to the ones used by KZ, rather than the flush ones on the T3+) but I am still happy that they are used. In the past I have had issues with MMCX connectors and the Tin T2 were the ones that I had most issues with, so it is nice not to have to worry about that happening on the T3+.

To be honest, I really have no complaints about build or aesthetics with the T3+ and the comfort is very good, although that is obviously something that I can only vouch for with my own ears.

Sound…

My experience with Tin Hifi, along with the many reviews that I have read of their products, lead me to expect a tuning that is more towards the bright side of things, which is not something I hate by the way, but that is not the case with the T3+.

I am not saying this in a negative way, not at all, I just found that upon listening to the T3+ for the first time it presented a smoother and less “bright” signature than my ears were expecting.

It seems that this time Tin have opted for a tuning that is more along the lines of the contenders that it is up against in a similar price bracket (the T3+ comes in around 60€, which is just above the 50€ bracket that I consider “ultra economical” but is still a very reasonable price). The overall signature is more towards that found on things like the Legacy 2 or the Aria. This could be considered more of a “safe” choice from Tin but seeing the praise that things like the Aria get, it is obviously a tuning that works well for many people.

While it is a similar tuning, it is obviously not exactly the same, it does deviate a little, especially in the higher mids and lower treble, but I’ll go through my usual sections to get there.

In the subbass, there is a nice extension but it is not really something I would consider subbass focused. Listening to tracks with plenty of subbass content, such as “Chameleon” (as always) and “Royals”, there is rumble going on, letting you appreciate those lower notes but without it really becoming the center of attention. I can’t say that it lacks subbass for my personal preferences, I could even survive with a little less, but I like the fact that it is not overdone to the point where it takes control of the whole lower end.

Moving into the mid bass, listening to tracks like “Sun is Shining” by Bob Marley & Robin Schultz, “No Sanctuary Here” by Marian Herzog feat Chris Jones, or even things like “All Eyez on Me” by 2Pac or “Still D.R.E”, I find that the bass has plenty of presence for these to be enjoyable. Again, I wouldn’t say that it is overly bassy but I don’t think many people would complain that it has a lack of bass at all (unless they are real bass heads!).

I also find that the bass is also very well controlled and defined. I spent most of Friday at my desk listening to Dance music and I was quite surprised at how well the bass came across, making it very enjoyable. I also don’t have any real complaints about the timbre of the bass, making most instruments sound very natural in their lower ranges, with no lack of warmth. Once more, it is slightly north of neutral but not enough for me to find it offensive or bloated.

Moving into the lower mids, there is no real bleed and I don’t find the bass invading these regions and making them seem bloated. Ok, I have heard better transitions but it is not really something that is worth complaining about as I feel that it is more than adequate for the price bracket it sits in.

The mids themselves do have a bit of a dip in their center, as is to be expected with the tuning that Tin Hifi are aiming for with this set of IEMs. However, the higher mids do have enough presence to bring back vocals and put them back up front. There are a few voices that I have found to seem a little recessed in the mids, mainly those that are located in the lower mids, and also a couple that suffer with the presence in the higher mids, making them take on a little harshness at times. This is not a regular occurance and it is mainly voices that are already known to be harsh, such as Beth in “Don’t You Worry Child”, but they do sort of clash with that extra upper mid presence and can come across a little shouty at times.

Moving into the higher regions, sibilance is something that is kept in check quite well, with only a hint appearing on songs that are usually on the verge anyway. As with the upper mids, it is not something that appears regularly, only on vocals that are already in that zone, but it can show a hint now and again.

As far as details, I find this is probably the weakest point of the T3+. It is not bad, there are details, but it is not as detailed (in my opinion) as something like the T2+. I think a lot of this is due to the tuning that they have opted for with this set, it is certainly not as “in your face” as the T2+. The details are there, within reason, but they don’t jump out at you.

Soundstage and image placement are ok, sort of the average I am used to finding in this price range of IEMs. I guess they could be slightly above average in this regard but the smoothness of the tuning again masks the imaging slightly and makes it not sound quite as impressive as it might have been with a slightly different tuning.

Conclusion…

Tin Hifi have moved towards a tuning on these IEMs that I think will fit well for 90% of those interested in IEMs in this price range. They work well with every source I have tried, they look and feel decent, and the overall sound is quite pleasant.

I feel that they may have lost some of the “Tin” sound along the way, or at least the sound that I personally associate with Tin Hifi, but again, I think that is something that will probably appeal to a larger amount of people.

The negative side to this is that they are suddenly in a bracket with a lot of competition, there are many brands that offer similar sound signatures and performance at prices that are around this mark. I think that the T3+ is a competitive set though and those looking for this kind of tuning should definitely check them out as there really isn’t anything bad about them for the price.

As I mentioned at the beginning, I have another (unopened) set of the T3+ which I will be giving away in the very near future, so, for those who are interested but are not Spanish speaking* , in other words, don’t follow the Acho Reviews YouTube channel, you can follow in English on Twitter (@SenyorC_) and I will let you know when the giveaway is available on the Blog, or, just stay tuned to the Blog over the next few days.

*Shipping restrictions apply for those residing outside Spain

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[SenyorC]

Here is the link to win the T3+ in case anyone is interested:

Contest - Win a set of Tin Hifi T3 Plus

[SenyorC]

Aune Jasper

Available also in Spanish on my blog here and on YouTube here.

The Aune Jasper have been kindly sent to me by Aune in order to publish this review. They haven’t actually made any specific requests but I will include the link to the Jasper on their website anyway (on my blog and YouTube), as it is the least I can do.

As always, my review will be as honest and unbiased as possible but it is always good to consider the fact that these IEMs have not cost me anything.

Intro…

Before starting with the review, I have to say that I had absolutely no idea that these IEMs existed!

Aune is a company who have made some interesting stuff that has caught my eye but I only really knew about their amplifiers and DACs etc. So, I was talking with Aune about reviewing their new portable DAC/Amp, the BU2 (which will be coming up soon, by the way), and they asked if I had heard their IEMs. I was totally honest with them and said that I didn’t even know they made IEMs.

They mentioned the model name to me and said that they had been released either late last year or early this year, so I did a quick internet search and I was very surprised to find that they were actually reviewed by Audio Discourse in March this year. The reason that I was surprised is because I usually follow most of the AD reviews and somehow I had just completely ignored this one. In fact, I have still completely ignored it (sorry Antdroid!) because, as Aune said they would send them out for me to try, I have avoided reading any reviews about them at all.

I always try to avoid reading reviews of anything I am planning on reviewing, although some details always manage to make it through, but in this case, I was going into this completely blind as to what I was going to receive. All I knew was that they sell for around 280€ (on the Aune page) and that they are a single DD that is available in Black or Silver.

So, I went into this review hoping to be surprised and I must say that I have been, but I’ll get to that next.

Presentation…

The Jasper arrive in a simple white cardboard sleeve with a picture of the IEMs on the front. From inside the sleeve a black cardboard box slides out to reveal the brand logo on the front in silver. As a totally random comment that has nothing to do with the IEMs, I just want to say that I really like the Aune logo, a simple logo that is easily identifiable even when upside down

Anyway, opening the black box reveals a simple content that actually impressed me far more than it should have. At the top of the felt covered lining there is a large leather storage case which seems to be of very good quality. I am not certain it is real leather but it certainly looks the part. In the lower half of the box, in their own cutout, we find the IEMs themselves, in my case in black.

Inside the storage case we get a selection of silicone tips, a cleaning tool and the cable. Below the case we find a microfiber cleaning cloth, which comes in rather handy for these IEMs, which can be a bit of a fingerprint magnet.

That is it. As I said, the presentation impressed me more than it should have, there really isn’t anything out of the ordinary but the packaging just gave me a good vibe, which is always a nice way to start out with a product.

Build and aesthetics…

The IEMs, which are black as I just mentioned, have a very smooth and rounded shape to them. They look good in their simplicity, although they are quick to pick up fingerprints, and I must say that I personally find them very comfortable. However, the nozzle is not very long, meaning that they don’t insert very deeply into the ears, at least in my case, but they fit my ears very well and I get a great seal with Xelastec tips. There are no sharp edges or weird shapes and they just work very well with my ear anatomy.

The cable is something that may not appeal to everyone. Let me be clear, I have had no issues with the cable, it works fine, is well built, non microphonic, but it is rather thick. The cable is reminiscent of cables that are included with some of the bigger names, such as Sennheiser, Shure, etc. It is a no frills, no weaves, straight cable that does its job. However, it is premolded to the ear shape (for over ear fit) and the thickness does feel a little “beefy” at times.

The included tips are ok, they do their job, however I have opted for the Xelastec tips on these as they are tips that I really like and I find that in the case of the Jasper they work great for both sound quality and a comfortable fit with a good seal that is not too deep.

Now, my only real negative as far as build is the use of MMCX connectors. This is not because they have used bad quality connectors, they seem to be very well made, it is just that I much prefer 2-Pin as I have had issues with MMCX connectors in the past. For some reason, I am always hesitant when disconnecting cables that use MMCX connectors as I always get flashbacks of the times that I end up with half a connector, or a broken pin etc. Again, the connectors in this case seem to be of good quality and I have swapped cables around a few times without issue, it is just a pet peeve of mine.

Sound…

Getting straight to the point, I like these IEMs. I have already mentioned the price and it is a bracket which basically puts them in competition with things like the Blessing 2: Dusk, a set of IEMs that sees a lot of use in my case and that I feel is a very good set of IEMs at its price. Therefore, it was to be expected that I would automatically compare these. Are they better than the Dusk? Well, that depends on what you seek in IEMs. But just the fact that they can compete is a very positive start in my opinion. I will get more into comparisons in a moment but first I will go through my usual process of explaining, or trying to explain, what I find is good and bad about the Jasper.

Starting off with the subbass, I find that there is some roll off as we get down to the lowest registers. This is not an exaggerated loss of the lowest notes, there is still enough subbass to appreciate that low end rumble that is found in tracks that need that low end (such as “Chameleon” that has become my main reference for subbass). I must say that I have found listening to EDM and other music with a lot of low end rumble, very pleasant and enjoyable, although I don’t think that the Jasper tuning is something aimed at that style of music, at least in the case of those who like the subbass to rumble their brains and tickle their ear drums.

Moving into the midbass, here there is more presence than in the case of subbass, making the bass frequencies be nicely presented but without them dominating the sound. I have said before that I am a fan of dynamic drivers for bass and the Jasper remind me of why I like the DD bass. While they are clean and articulate in the bass regions, they still have a bit of that smooth round bass sound that I associate with dynamic drivers. They work well here for EDM also but in my opinion they excel with more natural bass notes, such as those from electric and acoustic bass guitars, double bass and the lower end of guitars.

The mid to upper bass regions are slightly more present than I would have chosen on paper but after listening to them, I must say that they do not detract from the sound in my opinion. They use that slight extra presence around the 200Hz mark to their advantage and I find that my favourite music, which is heavily centered around acoustic instruments, to have a very natural low end and timbre. I especially enjoy acoustic guitar through the Jasper, such as “Something Just Like This” by Missy & Blonde and Julia Ross, “Billie Jean” by the Civil Wars or “Long After You’re Gone” by Chris Jones.

However, there are a few tracks where this additional presence in the mid/upper bass regions does have a bit of a negative effect. In songs like “Black Muse” by Prince, I do find that the bass is a little too warm, making the clarity of Prince’s bass playing lose some of its magic. This is something that I have experienced on a few tracks, mainly containing electric bass guitars that are very present in the mix and depend on clarity for the best appreciation of the bass playing. It is not something that I have found very common, it seems to just be when a specific mix of prominent bass and an already warm bass sound in these (200-300Hz) regions, not something that I notice on the vast majority of music I listen to.

Moving into the lower mids, the transition is mainly clean except when experiencing what I just mentioned with the odd song where the bass is a little too warm. In these occasional moments, it can seem that the transition is not quite as clean as it should be. But, really, I can’t complain about the transition as it is clean on 99% of the music I listen to.

Moving up through the mids, there is a slight dip just before the 1kHz mark which I would have expected to make vocals seem more recessed than they actually are. The reason for this is that it is only slightly below my preference in this regard and the space from 1kHz up to 3kHz has a smooth climb, reaching a point at 3kHz that I would have also expected to be more shouty than it actually is. I am not sure if it is the fact that the slight reduction around 1kHz counteracts the slight over elevation at 3kHz but it does work very well and does not come across recessed or shouty.

Up in the higher regions is where the Jasper really surprised me, providing much more extension than I am used to finding in single dynamic driver set ups. The treble is smooth and defined, without any unpleasant experiences (such as sibilance etc.), and provides a nice sensation of air. It is true that not all single DD IEMs suffer from roll off in the higher regions but it is something that I find in the majority of them, the Jasper is one of the cases that proves the point about it not being all of them.

The soundstage and image placement is also a very pleasurable experience. The soundstage is larger than average, providing plenty of space for the music to spread out and the image placement, while not the best I have ever heard, is also above average and makes the most of that nice space.

In fact, the airy openness of the Jasper, with above average space and decent image placement makes these very enjoyable IEMs and I have found myself reaching for them more and more. Tracks with layering like “Strange Fruit” by Dominique Fils-Aimé or even “Bubbles” by Yosi Horikawa are presented in a way that make it very easy to get lost in the music.

The detail retrieval of the Jasper is also rather good, maybe except for those cases where the upper bass becomes a little too much, but again, those are very limited occasions (at least with the music I listen to). They are not a set of IEMs that throw a huge amount of detail at you, but they are a set that has enough detail to appreciate all of the small background details, while keeping them there, in the background.

Comparison with the Dusk…

If you are someone who reads (or watches) many of my reviews, you will probably have noticed that I don’t do a lot of comparisons in the majority of my reviews. I try to keep my reviews consistent, using the same music and focusing on the same characteristics, so that my reviews can easily be compared by reading/watching one and then another. Well, that and the fact that my reviews are usually always way too long anyway!

However, there are occasions on which I find that it is necessary or just seems to be the best way to go. Those are usually reviews of two versions of the same headphones/IEMs, or very similar headphones/IEMs, or, as in this case, because I feel that something is competing directly with something that I already like.

In this case, my comparison is with the Moondrop Blessing 2: Dusk. I already mentioned previously (and in countless other reviews) that the Dusk is a set of IEMs that I use a lot and that I think highly of. In the case of the Jasper, I feel that they address some of the things that I am not so fond of with the Dusk, while maybe not quite hitting some of the things I do feel the Dusk is very good at.

First, the comfort. Yes, this is a very personal thing and is only relevant to me but I find that the Dusk are oversized and not that comfortable. I had to play with tons of different tips before I found something (the CP155) that worked well, fitting the huge tunnel that is the nozzle and was comfortable for long sessions. With the Jasper, although I have settled on the Xelastec as my preferred tips for them, I have found them to work well with quite a selection of tips and they are also very comfortable, sitting nicely inside my ear and not sticking out like I have a Cadilllac parked in each ear. Don’t get me wrong, the Dusk are not uncomfortable (otherwise I wouldn’t use them as much) but the Jasper are just much more so.

With regards to sound, both sound very good to my ears but excel in different ways. The Dusk has more bass, is more impressive in the lower registers, with a more powerful presentation and works very well for things like pop, electronic music etc. I still enjoy acoustic music on the Dusk but it doesn’t really make the bass shine like other genres do with the Dusk. In the case of the Jasper, I find the bass to be smoother and more inline with acoustic music, while still maintaining detail. If I had to pick one, I would probably go for the bass on the Dusk as it can be more impressive and doesn’t seem to suffer no matter what you throw at it, whereas the Jasper does have just a touch too much mid/upper bass on occasions, as mentioned in the bass section of the review.

The mids are probably also more inline with my preferences with the Dusk, especially when looking at a graph. However, I don’t listen to graphs and I must say that I can’t complain about the mids on the Jasper. They don’t look like they should sound like they do, but ignoring measurements and focusing on sound, I have no issues with the Jasper mids.

In the higher ranges is where I would definitely pick the Jasper over the Dusk. The treble is smoother, less harsh, and extends way more than the Dusk to my ears. I am obviously not listening up to 20kHz (my last check up showed 17kHz) but I feel that I am not missing information, at least within my hearing range, and at the same time, it is not overly done, the treble is not the center of attention.

Finally, the soundstage and general spaciousness of the Jasper is something that I find superior to the Dusk. Don’t get me wrong, these are still IEMs but with the openness of the sound, along with the comfort I find in them, they are perhaps the most enjoyable IEMs I have heard in this regard.

