Acho Reviews (in English & Spanish)

IEMs / Other In-Ear Monitors (IEM)
42

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 :wink:

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)

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43

Tripowin LeĂĄ

The Tripowin LeĂĄ 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 LeĂĄ 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 LeĂĄ 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 LeĂĄ 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 LeĂĄ 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 LeĂĄ, 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)

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44

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 :wink: ), 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).

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45

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 :wink:

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)

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46

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 Tromsþ 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)

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47

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)

48

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)

6 Likes
49

7Hz Eternal

Intro


Todays mini review is of another set of 7 Hertz IEMs, the 7Hz Eternal.

If you don’t know what these mini reviews are, I suggest you check out the Timeless mini review (here or just read the post above this one :wink: ), where I explain why I am doing these mini reviews. Again, I apologize for the lack of photos and the poor quality of the single photo I have included.

I would like to shout out to Antdroid and Audio Discourse once more for sending me these IEMs to try out, it is much appreciated.

Presentation


All I can say here is the same as I said with the Timeless, I can’t speak about the full presentation as I am not sure exactly what was included.

The box and the contents I have received are the same as with the Timeless, the only thing that has changed is the colour of the packaging (and the colour of the contents).

Build and aesthetics


Again, these IEMs are almost identical to the Timeless except for the colour and one small aesthetical change. The faceplate of these IEMs is transparent and shows what looks like a driver through the glass (perspex?). However, this is not the actual driver, so it is really only a gimmick and I can’t say that I am overly fond of it.

The colour is a bronze colour instead of the black on the timeless, which I do quite like but I wouldn’t call them spectacular, in fact, I prefer the basic black of the timeless.

Sound


I actually thought that these IEMs were another set of planar magnetics, an update to the Timeless. While I was listening to these, I was comparing them in my mind to the Timeless and I must say that I am not a fan. However, they are actually a set of dynamic driver IEMs but I am still not a fan.

The subbass is almost identical to the Timeless on paper, however, it sounds like it is less present, due to another part of the tuning that I will get to in just a second. This makes it seem like the subbass is quite rolled off and I found myself wanting far more than was given.

The midbass is the same story, it is almost a clone of the Timeless, yet the Eternal seems to have less to the ear. Again, I found myself wanting more. Yes, the bass boost on the Gryphon can remedy this but in a fair comparison, the Timeless wins and the S12 wins by an even larger margin.

The biggest problem with these IEMs, in my opinion of course, is the huge peak they have at 5kHz. I have said in the past that I seem to be quite sensitive to 5kHz peaks and the Eternal to me just sound harsh and even quite painful on occasions. I must say that I found this part of the frequency to be irritating at best and it really stopped me from enjoying these IEMs.

The details and soundstage I feel are just as good as on the Timeless, however, as I found the overall sound to be irritating, I wasn’t really paying much attention to the detail.

Conclusion


So far I have tried three sets of IEMs in a row and I have to say that these have been the least enjoyable by a large margin. I found that I had to really make an effort to keep listening to them to make these brief impressions and in the end, I just gave up. I spent around a day with each of the other two sets yet the Eternal only managed to stay in my ears for about a couple of hours and that was enough for me to call it a day.

I’m sorry to say that I have not enjoyed the Eternal at all and would blindly pick either of the other two (or many many other IEMs) before choosing these.

That doesn’t mean everyone will hate them, we all have different tastes, but these are certainly not for me!

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

4 Likes
50

Fiio x Crinacle FHE: Eclipse

Intro


In the collection of IEMs that Antdroid (from Audio Discourse) sent me to check out, there are a couple of collaborations with Crinacle. The ones I am going to “mini review” (I explained more about these mini reviews in my post of the Timeless, 2 posts above this one or here) today are the Fiio x Crinacle FHE: Eclipse.

This is a hybrid set that uses 1x DD and 2x BA drivers, with the tuning done by (or at least in collaboration with) Crinacle. These are actually also the first set of Fiio IEMs that I have ever tried, so it was interesting to give them a whirl.

Presentation


As with the other sets, these are on loan so I can’t really be certain about what is actually included in the package. I will say that there is both a Pelican style hard shell storage/transport case, along with a soft case, which is a nice touch.

Build and aesthetics


The IEMs are a generic shape that works very well for my ears, with a simple but elegant aesthetic and they seem to be very well built. As far as build and aesthetics of the IEMs, I have absolutely no complaints.

The included cable is a good quality cable but is a little bulky for my personal tastes. It is not terrible, I have had much chunkier cables, but I would prefer slightly less weight if possible.

All in all, they are a good set in this regard, my only complaint would be the use of MMCX connectors, something I am not fond of.

Sound


As mentioned in my other mini-reviews, I have not spent more than a day with these IEMs so I have formed brief impressions but these could change (for better or for worse) if I was to spend a more extended period with them.

Starting with the subbass, I find them to fit my tastes quite well in this regard. There is enough subbass rumble for any of my music selections and it still stays pretty well controlled, giving the low end enough power for me to be happy.

The midbass is a little north of my preferences but I do not find it offensive, I find it fills out the low end well and gives a nice warmth without being overpowering. The low end also avoids bleeding into the lower mids and is generally quite a pleasant listen, which is quite a bit of praise for someone who does not like a lot of bass.

The midrange is pleasant, most of the time. It is a little recessed, with an overall tuning that is quite V shaped, but sometimes there will be certain vocals that appear as quite harsh. This is not really a regular occurrence but on certain tracks, the upper mids will be a little too violent, creating that harshness on certain voices and higher ranges of mid centric instruments. Again, it is not all the time, just certain tracks and artists that seem to clask in their tonality with the tuning of the Eclipse.

The treble I find to be very pleasurable and to have a good extension, with a nice sensation of air and openness for a set of IEMs. The soundstage isn’t huge, they are IEMs, but listening to things like “La Luna”, which is a binaural recording, is very enjoyable.

Conclusion


I had no idea how much these IEMs cost (I really haven’t taken much notice of Fiio) but after listening to them all day and finding them very easy going and pleasurable, I checked the price. I was very surprised to find that they are around 130€, a price that I feel is very reasonable for what you get,

They are not my favourite IEMs ever, but I have enjoyed listening to them and I think that they are a very valid option for a vast amount of people, offering a better than average sound for a price that is by no means overly inflated.

I must say that I have been pleasantly surprised by the Fiio FHE Eclipse.

This is also available in Spanish both on my blog (here) and on YouTube (here)

3 Likes
51

SeeAudio x Crinacle Yume Midnight

Intro


The last mini review I posted (more about what these mini reviews are included in the Timeless review which is 3 posts up or here) was of the Fiio collaboration with Crinacle, the FHE: Eclipse. Today I am going to give my impressions on the other Crinacle collaboration that Antdroid has kindly loaned me, the SeeAudio Yume Midnight.

This is another set of 1x DD + 2x BA, as with the FHE, with a price that is a little higher than the Fiio option, but still not crazy expensive, coming in at under 200€

Presentation


Once more, I can’t comment on the whole contents of the Midnight as they are on loan, but I will say that the box is huge, there is a rigid storage case included and what seems to be plenty of anime related stuff.

Build and aesthetics


The IEMs are a very generic and comfortable shape, at least for me, with shells that are finished in a carbon fibre type style.

I don’t think they are anything special in this regard but they are not offensive and do not stand out from so many other options, except for a logo on one side and the name “midnight” on the other.