Conclusion…

The Jasper have sort of been a Deja Vu. Not long ago I received the T Force Yuan Li, a set of IEMs that I knew nothing about and just clicked with me, becoming one of my most used IEMs. The Jasper is a repeat of that. They are IEMs that I knew nothing about, not knowing what to expect, and I have found them to coincide very well with my preferences.

Another major factor for me is comfort, these are actually one of the few IEMs that I forget I have them in my ears, especially with Xelastec tips and a cable swap (the included cable is a good cable but is a little stiff to forget it is there). There are plenty of IEMs I find comfortable but very few I can forget are in my ears. The spaciousness of the sound also adds to the comfort, they are not open back but they are not a closed in sound either, making them far more enjoyable for me.

I feel that they are a set of IEMs that are reasonably priced at where they sit. Are they the best IEMs for less than 300€? Well that is going to be a question that gets a different answer from each person you ask but for a large proportion of my music which is acoustically based, I find that these are a great choice and will happily continue to reach for them when wanting to enjoy a relaxed listening session.

[ttorbic]

Thanks for the excellent write-up! I appreciate that you compared the Jasper against B2D as they are similarly priced, but could you compare it against a single DD? Seems to be more apples to apples, IMHO. You mentioned Yuan Li, but didn’t give any details. How about Jasper against Oxygen, or Hana 2021, or Kato? Thanks!

[SenyorC]

Thanks for taking the time to read it.

In regards to the comparisons, my review is already far too long

Seriously though, I don’t have any of the three you mention. The Hana was supposed to arrive at some point and I have the Kato on the list of “to check out” but I haven’t heard either of them yet.

In regards to the Yuan Li, I haven’t really sat down to A/B them but as a brief comparison, the Yuan Li has more subbass and slightly less midbass (although very similar). The Jasper has better extension, smoother treble and is more spacious.

[SenyorC]

KZ ZEX Pro a.k.a KZ X Crinacle CRN (ZEX Pro)

This is also available in Spanish on my blog here and on YouTube here.

The KZ ZEX Pro has been sent to me by Linsoul in exchange for publishing this review. As usual they have not requested anything specific, therefore, as usual, my review will be as honest and unbiased as possible but it is always good to consider the fact that these IEMs have not cost me anything.

To find the KZ ZEX Pro, also known as the KZ X Crinacle CRN (more on that in a moment) via Linsoul, check my blog for the (non-affiliate) link.

Intro…

As I just said, the KZ ZEX Pro is also known as the KZ X Crinacle CRN, something that has led to a bit of confusion in regards to these IEMs and whether or not they are identical. Crinacle published this a few days ago, which serves to clear up any misunderstandings but in case you haven’t read it (and don’t want to), the quick recap is that the KZ ZEX and the KZ X Crinacle CRN are exactly the same IEMs, with the exception of the Crinacle logo on the CRN version.

Basically the KZ ZEX Pro was tuned by Crinacle but was released before the announcement was made public, the idea being, according to Crinacle and KZ, to see how the tuning was received before Crinacles name was linked to it. This was to see if the tuning was well received without using the “Crinacle” name or to see if it depended on his name to become a hit. I guess that it is sort of like Richard Bachman seeing if he could become a best selling author before telling everyone it was just Stephen King under a pseudonym. Yes, there is a bit of a difference between Stephen King and Crinacle but you get the idea.

I got sent the KZ ZEX Pro before the announcement was made, therefore my set does not show any mention (or logo) of Crinacle, but again, the IEMs are exactly the same.

Confused?

Ok, now let’s get on with the review of the “KZ ZEX Pro a.k.a KZ x Crinacle CRN (KZ ZEX Pro)”

Presentation…

I am not sure if there is any difference in the presentation of the CRN branded version but the ZEX Pro arrives in a packaging that is identical to that of the ZEX, with the same contents.

The typical white KZ sleeve from which a tray slides out to reveal the ZEX Pro IEMs covered by transparent plastic, underneath which we find the usual user manual, a couple of spare silicone tips and the cable that KZ includes recently with all of their products, in my case with an inline microphone.

Nothing special or out of the ordinary but we are talking about a set of 30€ IEMs (about 2€ more if opting for the CRN version), so there are no complaints from me regarding contents.

Build and aesthetics…

The shape of the IEMs does differ from the original ZEX, this time opting for a shell shape that was used on the KZ DQ6. As far as looks, both are (the ZEX and the ZEX Pro) are decent looking simple IEMs in my opinion, I really can’t say I prefer one over the other as far as looks.

As far as comfort, they are again both fairly comfortable, with no specific complaints from me, although I do find that the original ZEX sits inside my ear a little better, being a little smaller.

I have already mentioned the new KZ cables a few times in previous reviews and my opinion hasn’t changed. They are not the best cables in the world but are far superior to previous cables used by the brand.

Sound…

First off, let me start by saying that the ZEX and the ZEX Pro are tuned completely differently, therefore there really isn’t much to compare between them. I mean, I could list the differences but it would not really be very useful, as it is different in almost every part of the frequency range. Where the original ZEX has the usual KZ emphasis on the mid bass, running into the lower mids, with quite a dip in the center of the mids to later climb up and complete their usual V shaped tuning, the ZEX Pro follows a curve that matches my personal tastes more than the originals.

Starting off with the subbass, I like the fact that the presence starts to climb around the 100Hz mark and continues to rise the lower the notes get. This works well to give the subbass a nice balance, counteracting the natural roll off of our hearing as we go low, giving presence to the lower registers without actually overpowering any of the mid bass and lower mid frequencies.

Tracks that have plenty of info in the subbass realms come across nicely and I don’t find myself needing more in tracks like “Chameleon”, “Royals” or any of my other subbass test tracks.

Moving into the mid bass, it is slightly below what I would consider perfect (for my personal tastes of course) but only slightly. In general, the subbass and midbass follow my preferences very closely. It is also clean and articulate, without seeming to fall apart on busier tracks. The bass on “Killing In The Name” is a good sample of how the ZEX Pro keeps it clean and articulate in the low end.

Moving into the lower mids, the transition is clean and well defined. Crinacle mentions that he likes to boost bass in the lower ranges to keep the 300Hz area clean and avoid bass bleed, and it works well. I don’t get the impression that the bass bleeds into the lower mids at all. I do sometimes miss a bit of body when listening to purely acoustic guitar based music but that is the price to pay of the presence being slightly below my preferences in these frequencies. However, I would much rather it be lean in this regard than bloated.

Moving into the higher regions, here is where my first real complaint comes. There is a harshness that appears on occasions and can make vocals become a little shouty and too upfront. Now, the strange thing about this is that I have measured and compared graphs and don’t see any specific spike on paper that would cause this. It is also not on every track, or all the time, it is just with specific songs where things sound suddenly harsh and actually painful at times. I have found myself checking quite a few times if I had any EQ on by accident but it wasn’t the case.

An example would be the voice of Rag’n’Bone Man on “Human (acoustic)”, where his voice has a harshness that I don’t find on other sets.

As far as sibilance, I do find it to be a little too hot for my personal tastes, but again, it is only slightly. “Code Cool” does present a little sibilance throughout the track but it is by no means terrible in this regard. I would just prefer it to be a little tamer in this range.

As far as soundstage they are around average but with slightly higher than average image placement. The soundstage is not huge but does at least give the sound enough space to play around, with the images being placed fairly well, making the most of the space they have. “Bubbles” is enjoyable and the ZEX Pro are good enough to appreciate the intent of the song, something that I feel is very important.

The overall detail is also decent, especially if we consider the fact that they cost just over 30€. They are not detail monsters but I didn’t find myself feeling that I was missing anything, nor did I have to focus too much to appreciate the overall detail of the music I was listening to.

Conclusion…

The 30€ price bracket of IEMs is getting more and more crowded by the day, with some models offering a performance that is far more than one would expect for the price. The ZEX Pro is a set of IEMs that directly aims to compete with the better sets in the price bracket. In fact, I have heard sets costing far more that sound less impressive.

I feel that the tuning is very close to my personal preference and while I would prefer to somehow tame that harshness and slight sibilance in the higher regions, those are really my only complaints.

I can’t say that these have suddenly become my favourite IEMs but I also cannot deny the fact that for their price, they are a very good set of IEMs. The “KZ ZEX a.k.a KZ X Crinacle CRN (ZEX Pro)” are certainly worth a listen if you want to find out what the extreme budget section of IEMs is capable of nowadays.

[SenyorC]

Aune BU2

As always, this is also available in Spanish on my blog here and on YouTube here.

The Aune BU2 was kindly sent to me for review by Aune. They have not requested anything but I will leave a link (on my blog and YT channel) to the BU2 via their webstore as it is the least I can do.

This means that my review will, as always, attempt to be as unbiased and sincere as possible but you should always consider the fact that it has not cost me anything to try out the BU2.

Intro…

As I mentioned in my recent review of the Aune Jasper, a set of IEMs that pleasantly surprised me, Aune is a brand that has released quite a few DACs and amplifiers that have interested me, although I have not had a chance to try out their products until now.

The original BU1 was (is) a portable DAC/Amp that attracted me aesthetically, as did (does) the B1s, so when they announced the BU2, I was instantly interested in trying it out.

The BU2 is a fully balanced DAC/Amp, using two ES9318 DAC chips along with four independent amplifiers, a R2R ladder volume control and supports up to 32-bit/768kHz PCM with native DSD512 decoding.

All of this sounds great on paper but I am interested in what it sounds (and performs) like in the real world, so I have been putting it through its paces for around 3 weeks.

Presentation…

The external packaging is a simple white cardboard sleeve, showing an illustration of the unit and a few features, from which a black box, sporting the Aune logo in silver, slides out.

Inside the box we get the BU2 in its own cutout (protected by a plastic bag), along with a smaller box containing a USB-A to USB-C cable, a shorter USB-C to USB-C cable, a 2.5mm TRSS male to 4.4mm Pentacon female adapter cable and a very basic, single page, user manual in English and Chinese.

There is nothing special about the presentation but it is nice that they choose to include the 2.5mm to 4.4mm cable for those who use Pentacon connectors on their headphones/IEMs.

Build and aesthetics…

If you are someone, like me, who likes the aesthetics of the BU1, you will find that the BU2 aims for a much simpler look. A completely black unit, with a small LCD screen on one side and the connections on top and bottom, this does not stand out as much as the BU1 (or B1s) but is certainly not ugly.

The build is completely aluminium except for the two panels around the screen, which are plastic to avoid issues with Bluetooth reception, and even these are well made and do not stand out as being plastic (at first I thought they were aluminium also). This makes the unit very sturdy and feels like it will withstand quite a bit of abuse, especially if we also take into consideration that the volume knob (also metal) is protected by a metal guard (more on that in a moment).

I know that there will be people who complain about Aune opting for a 2.5mm balanced output instead of a 4.4mm, which I can understand. Personally, while I would like the 4.4mm connector, being more robust than the 2.5mm connector (then again, the 6.35mm TRS is also more robust than the 3.5mm but we don’t expect that on a portable unit), I don’t actually have 4.4mm connectors on any of my cables, so I have no real issue with this. As mentioned, Aune also included the adapter which is a nice touch.

At the end of the day, I really don’t have any complaints about the build quality or aesthetics of the BU2. Yes, the BU1 looks more impressive but the BU1 is simple and very well built, with no signs of flaws to my eye.

Functionality…

The BU2 is very simple to use. At the bottom of the unit there are 2x USB-C sockets. The right hand connector is for data connectivity, just connect a cable between the USB output of whatever source you are using to this socket and you are good to go.

The second USB-C socket, on the left, is for charging. Here there are going to be people who complain that it is a separate socket for charging, meaning that you need to use two cables, however, personally I much prefer this. This means that you can use the BU2 (connected to a phone for example) without draining the battery of the phone, and can recharge the BU2 from a power bank while it is in use.

On the top of the unit there are the two headphone outputs, one 3.5mm TRS unbalanced output and one 2.5mm balanced output. These are pretty self explanatory.

In the center, between these two outputs, we find the volume knob which is my only real complaint about this unit.

The knob is recessed and has a metal plate that surrounds it to protect it. I can understand that this was done intentionally to avoid accidentally turning up (or down) the unit while it is in a pocket but it makes volume adjustments rather difficult. I thought about putting this in the “build” part of the review but to be honest, there are no issues with the build, the knob works great and is very robust (and extremely well protected), it is just a pain to adjust without using two fingers, one on each side of the unit. While you are holding the unit, this is not a huge issue, ok, it takes a little longer to make large adjustments, but once you have the unit flush against something, such as the back of a phone/DAP or on a desk, you can only really access one side and it is difficult to make adjustments at all. After 3 weeks of using the device daily, I have sort of got the hang of it, managing to adjust it with only one finger on one side, but in order to do this, the device needs to be secure, otherwise it will just move around instead of the volume knob turning (like when it is on a desk for example).

This is more irritating than anything else and the actual quality of the R2R volume adjustments far outweighs the pain of the usability, but is still irritating nonetheless.

Speaking of the R2R volume control, it is excellent. After having issues with digital volume knobs skipping and analog volume knobs having channel imbalance at low levels, Aune seems to have hit the nail on the head with this setup. There is no channel imbalance even at the lowest of settings and the volume steps are smooth and consistent, allowing you to select the exact volume level every time.

The volume knob also acts as a button, when pressed from the top. This allows you to power the device on and off, with a long press, and also enter the menu which can be seen on the screen.

The screen is placed on the front panel of the BU2 and is a small simple LCD screen with white letters. I must say that I like the choice of screen very much. There is no need for a huge colour screen that eats up battery life, the small LCD screen shows the necessary information without adding to the power consumption (at least not enough to be relevant).

When powering on the BU2, by a long press of the button, you are greeted by the Aune logo followed by the current volume level which, by the way, is remembered from the last use. After this, and at any other time when not interacting with the device, the screen goes into screensaver mode, which is basically the Aune logo followed by a scroll of the letters (A then U then N etc.). This is again a nice touch as it shows that the unit is powered on but does cut the power usage of the screen even more and avoids screen burn to some extent.

By a short press of the button (with the unit on), the device cycles through the menu options.

The first press brings back up the current volume level for reference. The volume can be set from 0 (mute) to 60. If the device is in screensaver mode, a turn of the volume know will also automatically bring up the volume screen for reference.

Another press takes you to input selection, where you can choose between USB (shows a USB logo) and Bluetooth (shows Bluetooth logo) by turning the volume knob. There is no need to press to select, it will automatically keep whatever selection is shown on screen and revert back to screensaver mode after a few seconds.

Two clicks of the button takes you to filter selection. There are 7 filter modes to choose from, each represented by two letters on the screen. The filters are:

SC: brick wall filter

SU: hybrid fast roll-off filter

SL: apodizing fast roll-off filter (default)

SI: minimum phase slow roll-off filter

SH: minimum phase fast roll-off filter

SE: linear phase slow roll-off filter

SD: linear phase fast roll-off filter

Three presses of the button will bring up an image of the current battery level, represented by an image of a battery with bars showing the remaining power and one final press will take you back to the volume level.

As you can see, this is very simple to navigate and use, making the screen useful without the need for more information.

As far as battery life, the specs claim 9 hours in USB DAC mode and I must say that I have no reason to doubt it. I got more than that but I do listen at low levels.

Power…

According to Aune, the BU2 offers 265mW @32 Ohms via the balanced output and 100mW @ 32 Ohms via the single ended output. This is obviously not a huge amount, especially compared to some of the alternatives, in fact, the unbalanced output is the same as the S9 Pro and the balanced output is only slightly more than the usb powered dongle.

This means that some of the more demanding headphones, such as the HD6XX or the HE400se, are lacking a bit of power to drive them to their best. However, I must say that I don’t find the BU2 to sound “anemic” even with these headphones. I have found with other devices with low power outputs that these headphones can lack, especially in bass response, but when powered by the BU2 they don’t seem to suffer as much from these issues. With easier to drive headphones, such as the Ananda, I didn’t feel that there was any issue at all.

With IEMs, there is plenty of power, even with those that need more than usual, such as the iSine or the Dusk, with no complaints from me at all.

Sound…

As you probably already know, I don’t have the necessary equipment to provide measurements of DACs and amplifiers, all I can do is share my experiences with the device. As with all devices, and all people, it is possible that I hear things that my brain makes me hear which maybe don’t exist, but at the end of the day, what I hear is the important part, not what I should hear.

In this regard, I must say that I have spent plenty of time comparing this to various other setups that I have and I find that the BU2 is basically identical to my Modi3+ and Atom that I use daily on my desk at work.

I mean this as a compliment as I find that the Modi+Atom combination is one that I really like for my daily use. It is a clean setup that does not become fatiguing for me, even after many hours at my desk. Obviously the Atom has more power and can drive things like the headphones I mentioned above a little better, but at my usual listening levels, with IEMs and some of my easier to drive headphones, the BU2 could easily replace the Mod+Atom stack on my desk, taking up less space and easily fitting inside my laptop bag for portability.

Even with the Beyerdynamic Custom Studio that I keep at work for when I need a closed back headphone, the BU2 can drive these 80 Ohm / 96dB/mW headphones from its single ended output to volume levels that are plenty for me, without me feeling that I am missing anything.

I mentioned above that the output power of the BU2 is similar to the S9 Pro, however, the BU2 is much smoother and does not become harsh like the S9 Pro can when pushed.

One last thing to mention is Bluetooth. As some of you probably know already, I am not a huge user of Bluetooth and when I do use it, I usually opt for using LDAC either via one of my DACs or via my neckband. The BU2 does not offer LDAC as a codec, being limited to SBC/AAC/aptX and aptX HD, however, I have found that I don’t miss LDAC quite as much on this device as I do on others. Usually I have the BU2 connected to my source (laptop or DAP) via USB and paired with my phone via bluetooth. If I am listening to music and there is something I want to listen to on my phone, with two clicks and a turn, I can swap to my phone. The connection is very quick and once I switch back to the USB input, the BT connection is broken, allowing my phone’s BT to go back to whatever else it might be doing (such as the neckband that I use for calls etc.).

Conclusion…

I don’t think I have mentioned the price of the BU2 yet. It costs around 270€, depending on where you buy it from, which is obviously quite a bit more expensive than something like the S9 Pro, however, I feel that it is also a much better product and does not drain my phone or DAPs battery (something very important for me).

As I mentioned, I find the sound to be identical (to my ears) to the Modi3+ and Atom, which is a desktop stack (although small) that comes out at around the same price (here in Europe) but is obviously tied to a power supply. The BU2 is not as powerful but in my opinion makes up for it with its usability and portability, along with a great build quality.

There are obviously things that could be improved (I have yet to find the perfect product at any price range) but my only real complaint is with the difficulty of using the volume knob with one hand.

As someone that has been looking for a self powered, portable and well built DAC/Amp, the BU2 fits my needs very well. I had the Topping NX4 DSD for some time but it finally broke under warranty and I did not replace it. I feel that the BU2 solves the few complaints that I had with the NX4 and I am happy to have finally come across such a device which, while not cheap per se, is not ridiculously expensive.

[SenyorC]

Reecho SG03

Also available in Spanish on my blog here and on YouTube here.

The Reecho SG03 have been loaned to me by CqTek from hiendportable.com, allowing me to try them out and post this review. If you would like to see his review of them, please check it out here: Reecho SG-03 English Review - Hi End Portable

Intro…

A while back, a subscriber of Acho Reviews on YouTube asked me about the SG03 and if I could review them. I remembered seeing a review of them on hiendportable so I reached out to CqTek asking to borrow them and give them a listen.

His first reply was “Sure, I’ll send them you but I’m not sure they will be your flavour”. I guess he knows my tastes fairly well because he was totally correct, they are not a set of IEMs that I am overly delighted by.

However, that does not make them any less eligible for review, nor does it mean that, as they are not my cup of tea, that they won’t be perfect for others, so I’ll try and give my impressions on how I hear the Reecho SG03 without being pessimistic

Presentation…

As these were sent to me by CqTek, who probably has even more IEMs than me, it is understandable that he doesn’t keep the packing and accessories around for most of them. In this case, the Reecho were shipped to me in a transport case along with an aftermarket cable, therefore I cannot comment on presentation of the product.

Build and aesthetics…

The IEM shells are metal and on the large side, with a fair bit of weight that comes along with that combination. They are not the heaviest IEMs that I have had in my ears but they aren’t really a lightweight either.

The faceplate use a design that combines shapes and gives them a look that is different from the majority of IEMs on the market. Although the faceplate does use strange shapes and angles, the interior or the shell is smooth and well contoured. resulting in a farily comfortable set of IEMs to wear.

The also seem like a sturdy build, due to the full metal shells, but the edges of the faceplate are starting to show a little sign of wear in the paint. Of course, this is something that is not really fair in comparison to other IEMs I review as these have been used (not sure for how long) whereas the IEMs I usually review are new, with approximately a week of use, but I thought I would mention it anyway.

As I mentioned, the cable I received is not the stock cable, therefore it isn’t relevant to this review, however, I will say that it is the thickest IEM cable I have ever used. I think this cable is a perfect EDC carry for a prepper, as it can be used as a rope if necessary

Sound…

I already said in the intro that these IEMs are not for me, I am not going to go further into that as I think I have made my preferences clear in previous reviews, so I will just focus on the Reecho SG03 as I hear them.

In the subbass category, there is plenty. In fact, there is more than plenty. Using “Chameleon” which has become my default test track for subbass, the SG03 provide a wall of it. At a low listening level, the subbass is very present, give it some power and it just becomes a huge low end monster.

“Chameleon” is an exaggerated track, one that pushes the low end to an extreme, but even with tracks that are not quite as subbass focused, such as “No Sanctuary Here” by Marian Herzog feat Chris Jones, the low end is nothing short of brutal. The thing is, the SG03 actually manage to pull off this amount low end without it getting too out of control. I mean, there are times when “Chameleon” does sound dirty in the low end, or even “No Sanctuary Here” can feel a bit out of control when pushed, but the exaggerated bass doesn’t really have a negative affect on the remaining frequencies, or at least not to the extent that I would have expected.

Although this is a very V shaped tuning and there is certainly some bleed into the lower mids, this bleed is actually a lot less prominent than I would have thought by listening to the bass these IEMs put out. That is not to say that the transition from the bass to the mids is clean and articulate, but it is cleaner and more articulated than one would expect.

The mids are recessed in comparison to the lower registries. Depending on the choice of music, voices can go from being present enough to actually struggling, depending on the amount of bass and information happening in those lower registers. As an example, “Breezeblocks” by alt-J is acceptable while it is in a tranquil part of the track, but once the bass kicks in, the vocals disappear behind a mass of rumble.

As we move up towards the higher registers, there is presence in the 2kHz to 4kHz which manages to not be harsh but is also not quite enough to bring the presence of vocals back through the rumble. To be fair, they haven’t done a terrible job as I can understand that it is very difficult to make voices cut through the elevated bass rumble without them being overly harsh in quieter and more tamed passages.

That doesn’t mean that they sound great with vocals in simpler and quieter tracks, they still have a harshness to them that I am not fond of, but it is certainly not as bad as it would have been if they had continued to try and cut through.

In the higher regions, there isn’t a great sensation of air or extension. This is partly due to a roll off in the higher frequencies but also due to the tuning itself. I feel that the higher regions are similar to the higher mids in regards to having to counteract the bass without becoming unbearable in parts of tracks where there isn’t a huge amount of bass.

The soundstage is also not very large, although it doesn’t come across as claustrophobic, it just seems to hit a “do not pass” line off to the sides. For example, when listening to “Letter”, the pencil moves across the center but once off to the side, it seems to sit there for quite a long time. Saying this, the SG03 does manage to separate things fairly well inside the soundstage it has to work with. You can still pick out details in the higher mids and lower treble, even in the center of the mids to some extent, just don’t try to focus on bass details when there is a lot going on.

Conclusion…

I have said it already but I’ll repeat it, the SG03 are not for me. They don’t suit my tastes and don’t really make anything that I listen to sound better than I would expect. There have been a few moments of “wow” when listening to certain genres or tracks, like the first time I played “Chameleon” through them, but those weren’t really “wow, I’m impressed” moments, it was more “wow, that’s not what I expected” moments.

That doesn’t mean that they are bad IEMs, I am sure that there will be plenty of people who love these IEMs. Maybe for those who like to listen to deep throbbing Dubstep (which I do on occasions also) will find these perfect for their taste, they just don’t suit mine.

I don’t think I have mentioned the price yet, these sell for around 75€, which is not terribly expensive but is not ultra budget either. I suppose I would need to take into consideration whatever is included as far as accessories etc. before saying these are expensive, but based solely on how they sound, I feel they could be cheaper.

In fact, if these were a set of IEMs that fell into the ultra-budget category, like some of the offerings around 30€, then I would probably be interested in a set just to have in my collection of IEMs, as the bass really is… well… bassy. But as I wouldn’t use them regularly to listen to music, I wouldn’t pay the current price.

Again, this is all personal preference, as with all my reviews, they are personal opinions and are only relevant to my own taste in music and how it is reproduced. If you feel that these may suit your tastes, then give them a whirl!

[SenyorC]

NF Audio - NM2
this review is also available in Spanish on my blog here and on YouTube here

The NF Audio NM2 have been sent to me by KeepHifi in exchange for the publication of this review. They have not requested anything specific but I will include the (non-affiliate) link to the NM2 via their site as always on my blog and channel, as it is the least I can do.

As always, I will try to keep this review as sincere and unbiased as possible but it is always good that you consider the fact that these IEMs have not cost me anything.

Intro…

NF Audio is a brand that I have never tried before and to be honest, know very little about. I actually like it when I receive stuff that I know nothing about as I avoid some expectation biases and it is always fun to assign a price to something in my mind and then see how far I am from reality when I finally check the price. In this case, I was actually quite close with my guess which was fairly close to their retail price of just over 85€ (I actually guessed around 90 to 100).

Presentation…

The presentation for the NM2 was a little different to the usual packaging from other IEMs. They arrive in a fairly large box, which is actually a lot taller than I would expect and the box opens in two halves, top and bottom, or left and right (once open).

On the right side, at first I thought it was a CD that they had included, as there is a circular piece of cardboard covered foam that contains the IEMs and actually looks quite a bit like a CD. Under this disc, NF Audio include multiple sizes of two different types of tips, labelled as Balanced and Bass.

In the left half of the box, we find the user manual and under that we have a round transport case with the NF logo and the cable inside.

I would say that NF audio include the expected accessories with a set of IEMs at this price range and I don’t have any complaints about content or presentation. Yes, it could have been simpler, but the only thing that is really overdone is the size of the box, which at least makes it stand out from the norm.

Build and aesthetics…

When I first removed the IEMs from the packaging, I couldn’t believe how light they were. They also have an aesthetic to them that doesn’t really stand out as being high quality. I mean, in comparison to other sub 100€ IEMs, the IEM shells are rather simple transparent plastic that remind me quite a bit of the shells used on models like the TRN MT1 or the CCZ Melody.

This is only an aesthetic thing though, the actual shells seem to be very well built and do not show any signs of flaws that would hint at reduced durability. They are also, as I just said, extremely lightweight. That means that they are a great option for long sessions, if you find them comfortable.

I say “if you find them comfortable” as I am unlucky enough to not find them extremely comfortable. While there is nothing really strange about their shape, they are just the correct size to put pressure on the upper part of my ear, making me feel discomfort after longer sessions. They are not extremely uncomfortable, I can wear them, but they do tire my ears.

One other thing that stood out to me is the cable. It is a simple “twisted” cable that is rather thin but seems to be decent enough, very similar to a few other cables I have received recently. However, the memory wire is the springiest and snappies I have come across. It literally acts like a spring and clamps down behind the ear. This hasn’t caused me any discomfort but was certainly strange the first time I put them in. This cable will guarantee to not move while jogging, dancing or even sky diving!

I did actually choose to move on to an aftermarket cable and swap out tips, opting for using the Xelastec in order to improve comfort slightly and also, in my opinion, removes just a touch of top end (more on that in a moment).

Sound…

I must start off by saying that the sound also surprised me, as it wasn’t what I expected after unpacking them. I expected another run of the mill V shape with decent enough capabilities but nothing out of the ordinary in comparison to so many other sets.

However, what I was greeted with was a very clear, non bloated, detailed sound. I have since taken a look at the website for the NM2 and I see that they are marketed as being for monitoring. Although I haven’t been on a stage lately, I can actually see these working well as monitors, not only due to their sound but also due to the passive isolation they have (and of course the cable ear hooks which will keep them in place while headbanging!).

Starting off with the subbass, I find that there is a decent extension that is fairly well balanced with the rest of the bass frequencies. I would say that the NM2 manages to keep the presence of the low end without putting a specific focus on mid bass or subbass specifically.

These are not IEMs for those looking for a eardrum tickle but they do make sure that the lowest of notes are present and well defined.

In the midbass area, things remain rather similar. The bass does not take over the low end, nor is there any noticeable bleed into the lower mids, but it does give enough presence to bass guitars. I spent an afternoon listening to Dire Straits and I must say that the NM2 made it very easy to appreciate the work of John Illsley (the bassist, or that guy with the guitar missing a couple of strings as he is known by many) without him becoming the centre of attention and detracting from Knopler’s guitar playing or anything else. In fact, the song “Money For Nothing” from the live album “On The Night”, was presented in a wonderfully balanced way during the guitar solo, where the guitar was extremely enjoyable without overshadowing the bass at any moment.

But… this does not mean that they are light on bass or on subbass for that matter! When a track calls for it, there is plenty of bass on tap. I moved from listening to Dire Straits on to some Hip Hop (I forget exactly what, I think I was just on shuffle) and the bass hits completely surprised me, reminding me that the low end is there if the song needs it.

I also need to stress that the bass is clear and defined but will show any issues with recordings. In other words, if the track in question has too much bass, or bass that is not well recorded, the NM2 will not only not fix it, it will actually highlight the issues.

Moving into the mids, there is a bit of a dip in the centre of the region, however, as both the bass and the higher frequencies are well balanced, there is no sensation of this taking anything away from the performance.

The higher mids are rather present and, if these are going to have a negative reaction from anyone, it will probably be the high mids that are the culprit.

It is not that the high mids are bad, or extremely boosted, it is that they present the same issues as the bass frequencies. They are present in a way that balances them well with the lows, on a well recorded and mastered track. On a track that presents some harshness or excess in these frequencies, or even a lack in other frequencies, then the NM2 can once again highlight the problem.

This is a good thing, the fact that they are well balanced on good recordings, if you listen to good recordings of course. If the music you listen to is not so well recorded, or is overly sharp in the higher mids, then I think you will find that the NM2 are not really suited.

The higher frequencies are not the most extended but are good enough to not make me feel like there is anything missing in the higher range. They don’t have the top end sparkle and air that some other contenders do, but that is mainly due to their tuning and focus on the lows and higher mids.

As far as detail, I have already said that these are decently detailed IEMs. They do a good job of separating layers and instruments, allowing you to focus on details of different instruments and their playing, without difficulty.

The sound stage is not huge but is slightly above average, with the placement and use of the available space being good, allowing enough room for things to spread out. I have especially enjoyed some of the multi-mic’d (well recorded) live performances.

Conclusion…

When I opened the NM2, my mind automatically thought that it would be another run of the mill tuned economic IEM. I was surprised at what I actually heard when I started listening, as it certainly isn’t just another run of the mill tuning.

The tuning is far more balanced than I expected and it comes with very competent technical performance, along with a soundstage that is very acceptable. I can see that the NM2 would actually perform well as a monitor, but it is also capable of being a very enjoyable, not necessarily boring.

The shell design might not be the most exciting but its extreme lightweight makes it great for longer sessions. I do experience a little uncomfort over time due to fit being just that few mm off for my personal anatomy, however, that is something that is totally personal and if it is not the case with your own ears, then these would make great IEMs for long sessions and also while on the go, due to the decent isolation also.

All in all, I must say that the NM2 is a decent IEM for the price it sits at.

[SenyorC]

Reecho SG01

The Reecho SG01 have been kindly loaned to me by CqTek of hiendportable.com so I could test them out and create this review. Of course CqTek has not requested anything from me in exchange for sending these IEMs over but if you would like to see his review of these IEMs, you can find it here: Reecho SG-01 English Review - Hi End Portable

This means that my review will follow the usual rule of being as unbiased and sincere as possible but, as I always say, I have not actually spent any of my own hard earned cash to try out these IEMs, so you may want to keep that in mind.

Intro…

CqTek has actually sent me a few models of IEMs to try out, for which I am grateful as I hadn’t tried any of the models he sent me, or anything else from the brands.

The loan of these items started with a subscriber to Acho Reviews who commented that he would like to see me review the Reecho SG03. I remembered that hiendportable had published a review of them (although I couldn’t remember anything about them), so I reached out to CqTek who kindly agreed to send them to me (the SG03) and also included some more models at the same time, the Reecho SG01 being one of them.

I must say that I know absolutely nothing about these IEMs, so I did a bit of research before sitting down to write this review. From the brief search that I did, it seems that the SG01 are available for just over 40€ (at the time of my search) and features a single graphene 10mm dynamic driver.