The cable is the simplest I have tried so far this week but it is also the lightest, something that I find a plus for my tastes.

Sound


Starting with subbass, there is quite an elevation, very similar to the FHE Eclipse, which provides plenty of rumble in the lower registers when the track calls for it. In my opinion, the quantity is not excessive and fits my tastes quite well in this regard. I feel that it is enough for most people to be happy unless they are all out bass heads.

As with the Eclipse, the midbass is a little more than I would choose but it is decent and gives a nice warmth to the low end without becoming overly bloated or muddy, keeping the transition into the lower mids fairly clean. It is not something I would consider amazing in the bass range but it is a sound signature that should please most people, however, I do find it to be a little simple in this respect. I don’t find that the bass provides all the details that could be presented.

This is not really a complaint as such, I mean, it does handle the bass well, but when listening to things like Miller, Clarke & Wooten, the three bass guitars do seem to blend together a little, losing some of the separation that I would expect to hear.

The mid range is also similar to the Eclipse, at least until we hit the upper mids. This means that there is a slight recession in the mids, due to the overall V shaped tuning, making some vocals not stand out as much as I am used to on other sets.

The upper mids and lower treble is smoother on the Midnight than on the Eclipse, with less presence around the 3kHz mark, adding to the sensation of the vocals taking a step back. This is not bad but is not my preference as far as the presentation of vocals and mid range instruments are concerned.

The treble has good extension, better than what I am used to with IEMs in these price ranges, and I feel that there is a good sensation of air, however, I again feel that it is a little lacking in the separation of layers, even in these high ranges. Don’t get me wrong, the sound is by no means bad, just not really exciting.

The details are present but as with the bass, they do seem to blend together a little, making it seem a little boring on occasions. This is good for general relaxing and listening to music but if you want to focus on details, then I feel that other sets do it better.

Conclusion


I don’t really have any complaints about the Midnight, but I am not really thrilled by them either. They are a good set of IEMs, they don’t really do anything wrong. They could be a little more exciting and they could do a better job of separating details, which I feel are there, just that they are not spaced out between themselves, making it a little more difficult to enjoy the nuances of certain instruments.

I feel that this set could make a lot of people very happy but I also feel that the Eclipse is similar enough to suit just as many people and comes in at a lower price. The extension of the treble is better on the Midnight but I think the Eclipse presents details in a better way.

Both sets are good for their price but I don’t feel that the extra cost of the Midnight is worth it over the Eclipse.

Just to not lose the habit, this is available in Spanish both on my blog (here) and YouTube (here)

5 Likes
52

Unique Melody Mest Mk2

Intro


As we get to the end of the mini review series (to know more about these mini reviews, check out the Timeless mini review, a few posts up or here), did I save the best until last?

Todays mini review is of the Unique Melody Mest 2, a set of IEMs that uses a quadbrid combination of dynamic, balanced armature, EST and bone conduction drivers, coming in (at the time of creating this mini review) at around 1100€.

As these do not come in their original packaging, due to them being kindly loaned to me by Antdroid (of Audio Discourse), I am going to skip the presentation and move straight to the 


Build and aesthetics


The Mest 2 are a lightweight set of IEMs, using a fairly normal shape with nice smoothed edges and generally a very comfortable result, at least for my personal ear anatomy.

At a simple glance, they are a dark and simple colour with a few gold flecks, however, looking at the closer and in better light, they do have a lot more going on. The left side has the UM logo in silver lettering, while the right side sports the word Mest.

They seem to be very well built and I find them to be pleasant looking although nothing extraordinary, they don’t stand out and scream “look what I have in my ears”.

In general, I have no complaints at all in this department.

Sound


I am going to get straight to the point and say that I expected more from the Mest 2. Now, they are by no means bad, in fact, they are very good, but I haven’t had any “wow” moments while using them. They are very capable and have a good overall sound to them, I am just not blown away.

Again, let me make it clear that they are not bad and I am certainly not going to complain about their sound (or capabilities), I just do not find them exciting, maybe because I had hyped myself up to expect more, preconceived opinions do that (sometimes for better and sometimes for worse).

In the subbass region, they have plenty of subbass to keep me happy and they are very articulate in the way they present it. Listening to test tracks like my typical “Chameleon” test, there is really nothing I can complain about in the low end.

The midbass is also very good, both in presence and in substance. There is enough to keep me (and probably most people) happy. It is also very controlled, like the subbass, without it seeming to lose control at all and it doesn’t invade the mids. In comparison to the Helios, another 1k set of IEMs that really did impress me, the midbass is possibly the only part that I feel the Mest 2 does a little better, at least in quantity.

The mids are very balanced and although on paper I would have thought that the reduced upper mids would make things sound a little recessed and pushed back, it is not the case, at least to my ears. I was surprised to find that things were smooth yet easily identified and at no time deid I find myself straining to enjoy vocals.

The upper frequencies are well extended, with a nice sensation of air an spaciousness, while still remaining smooth and not presenting any unexpected peaks or harshness.

The details are also good, although not excellent in my opinion. This could be due to the smoothness of the tuning tricking my brain into thinking it is not retrieving as much detail, as there really isn’t anything missing, I haven’t come across any tracks that I found to be lacking in detail in comparison to other IEMs, it is just quite a bit smoother.

Conclusion


As I said at the beginning of the sound section, the Mest 2 are a very good set of IEMs, maybe even excellent, but they just haven’t wowed me.

There is two possible reasons for this, one is that I was spoiled by the fact that the first >1k IEMs I heard were the Helios, a set of IEMs that really did wow me, and since then things have just been not quite as impressive.

The other option is that I have created a memory of the Helios that is better than they actually were, meaning that even the HElios would possibly be a let down if I were to listen to them again.

The only fair comparison between the Mest 2 and the Helios would be to actually listen to them side by side and compare. However, even though that gives me another excuse to finally purchase a set of Helios (as if I needed more excuses), I will be returning the Mest 2 to its owner and I have no intention of purchasing a set.

I guess all of this is to say that the Mest 2 is great. I have no complaints. I just expected more excitement for 1000€. This is possibly (probably?) not even the fault of the IEMs, rather it is my own brain, but I can only share what I feel. It is also possible, as I have said in my other mini reviews, that spending more time with something will sometimes make me appreciate it and like it more (or sometimes less), so this should be taken as what it is, my personal take on a set of IEMs after only spending a day or two with them.

As this is the last in the series of these mini-reviews, I just want to thank Antdroid once more for loaning me all of these IEMs, and to those of you reading, if you haven’t checked out audiodiscourse.com yet, do it now!! :grinning:

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

7 Likes
53

Ikko Opal OH02

After some time away from my review desk and a series of mini reviews, I am finally back to my normal set up and it is time to start making my way through a few things that have piled up while I was away.

The first on the list is the Ikko OH02 Opal, a set of IEMs that has been kindly sent to me by Hifigo in exchange for me publishing this review. As usual, the only request has been that I include links to the IEMs via their website, therefore my review will aim to be as unbiased as possible, although it is always good to consider the fact that these IEMs have not cost me anything.

You can find the (non-affiliate) links to the Opal by visiting the version of this review published on my blog here.

Presentation


Starting off with how these IEMs arrive, I must say that the packaging and contents are quite impressive and are certainly original, moving away from the usual way in which IEMs in these ranges are usually presented.

The box itself is large and colourful, as you can see in the image above, with a sleeve that has a shaped cutout to allow the artwork to show.