Apart from that, I didn’t find much info, without reading reviews of course (which I always avoid doing when I plan on reviewing something myself). I do know that the review on hiendportable contains more details and information, so I suggest that you give it a visit to see more details.

Presentation…

As this set of IEMs was sent to me by someone who has the exact same issue as myself, too many IEMs which means too many boxes, which means too little space to store them all, he just sent me the IEMs in their travel case along with a cable that is not the original (without any tips or other accessories).

This means that I can’t comment on the presentation of these IEMs. I can say that the way the reached me, nicely coiled inside a semi-rigid transport case, is something i have absolutely no complaints about.

Build and aesthetics…

Again, as I just said, the included cable is not the original, therefore I can only comment on the build and aesthetics of the IEMs themselves (well, I can comment on the cable also, which is quite nice, but it is irrelevant to the product at hand).

As far as the IEMs, to be honest, it took me a while to decide if the shells were made from a lightweight alloy or plastic that has been painted to look like metal. In the end, I am 99% convinced that they are actually a lightweight metal in their totality.

This means that they are extremely lightweight and I also find them very comfortable. The size is rather and sits well inside me ear, being almost flush. Using silicone tips I found the seal to be very easy (I didn’t even try Xelastec or foam on these, which is usually a sign of immediate comfort for me) and different tips did do the usual change of sound but none of the ones I tried sounded awful.

As far as aesthetics, they remind me of something that I would associate with Fiio, with the wavy face plates. I don’t mind this look to be honest, it is something that breaks from the normal smooth finish but is not too over the top.

As far as build quality, I don’t know how old these IEMs are or how they have been treated (although I know that CqTek treats his stuff very well) but they aren’t showing any signs of wear or damage, which is always positive.

Sound…

There are times when specific IEMs or headphones inspire me to listen to certain genres of music, although the day and my mood also play a big part. In the case of the SG01, they were the IEMs I picked up to go back to work on the 3rd of January, without listening to them previously. Upon sitting down at my desk to start making my way through the hundreds of backlogged emails, I connected them to the Atom and started listening. After about 10 minutes, the SG01 just kept making me feel like listening to female pop.

Who am I to disagree with my subconscious? So the first 5 or 6 hours of my work in 2022 was spent listening to people like Alicia Keys, Destiny’s Child, Macy Gray and many other similar artists, which I feel that the SG01 did a very good job of presenting.

Not everything was perfect, I’ll mention more about the flaws, but I was happy with the tuning and quality of the music I was listening to, and that was before I knew the price of them. Now that I know that they cost 40€, I must say that I am impressed.

Anyhow, starting off with the subbass, there is a clear roll off as we reach down to the lowest notes, therefore these are not a set of IEMs that will appeal to those who want plenty of that low end rumble. The subbass is not totally absent, there is enough to appreciate that the music has information in the lowest registers but those looking to tickle their eardrums will need to look elsewhere.

In the mid/high bass rangers, I find that the presence is a little north of neutral for my preference. However, although there is a little too much presence in this area, the SG01 does still manage to be smooth and it is only on occasions when this extra bass is noticeable. For example, the start of “No One” by Alicia Keys comes across as slightly too much and can seem as though it is about to distort.

The transition from the bass to the mids also suffers due to this extra presence of mid-bass and lower mids, with the bass clearly bleeding into the mids on tracks that are a little busy in those areas. Listening to simple acoustic and vocal music, this muddyness is not overly apparent but when moving onto tracks that are a little busier in those regions, it does become a little overpowering. The sensation is very similar to when you are in a venue listening to live music and you end up standing in just the wrong spot for those 300Hz notes. The difference is that in a live venue you can take a few steps sideways and resolve the issue, whereas with the SG01, you can’t fix it that way.

The mids themselves are pretty smooth also, with no real issues until we get to the highest of the mids, the 2kHz to 3kHz mark. Around this area I find that the SG01 are tuned very similar to the Yuan Li that I like so much, however, the SG01 increase this area more than the Yuan Li, and this can present some sensation of harshness depending on the song. This increase works well to bring back presence to the vocals, and on voices that are not harsh in those 3kHz frequencies, it works very well and gives a nice clarity to the voices. However, when coming across a voice that is overly hot in the 3kHz range, the SG01 make it become rather harsh on the notes that are centered around those regions. It is a shame because this is something that attracts far more attention from me than if the peak was somewhere else. There are occasions when the harshness appears out of nowhere and draws attention to itself, only to disappear again when the damage is already done (in other words, when it has already drawn my attention to it).

Moving into the higher frequencies, I find them to be rather smooth and fairly airy for a single driver. There is a decent extension in the top end but it is not boosted, meaning that it keeps the smoothness that I find constant in these IEMs except for when the 300Hz or 3kHz issue arises. I don’t find these IEMs sibilant, at least on tracks that are not overly sibilant themselves. For example, “Code Cool” is quite listenable on these IEMs, which is a good guide line.

As far as stage width, I find that the SG01 is actually larger than the average I have come to expect from IEMs. There is a decent amount of space which, partnered with that smooth and extended treble, gives room for the music to breath and for there to be space between instruments. I wouldn’t say that these SG01 are the most detailed IEMs I have heard, nor that they are amazing at placing those details with millimetric accuracy, but they are not something that I could really complain about, there are far worse IEMs out there in this regard (some at much higher price marks).

Conclusion…

The SG01 is very close to hitting my preferred tuning for IEMs, if only those boosts around 300Hz and 3kHz were resolved. They don’t need to be eliminated, not at all, they just need to be reduce slightly. In fact, if those two areas (say 100Hz to 300Hz and 2kHz to 4kHz) were reduce slightly, the SG01 would be almost identical to the Yuan Li at less than half the price.

As it stands, those peaks don’t actually affect all the music, I can spend hours listening to certain artists and genres without any negative effects, but then with another artist of genre, the peaks will suddenly become noticeable, at least to me. I guess it is also due to the fact that the 100Hz to 300Hz is a frequency range that I focus on a lot due to being a bassist and the 2kHz to 4kHz range is something I focus on a lot due to my preference for vocal orientated music. This means that these two peaks probably stand out to me more than they would other people.

Honestly, other than that, I have no issues with the SG01 at all. I find them comfortable, they seem well built, the tuning is aimed towards my preferences, they don’t suffer from the single DD drop off in the higher registers… in general they are a decent set of IEMs for around 40€.

I am not going to rush out and purchase a set but I am glad to have been able to try them out and will certainly take more notice of Reecho as a brand.

This review is also available in Spanish on my blog here and on YouTube here.

[SenyorC]

The iFi Audio Go Blu was sent to me by the seller in exchange for money. The seller did not ask for anything other than payment, therefore, although I will do my best to be unbiased and sincere as always, you may want to consider that this product didn’t cost me any less than it will you.

Intro…

The title of this review on YouTube, in Spanish, is “ok, they were right”. This title is actually a response to all of those that have been praising this little iFi device for quite some time. I suppose the title could also reflect some of the negatives of the device pointed out by others as well. This device is not perfect (what device is?), but I’ll get on to the good and bad parts in a second.

First I just wanted to state the obvious. The iFi Go Blu is not a product that I know nothing about, as is the case with quite a few of the things I review. I have been paying attention to the Go Blu since it was announced and have been procrastinating the purchase ever since.

My main reason for putting off the purchase was that, as I have said plenty of times in the past, I am not a huge user of Bluetooth. I do use Bluetooth, I have nothing against it, I just always prefer wires when possible and only choose BT for convenience. So, I kept telling myself that I would just send up putting the Blu in a drawer and not use it.

I did keep following the threads and discussions though, and finally decided that I had to give it a try. This means that I already knew the positives and negatives opinions of others and had a preconceived expectation when I received the device. Whether this has any influence on my opinions that I am about to post? Maybe. As I said, I always try to remain unbiased but I am only human

Anyway, less rambling and more reviewing!

Presentation…

As with all iFi products, the packaging is fairly simple but well done. There is nothing special about the presentation or packaging but it never feels like it has been thrown together.

Inside a simple white box with an image of the GB on the front, we receive the Go Blu, a USB to USB-C cable, a drawstring bag for transport, a simple instruction card and the usual warranty card.

Nothing extraordinary or unexpected (except maybe for the bag).

Build and aesthetics…

Both the build and the aesthetics are excellent in my opinion.

The device has an elegant look to it, while breaking away from the typical blackness that is commonly found on so many other devices. The copper coloured plate that decorates the front along with the matching volume wheel really makes this look like something special. If we took away those two elements it would just be another black plastic box but 2 simple touches make all the difference.

Although the device is plastic in its majority, it seems to be well built while staying very light. The wheels and buttons have a good feel to them and work without flaw, with no noticeable looseness or rattling.

All I can say is that the Go Blu looks and feels great.

Functionality…

Let me preface this by saying that as soon as I received the Go Blu, the first thing I did was upgrade to the latest firmware, currently v3.05 I believe, which has some features that may not be available on earlier firmware releases. As far as I am aware, there is no way to update this via windows, however, I do believe that it can now be updated via iOS (but don’t quote me on that as I don’t have an iOS device, I just seem to remember reading that it could now be done).

The Go Blu is a unit that is very simple to operate with one hand and the various buttons are well laid out for easy access. Looking at the front we have a single button on the left (centered) and a wheel with a push button center, along with another button just below it on the right hand side. On the top we have the 3.5mm SE and 4.4mm Balanced outputs, along with an indicator LED, with a USB-C connector in the bottom of the device and a charging indicator LED.

The single button on the left is for power. Holding it down for a couple of seconds turns the unit on and off. While powered on, pressing the power button twice will trigger the voice of a lovely British lady, who informs you of current codec and sample rate. The same lady informs you of the codec in use each time you connect to your device.

Three clicks of the button enters filter choice mode, which can be cycled through standard and minimum phase by pressing the right hand button of the device. These are identified by the colour of the led on the top of the device, green for standard and pink for minimum phase. Once selected, confirm choice by pressing the power button again, three times.

The dial on the right hand side of the unit is the volume wheel, with a center button for play/pause etc.

The wheel is very sturdy and has points that it clicks to. This volume wheel actually controls the Android volume (when connected to an Android device of course) but it does it in much smaller steps. For each increase by the androids slider (in the case of a phone), you get three clicks of the wheel. That makes finer adjustments easier and much more precise.

In the case of none Android devices, I am not actually sure how the volume control works. I have used it connected to my non-android DAP via USB, with the USB output set to “fixed”, and the Go Blu has controlled the volume fine without any changes reflecting on the DAP. I also found that when I used it via USB with my DAP and connected via BT to my phone, the volume level of the phone is controlled at the same time as the music playing. In other words, listening to music via USB, when I increase or lower the volume of the music, my phone also increases or decreases at the same time. So it is somehow controlling both volume levels together, even though the DAP is set to fixed. As I said, I have no idea.

The button that is in the center if the volume wheel uses a multiple click set up. One press plays or pauses the music, two clicks next track, three clicks previous track and long press for activating the assistant. I don’t know about other devices but these commands dont work when connected to my DAP via USB and when connected to my phone via USB (without BT), 2 clicks lowers volume and 3 clicks increases it. I also found that Android volume can react a little strangely when connected only via USB, something that works fine on windows and my DAPs.

The final button, on the right hand side below the volume wheel, is to turn XBass and XSpace on or off (along with the filter cycle like I just mentioned). From Off, one press will activate XBass (indicator LED turns yellow), another press activates XSpace (LED goes blue), one more press activates high (along with a white LED) and pressing once again will take us back to all off (including the LED).

That’s it. Rather simple but includes quite a few features and manages to do so without having to rely on 20 presses of a single button or an obligatory app (although you do need an app for the firmware upgrades).

My use case scenario…

While this is probably the least useful part of the review, as you are not me, I find that sharing my use case of the device and the pros and cons I have found may help someone who is looking at a similar scenario.

As I said earlier, I held off buying the Go Blu for so long because I didn’t think I would use it for what it is good at. I don’t hate Bluetooth, I use it in many circumstances, but I always find that, if I have a choice and it doesn’t hinder me, I would much rather hook up a cable. There are plenty of times when BT is more than good enough, most of my manual tasks are done while using a BT neckband and Spotify. I don’t need to search for perfection while I have my head in an engine or something. BT is good enough, especially now, that I am happy to use it to listen to music as BGM and am happy with the neckband set up.

As a USB DAC/Amp, I felt like there were better options out there (which there are) that are dedicated to that function, whereas the Go Blu is focused on BT with USB as a secondary thing.

Well, let me just say that the Go Blu is the first BT device that has actually attracted me to listen to music with it. For the first time, I have found myself choosing it over wired set ups even when spending extended periods at my desk.

During the past 2 weeks or so, I have found that I have been content with just using the Go Blu. It has even made me get lazy and not even bother turning on my main station when getting home, just crashing directly on the sofa with the Go Blu.

But not everything is perfect and I must mention the things that could be better when speaking about a product from a manufacturer with the pedigree of iFi (especially in the portable realm) and at a price of 200€ which is not exactly cheap for a small Bluetooth dongle when comparing to other contenders with far more options.

The first negative that I am going to mention is a clip. I don’t think the lack of clip bothers me as much as many others who have expressed their opinions in forums, but I do agree that some way of connecting this to your clothing would be a big benefit. The best part of BT is the lack of cables and if I am still running a cable from my head to my pocket, it doesn’t really matter what I connect it to in my pocket.

The next is the limitation of 24bit 96kHz. I really couldn’t care less about MQA or DSD, so then not being supported does not bother me at all. The 24/96 also is not a deal breaker but it would be nice for it to be supported when playing via USB, again, especially when the competition can do it, and cheaper.

The BT range is also not exactly the best. It will work ok with my phone on my desk if I enter the bathroom (about 5 meters away), but any more than that results in drops. This is something that is common with many LDAC devices, I have gotten used to it after using Shanling DAPs, but could be much better.

I will say that the quality of the microphone was a very pleasant surprise. I expected much worse quality and to have to hold the device to my mouth but, at least in my quiet office, I can make calls with the device on the desk with no complaints from anyone.

I am also very happy with the fact that I can use it via USB while still being connected to the telephone via BT. It would be nice to be able to pair it with multiple devices via BT but USB+BT works well for me personally. One thing to note though is that each time you unlock the screen of your phone, or use it in any other way, the music will pause.

That has actually been my main use for the Go Blu. I have had it connected either to my DAP or PC via USB, with my phone connected via BT. This allowed me to use the Go Blu for calls on both PC and the phone without any changing over. However, for some reason, I did find that certain apps (for example Zoom and Skype) needed me to manually set the Go Blu as the device in their app settings, the “use predetermined device” didn’t work.

Finally, before I move on to sound, I want to mention one thing that is probably the negative that most affects me. The background noise with sensitive IEMs. Ok, this is not present on the SE output, nor on less sensitive IEMs and headphones, but with the balanced output and sensitive headphones/IEMs, it is certainly noticeable to say the least.

This is not such a big issue for me as it would be on another device as I prefer the SE output (more about that under “sound” in just a moment) and when I am using something that really needs the balanced output, well they usually aren’t that sensitive for it to be an issue. I know that iFi sells the perfect solution to this, the IEM Match, but when purchasing one of the most expensive BT dongles (again, from a company with the pedigree of iFi), a gain setting would have been a very nice touch.

So, these are just my random musings after using the Go Blu (almost exclusively) for the past two weeks or so. Now, let’s get on with the sound.

Sound…

Where to start?

I have reviewed other iFi devices in the past and I have found that they have a bit of a colour to their sound that is representative of iFi. I might be crazy and I might be imagining it, but that is what my brain has told me I hear. A lot of that is supposedly due to the use of Burr Brown DAC chips, other things may be they way that iFi amplify the signal or even the parts involved, but ignoring the fact that maybe I am just making things up, I do feel that iFi really does have a “house sound” that is slightly warmer than other options.

In the case of the Go Blu, there is no Burr Brown chip and there is nowhere near as much room as in any of the other iFi products to use the same parts, so there is no reason for it to have that iFi warmth to it. But it does. At least to some extent and on the single ended output.

Ok, so I may have gone totally crazy and I may be hearing this just because I have read about som many other people hearing it, but I really do find (or at least my brain says it does) that the SE output is warmer and less harsh than the balanced output.

There is probably no reason for me to hear one be warmer than the other, although I haven’t seen measurements, but my brain tells me it is. Using the same IEMs, with the same cable (terminated in 2.5 balanced), just swapping the adapter and from SE to Balanced, I feel that the IEMs sound harsher from the Balanced output.