Inside the box we get the IEMs, as is to be expected, placed in a foam cutout that also includes an Ikko branded pin in a combination of gold an black. Personally I have no use for a pin but I always mention unexpected contents and I don’t think I have ever received a pin with a set of IEMs before.

Also in the box we get a cable, which I quite like except for the black covering for the pre moulded ear shape (which detracts from the nice aesthetics of the cable in my opinion) and the fact that they use MMCX connectors. To be honest, the MMCX connectors seem to be of good quality and look like they will last fairly well, but I guess MMCX is just a personal phobia of mine.

Also included is a leather (imitation?) carrying pouch that is also different to any other pouch or case I have received in the past. It is actually more of a pouch that I would use for other things more than IEMs, and is closed by means of a leather string that wraps around the pouch. I can’t say that it is a great solution for IEMs but again, they deserve points for originality.

The last thing to mention as far as contents, other than the documentation that is in a nicely branded envelope, a couple fo replacement filters and a cleaning/MMCX extraction tool, is the amount of tips included. There are a lot. I don’t think that this is the most tips I have ever received but it is certainly the largest selection of uncommon tips I have received. As the nozzles are oval in shape (I’ll mention more about that in a moment), there is also a large selection of oval shaped tips included, with one set that is possibly the largest I have ever seen, along with a selection of hybrid foam/silicone tips. In total there are 9 sets of tips, so there should be something for everyone, well, maybe everyone except me, more on that in the next section.

Build and aesthetics


As far as build quality, while all plastic (or at least I think they are all plastic), they do seem to be decently made and I see no issues with the build at all.

In terms of aesthetics, in my opinion they are also good looking. The set I have received are a dark green colour, with a small transparent green tinted window that shows a circuit board below. As with the packaging, the aesthetics are original enough to be different but without being so off the wall to look strange.

When it gets to comfort, here I wasn’t quite as lucky, at least with the included tips. As the nozzles are oval, as I mentioned above, they have also included oval shaped tips. In my case, no matter which way I tried to orientate the tips, and no matter which size, I never felt that I could get a proper seal and they never felt overly comfortable. The result with some of the other tips was better but still not something that I enjoyed too much. In the end, I opted for Azla Crystal tips and these solved the issue of seal but I still didn’t find them overly comfortable.

The angle of the nozzle just seems to be a mm or two away from matching my ear anatomy and I always feel like they are putting pressure on the front of my ear canal. I will say that they are very light though, so there is no sense of fatigue from weight, even after long sessions of many hours, just that little issue with the pressing on my canal.

Obviously we all have different ears and this is only an issue for me personally, I imagine that these will be extremely comfortable for most people.

Sound


As we are back to my normal review format, I will mention that, as with all of my normal reviews, each track mentioned is a clickable link that will allow you to open the song in the streaming service of your choice. The measurement of these IEMs can also be compared with any other IEMs I have reviewed here: https://achoreviews.squig.link

Starting, as usual, from the lowest ranges, the Opal have quite a roll off in the subbass, however, due to a fairly boosted midbass range, they never seem to be lacking in the low end. If isolating the lowest notes, then yes, the roll off is noticeable, but I can’t say that it is something that I notice while listening normally.

Into the midbass, here there is a boost that does make itself the centre of attention in the low end. The mid bass is controlled fairly well and actually works ok for a lot of modern pop music, such as “Get Lucky”, but when moving to more acoustic focused music, I feel that the midbass focus makes it seem a little unnatural. Even with electrical based instruments as the focus but with simple songs, such as “Crazy”, I find that it is a little too present. In the case of this specific song, it causes a sensation of reverb in the midbass of the electric guitar and I can’t say that it sounds very natural.

Moving into the mids, there really isn’t too much bleed due to the fact that the midbass is fairly well controlled, meaning that while it is very present, it doesn’t interfere too much with the mid range. There is a slight dip in the centre of the mids and while the higher midrange doesn’t climb as much as it does on many other set, the vocals stay present for the most part.

I say for the most part as, depending on the instruments in play, the midbass boost can become a little overpowering and make the voices suffer a little to be present on certain tracks. This is something that I experienced on a lot of hip hop, such as “Bang Bang” for example, where that midbass can make the instrumental sound impressive but make the vocals seem to struggle.

One thing I will say is that voices do not come across as harsh, even “Don’t You Worry Child” is quite smooth in the vocal range (a track that I find harsh on a very large selection of IEMs).

Moving into the treble, there is actually quite a decent job done in this area to compensate for that midbass boost and not make the overall sound seem dark. There are occasions on which I find certain tracks to also be a little unnatural in the higher ranges but in general I feel that a good job was done to balance out the highs with the lows without becoming overly harsh in the upper ranges either.

The sensation of air and spaciousness is not bad, considering the low end boost, and while the soundstage is not large, more towards intimate I would say, it still doesn’t seem too cluttered, with things having space to breathe.

Last of all, detail. I don’t think that these can be considered highly detailed IEMs, yet they still manage to give a sensation of everything being in its place. I wouldn’t pick up these IEMs to find small nuances but at the same time, I feel that they can be enjoyed without the sensation of things missing.

Conclusion


The Ikko Opal OH02 is its own thing. From the packaging, to the aesthetics, to the sound, everything is different to normal but not so different it is “off the wall”.

As far as sound, it’s like an IEM that manages to be V shaped without actually being V shaped. Depending on your choice in music, that midbass boost will either be very impressive or irritating. If you enjoy vocals on hip-hop, or on bass heavy RnB, then that midbass does get in the way. I also feel it can be problematic with some of the simpler vocal/instrument tracks. However, when moving to more modern pop, it can actually be the opposite and work quite well.

At a price of less than 80€, I feel that you are getting a good deal on these IEMs considering everything you get, but the sound signature will not be for everyone. They by no means sound bad, they are just different, and whether that difference is for you, only you can decide.

As always, this review can also be found in Spanish both on my blog (here) and on YouTube (here).

3 Likes
54

Letshuoer S12

These IEMs are a set that I was very interested in trying out and while I was in Miami, Antdroid very kindly loaned them to me. I got to spend a day or so with them, with a very positive first impression, and was about to create a mini review for them when Letshuoer reached out to me, offering to send them to me for review. I was obviously very happy to do a full review of them and a few weeks later, here we are.

Therefore, these IEMs have been sent to me by Letshuoer in order to review them and give my detailed impressions on them. They have not made any specific requests (although I will share a non-affiliate link to them on my blog here) and my review will aim to be, as always, as honest and unbiased as possible, although you should always consider the fact that these IEMs did not cost me anything.

Intro


There has been quite a surge of planar magnetic IEMs lately, gaining quite a lot of popularity due to them having improved a lot since previous releases. Two of the most popular have proven to be the Timeless and the S12, the set I have here today.

I did get to try out the Timeless while away and published a mini review of them that you can find here. In that mini review, I compared them quite a bit to the S12, as I had tried them side by side for a day or two, and I mentioned that the comparison probably didn’t make much sense due to the fact that I didn’t actually publish the mini review of the S12. I just mentioned above the reason for not publishing the mini review and I am very happy I have got the chance to test these IEMs over a longer period so that I can share more detailed impressions.

I also mentioned in all of the mini reviews (unless I forgot to mention it in any of them) that when I spend a more extended time with a set of IEMs (or headphones), my opinions may change over that period. I may grow used to some of the things I find strange at first and learn to like them more than I do over a short period, but it can also go the other way, I may start noticing things that I didn’t at first and which make the IEMs not as pleasant for me.

In this case, my impressions from the short period I spent with them have not changed much, if anything, I like them even more than I did over the short period I spent with them. I said in the 7Hz Timeless mini review that personally I preferred the S12 (although both are great sets of IEMs) and although I haven’t had a chance to spend a longer period with the Timeless, I still maintain my decision.

Anyway, enough chit chat and let’s get on with the important stuff.

Presentation


The packaging of the S12 is simple, with a basic white box and an image of the product on the cover. Inside there is nothing out of the ordinary either, but that doesn’t mean that it doesn’t come with everything that a set of IEMs should.

Inside the box we get the IEMs, multiple sets of tips (3x sets of foam in their own hard case and two types of silicone, 3 sets of each type), a nice compact carrying case that is smaller that what is usually included but is still big enough for the S12 to fit without issues, and a cable.

You can choose which cable you would like including when placing an order for the S12 (via the official page), choosing between 3.5mm and 4.4mm terminations, with an option of silver or nebula grey for the IEMs also. In my case, I went for the 4.4mm cable and the cable is of very good quality, although it is a little thick for my personal tastes. While it is not what I would pick personally, the cable has actually grown on me a lot over the past week as far as comfort, and there is no denying it is a great looking cable.

So, everything you need is included in the package, I cannot complain at all in this sense.

Build and aesthetics


The build quality is good, there are no apparent issues that I can spot, and everything in the package seems well manufactured, including cable, IEMs and tips.

As far as aesthetics, these are quite simple. The shells are fully metal and are finished in a simple, no frills, silver colour (in my case). Obviously aesthetics are just as personal as comfort but they don’t strike me as anything that should offend the vast majority of people.

I just mentioned above that the cable is a great looking cable, so again, I have no complaints.

As far as comfort, I find them very comfortable, fitting my ears perfectly and although I would prefer a slightly lighter weight cable, it has also grown on me (possibly aesthetics taking a part in this). For tips, I had been using Xelastec tips for a lot of my listening time but I decided to try out the spring tips that are included with the Moondrop Chu (review of the Chu coming soon) and I have found that I not only find them to have great sound but to also be extremely comfortable without the hassle of the Xelastecs.

As I just said, comfort is as personal as aesthetics (or even more so), so everyone is going to be different, but I find these more comfortable than the Timeless and also less “attention seeking” with regards to aesthetics.

Sound


Just a reminder that all tracks mentioned in this section are clickable links that will allow you to open the song in the streaming service of your choice, allowing a direct reference of the song I am talking about.

Here is where I fell in love with the S12. Anyone who has followed my headphone reviews will probably already know that I am a planar magnetic lover, and in the case of IEMs, it seems to be that I am of a similar fashion. I have had the Audeze iSine for quite some time now and I like them, except for the fact that they need a ton of equalisation in order for them to have a decent tuning. The S12 does not have that issue. The tuning out of the box is great, in my opinion of course, and I have found that they are probably the most pleasurable set of IEMs for long listening sessions that I have spent time with so far.

Moving through the usual sound categories, starting with subbass as always, there is no roll off here, at least not that I can hear. Putting the S12 through my usual subbass workout which is “Chameleon”, there is plenty of presence to give me the sub rumble that this track presents, without them seeming to lose control at any point. There are many sets of IEMs that can get that low end rumble with this track but once the subbass starts to mix with the midbass, things can get a little hazy. That is not the case with the S12, they keep things nice and collected, offering a great presentation of this track which is better than the vast majority (almost all, especially at this price) of IEMs that I have tried.

Moving into the midbass, if we look at the graph of the S12 vs my target preference, there is a little more than I request.


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

However, targets are just a rough guidance and we shouldn’t get fixated on things adhering to targets too much, as sometimes a deviation can actually sound better, depending on how that is presented and controlled by the IEMs in question.

In the case of the S12, the midbass is extremely well controlled, making things sound precise and clear, even when a track is busy in these areas. Even activating the XBass boost on the Gryphon, where bass becomes overpowering for me personally (depending on the track of course), they still keep control and definition of the notes.

Tracks like “No Sanctuary Here”, which have a strong bass presence but need cleanliness to sound their best, sound clear and, well, great on the S12. More “old school” songs, such as things like “Whole Lotta Love”, benefit quite a bit from the additional presence of the midbass, making the bass guitar of John Paul Jones become a little more present but without it sounding out of balance with the rest. The live performances by Clarke, Miller and Wooten (which is unfortunately not available on streaming services, at least as far as I know) are nicely presented with the separation of the 3 bass guitars being quite easy.

Moving into the mids, there is no bleed, no muddyness, just a nice clean transition. There is also no recess in the mids, keeping them from losing space to the midabass. The slap/pluck of “Elephants on Ice Skates” comes across as well balanced, without it being overpowering in the lower notes and without it losing in the mids to the brass section.

Listening to some of my favourite styles of music, such as acoustic and simple vocal/instrumental tracks, the mids are smooth, without anything sounding harsh or out of place. There is the usual hint of “coldness” that this kind of music can portray on planar magnetic drivers, which may sound a little different if you are used to dynamics but it is something that I have grown to enjoy from infinite hours spent with planar headphones.

A listen to “Diamonds on the Souls of Her Shoes”, which can be a little harsh on the higher mids and lower treble on many sets, still presents a little harshness to Paul Simon’s voice if volume is pushed but in general it is again well balanced and is not painful (unless pushed way above my usual listening levels). “Don’t You Worry Child”, another track that can easily become harsh to my ears, is much better than I expected and is quite listenable.

Hip hop, which is something that can suffer quite a bit in regards to vocals when the midbass is boosted and the higher mids are not overly present to compensate, actually sounds as it should. Or at least it sounds like I expect it to sound after many decades of listening on many speaker set ups and other headphones. As an example, “Make Noise” by Busta Rhymes and Lenny Kravitz, has the vocals quite recessed in the mix, which can either totally disappear or become boosted, depending on the system, seem to have the same presence as I have heard on many monitor and live set ups.

Moving into the treble, there is a nice extension and plenty of “air” to make it thoroughly enjoyable for me. As a sibilance test, using “Code Cool” as usual, there is a slight hint of sibilance on a few of the “S” by Patricia Barber, but certainly not enough to make the track painful or difficult to listen to. This is something that can be the case on many sets of IEMs and headphones, with her voice either being harsh and sibilant, or subdued and pushed back. Again, I would say that the S12 do a great job of keeping it where it should be.

While the detail of these IEMs is very good, I do feel that detrail retrieval may not be the strongest point of the S12. I only listened to the Timeless for a day or so, although I got the possibility to test them side by side with the S12, but I got the feeling that as far as detail retrieval, the Timeless did have the slight edge here. Neither sets are going to compete with something like the Helios (a set of IEMs that is 5 times the price) but both are very good, not just for this price bracket.

At no point do I get the sensation that details are missing, they are all there, just maybe not as apparent as they are on some other sets. Listening to the intro of “All Your Love Turned to Passion”, there are some details in the left channel from the acoustic guitar that can be extremely impressive when a set of headphones presents them well. In the case of the S12, the details are there but they are not something that stand out and make you say “wow”, something that does happen on certain planar magnetic headphones like the higher end Hifimans, but this is obviously not even a comparison that can (or should) be made.