Obviously the balanced output is louder until we reduce the volume level and performing a perfectly volume matched test is rather difficult with just one device (without quite a gap between listening to one port and the other), so it may be just my perception due to the volume differences, but I also feel the balanced output to be far more fatiguing over longer listening sessions.

Again, different music choices, different moods, different times of day, everything can be an influence, but as an example, I found that using the Yuan Li from from the balanced output made me feel like taking a break every hour or so, whereas from the the SE I could listen all morning (4 hours).

The XBass is great (isn’t iFi XBass always great?) although I don’t really use it that much. I have used it on a few occasions but not really too much, more for specific albums than anything else.

The XSpace is ok but unfortunately (for me at least) it is not the same as the XSpace on the iFi HFM Signature CAN. On the HFM Sig I found that the XSpace worked really well to give IEMs a bit more room to breathe up top, with the Go Blu I don’t get that same sensation of openness. It is more like a subtle treble boost (which I guess the CAN was also) that doesn’t quite give the same result.

Here is a graph of the changes in frequency response between the 4 modes (off, XBass, XSpace, XBass + XSpace):

I guess that the last thing to mention is how the Go Blu performs and sounds with more demanding headphones. To be honest, as most of my listening is done at low levels and a lot of it is quite simple acoustic based music, I probably don’t suffer as much as someone who listens loudly to Metal. I don’t personally need the speed or the volume levels that others may need.

Saying that, here are a few brief opinions on things I have tried with the Go Blu.

IEMs (in General): I have found that the Go Blu can drive any of my IEMs from the SE output without any issues. I have tried multiple IEMs and I did find that balanced opened up some of the darker sounding IEMs a little, my favourite IEMs have been things like the Jasper and the Yuan Li, running from the SE output.

Beyerdynamic Custom Studio (80 Ohms / 96dB/mW): These were actually the first over ear headphones I tried with the Go Blu, as they live in a drawer of my desk in the office. Running them from the SE output I didn’t find that I had any issues with volume or performance in general. I was actually surprised to find that I really like the combo and they make a great BT headset.

Hifiman Arya w/ Stealth Magnets (32 Ohms / 94dB/mW): I enjoyed these headphones powered by the Go Blu, from both the SE and Balanced outputs. With the majority of music I listen to, there were no issues but when listening to some heavy paced electronic music, I did feel that they weren’t performing to their capabilities. They lacked some technical performance more than actual sound issues.

Hifiman Ananda (25 Ohms / 103dB/mW): I enjoyed this combination very much. I did not find that the Ananda seemed to be lacking in any way and seemed to be as detailed as always. I actually preferred these from the SE output.

Hifiman HE400se (25 Ohms / 91dB/mW): These sounded ok with the Go Blu but somehow seemed to be lacking a bit of life. Where the Arya was lacking in technicalities, the HE400se just seemed to be a little dull in general.

Sennheiser HD6XX (300 Ohms / 103dB/mW): These headphones actually sound fairly decent on the Go Blu, at least at low listening levels. I didn’t really push these while trying them out as I had people at the side of me but I enjoyed the while I spent with them (it’s always random whether I enjoy these headphones or not anyway).

Beyerdynamic DT1990 Pro: Guess what? They sounded like DT1990 Pro’s, as they always do

That is about all I have tried out with the Go Blu, except for the Titan S that I tried out briefly today, but I will certainly be trying out new stuff I receive with it and I’m sure it will be mentioned in more reviews over time.

Conclusion…

iFi Audio seems to have a vibe with their products that invite you to listen to music. I know I haven’t had the pleasure of trying all their stuff but the ones I have, all give off this same vibe, except maybe for the Diablo. The Diablo still has that iFi flavour but is more of a “look what I can do!” kind of source than others that are more “just sit back and enjoy!”. I had that sensation with the NEO and with the HFM stack, and now I get it with the Go Blu, even though it is not using the same hardware at all.

I avoided the Go Blu for so long because I thought I would not use the BT functionality except on occasions and that there were better wired options, so it would just sit in a drawer. I have been proven wrong. Not in the fact that there are better products out there, everyone will have their own needs and things will suit them better or worse, but in the fact that I wouldn’t use it.

As I said earlier in the review, it is the first BT device that actually inspires me to pick it up even when I have wired alternatives on hand. In comparison to other things that I have been using recently, such as the Hidizs S9 Pro and the Aune BU2, it is different to both of them.

The harshness I find in the higher ranges of the S9 Pro is present in a similar way but to a more reduced extent on the balanced output of the Blu. As with the S9 Pro, I find the balanced output of the Blu to be more tiring over time. However, everything else about the Blu (except for the 24/96 limit) is superior by a mile. The build, the looks, the functionality and the fact that it inspires me to relax and enjoy the music where the S9 Pro is more of an attention seeker.

In comparison to the BU2, they are again different. I feel that the BU2 focuses on USB with BT as an extra, whereas the Go Blu is the other way around. If using Bluetooth I would no doubt go for the Blu, but when competing on wired terms, the Aune is more detailed in my opinion. Maybe more detailed is the wrong term, it is clearer with its details, whereas the Go Blu is more relaxed. The balanced output of the BU2 also avoids that harshness I mentioned, sounding exactly like the unbalanced output (in my opinion), just with more power.

I have to say that the iFi Go Blu really is a great little product. It is a perfect companion to always have on hand as it fits in an IEM case along with a set of IEMs, a couple of adapters and a USB-C to USB-C cable.

There are a couple of things that could be improved on and I would love to see more case options for it (even if they are just simple transparent cases with a clip like on the S9 Pro) but other than that, I really can’t complain.

And the final thing that matches the rest of the iFi products is that my review of them turns into a long wall of text!

This review is also available in Spanish on my blog here and on YouTube here.

[SenyorC]

The Titan S have been sent to me by Dunu for me to try them out and share my impressions. Dunu have not requested anything specific, therefore my review will follow the usual system of being as unbiased and sincere as possible, while keeping in mind that it has not cost me anything in order to try out these IEMs.

You can find the official Dunu Titan S page here: https://www.dunu-topsound.com/titan-s

Intro…

Dunu are a brand that I have had on my radar for quite a while but never had the chance to try until now. IEMs like the Zen, Zen Pro, and especially the SA6, have all been models that have drawn my attention and their modular cables are not only a great idea but have also been praised by many for their quality.

None of these items are really budget oriented though, so when they announced a new budget model in their line up, the Titan S, I was of course immediately interested. I have been lucky enough to be sent these out by Dunu to try and I am really glad they did.

Presentation…

The box is cheerful and colourful, showing an image of the Titan S on the front with specifications on the back.

From the coloured sleeve, a simple black box sporting the Dunu logo slides out. Removing the lid, we are greeted with a very nice carrying case, inside of which we find the IEMs, attached to their cable, but each covered with their own individual zip lock bag.

Under the case there is another smaller black box that contains the warranty card, (plenty of) replacement tips and a clip for attaching the cable to your shirt etc.

There is nothing really out of the ordinary about the way they are packed but it does show that plenty of care has been taken to pack them. I can’t complain about the amount of included tips (of multiple types), in fact, I really don’t think there is anything I would consider missing from the presentation at all.

Build and aesthetics…

Anyone who has seen a photo of the Titan S, which you obviously have if you have made it this far into the review, will have noticed the steampunk aesthetic going on. I have to say that I am a fan of the looks, they break away from the aesthetics of so many other IEMs (as do many of Dunu’s models) but I can’t deny that I was worried about fit. The thing with using strangely shaped and contoured IEMs is that there is a big risk of them being uncomfortable, but that is not the case with the Titan S (at least for me).

The size and shape of the shell does not cause me any kind of discomfort at all, as long as I am using tips that work for me, and they are also lighter than I expected from the photos. After trying the included types of tips, and a few more, I decided on the included red tips and they are what I have used for these impressions.

The build quality seems to be of high quality and Dunu have paid attention to detail, with things like the connectors being shaped to match the aesthetics of the shells.

That is something that some may see as a negative, the fact that changing the cable (even though it is a simple 2 pin) will interfere with the looks of the IEMs, but the good news is that the cable included is a very nice cable. It is a simple twisted cable which is quite thin but feels very nice and does not have a habit of tangling at all. It fits nicely together and I must say that the Go Blu with the Titan S connected via the stock cable looks great!

Sound…

Straight away I knew I was going to like the Titan S. The overall tuning is aimed towards my preferred kind of tuning and after 5 minutes of listening, I knew this was going to be an enjoyable review.

I have used these IEMs on my usual setups that I use for testing and comparisons between IEMs, but I have to say that I found these to work extremely well with the Go Blu and would be high on my list of choices for a general day to day IEM, but I am getting ahead of myself, so let’s do the usual walk through the frequency ranges.

Starting off down in the subbass, there is no real boost down there but it doesn’t roll off sharply either. I put them through the usual sub test that is “Chameleon” and I can’t say that I needed any more sub bass than what they gave me but that doesn’t mean that others won’t find themselves looking for a little more of the rumble. In more realistic scenarios, in other words with songs that aren’t aimed at destroying subwoofers, I would say that the low end is nicely balanced and works well with the overall tuning.

Moving into the mid bass category, they may be just slightly warmer than neutral but are by no means boosted. In fact, they remind me a lot of the bass found on the Aune Jasper, that is fairly neutral but with just a hint of warmth.

Listening to my usual acoustic based music, I would find myself feeling that they could have even added a little more in this area but when swapping over to other music that has more bass content, such as “No Sanctuary Here” by Marian Herzog feat. Chris Jones, I am very glad they didn’t. This is mainly due to the additional presence around the 3kHz mark but I will mention that in more detail in a moment.

I would say that the bass is maybe not the most detailed bass out there but it has a way of making things sound real. The timbre of things like acoustic guitars sound very natural and listening to “Long After You’re Gone” by Chris Jones, the air moved by the hits on the guitar body really stand out.

Moving into the mids, there is no sense of anything being missing at all throughout the mids, with a nice clean transition moving into the lower mids that doesn’t seem to get muddy not matter what I decided to listen to.

Reaching the higher end of the mids, there is a presence as we move past 3kHz that is slightly higher than normal and give voices a bit of a push forwards. I recently reviewed the Reecho SG01 that also had a bit of a boost in this area and I mentioned that this created a sensation of harshness with some music and vocals. This is not the case with the Titan S, the additional presence is a lot smoother than on the SG01. Where there was a more pronounced peak just over 2kHz, the Titan S just climbs smoothly to be and doesn’t create that harshness at all (as long as you are not listening to music that is already overly boosted in those frequencies).

I feel that another reason for the Titan S to avoid being overly present in those higher mids is due to these IEMs having a fairly decent extension in the higher ranges. For a single dynamic driver, aided by its overall tuning, the treble extension is more than acceptable, especially if we think of the price range these sit in.

This gives a nice sense of air to the IEMs and although the soundstage is not the largest out there, it is still at least average, with image placement and separation being quite good and making the most of the space they have to work with.

Detail and speed is also pretty good, again aided by the overall tuning, sounding clean and not making me have to strain to be able to focus on those details. Ok, these are not detailed in a way that something like a planar headphone is but are certainly more than adequate for what I usually expect from a sub 100€ IEM.

Vs Aria…

I don’t usually go into too many comparisons in my reviews, you can read other reviews of mine to see what I feel about other IEMs (that is why I try to keep my review system consistent) but the Moondrop Aria is something that needs to be mentioned. Ever since I received the Aria, back in May last year, they have been my go to recommendation under 100€ (and for many other people) and I think the Titan S are a serious contender for that spot, if they haven’t won it already.

The main difference between these IEMs, which sit at the same price point, is the tuning and the way they focus on different presentations. Where the Aria are a much warmer and laid back presentation, the Titan S focus on a brighter “more awake” presentation. The latter works much better for my preferences and the majority of music I listen to.

I don’t feel that the Titan S are leaps and bounds above the Aria as far as technicalities, I just feel that they present them in a way that makes it easier to appreciate them. Personally, after listening to both, I prefer the Titan S over the Aria but which you prefer will depend on your preferences and the music you listen to.

Conclusion…

The Dunu Titan S have been a nice introduction to Dunu for me. I obviously can’t say how they compare to other Dunu products but against other similarly priced (and some higher priced) alternatives, they are more than competitive.

When I think of Dunu, I think of their higher end models and their modular cables, but the Titan S is a set of IEMs that deserves a lot of attention.

I wouldn’t say the Dunu is the “best” anything in particular, but I would say that it scores well in every category and is tuned in a way that I find very pleasing. I feel that Dunu haven’t just released this IEM so that they have a model in a, lets face it, very popular price range, I feel that they have spent time on making it a good IEM, treating it as its own thing and not just dropping their name on something. Dunu have proved that they know what they are doing with their other models, and with the Titan S they have proved that they put effort into all of them, independently of the price.

If you are a fan of the looks (which I can imagine some people won’t be, but I am), and you like a tuning that is aimed more towards a neutral bright response, then the Titan S is really one of a kind, I don’t think there is anything like it on the market.

I am glad that I have had a chance to spend time with these IEMs and they have turned into a reference point for me under the 100€ mark.

As always, this review is available in Spanish on my blog here and on YouTube here.

[SenyorC]

In order to keep things more on topic, as this thread is inside the IEM section, I will post only IEM related reviews in this thread moving forwards.

The review of the Hifiman Edition XS has been moved to its relevant thread and can be found here.

Thanks to @Ohmboy for his assistance!

[SenyorC]

CCA CRA

The CCA CRA have been sent to me free of charge by KZ, the brand behind CCA. The only request they have made is that I publish this review including a few links that I will post on my blog. They have not made any other requests or comments, therefore, this review will be the usual combination of being as sincere as possible and avoiding any bias, however, as I always point out in these cases, the IEMs did not cost me anything to try them out and that is something you should consider when reading (or watching) my review.

To see the links, you can visit the post on my blog (here) but they did also send me a discount code that you can use on their site which I will leave here. I actually don’t know how much the discount is but the code is: DRCRA

Intro…

If you are not really into the budget IEM market, you may not know that CCA are actually a brand that is part of KZ (Knowledge Zenith) and that their products are designed and manufactured by the same people. The reason for this is something that you would need to ask KZ about but my guess is that it allows them to cover more ground and, although they compete against themselves, if you are competing against yourself, you have more chances of winning

The reason I mention this, apart from sharing the info, is because I have reviewed quite a few KZ IEMs on Acho Reviews (and tried quite a few more that I haven’t reviewed) but I have never actually reviewed, or tried, a CCA product.

It is not that I have avoided CCA for any specific reason, it’s just that models sent to me for review have, coincidently, all been KZ and the models that I have purchased (which have been more than I have been sent!) have also been KZ.

Basically this means that I was expecting KZ style with a different name, which you could say that the CRA is (to a certain extent), but what if the best KZ is actually not a KZ?

Presentation…

The presentation of the CCA CRA is very similar to the usual KZ presentation. A simple white box that shows an image of the CRA on the front with some basic information on the back.

Removing the outer sleeve reveals the IEMs in a plastic cutout at the top, with another white box below them containing a couple of sets of tips, the cable and the usual KZ style warranty card.

There really isn’t anything exciting about unboxing the CRA, with the contents being the minimum that can be expected for the price which I haven’t mentioned yet but I probably should give this review some perspective, the CRA cost less than 20€!

Therefore, for the price, I really can’t complain about the contents or packaging as I would rather something at this price have 99% of the cost dedicated to the sound of the IEMs!

Build and aesthetics…

The CRA are IEMs that use a generic shape found on a lot of models but it is a shape that is ergonomically comfortable for most people, including myself. The interior of the shell is transparent with the faceplate being silver and a small transparent window to see the insides. They are also available in black for those who prefer them.

I must say that the aesthetics of the IEMs are simple but do have some thought and effort put into them, which I can’t complain about as I find the resulting looks to be non-offensive, with nothing that really stands out but doesn’t scream “cheap” either.

The included cable is the same as the cables that have been included in all the recent KZ models, with the wires covered in a transparent silicon type material. I will say the same here as I have said in other reviews of IEMs using the same cable: it is not the best cable in the world but it is miles ahead of the older style cables that they used to include and I feel that it is more than adequate for the IEMs.

Sound…

Let me start off by sharing the first thought that came to mind when I first tried the CRA, “ Wow! These have a lot of bass! ”. If you have followed any of my other reviews (or ramblings) in the past, you will probably think that this will lead to me saying that these IEMs are not for me, as I don’t like bass. But that is not the case.

Let me just clear up the part about not liking bass first. It is not that I don’t like bass, I love bass, I’m a bass player! What I don’t like is bass that takes over the sound, making itself the center of attention. Sometimes I will be in the mood for a bass boost but in general I prefer a bass that is good while not taking over the whole sound signature. There are plenty of models out there with lots of bass that manage to keep themselves balanced at the same time, mainly because they have good bass that they control and not an exaggerated uncontrolled low end.

I have to say that the CRA are a set of IEMs with lots of bass but it is well controlled, clean, detailed and does not take the rest of the sound signature hostage. So, let’s take a look at the usual frequency ranges and my opinions of them.

Starting with the sub bass frequencies I feel is a good description as the lowest of notes on the CRA are also the most elevated. I like an increase in subbass as we get lower as this counteracts the natural hearing roll off, making things still seem balanced. The CRA have a subbass that is more than an increase, it is actually the start of a long slope that drops at the same consistency all the way to almost the center of the mids. If you look at the graph, you will see what looks like a ramp that spans from the lowest of notes (20Hz on the graph) to almost 800Hz.

Now, if I had looked at this graph before listening to the CRA, I would have immediately dismissed them as being far too bassy and probably muddy for my tastes. The thing about receiving things for review sent by others is that I (mostly) don’t get to choose what they send and this, for better or for worse, means I get to spend time with stuff that I would usually not choose. This is one of those cases, also being one of the occasions when I didn’t get what I expected (which is not always bad!).

Due to the way that the subbass and midbass (and even the lower mids) are presented, I really need to lump the subbass and midbass together as I feel they are one big part of the sound signature of these IEMs, so let’s just refer to bass in general in this review.

The bass is elevated, without doubt, being far more present than I would ever choose but at the same time, the bass is clean, articulate, controlled and… well… good. I found that these IEMs inspired me to listen to some old school Hip Hop (80s and 90s) and I found myself enjoying the sound signature of some of the better recorded stuff, such as Tupac, Snoop Dogg, etc. However, I will say that the stuff that is not well recorded, many times due to the bad quality of samples used for the instrumentals, does not translate well on the CRA. These IEMs do have a way of pinpointing issues in the bass areas, which is a good thing if you listen to well recorded music. If you are looking for something that boosts the bass on an early Eminem mixtape, then these are not the best candidate.

Listening to other styles of music, such as the acoustic based music that I usually listen to, I did find them to be a little bass heavy but not really offensive. For example, “Way Down Deep” by Jennifer Warnes, has some bass hits that can be very overpowering with bass boosted IEMs, but with the CRA it was still a pleasant listen, even with a little too much bass.

Moving over to something a little more electronic, such as “Sun is Shining” by Bob Marley & Robin Schulz, again there is far more bass than is needed but it doesn’t take over the sound and make itself the centre of attention. The bass is clean enough to let the remaining other frequencies break through without feeling that they are totally disconnected.

Obviously I couldn’t skip over my usual “sub”test on a set like this, which is “Chameleon”. There is a wall of bass with this track, as is to be expected, but it actually controls the low end on this track much better than some other sets with much less bass.

Moving on to the mids (finally!), these IEMs do have a V shaped tuning to them, with the lowest part being found around the 800Hz mark. Starting off with the transition, this is remarkably clean if we take into consideration what I would expect from the graph. However, the cleanliness of the low end again works in the CRA’s favour to not cause a sensation of muddyness or bleed. It may not be the cleanest transition ever but it is certainly not something I would complain about.

After the 800Hz mark, the presence starts to climb towards being more present in the higher mids. This is again a smooth rise and the presence around 3kHz is enough to bring voices forward a little but the highest point is around the 4kHz to 5kHz range. I feel that this helps even more with the presence when that huge low end is happening. When songs have less bass presence, I was expecting the voices to be a lot harsher and fatiguing but to be totally honest, they are not actually that bad at all. I was expecting Sara Bareilles to sound a lot harsher on her live cover of “Sittin’ on the Dock of the Bay” but she was actually quite and enjoyable listen, even though it is not the best presentation of her vocals, it is still rather impressive for a 20€ set of IEMs with this kind of tuning.

Up in the treble there is another little peak of presence that adds a some sense of air and extension in the higher ranges. The extension of the highest ranges is not spectacular but is better than a lot of other single dynamic options, with that little peak that seems to increase the sensation. This can cause some sibilance with certain tracks and voices, for example “El Cuenta Cuentos” by Nach has quite a bit of sibilance, especially if raising the volume a little. The typical test of “Code Cool” is proof that the sibilance is just a little too much.

Soundstage is on average with the majority of IEMs in the lower price brackets. It is not terrible but does not present itself as wide and open. Inside the space the placement is actually not bad though. They seem to do a fairly good job of separating layers and placing images in a way that make it seem like there is a little more space than there actually is. “Strange Fruit” is nicely presented and it is easy to place each of the voices, as it is also easy to get a feel for the live recording by Sara Bareilles I mentioned a moment ago.

Detail is also more than acceptable for an IEM at his price range, in fact, I would say that it is acceptable for IEMs that sit in a much higher price range. Things like string slides, microphone placements, or even the noise of the room that “Sittin’ on the Dock of the Bay” was recorded in, are all easily identified on the CRA.

Conclusion…

Ok, so we have a budget set of IEMs with a crazy amount of bass on tap and I don’t dislike them, in fact, I actually like them quite a bit. They are not a set of IEMs that I would personally use all the time (you all know my tuning preferences by now) but the time I have used them over this past week has been a very pleasurable experience and they are going to become another new reference point for me.

If the Titan S that I reviewed recently have become a reference point for me for their tuning and build at that price point, the CCA CRA are a reference point for me as to how to get a huge amount of bass into a budget IEM and avoid it taking the rest of the sound as a hostage.

Yes, there is a bit of sibilance that can irritate me but is more than tolerable, especially if avoiding sibilant tracks. The build is decent enough, the comfort is fine and the whole package is just a decent option.

If you are looking for a budget set of IEMs that has enough bass for even the biggest of bass heads but is still coherent and well presented, the CCA CRA are a great option. I am sure that these IEMs will make a lot of people happy.

As with all my reviews, this is also available in Spanish on my blog (here) and on YouTube (here)

[SenyorC]

Tripowin Leá

The Tripowin Leá have been sent to me by Linsoul for me to test them and publish this review. There have been no specific requests from Linsoul, although I will leave a (non-affiliate) link to the Leá via the Linsoul web site on my blog.

This means that I will do my best to be as sincere and unbiased as possible but, as always, it is a good idea to keep in mind the fact that these IEMs have not cost me anything to try out.

Intro…

Tripowin is a brand that is fairly well known in the IEM segment, having gained even more traction lately due to collaborations with HBB, from the “Bad Guy Good Audio Reviews” YouTube channel.

The Leá is a new budget option from the brand, coming in at just over 20€ and placing them firmly inside the sub 50€ category that I like to mention on Acho Reviews.

I have not had any previous experience with Tripowin so I was quite interested in giving them a whirl and seeing what they are capable of at such a budget price point.

Presentation…

The presentation of the Leá is very simple. They arrive in a small black box with a clear plastic cover. Inside there is a sponge insert containing the IEMs and two extra sizes of tips, with the cable stored below. That is all.

I am not one to complain about the contents or packaging of extreme budget IEMs, as I have said many times, I would much rather the cost be invested in the sound than anything else at this price point, and the Leá are no exception.

Build and aesthetics…

The IEMs are small and completely made of metal. The design is simple, all black, and features the brand stamped into the faceplate. I must say that I like them. Yes they are simple but they are also elegant and well made for their price point, absolutely no complaints from me in this regard either.

The included cable is not something that I like as much. For some reason it reminds me of the cable that was included originally with the HE400se (they have since changed the included cable), although the Tripowin is not as bad.

I can’t say that the cable is bad, it does its job, but it just feels cheap and plasticky. The cores are covered by what seems to be a silver foil, which is then covered by a transparent rubber material that gives that plasticky feeling I just mentioned. The 3.5mm connector is plastic, as are the slit and the chin slider, although the 2 Pin connectors are metal. A positive side to the cable is that it doesn’t have a preformed shape for the ear, but I stil find that it doesn’t feel nice resting over the ear.

The fit also disagrees with me for some reason. I had quite a struggle to get them to fit and seal properly, trying all kinds of tips (although I reverted back to the included L size tips for this review) and they never really felt comfortable in my ears.

This is obviously something that will be completely different for each individual, however, in my case, I just don’t find them comfortable.

Sound…

(note that all songs mentioned in this review are clickable links that will allow you to listen to the song on the streaming platform of your choice)

If we start off by looking at the graph that compares the Leá to my personal preference target, we can see that they are really not that far away from my preferences, especially with regards to the mids.

This would mean that, on paper, I would find them to be tuned in a way that that suits me, however, while I have listened to many songs that I have found pleasurable on the Leá, it has been an experience similar to the fit and comfort, I have had to actually pick specific music and specific volume levels to enjoy them.

My listening volumes are usually quite low, which helps the Leá quite a bit, but when increasing the levels a little, I have found that they can quickly become harsh. I have also found that tracks that I usually don’t have issues with will again sound quite harsh on them, whereas other songs I expected to be problematic were not actually bad, as long as volume levels are kept in check.

Let’s take the usual walk through the categories and I will try to explain more as we go.

In the subbass region, there is some roll-off as we reach down to the lowest notes. Using the usual “Chameleon” by Trentemoller, there is sub bass but it is not a rumbling low end, being more present in the higher ranges of subbass and into the midbass.

The midbass does add some presence to the low end, doing it in a very clean way, but it always seems to remain rather polite. Now, I know that I am not someone who likes overly present bass, and my preferences have not changed, it is just that it seems to be lacking a little warmth in the lows, making instruments feel a little sterile. Listening to “Way Down Deep” by Jennifer Warnes, there is enough bass to give those hits a little life but again, it just comes across as being too polite.

Moving into the mids, the transition is pretty good, the bass doesn’t seem to invade the lower mids, keeping the lower mids present but without bloat, seeming to actually be rather detailed in these areas. I expected busy tracks in these regions, such as “The Room” by Ostura, to lose their composure in these areas but it is not the case, guitars and basses remain well separated and although I would like some more warmth to fill them out a little, it is nice to be able to separate the instruments in this area without needing to focus.

As we climb towards the upper mids, this is where I start to get a little cold with these IEMs. Now, there are tracks that sound fine in these areas when volume is kept low, but once volume levels are increased, or certain songs start playing, they suddenly become harsh and even painful at times.

For example, “Walking on the Moon” by The Police, has the guitar strikes that happen throughout the intro and these are not the most enjoyable experience if my volume levels were anything above very low. However, while the guitar strikes are not pleasurable, around 18 seconds in, there is a hit on the rim of the snare (at least I think it’s a hit on the rim of the snare) which starts to happen with each guitar strike. This rim strike is outright painful.

As “Walking on the Moon” is not exactly a modern recording, we could blame the recording, if it wasn’t for experiencing the exact same things on other tracks such as “Breezeblocks” by Alt-J. I could literally name a bunch of songs from my usual test list that cause this experience. From Michael Jackson’s “Billie Jean” to “Bang Bang” by Dr. Dre, as soon as the volume is anything above my usual listening levels, I suddenly find them to become harsh and even painful.

Moving up to the higher registers, the same story continues. At low listening levels there really isn’t much to complain about, the extension is decent and they are clear and articulate, however, once the volume level increases…

Listening to the usual sibilance test, “Code Cool”, they are a little hot in the “S” department. They are not the most sibilant set of IEMs I have listened to, far from it, but the harshness I have been mentioning doesn’t help them feel any smoother in this regard either.

Conclusion…

I am at a bit of a loss with these IEMs. The tuning is good and the performance is good, when the music and the volume level allow. As soon as I leave the comfort zone, things become unpleasant for me very quickly.

I am very much aware that opinions differ greatly from one person to the next and that means I can’t say that the Leá are bad, they just are not for me. I could use them at low background levels and not dislike them, but as I said, my normal listening levels are low, so I think that anyone who likes to raise the volume more than I do (which I should immagine is the majority of people) will discover those sharp edges that appear.

The build is great and the price is also, so I think that they are worth trying out if you feel these are something you would enjoy but they won’t make my list of recommendations.

As with all my reviews, this is available in Spanish on my blog (here) and on YouTube (here)

[SenyorC]

Koss KEB90

I recently reviewed the Koss KPH40, from the new Utility Series from Koss, and mentioned that they had also sent me the KEB90, a set of IEMs from the same series that also makes use (or can make use) of the Utility Cable.
The same disclaimer that I posted in that review also stands for this one, while Koss have not requested anything at all, not even that I post links, it is good to take into consideration that it has not cost me anything to try out these IEMs.

You can find out more about the KEB90 on the official Koss site here: Utility Series - Koss Stereophones

Intro…

If you haven’t read my review of the KPH40, you can find it here: Koss KPH40 Utility Series. While these are obviously completely different earphones, in the KPH40 review I went into some detail about the series and more specifically the Utility cable in the “Functionality” section.

While I will still mention the Utility cable in this review, I will not go as far into details and include a “Functionality” section in this review, so if you are contemplating the Utility cable, please refer to my previous comments.

As a brief recap, Koss have recently launched the Utility series, which feature two sets of on-ear headphones (the KPH40 that I reviewed and the PortaPro) along with a set of IEMs that I will be focusing on today. One of the main things that stands out about this new series is the use of a detachable cable, allowing you to remove the included 3.5mm TRS cable and swap it for the Utility cable, which includes a DAC/Amp and controls on the cable, terminating in USB-C or Lightning, meaning it can be connected directly to a phone, tablet, laptop, etc.

Although, at the time of creating this review, the KEB90 are not yet available in Europe (in fact, the whole Utility Series will become available in the near here in Europe), Koss did inform me that these IEMs will have a retail price of 89.99€ and the Utility Cable, which is sold separately, will cost 49.99€.

When I reviewed the KPH40, I said that they are up against some tough competition from inside their own brand because, let’s face it, there really isn’t anything quite like them. The KPH40, KSC75, PortaPro & KPH30i, are 4 models that I feel compete amongst themselves, all being worthy of consideration and the “best” being dependent only on the subjective tastes of the listener.

In the case of the KEB90, they have a lot more competition. There are so many sub 100€ IEMs on the market, some of which are extremely good, that it would be impossible to name all of them. This means that Koss needs to do something special in order to be in the running, and while Koss is a well known brand name, that isn’t enough to cut it in this IEM world that seems to have multiple new sets released every day.

So, enough with the chit chat and lets get to the real subject, how do the Koss KEB90 perform?

Presentation…

As with the majority of their models, Koss opts for a very simple and basic packaging. Although in this case they are a little more complex than the usual “cardboard only” packaging. They arrive packed in a simple white sleeve that shows the KEB90 on the front with some more basic info and details around the sides and on the back, with a black box that slides out from the inside.

Inside the box we receive the IEMs and the standard 3.5mm cable in a smaller box, a few sets of tips in different sizes of silicone and two sets of foam tips, also in their own small box, along with a Koss branded pouch for transporting them.

The tips I find quite pleasant and are what I have been using throughout this review. A nice little touch is that the cores of the tips are coloured, blue for left and red for right (although they will still work the opposite way ), which makes the sides instantly recognizable when picking them up.

The storage/transport pouch is rather simple but it works and seems to be quite durable. It’s not quite a case but I am not going to mention other brands that include nothing at 20 times the price.

My opinion of the Koss packaging and presentation is that I like the fact that they usually only use cardboard, packed in a way that keeps them safe for shipping and then can be totally recycled once open. However, in the case of the KEB90, there is a large plastic insert, which, while still being quite simple, does mean I cannot make my usual comment about applauding the use of only cardboard.

Build and aesthetics…

The shape of the IEMs is a little different from usual, as are most things Koss. The metal shell is like a larger version of the Tanya, with an opening on the back that seems like a vent, although covering the vent does not seem to drastically change the sound, which leads me to believe that it is mostly aesthetic, maybe with a small vent inside.

The nozzles are offset and point towards the front, meaning that they are actually quite comfortable once inserted. I still maintain that the flat cable is the best cable that I have tried from Koss, although I prefer it on the KPH40 than on the KEB90. On the IEMs it can be a little microphonic when moving my head around.

The build quality seems to be good and actually inspires me with far more confidence than other Koss models do, but as I said in other reviews, I have never had an issue with Koss, therefore I don’t expect these to have any issues as far as build.

The aesthetics, while not being anything extraordinary, do have a bit of a “Utility” vibe to them, which I actually like. They are not going to win any prizes for beauty but they are certainly not ugly.