Soundstage is also good for a set of IEMs but without being outstanding. I really don’t find many IEMs to have a large sensation of space in this regard and the S12 are no exception. I would say they are on the higher side of average but not something that give the impression of having a huge amount of space for images to spread out. For example, “La Luna”, which is a binaural recording, does give a nice surrounding sensation but it is slightly closer than on open back headphones (which is again, not a very fair comparison).

The placement of images is very good however, with pretty good precision inside the soundstage that the S12 do have to work with. As I just mentioned, “La Luna” is easily placed around you, and also things like “Strange Fruit” show nice placement of the different layers of vocals.

Conclusion


Well, I guess I have made it pretty clear that I like the S12, I don’t think there is any doubt about that. When I made the series of mini reviews, I got to spend some time comparing the Timeless and the S12 (I mentioned the comparison quite a bit in the TImeless mini review here), two sets that compete pretty closely with one and another, and I mentioned that I personally preferred the S12, at least after a day or two of use. I also mentioned that more time with a set sometimes makes me like (or dislike) something more and with the S12, I have grown to like it even more, making me very happy to use it as my daily IEM. I obviously haven’t had more time with the Timeless since then, but if I had picked the S12 out of the two based on the time I spent with them both, then I would have absolutely no regrets.

I read Antdroids review of the S12 and he said something that completely clicked with me and that I agree with 100%. I am paraphrasing from memory here but he said something along the lines of “ The S12 are like the Hifiman HE400se, they are maybe not the most detailed option and don’t have the fastest of planar speeds, but there is a decent amount for the price and the tonality makes up for it ” (or something along those lines :wink: ). I couldn’t agree more. The HE400se are a set of headphones that I just like, they are by no means the best performing headphones that I have but the overall sound is just pleasurable and is something that I can enjoy for hours of simple music listening. I feel the S12 are the same, I have come to not expect them to surprise me with things I didn’t know existed, but I have no doubt that they always perform well, no matter the track, and are a pleasure to listen to.

I was also surprised to find that they work really well with the iFi Go Blu. Due to expectations, I thought that the Go Blu would not be able to drive these IEMs well, but I was mistaken. Using the balanced output, it performs very well and has become a very portable set up that I am more than happy to use all day while away from my usual set ups, meaning I don’t need to rely on the Gryphon for portable power with these IEMs. I think this is probably more of a praise towards the Go Blu than the S12, however, it is something that has made me very happy.

If I needed to resume this (very long) review into a TLDR, it would be “A set of IEMs that I enjoy immensely and while not the highest performers out there, a perfect solution for my EDC”.

As always, this review can also be found in Spanish both on my blog (here) and YouTube (here)

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55

Thanks for the excellent review, as always :slight_smile:
I use the S12 at work when I want to block out external sound and listen to EDM or jazz. With Final E tips, I get an excellent seal and very good passive noise isolation.
It’s a great set - good build, good QC, good SQ!

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56

Try to get your hands on the Raptgo Hook X :muscle:

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I would certainly like to.

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Moondrop Chu

The Moondrop Chu have been sent to me by HifiGo in exchange for my review. The only request has been the usual inclusion of (non-affiliate) links to the product via there store, which you can find by visiting the version published on my blog. Therefore, my review will aim to be as honest and free of bias as possible, although you should always consider the fact that it hasn’t cost me anything.

Intro


It has been a while since I last posted a review of a sub 50€, a price range that I have always liked to focus on here. The Moondrop Chu is not only less than 50€, it is less than half of that, coming in at around 20€.

I have always been a bit of a Moondrop fan, enjoying most of their IEMs and still using the Aria as my main bluetooth IEMs (connected to an MW200), therefore I am always happy to try out new models from them and if they are models that come in this cheap, even more so.

If any of you follow the budget IEM sector, you may have already seen the Chu get quite a bit of praise, at least from the majority of users, so let’s see if they get more praise (or not) from myself.

Presentation


This is a set of 20€ IEMs, therefore anything more than the IEMs, a cheap cable and a couple of silicone tips is probably already a bonus.

In the case of the Chu, the cable is fixed, which is a let down for many but it needn’t always be a bad thing (more on that in a second). We also get, as expected, 3 sets of silicone tips. However, the tips included are not normal generic cheap silicone that end up in a big box of tips (in my case at least), they are Moondrop Spring tips which actually cost over 12€ for a set of three sizes like the ones included.

We also get a small felt pouch for storage, which while not exactly a high class case, it still does its job and keeps them free of dust, dirt and scratches while not in use. Finally, apart from the usual documentation, we get a set of rubber ear hooks (which I will discuss with the cable in a moment) and a wooden decoration piece which has the anime girl engraved on it (I have no idea what this is to be used for, but anyways, it is included).

All of this is presented in a simple black box with a transparent cover that shows the same anime girl and the IEMs sitting in their respective cut outs.

Build and aesthetics


Starting with the IEMs, they are not the usual shape commonly found on IEMs, nor are they the small button type found on things like the Quarks, they are sort of in between. The shape is actually just a small oval that the (fixed) cable comes out of near the top front, angling slightly downwards. The decoration is black with a gold leaf type symbol (well, it looks like a leaf when the IEMs are held upside down), which is not exactly stunning but doesn’t look too bad. The IEM shells are metal and look as though they are well assembled, although only time will tell in this regard (Moondrop don’t always have the best rep for paint durability).

The cable, as I said, is fixed and I said that this is not always a bad idea. The thing with fixed cables is that it stops worries about which cable to buy, will I notice an upgrade, etc. Here, you get what you are given, for better or for worse. In the case of the Chu, the cable is not actually bad, especially if we consider the price point. It is a simple rubber coated not braided cable, it’s not microphonic, it’s not a bad length and, well, it just works. As with most people, I do prefer a detachable cable but at least this cable is decent enough to not hate it.

Finally the tips, I think they are great. I hadn’t actually tried these tips before (I’m not sure how long they have been available) and was genuinely impressed when I used them on the Chu. I also tried them on the S12 (as I mentioned in my S12 review) and found them to be great, enough for them to be my tips of choice for those IEMs.

With the Chu, I find that I use a medium set (they seem to be slightly smaller than other brand tips) as I get a seal quite deep inside my ear (due to the shape and size of the Chu), while on the S12, the large set works better for me. Another win as 1 set of tips has served 2 IEMs. Many times I only end up using one, or none, of the included tips and the others end up lost in a big box of tips somewhere.

Before wrapping up this section, I just want to mention fit and comfort. There are rubber ear hooks included with the Chu, something that I very rarely use as I prefer not to have the preformed hook over my ears. However, in the case of the Chu, I found that the cable had the habit of springing off my ears so I gave the hooks a try and they work very well. The cable does pop out of the hook sometimes when removing them but that is a minor gripe and overall I must say that I find the Moondrop Chu to be very comfortable in my ears. The deepish fit allows me to lay on my side (something that I usually use the Quarks for but will probably replace them with the Chu) and the tips are just very comfortable.

Sound


That was quite a lengthy build and aesthetics section for a set of 20€ IEMs, so lets get on with the most important part, the sound.

In the subbass there is quite an impressive extension. It is not the most rumble you are going to find in a set of IEMs but it has enough to do it’s job and present those low notes with enough authority to find them enjoyable. In comparison to the Quarks, I find the subbass to be easier to appreciate, even though measurements show that it is not really that different down in those regions, but it is the midbass that makes it seem more likeable (to me).