Sound…

As with all my reviews, the songs mentioned are clickable links that will allow you to listen to the track mentioned on the streaming service of your choice.

I have tried the KEB90 from my usual setups but to be honest, I find that the Utility Cable works really well with them and that is what I have used for the majority of my listening test. As I mentioned also in the KPH40 review, I can’t spot any difference between the Apple Dongle and the Utility Cable, which I see as a positive because the Apple Dongle is actually a pretty good device (especially if we factor in price). The sound with the Utility Cable is just as good and has the extra benefits of volume control, play/pause and a microphone.

Starting from the bottom of the frequency range, these IEMs have plenty of subbass. In fact, they have a crazy amount of subbass, and mid bass, and lower mids. I think that the KEB90 are actually the IEMs with the most low frequency presence I have heard. The overall signature is very “V” shaped and I must say that the higher frequencies are boosted in a way that actually makes these IEMs listenable, but I will get to the higher frequencies in a moment.

Just to put this into perspective, here is a graph that shows the KEB90, the CCA CRA (which I found to have a large subbass/bass presence) and my preference curve:

As you can see, the low end is almost off the map, being almost 15dB above my personal preference and 10dB above the CRA.

This obviously results in a sound signature that is far bassier than I personally like, but I have to say that I do not hate it. It is not something that I would choose to listen to all the time but it does provide a sound signature that can be very exciting.

There is ample low end rumble for anyone no matter how much of a bass-head they are. This can become overpowering on some tracks that are already boosted in the low frequencies, such as “Bury a Friend” by Billie Eilish, although her voice doesn’t quite disappear as much as I expected it to with the huge wall of bass.

The “Chameleon” test is basically a rumbling massage of the eardrums, with a huge amount of bass, although the higher ranges still manage to break through somehow.

As the whole of the low end is boosted, all the way up to almost 1kHz, there really isn’t much point in trying to divide the frequency ranges, so let’s move straight to the higher mids and their transition into the lower treble.

As you may have noticed on the graph above, the tuning is quite close to that of the CRA, rising to a peak around 5kHz, which is a little higher (in frequency) than the CRA but is also about 5dB more.

I would have expected this to make the sound very harsh and it is actually not the case. Vocals do come across a little recessed, as is to be expected with such a sound signature, but they are nowhere near as absent as I would have imagined. That peak actually balances out the sound signature quite well, although it is still clearly a V shaped profile.

Beth on “Don’t You Worry Child” in not as harsh as she is on many other sets with less boost in these areas, and although she is not as forward as she usually is, she doesn’t get lost too much in the mix.

There are times, such as the break in “Shot Me Down” by David Guetta, where the upper ranges do sound a little too harsh due to those parts of the song not having the wall of bass to smooth things out, but it is really limited to those kinds of occasions. Think of it like when a DJ boost the highs and cuts the bass, it can seem so wrong but as soon as the bass comes back it balances out.

The extension is not great, there is some treble but it is much more focuse on the lower treble (and higher mids) than on the higher treble ranges which roll off fairly quickly when we hit the “Air” regions.

I will say that the soundstage is actually fairly decent, again, much better than I expected from this kind of presentation. Listening to “La Luna (binaural)” by Ottmar Liebert and Luna Negra, there seems to be plenty of space for the instruments to spread out around you.

Detail is not the KEB90’s strong point but it doesn’t sound mushy, which would usually be the case with this amount of bass, and it actually separates things fairly well, all things considered. The bass also seems to be kept clean and fairly precise, something that is quite an achievement with this quantity.

Conclusion…

I’m sorry to say that the KEB90 sound signature is not for me but that doesn’t mean that I haven’t been able to enjoy listening to them. I wouldn’t choose them to listen to the majority of my usual music selection but when I feel like some of “dat bass”, they are a fun listen.

The problem in this case, I feel, is the price point. For 90€ there are a lot of good IEMs out there, such as the Titan S or the Aria. Admittedly the KEB90 aims for a completely different crowd with their tuning, and I can actually see a lot of general consumers listening to these and finding them great, as the bass is certainly not what you expect. In the realms of things like consumer grade JBL, Skullcandy and the other mainstream brands you find in electronics stores, I feel that the KEB90 can easily give them a run for their money.

However, moving back into the audiophile side of IEMs, I think that there are better options for less money. I mean, the CCA CRA is less than 20€ and does similar things in a more balanced way. I am probably not the most ideal person to value these, as I am not one for large amounts of bass (except on occasions when I am in the mood), but I personally wouldn’t rush out to buy a set.

The other side of the coin is that they are very well built and you have the option of using the Utility Cable with them.

In fact, I really feel that “Utility” is a good way of describing the KEB90, they are a rugged set of IEMs that provide a ton of bass that will impress most general consumers even in noisy conditions, they are small enough to always keep in a pocket and I think that they have a market that they will be well received in, I am just not that market.

As always, this review is also available in Spanish on my blog (here) and YouTube (here).

[SenyorC]

Effect Audio Axiom

The Axiom have been kindly sent to me by Effect Audio as part of the international tour they arranged. The only request was that an honest review of the IEMs was published on Head-Fi. No other requests or comments have been made but, as always, it is good to consider the fact that it has not cost me anything to try these IEMs.

You can find the official webpage for the Axiom here: Earphones

Intro…

This review has actually been an interesting one to put together, as there are many things that break away from what is considered “usual”. As I have done my best to avoid knowing anything about the Axiom, this has meant that I have had quite a few discoveries as I have been reviewing this set of IEMs. I will try my best to put all of these experiences into this review in a comprehensive way but please forgive me if I jump around a little as we go on. It will probably also turn into quite a long review, so refreshments may be a good idea

Starting with the brand, Effect Audio is a company that is better known for it’s high end cables, with various models ranging from around 100€ all the way up to nearly 4.000€. The cable which I have received with the Axiom I believe is the Cleopatra, which retails at around 800€ (although it is discounted to around 500€ if purchased together with the Axiom). I will discuss more about the cable as we work through the review.

The IEMs, which I believe are the first IEMs from the brand, were released late last year and, together with an even more recent release of the Axiom XP which are not yet available, are the only IEMs on their website. The Axiom have a retail price of just under 1.500€, with the new XP version coming in at a price that has yet to be confirmed but is forecast (according to Effect Audio) to cost around 2.300€.

This puts the Axiom straight at the top of the list of most expensive IEMs I have reviewed, even without factoring in the cable. In fact, the cable is more expensive than the vast majority of IEMs that have been featured on Acho Reviews. While price is not a guarantee of quality, it is something that creates expectation and also means that the smaller details are scrutinised a lot more, at least by me.

Until now, my favourite IEMs have been the Symphonium Helios, which also happen to be the most expensive IEMs I have reviewed, until now. So will the Axiom prove to be a step up?

Presentation…

The unboxing of the Axiom has been one of the most bizarre unboxing experiences I have had with IEMs. In fact, it is probably the most “different” unboxing experience I have had with any headphone related product.

Inside the usual brown shipping box, I received a black box with a flip-top lid along with a simple plastic zip lock bag, showing the EA logo on the front, containing the cable.

Inside the black box there was a smaller box, sealed in transparent plastic, this time more colourful and with the branding of the IEMs. It may sound silly but it actually took me a while to work out how to open this box. I mean, it’s not that it is difficult to open a box but I didn’t expect it to be opened via a pull tab/wire that runs around the box.

Inside the green box, we get another black box, this time with the logo that you see in the image above. Removing the lid from this box finally presents us with the IEMs sitting inside a cardboard cutout in the centre.

Below the IEMs, in more cardboard cutouts, we find the included accessories. These are a second set of modules (more about that shortly), 3 sets of tips, a small screwdriver and a couple of plastic cards, along with something that also surprised me, a bag of dried flowers instead of the usual silica gel packet.

I actually feel the dried flowers are a nice and original touch, however, the above is all that is included.

Now, I have said many times that I do not complain about the lack of accesories as I prefer the money to be invested in the IEMs themselves rather than a bunch of accessories that I may or may not use, but… when spending 1500€ on a set of IEMs, I do expect a little more than what is included here.

I applaud the lack of plastics used in the packaging and although they could have also used a lot less cardboard (don’t forget that I had to open 4 boxes to get to the IEMs), I don’t really have any complaints about the way these are packed and presented, it is only the lack of contents that I find lacking at this price point.

The reason, according to Effect Audio, that there is no cable included with the IEMs, is that the majority of people will not use the included stock cables and will opt to use an aftermarket cable, so they are cutting down on waste. While I can understand that, and am all for saving the planet by reducing as much waste as possible, I feel that a set of IEMs at this price should be at least usable straight out of the box.

They do state the following on their website: “Please note that every Axiom will not ship with a stock cable. Customers are highly encouraged to reuse whatever they have or may also choose to opt-in to our perpetual Cable Bundle programme.” Their Cable Bundle program does offer a discount on their normal cable prices, however, the cheapest cable they offer to bundle is $291 or in the case of the Cleopatra cable I have received, $599 (reduced from $799), which now puts the IEMs firmly in the 2000€ range.

This is without mentioning the fact that no case is included, only 3 sets of tips in total, and basically nothing that you would expect to find inside a normal set of IEMs at a much lower price point, nevermind 2k.

The Cleopatra cable comes in a zip lock bag as I mentioned. Now I am not certain if this is the actual retail packaging or not, but it would have been nice if they avoided plastic here also and opted for a simple but more elegant cardboard solution.

Build and aesthetics…

Let me start by saying I have absolutely no issues at all with the build quality or aesthetics of the Axiom. The IEMs are built using a combination of Aluminium (shell), Titanium (nozzle) and Natural Stone (face plate). They are well built and although aesthetics are a totally personal choice, I think they look elegant and have no doubt that they look like an expensive set of IEMs.

The shape and size of the IEMs is also nice and comfortable, although I did have some issues with fit. I find the nozzle to be rather short and added to the weight of the Cleopatra cable, I always felt them pulling on my ears and struggled to get them to seal correctly. This was solved by swapping to Xelastec tips, which made them much more comfortable for me and eliminated the seal issues.

They are not extremely light weight but they don’t feel too heavy when wearing them, especially considering the use of natural stone in their build. According to my scales (which I weigh all IEMs on, as can be seen on SoloSpec), they come in at 10.2 grams per IEM, which is not exactly lightweight.

The Cleopatra cable seems to be very well built but is not my personal choice if choosing a cable. I find it to be rather heavy, creating the pull that I just mentioned, and the outer clear cover is not my preferred choice either, I tend to find them a little sticky.

All in all, in regards to build and aesthetics, I feel that a lot of time and effort has been put into them and it shows.

Sound…

Before getting into the usual sound process, let me mention the included modules. The Axiom comes with two sets of modules, one with 2pin connectors and the other with MMCX connectors.

On the Effect Audio website, they state the following: “ The MU (Modular Unit) System stands for our new approach into designing in-ear monitors. Each module houses the connectors and other key electronics within a compact unit. This allows the user to dictate how each Axiom is to be used, rather than the norm of having users adjust to the designs offered by manufacturers.

Stay tuned in the coming days as we strive to unlock additional features with the MU System. ”

Now, here is a comparison of the Axiom using the two different modules. For these measurements I used cables from a different manufacturer because I have two identical cables that just have different connectors, so the Cleopatra cable was not used for this specific graph:

As you can see, there is basically no difference between the two (the minor differences can be due to insertion and fit differences on the rig), which lead me to believe that the only thing that changes are the connectors. I actually reached out to Effect Audio and they did confirm that there will be different modules available soon with different sonic qualities but the two included are in fact only different in the connectors used.

While EA say (in the paragraph above) that we should “ stay tuned ” as they “ strive to unlock additional features with the MU System ”, I can’t help but feel that at the moment they are including a extra set of modules for no reason in each package (I personally would not use the MMCX having the 2Pin version, and I guess it would be vice-versa for others). Would it not be more cost effective to have just one module included, offering the choice of MMCX or 2Pin at purchase, and maybe investing those savings into including a cable? Or a case? Or something?

Anyway, I digress, as usual, so let’s talk about sound.

I have used the Axiom connected to a selection of set ups but most of my listening time has been via the iFi Audio Gryphon, using the single ended output. Although the cable I have received is balanced (2.5mm), I found that I got best results using it on the SE output for reasons that I will mention as we go on.

Starting off from the subbass, there is a fair amount of presence here but as we reach the lowest notes, there is a roll off. This may not be as apparent as it would be if there wasn’t such a large presence of mid bass (which I will get to next), but focusing specifically on subbass, and putting them through the usual test of “Chameleon” by Trentemoller, there isn’t as much rumble down low as there could be, being more focused on the midbass.

Speaking of midbass, I feel that here we have the opposite problem. The midbass is overly present and runs well into the lower mids. They do actually do quite a decent job of staying quite clear and detailed given the presence that they have in these regions, but I can help but notice that they aren’t getting the most out of these frequencies.

Listening to my usual selection of acoustic based music, this additional presence does add warmth to the lower end but it is too much to be considered natural. Listening to things like “Give Me One Reason” or “Crazy”, I found that the low end of the guitars were overly warm and did not seem natural, at least as I am used to hearing them on other set ups. Yes, I know that “natural” for one person is “unnatural” for the next, but all I can do is base my opinion on having heard these tracks hundreds of times on systems ranging from budget IEMs through to higher end planars and speakers (such as Genelec and Meyer Sound set ups).

Things that fall into the more rock side of things, such as Rage Against The Machine or Led Zeppelin, do not come across as being affected as much as the simple tracks that I usually listen to, but I feel that it is more due to the effects being used on the instruments and the fact that other frequencies jump out more, which I will get to in just a second.

The mid range does seem to be a little recessed as we reach the higher end of these frequencies, however, it is not terrible. Vocals can seem to take a little step backwards depending on the presence of the low frequencies but the issue I have found the most is when we start to climb out of the mid range and start entering the higher frequencies.

There is a peak somewhere in this range that makes vocals, especially female vocals, have a harsh sibilance to them that can be quite unpleasant. It is not on every song but it is present on a very large portion of the music that I listen to, along with a large percentage of my test tracks that I use to evaluate IEMs (which you can see here).

I did find that this sibilance was improved (or made worse) depending on the source. In fact, the Axiom does seem to be far more affected by the source than any other IEMs (or headphones) that I have had experience with.

Using the balanced output of the Gryphon, this sibilance was exaggerated quite a bit, making them quite unpleasant to listen to, especially if volume levels are increased (my usual listening levels are quite low). I played around with different sources (Go Blu, BU2, Asgard, Atom, etc.) and found that the sibilance was most kept in check by using the single ended output of the Gryphon while being fed (via USB) from a Shanling M2X. I don’t know why the M2X seems to create less sibilance than when I feed the Gryphon from my PC but that is what I have discovered.

Other than this sibilance, I actually found the treble to be quite smooth, with a roll off in the upper registers that I feel could be improved. It doesn’t come across as dark but this lack of extension is made more apparent by the (excessive?) presence of the mid bass and lower mids. Again, I would not consider these a dark set of IEMs, just a set with a bit too much mid bass and not enough extension in the highs.

As far as soundstage, I find them to be rather good. It is not a soundstage that is huge, in other words it’s not an Arya v2, but it is quite impressive for a set of IEMs. The impression of soundstage is also helped by the fact that the image placement inside said space is also rather good. I had no issue locating and placing instruments, I did not have to strain to be able to separate layers, they just seem to be well laid out and have space between them.

The detail of these IEMs is also good and, although I wasn’t wowed by the details, they do show that the drivers used in these IEMs are of good quality and are very capable of performing very well. I feel that the Helios is more detailed, or at least that is the impression that they give me, but I have no complaints about the details present in the Axiom.

Conclusion…

I have to say that I am very grateful to Effect Audio for sending out these IEMs for me to try as it has been a review that has kept me on my toes. Each step has been something that I wasn’t quite expecting and although there are many things that have left me wanting more, I have found that I enjoyed the experience of reviewing something that is so different to everything else that has come across my desk lately.

Unfortunately, different is not always better. I feel that Effect Audio has had some ideas that are very good but not quite executed as well as they could have been.

The build and aesthetics are great, in my opinion, and I feel that they do give a sensation of a premium product, of which I have absolutely no complaints.

I understand where they are coming from with their idea of not including a cable. Yes, it is probably true that the majority of people dropping 1.5k on an IEM will also purchase a cable of their choice to go with it. However, apart from the fact that I would expect something of this price to be usable straight from the box, I would have also thought that a cable manufacturer would have wanted people to get a taste of how good their cables are by including a decent cable in the box with the hopes that it would lead to them moving up in the chain with the same brand.