The thing that I like about the midbass is the fact that there is no midbass bump like there is on the Quarks, or on many other budget models (all the ones I have tried) from the brand. In fact, I think the Chu is the closest tuning to my preference target that I have heard from them. The lower end is actually tuned similar to the Dusk, although at a slightly reduced level of presence.

Here is a graph of the Chu compared to my personal preference target:


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

This obviously puts the Chu off to a good start as far as its tuning in the lower ranges, giving me the impression of being clean and well balanced.

Taking some songs from my test track list, things like “Long After You’re Gone” are presented very well in the mid bass range, or “No Sanctuary Here”, which is more midbass focused, has plenty of clean and articulate bass, without giving the feeling that it is lacking (at least to me).

There are obviously some tracks that can benefit from a little bit more of a midbass presence than found on the Chu, such as “Jack Of Speed”, but I found that the Gryphon (or Go Blu) gave me that little bit extra when needed and that the Chu take it quite well.

Moving into the mids, they are well balanced and I have no complaints throughout the whole range. Vocals are present, instruments are easily separated and in general they do a pretty good job for a set of 20€ IEMs.

My first, and possibly only major, complaint comes when we hit the 5kHz mark. AS I have said plenty of times in the past, I seem to have a bit of sensitivity to 5kHz peaks and that is where the main peak in the upper ranges is on the Moondrop Chu. This can make certain instruments come across to me as harsh. There are certain upper guitar notes, percussion hits, and other things that just have too much presence in that region and can make me wince a little, depending on the track.

This is something that I think affects me more than others, as everyone’s a little more sensitive to different things, so it probably won’t even be an issue for most people, but for me it does detract a little from the enjoyability of these IEMs, especially over longer listening sessions as I can find them tiring.

The upper treble has a decent extension to it, with a nice sensation of air and I really can’t complain much about these higher ranges. It is not the smoothest of treble’s but it is acceptable, especially if we go back to considering the price.

Details are not the greatest but are acceptable. Background details can be a little hazy, seeming to be a little out of focus at times, but again, we are talking about a set of IEMs at 20€, at this price I feel they are adequate, although not amazing.

Soundstage is about on a par for a set of IEMs in this realm, with enough space and enough imaging to appreciate things like binaural recordings, but don’t expect a huge space outside your head.

Conclusion


The Moondrop Chu are a very good set of IEMs for their price. As far as sound, my only real complaint is that 5kHz peak that I mentioned, but as I also said, this probably affects me much more than it does other people. Other than that, I find that the sound is very good for the price bracket that these sit in.

In fact, on a sound level, these could easily be placed much higher, although I think that things like detachable cables would start to be a little more important if we start scaling the price ranges.

The contents included are also satisfactory for the price, except for the tips, which are worth the purchase almost by themselves. Maybe this is actually a good marketing move by Moondrop, they have a set of cheap IEMs with good sound that is receiving praise and will get many people to try them who may not have considered Moondrop in the past. At the same time, they include a set of tips that they sell separately for more than half the price of these IEMs, which are very good tips (in my opinion) and this may increase the sales of those tips by quite a bit also.

Whichever way we look at it, there is no way I can say that the Moondrop Chu are not worth their price, they are more than worthy. At a price of 20€, I don’t see them as anything other than a win.

As always, this review is also available in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews

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59

TRI TK-2

The Tri TK-2 has been very kindly loaned to me as part of a European Tour which was organized for this unit. To be totally honest, I wasn’t even part of the tour, however, my fellow reviewer Cqtek, of hiendportable.com, spoke with the organizers and arranged for me to get to try out this device while it is in Spain. I am very grateful to both Cqtek for sorting this out, as I am towards the organizers of the tour for letting him include me.

As I have had no contact with the actual organizers, I have obviously not received any requests from them, so I will leave the two links that Cqtek published in his review in the version of this review posted on my blog.

I will also leave this link to the review of the TK-2 by Cqtek (available in English and Spanish) here: https://hiendportable.com/tri-tk-2-english-review/

Obviously, all of this means that I will aim to be, as always, unbiased and honest in my review, but it is always good to factor in that it hasn’t cost me anything to try out this device.

Presentation


I honestly know absolutely nothing about this device. Before I received it, I hadn’t even seen pictures, so I can’t say of the packaging and contents are any different due to it being a tour unit, but my guess is that it is the retail packaging and contents.

The TH-2 arrives inside a black rectangular box, showing an image and logo on the front, with plenty of specs on the back. I was surprised at some of the stated specs (as I said, I knew nothing about this device) and also learned that it is in fact a collaboration between TRI and KAEI. The reading of the box actually made my interest grow before opening it.

Anyways, inside the box we get the TK-2, a short USB-C to USB-C cable with 90Âș connectors (always appreciated!), a longer USB-A to USB-C cable, a couple of rubber rings to attach it to another device, a USB-C to Lightning adapter and a microfiber cloth. I have never been so happy to receive a microfiber cloth with a device, but more on that in a moment.

So, a simple presentation with not a huge amount of contents but certainly enough to enjoy the product out of the box.

Build and aesthetics


Let me start by saying that the aesthetics are beautiful, until you touch the device. This is the biggest fingerprint magnet I have ever had in my hands, this being the reason for me being extremely happy to receive the microfiber cloth I just mentioned. Just to take a few photos of the TK-2, I must have cleaned it 30 times, and there are still fingerprints in the photos :grin:

However, when it is clean, it does look amazing. The top is a black glass finish with the Tri logo in a mirrored finish, as are the sides and bottom. The volume wheel and connector surrounds are in a gold colour and they just all work well together. As I always say, aesthetics are a very personal thing, and I am not usually one for gold, but it does work well with the aesthetics of the device.

Along the top there are 5 status lights that indicate the Hz of the signal, along the front we get a 2.5, 4.4 and 3.5mm outputs, along with the volume wheel. At the back of the unit there are two USB-C ports (one for charge and one for data) which are slightly recessed, along with a line out/phones out selector, and the rest of the unit is just one big flawless mirror, with nicely bevelled corners and in gener, a very good build quality.

I will say though that this device is big and heavy. It is not the biggest (or heaviest) portable device I have used, I think that still belongs to the Diablo, but it is bigger than the Gryphon, in width, depth, length and weight.

I would certainly class the TK-2 as transportable rather than portable, I don’t think you would want this in your pocket along with whatever source you are using, in fact, unless you are wearing cargo pants, I doubt you could even fit it in your pocket.

So, it is big, heavy and a fingerprint magnet
 but I love it :wink:

Functionality


There really isn’t much to explain here, you connect whatever your source is to the USB-C port on the back, you connect your headphones of choice on the front, you turn it on and you listen.

The TK-2 is a fairly powerful unit, in fact, it’s a very powerful unit if we consider it portable, using a class A/B amplifier that can push 1250mw @32Ohms. This is obviously not on par with something like the Diablo (which is just crazy) but is more than the Gryphon puts out.

It is also not terrible on battery life. The specs claim 9 hours and I haven’t really managed to deplete it, even when running it almost all day at the office (around 6 or 7 hours of listening), so I guess it is true. It will obviously depend on what headphones you are using and what levels you listen at, I have mainly been using easy to drive headphones and my listening levels are not high.

There really isn’t much more that I can say about the functionality, its simple, it works, and it works well. It supports all kinds of PCM and also native & DOP DSD up to 256. So it should cover most of your files, unless you are someone into MQA.

Sound


My dreaded section of any DAC or amp review, how does it sound?

Well, it sounds good but
 it doesn’t pair well with everything. I’ll get to why in just a moment.

When I first got the device, I was obviously at my office and the headphones I had on hand were the HD6XX, which have been living here recently. As you may already know, based on previous comments, the HD6XX can go from excellent to terrible depending on my mood. Well, I must have been in a good mood as I plugged them in to the TK-2, opened Foobar and just enjoyed music for the rest of the day. I listened to a lot of blues, jazz, instrumental and acoustic music and I really couldn’t have asked for enjoyment. I really enjoyed things like the Cooltrane Quartet, Nick Cage and the Bad Seeds, B.B.King, Clapton, Genevive Leclerc and many other bands and artists. With the HD6XX, it reminded me quite a bit of the Asgard 3 when I am in a good mood :wink:

I was a bit surprised to find that to reach my usual listening levels with the HD6XX, I was above 50% on the volume knob but a bit of investigation informed me that the unit automatically switches to high gain when going above 60% and I must say that the difference between 55% and 65% is fairly large and there is a little bit of a digital click when it happens but I only actually did this for tests as I never needed to go that high for my usual listening (and I dropped the volume on the PC before managing to hit the gain change over). A little thing to mention is that 60% is actually where you would expect 75% to be on the knob, so when I was thinking I was above 50% for my usual listening levels, I was actually probably around 40%.

I also noticed no channel imbalance at low levels, although I did notice that the first 10% of the volume wheel doesn’t produce any sound at all. This is actually not a bad thing as you hit silence quite a bit before you hit the “off” part of the knob, avoiding accidental disconnects when reducing the volume.

So, my next test was to move away from the dynamic drivers and 300 Ohms of the HD6XX and try something planar. As I still have the Edition XS and the Arya v3 in my office from when I recently reviewed the CMA15, my first choice was the Edition XS (only because the box was on top of the other one). I only had balanced cables on hand so I proceeded to connect the Edition XS to the 4.4mm output of the TK-2.

My first surprise came when I realised I needed the same level on the dial to achieve similar listening levels as with the HD6XX. This is just an estimate as I did not measure the volume but usually I do find that I need a little more power with the HD6XX than the Edition XS.

I proceeded to listen for a while and there was something about the headphones that just didn’t sound right. The usual clarity and separation of the low end was not as good as I am used to with these headphones. It sounded a little congested and even a little bloated on occasions, while on other occasions it just sounded like there was something missing. As I didn’t have an unbalanced cable on hand, I couldn’t A/B with the Atom, which is usually a quick reference point for me, so I decided to swap headphones instead.

I unplugged the Edition XS and moved over to the Arya V3, again running balanced from the 4.4mm output. The Arya sounded much better, cleaner in the low end, but still did not sound as good as they usually do. There was still a hint of that bloated sensation with certain tracks and the detail in the low end just wasn’t as separated as it usually is. Now, the Edition XS are not headphones that I listen to everyday, I mean, they are great headphones, but when I get chance to pick something up for pleasure, it is usually the Arya (not always, but a lot of the time), so I know the sound of these headphones pretty well, especially with my test tracks, songs that I have listened to thousands of times.

Listening to “The Room” by Ostura, a track which can get quite busy in the lower mids and midbass, I found that these low notes of the guitar and bass were not as easy to separate as they usually are but still sounded decent. I moved back to the Edition XS and there it was, the same track became less defined in the low end and again exhibited a bit of bloat in certain parts of the tracks.

Later in the day I moved on to the DT1990 Pro, a set of headphones that are very rarely affected by the source and sure enough, they sounded just like they always do.

The next day, I brought in the Gryphon in order to A/B it with the TK-2 and sure enough, with the two Hifiman headphones, the bottom end just sounded cleaner and better represented on the Gryphon. At first I was thinking that maybe the TK-2 didn’t have enough current to keep up with the planars but I then skimmed the review by Cqtek, who presents measurements of sources, and there was my answer, the TK-2 has an output impedance of 20 Ohms when using balanced. This doesn’t play well with the Arya (35 Ohms) and even less with the Edition XS (18 Ohms), which seems to have been causing the issues that I was experiencing.

Then I decided to move on to IEMs, starting off with a cheap set of IEMs that I had just finished reviewing, the Moondrop Chu. Now, the Chu aren’t exactly a set of IEMs that I would choose to determine the qualities of an amp and DAC but they happened to be on my desk and also happen to be 18 Ohms.

With the Chu, which I had just recently reviewed so I had them fresh in my mind, I really didn’t notice any difference that I could put my finger on. At least nothing that stood out that couldn’t be attributed to my expectations now that I had looked at the output impedance (one of the reasons that I try to avoid reading anything about a product before reviewing, if possible).

So, I moved to the Letshuoer S12, another set of IEMs that I have fresh in my mind as I have been using them a lot lately. These are planar IEMs and have an impedance of 14.8 Ohms. Once again, from the balanced output, I noticed what seemed like bloat on a lot of music and while the low end didn’t sound as congested as it did on the Arya, they were certainly not as clean as I expect them to be after using them on many other devices.

Moving through a few other IEMs, I didn’t really notice any issues with any of the ones that I use the most, which are actually all dynamic drivers for the bass. I do have a few hybrids, such as the Dusk, that I use regularly, but they all use DD for bass. The few IEMs that I do have that use BA’s for the low end are not models that I use enough to be able to make a sensible comparison without spending much more time with the IEMs and the TK-2. Yes, I could probably A/B the quickly against other set ups, but I feel that expectation bias would interfere a lot in such short comparisons.

Conclusion


The Tri TK-2 is a very interesting piece of equipment. It has a lot of good things going on and a few not so good things also.

As far as build and aesthetics, absolutely no complaints. Yes, it is heavy, large and you will need to clean it each time you touch anything more than the volume wheel, but when it is clean, it looks great. It is well built and honestly looks like something of high quality. A quick search online brough back results starting at just over 250€, which is not exactly cheap for a portable DAC/Amp, but is a lot cheaper than things like the Gryphon that come in at around 600€. Admittedly the Gryphon has everything you could wish for and a bit more, whereas the TK-2 is a simple DAC/Amp, but I still expected a price that was a little higher based on the spec and build.

As far as functionality, it is pretty basic, it is, as I just said, a simple DAC/Amp. The major benefits are the power ratings, the A/B class amp and the ESS DAC chips, which obviously offer far more performance than something like a dongle set up.

As far as sound, well it seems to depend on what you are planning on using it with. With dynamic driver headphones, it sounds very nice, very reminiscent of the Asgard in some ways, with that slight smoothness to the sound. With planar magnetic headphones, at least the ones that I tried, it doesn’t do so well. The same can be said for planar magnetic IEMs, or at least the S12. That 20 Ohms output impedance doesn’t work well with them.

With DD IEMs, it also works well, with no real issues at all, even with low impedance IEMs (or at least the ones that I tried didn’t seem to suffer). I did sometimes get the impression that the bass was a little bloated but I am going to chalk that up to my expectation bias after finding out the output impedance.

For example, with the HD6XX, I think the TK-2 would be something that would make 95% of people happy with the sound and performance, with a great sounding system that comes in at around 500€ for the whole set, and allows you to move around freely from the sofa, to the office to the front porch.

Personally I wouldn’t choose this over the portable set ups I already have, the Go Blu and the Gryphon, but even the tiny Go Blu is already nearly the price of the TK-2, so it really isn’t a fair comparison.