The removable module is also a good idea in my opinion, when it gets to the point of offering different modules with different sounds, however, including modules that only change the connection method is not really something I see as a benefit, especially when not including a cable. If someone is going to purchase a separate cable, or reuse the one they already have and love, then they already know what connection type they want and just offering the Axiom in either 2Pin or MMCX as a choice when purchasing would be more than enough (in my opinion of course). Either include two different sounding modules with the same connectors or just include one module, with other modules available separately (even if at a later date), and drop the price, or include a cable for the same price.

The sound is not something that has impressed me too much. I feel that they are a set of IEMs that are quite capable and could be made to sound very good with some slight changes in the tuning (which maybe future modules will bring), but at present they are not something that I would choose based on sound alone, especially not at this price. Again, a different module that changes (fixes?) this would be great, but that will add more to the overall price (unless you get to choose the included module upon purchasing) and would mean I would end up with two modules that I don’t use.

I am sorry if this review comes across as negative, which I am sure it does, but at the price of 1500€ (or >2k€ with the cable), it leaves the door open for a lot of critique and focus on the small things that maybe would not be so apparent at a lower price point.

As I said, I like the fact that Effect Audio are thinking outside the box, it’s refreshing to come across things that are different, I just hope that future modules and models can expand on these ideas and improve the implementation of them.

As always, this review is also available in Spanish on my blog (here) and on YouTube (here)

[SenyorC]

Tipsy TTROMSO Pine Stone Sea

The Tipsy TTROMSO Pine Stone Sea (more on the name in a second) have been sent to me by Linsoul in exchange for me publishing this review. They have not made any special requests or comments, meaning that I will try my best, as always, to be as impartial and sincere as possible. However, as always, it is good to consider the fact that these IEMs have not cost me anything.

To find the TTROMSO via Linsoul, please visit the version of this review published on my blog to see (non-affiliate) links.

Intro…

Tipsy is a brand of IEMs that I had honestly never heard of until Linsoul reached out to me about them. A brief search does bring back another few models from the brand but I honestly cannot comment on them as I have neither tried them, nor read anything about them. I see this as a positive because the less I know about a product before I listen to it, the less expectations I have, making it easier to avoid any preconceived impressions.

The TTROMSO Pine Stone Sea are priced at 80€ at the time of publishing this review which is not quite extreme budget level but is still at the more affordable end of things.

The name TTROMSO, according to the Linsoul page, is in honour to the town Tromso, located in the north of Norway, which served the brand as inspiration. I am not quite sure how the original town name Tromsø developed the extra T (maybe in translation?) and the addition of “Pine Stone Sea”, which I guess is in reference to the colour, does make for quite a mouthful when referring to them. Therefore, throughout the review, I will refer to the Tipsy TTROMSO Pine Stone Sea, as just “Tromso”.

Presentation…

The presentation of the Tromso is actually quite nice for a set of IEMs in this price range. I know I say that I am all for the budget being spent on IEMs and not packaging, but if the IEMs sound good and the presentation is good, then I am certainly not going to complain.

The box is fairly simple but has a nice cheerful colour scheme, matching the colour of the IEMs. Inside the box, the contents are also adequate for something at this price range.

We get the IEMs themselves, a cable that I am quite fond of, 3 sets of silicone tips, 1 set of foam tips, a storage bag, a microfiber cloth and the typical warrant documentation etc.

Build and aesthetics…

The IEM shells are hand painted and have quite a nice finish to them. Using blue and green as the colour scheme, they do remind me of the colours found in the Northern skies, and reflected onto northern waters, hence the “Pine Stone Sea”.

The shape is smooth, following a usual ergonomic shape, with quite long nozzles. I found that by using the medium silicone tips included, the fit was good and they seal quite deep, resulting in a passive isolation that is superior to usual. I used these on a few flights during this week and had no issues with being able to block out the drone of the engines.

The cable is also quite nice. It is a simple fabric covered cable but uses nice hardware (even though the 2 pin connectors are plastic), feels quite comfortable over the ear and I did not experience any issue with microphonics.

Sound…

(as always, the tracks mentioned in this section are clickable links, allowing you to open the song in the streaming service of your choice)

Starting from the lowest notes, as I always do, there is a little roll off as we get down to the lowest subbass frequencies. While these are not the most powerful of IEMs down in these ranges, they still have enough subbass to fill in the low end well and I didn’t really find my usual “Chameleon” to be lacking. Ok, they are not going to vibrate your eardrums but they are far from anaemic.

Moving into the midbass regions, there is a bit of extra presence here in comparison to my personal preferences, with them running a little over into the lower mids. I can’t go as far as to say that they sound muddy or that there is a lot of bleed into the lower mids, but they do present a sound signature that is not the cleanest in this regard.

Listening to acoustic instruments, such as guitars, basses, etc. This extra presence does give them a bit of extra body and warmth, trading a little clarity and detail for more of a pleasant and relaxed sound.

On tracks like “Free Fallin’”, the timbre of the acoustic guitar is not quite as I would expect it to be but it doesn’t sound bad. The difference in timbre of the acoustic guitar is more like I would expect when listening in different venues. Not that it is wrong, it is just a little different to what I am used to.

Moving into the mids, there is a bit of overlap like I just mentioned, again, it is not something that sounds bad, just a little warmer than one may expect. As we move up towards the higher end of the mids, while there is a little climb, there really isn’t much of a boost until we get to above the 4kHz mark. This does mean that vocals are also a little bit further back than I would like but, once more, they are not bad. The low end, combined with this smoothness around the 3kHz mark, adds to the overall smooth presentation of the IEMs.

As we start to get into the higher ranges, it is easy to notice that treble starts to roll off, however, it doesn’t just fall off a cliff. Personally I would like a little more sensation of air and brilliance up top, but once more, the Tromso is not terrible in this regard, it just continues with it’s overall sound signature.

The soundstage is about average for a set of IEMs, nothing extraordinary but not claustrophobic, with placement of images being fairly decent but without pinpoint accuracy. The details in general are there, they are just subtle and don’t scream “look at all this detail!”.

Conclusion…

I find that the Tipsy TTROMSO Pine Stone Sea, are quite a relaxing set of IEMs. If you are looking for a bright set of IEMs that scream detail at you, then these are not going to fit the bill, however, as a relaxing “enjoy” kind of signature, I find they work quite well.

I find they look good and are comfortable (which are obviously very personal opinions), performing at a level that is decent enough for their price if you are looking for this kind of sound signature.

The included accessories are not out of this world but they are more than adequate for something in this price range, although maybe a case rather than a bag would have been nice. Again, not really something to complain about.

All in all, I find that they are an overall pleasant package, both in sound and quality, that should be a good option for those looking for a smoother overall sound.

As always, this review is also available in Spanish both on my blog (here) and on YouTube (here)

[SenyorC]

Tanchjim Ola

The Tanchjim Ola have been sent to me by HifiGo in exchange for the publication of this review. They have not requested anything other than the inclusion of links to the Ola on their site (which you will find below), therefore, my review will be as sincere and unbiased as possible. Having said that, it is still a good idea to consider the fact that it hasn’t cost me anything to test these IEMs.

You can find links to the Tanchjim Ola by visiting the version of this review published on my blog (here).

Intro…

Tanchjim are a brand that do not need any introduction in the world of IEMs. Personally I have only listened to their budget orientated Tanya (which remain a very good option for their price) but was very interested in trying out the Ola when HifiGo reached out to me.

I haven’t actually seen any information or reviews of the Ola as it is a recent release, therefore it is another case where I have been able to avoid any kind of expectations, even though I do expect something decent from Tanchjim.

Presentation…

The presentation of the Tanchjim Ola is certainly impressive for a set of IEMs that costs just over 35€ at the time of writing this review. Inside a white cardboard sleeve showing an anime girl on the front (which also arrived with a separate anime postcard), we get a simple but elegant grey box, sporting the Tanchjim logo.

As far as contents, we receive the IEMs, the cable, 3 sets of silicone tips labelled as “Bass Enhancing”, another 3 sets labelled as “Treble Enhancing”, a storage bag and plenty of documentation.

It may not seem like a lot but it is more than can be expected at the price and everything is well packaged, giving a fairly premium feel for something that costs less than some sets of ear tips.

Build and aesthetics…

The Ola are a bit of a break from the norm, with a shell that is shaped like a teardrop. The outer half of the shell is some kind of aluminium while the inner half is transparent plastic. This actually gives them a nice and clean look while being very lightweight and rather small.

The nozzle is angled forwards and makes these a set of IEMs that are very comfortable when finding the correct fit. I say “finding the correct fit” as I did have issues getting them to seal with the included “Treble Enhancing” tips, as the fit is so shallow. However, with the “Bass Enhancing” tips I find them to be comfortable and after listening to them, I don’t think I would opt for treble enhancement anyway (more on that under sound).

The included cable is not bad but it is not my favourite style of cable. The positive side is that it doesn’t tangle easily and it is not microphonic. The hardware is also metal and of good quality.

In general, I would say that the build quality is good and although aesthetics are very personal, I don’t think that many people will find it offensive at all.

Sound…

Let me start off by saying that the Ola are quite mid focused towards the brighter side of things. I actually enjoy the overall sound signature quite a bit but I have found myself activating the XBass on either the Go Blu or Gryphon for certain songs.

Also, while these IEMs are rather lean on the subbass side of things, I feel that these are a set of IEMs that don’t sound like they measure, at least in the lowest frequencies.

Here is my graph of them compared to my personal preference target:

(all my measurements can be seen and compared on achoreviews.squig.link)

Now, as you can see on the graph, the subbass rolls off a lot and is way below my personal target in this area. However, when listening to the IEMs, I don’t get the impression that the graph gives me. Yes, they are lower on subbass than many other alternatives but they are not completely lacking in subbass like the above measurement would suggest.

Putting them through the usual “Chameleon” test, I find that they are obviously not a wall of low end rumble but they still have enough subbass to appreciate the song, especially if engaging the XBass I mentioned above.

Once we are clear of the subbass, the sound signature quickly conforms to my preferences in the midbass and lower mid zones. I would say that the midbass is right on target for me, enough to give some body to the low ends of guitars and basses, while not coming across as too warm.

Listening to more electronic music, such as “Sun Is Shining”, I feel that the majority of people might like a little more bass presence, the same will probably apply to those who listen to a lot of hip-hop. I did find myself listening to things like “Ambitionz Az A Ridah” with bass boost once again activated.

One thing that is certain is that the bass is very clean and articulate, with absolutely no sign of bleeding into the lower mids. This makes complex bass playing very easy to appreciate, such as “Elephants On Ice Skates” or the fretless playing on “Diamonds on the Soles of her Shoes”.

As we move through the mids, I have absolutely no complaints, everything is clean and nicely balanced. There is nice presence in the upper mids, making vocals sound forwards and again very clean. This is at the expense of some of the more harsh voices coming across as exactly that, harsh.

Moving into the higher frequencies, there is a slight hint of sibilance which can be more or less prominent depending on the recording. Paul Simon, in “Diamonds on the Soles of her Shoes” I already mentioned, was a little too “hot” for me on occasions, as were some of the higher percussion notes on things like “Still D.R.E”.

There seems to be plenty of extension in the higher treble and I have no complaints about the sense of air or clarity. Seriously, my only complaint in these ranges is due to certain songs that coincide with that extra bit of harshness and sibilance, but is it far from being on the majority of music.

Soundstage is around average for a set of IEMs, maybe towards the higher end of average, but I do feel that the space has been well used. The placement of images and layers helps give a bit more of an “open” sensation and while it is by no means spacious, the Ola never feel too closed in.

Conclusion…

As I said at the beginning, I didn’t know anything about the Ola but I did have some expectations from Tanchjim and I feel that they have been met and exceeded at this price range.

Obviously I am going to enjoy something that resembles my preferences more than someone who is more into elevated bass, but even if we just ignore sound for a second, the overall package of the Ola is very impressive for 35€.

As far as sound, I feel that they have come up a little short in subbass quantity and could possibly have even given the midbass a little more presence, in order to meet the preferences of more people. However, while I do find myself using Xbass with some tracks as mentioned, I am a fan of the overall sound of these IEMs. I feel that they are IEMs that allow you to focus on the details of the music and the detail that they achieve at their price point is rather impressive.

Yes, they can be improved upon, just a little more in the lowest notes and make that upper harshness/sibilance go away by just a touch, and it would fit my overall preferences almost to a tea.

In all fairness, I am actually looking for negatives to point out. For the price of these IEMs and what we get in exchange, I really don’t think they deserve any complaints.

As always, this review is also available in Spanish both on my blog (here) and on YouTube (here)

[SenyorC]

7Hz Timeless

Intro…

I am currently on a business trip and while I am here, Antdroid (of audiodiscourse.com) has very kindly loaned me multiple sets of IEMs to try out.

First, I must apologize for the lack of photos, and the poor quality of the photo that I have included, but I am stuck in a hotel room with just a cell phone and very limited light etc.

My intention with this “Mini Review” is to share my impressions of the various IEMs after using them for approximately one day only. I usually spend at least a week with an IEM before I create a review, as I find that more time spent can sometimes make certain flaws more obvious or can also make something grow on me. Therefore, please take these “Mini Reviews” for what they are, impressions after using the IEMs for only a brief period of time.

My intention was to first post a Mini Review of the Shouer S12, a set of IEMs that has impressed me quite a bit, however, Shouer have informed me that they have sent me a set to review, which I should have by the time I get back to Spain. Therefore, I am going to wait and post a complete review of the S12, as I feel that they deserve it without doubt.

As I have already tried the S12, a lot of what I am going to mention about the Timeles is in comparison to the S12, which may not make a lot of sense due to the fact that I haven’t posted a review of the S12 yet, but once I get to posting my review of the S12, this mini review will probably make a lot more sense.

Presentation…

As these are on loan, I can’t say that they include all of the packaging and contents. In fact, I know that all contents are not included as there is only one set of tips and I know that these include more, therefore I am not going to really talk about presentation.

I will say that they do include a carry/storage case that is basically a full metal box, which is a few milimeters thick and is way too heavy to use to carry these IEMs around. However, the box is quite impressive and I must give 7Hz bonus points for originality.

Build and aesthetics…

The shape of the Timeless is quite original also, definitely a break from the norm. They are a large circle shape that fits just outside the ear, with a nozzle that is quite long but makes them quite comfortable. Personally I find the S12 more comfortable but the Timeless are not bad in this regard either.

The IEMs are metal and seem to be well built, with no obvious signs of wear, although I don’t know exactly how long Antdroid has had them, nor how much he has used them.

The included cable is a bit basic but uses nice hardware and to be honest, I prefer the lightweight of it over the thicker cable included with the S12.

Sound…

In the subbass department, I find that there is less quantity than with the S12. It is not rolled off enough for me to complain but if given the choice, I would prefer to have a little more presence in this region. I found tracks like “Bury A Friend” enjoyable but would choose to add a little more subbass if possible.

In the midbass range, I must say that I find them to be very similar to the S12 and really don’t have any complaints. The low end of bass guitars and other instruments have enough presence to be enjoyable, at least to me, without being overly done and becoming too warm.

The mids are also very similar throught the lower and middle ranges, however, reaching the higher end of the mids, I find that the Timeless are not quite as forward in the vocals as the S12. I mean, the S12 are not exactly very vocal forward but the Timeless are even less so. Saying that, I cannot say that the vocals are recessed, they are not, they are still present enough for me to not complain, just that the S12 has that little bit more.

I also have no issue with the treble areas of the Timeless. The treble is not quite as smooth as on the S12, which does sometimes make it seem a little more detailed (only on specific songs). The extension and sensation of air is also good, and while it is not as smooth as the treble on the S12, it does seem to extend a little further, or at least that is the impression that it gives me.

The detail I would say is also slightly better on the Timeless in comparison to the S12, although there is very little in it. The S12 seems to be a little more smoothed over in the treble department, which does affect the sensation of detail, but I still think that the Timeless has the edge here.

Conclusion…

This has been a bit of a strange comparison to the S12, a set that I haven’t reviewed yet, but to be honest, they are both excellent IEMs in my opinion. There is very little difference between them as far as sound qualities but I have found myself preferring the overall tuning of the S12. Again, it is very close and it is minor things that only really stand out when comparing them side by side, but I must say I am more of a fan of the S12.

But personal preferences aside, the Timeless are an excellent set of IEMs for their price and I would be more than happy to have them in my collection, probably getting more use than the majority of other IEMs I have.

I think that anyone buying the Timeless is making a very good purchase and will not regret doing so (if they fit their personal preference as far as tuning of course!).

As alaways, this is also available in Spanish both on my blog (here) and on YouTube (here)