(As always, this review is also available in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews)

1 Like
60

Tin Hifi T1S

The Tin Hifi T1s have been sent to me by Linsoul in exchange for the publication of this review. They have not made any specific requests but I will leave a (non-affiliate) link to the T1S via their webstore on my blog, as usual in these cases.

I will do my best to be as sincere and unbiased as possible in this review but it is always worth considering the fact that these IEMs have not cost me anything.

Intro


I have owned a few Tin Hifi IEMs over the years, with the T2 being one of my first sets back when I started in the realms of IEMs, something that seems like a long long time ago, seeing how many models have been and gone since then.

I have also reviewed a couple of Tin IEMs on Acho Reviews, one of which were the Tin T1 Plus, back in 2020. This set is the T1S and I believe they are an an updated version of the the Plus, although I have done my best to not really know anything about them (as usual, when possible).

I do know that they use a Beryllium plated dynamic driver (according to the spec) and that they come in at less than 20€, placing them firmly inside the sub 50€ category I like to point out.

Presentation


I got a little smile when opening the T1S as it is basically the same presentation as the T1 Plus, in fact, when sliding the box out from the cardboard sleeve that shows the model and the spec of the T1S, the box actually says T1 Plus on it.

Basically it is a no frills presentation, containing the usual IEMs, cable, a few sets of silicone tips and the warranty card. Nothing special but nothing to complain about at the price.

Actually, after recording the video for this review, while taking photos, I noticed that it is not only the box that has T1 Plus on it, the shells of the IEMs also say T1 Plus on them. So I guess that they are using up what they have in stock left over from the T1 Plus. I have no idea if at some point the T1S will start to have its own name on the shells, I suppose it depends on how much stock they have left and how many T1S are sold.

Build & Aesthetics


The T1S are available in 4 colours. In my case I received the black which is the only set that features a semi transparent faceplate, with small silver speckles on them. They are completely made of plastic and are (obviously!) the same size and shape as the previous T1+.

This means that they are very comfortable and also very lightweight. They are amongst the lightest sets of IEMs that I have (as are the T1S). There is no discomfort or fatigue from them over long periods, due to the ergonomics (which fit me well, but obviously everyone is different) and the lightness.

The cable is also quite thin and light, and although it does get prone to a little tangling, is not terrible. Nothings special but again, nothing to complain about at the price, it gets the job done. They have also stuck with the use of 2 Pin connectors, something that I personally appreciate.

Sound


Before commenting on sound, let’s take a quick look at the graph comparing the T1+ to the new T1S:


(all measurements are available on achoreviews.squig.link)

You can see that there isn’t a lot of change between the tuning of the two, however, I will say that the small tweaks have been for the better. Now, it is not a night and day difference between the two, but I do find the newer T1S to just be more cohesive overall.

Starting off with sub bass, there is a roll off as we get down into the lowest notes, with even less presence than on the previous set, however, it still gives enough rumble for things to be pleasant enough in the bottom frequency range.

I don’t think these are going to be the pick of those that want a huge rumbling low end, but the boost of the midbass is enough to give the impression of them having quite a presence down low. This gives a warmth and smoothness to electric bass guitars and other instruments sharing the same sonic space, and while it is a little too much for my personal preference, it is by no means offensive nor overpowering.

The midbass boost does roll over into the mids and while it may seem like there is some bleed on the lower end of the mids, it doesn’t really sound too bad, it gives a nice warmth to the lower ranges of vocals, adding a bit of smoothness to male and female vocals.

There is a dip as we get to the middle of the mid section, although it is less pronounced than on the T1+, with the climb towards 3kHz starting a little earlier than on the previous version. This actually makes them sound less V shaped in my opinion (although it is still really a V shaped tuning overall), giving them a little more clarity in the upper ranges of vocals and presence of the notes found in the higher mids.

As we climb into the hr ranges, there isn’t much extension up there, I don’t think anyone is going to consider these “airy” or “extended”. The upper treble does remind me of the typical upper treble found on so many budget IEMs with single dynamic drivers.

The soundstage is pretty much average for a set of IEMs, with nothing spectacular going on. Images are easily located but they are not pinpoint images, more of a general placement that works for things like binaural and panned stereo images, without any real placement of background details.

Speaking of details, they are also nothing extraordinary, although I do feel that they are a step up from the T1+ in this regard. There is nothing that is going to jump out and make you say “wow, I didn’t know that existed”, but at the same time, they don’t make you feel like your music is missing anything.

Conclusion


I feel that the T1S are more similar to the T1+ than not. There have been some tweaks and these are for the better, in general they are a better set of IEMs, although I don’t think there is anything amazing about them.

When I reviewed the T1+, I said they were more focused on the casual listener than anyone looking to focus on details, and I feel that the T1S are in the same category. They are a set of IEMs with a fairly safe tuning, with a pleasant overall sound that shouldn’t really offend anyone. I can’t see them polarizing opinions.

They are very comfortable (for me) and very lightweight, so if you are looking for a budget set of easy listening IEMs for daily use, then I think you can do a lot worse than the T2S, there is no doubt that they are worth their price tag.

As always, this review is available in Spanish both on achoreviews.com and on youtube.com/achoreviews

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61

TRI Meteor

The Tri Meteor have been loaned to me as part of a European tour that has been organized by KBear. As with the TK-2 that I recently reviewed, I was not actually part of the tour but Cqtek, from Hiendportable.com, very kindly spoke with the organizers who allowed him to send the Meteor (and the TK-2) to me while they are here in Spain.

I am obviously very grateful to Cqtek and the organizers for this opportunity. They have not requested anything from me (I haven’t even had any contact with the organizers), therefore I will include the links that Cqtek included in his review (which, as usual, I have not yet read yet, except for the first paragraph to see the links) in the version published on my blog.

This means that I will do my best to be as honest and impartial as possible but you you should always consider the fact that it has not cost me anything to try out these IEMs.

Here you can find the review by Cqtek: TRI Meteor English Review - Hi End Portable

Intro


I have not tried a set of Tri IEMs before and I really didn’t know what to expect. Reading the first paragraph of Cqteks review, I found out that these are a hybrid set of IEMs, featuring a DD and a BA, and that the cable that came with them is actually the Grace-S cable. That is the limit of what I know about these IEMs going into the review.

Well, that and the price of them, after a quick search online, seeming to come in around 100 to 120€, with the cable costing almost the same.

I am glad that his review mentioned that it was and aftermarket cable, as I obviously didn’t get to open them, so I couldn’t know what was included. My first thought was “wow, this is the cable they include??”.

I also want to mention that I have only spent a week with both the TK-2 and the Meteor IEMs, it has also turned out to be quite a busy week, spending quite a bit of time with the TK-2, so I have not spent quite as much time with them as I would usually like to. I still got plenty of time to listen to them but haven’t really had much time to do any direct comparisons with other models or play around with more sources.

My review is based exclusively on using them with the Gryphon and the Go Blu. I didn’t even test them with the TK-2 as I didn’t feel that using a set of unknown IEMs with an unknown source would be the most productive use of time as far as creating a review.

Presentation


As I said, I didn’t get to open these so I can’t vouch that everything included is actually what is included with a retail set, but I believe it is, with the addition of the Grace-S cable.

The IEMs were shipped to me inside a semi rigid case with the Tri logo, with the Grace-S cable attached. I think that this case (and obviously the cable) are the only things that are not included in the usual package, due to there being another case inside the actual box.

The box is rather large and the contents are fairly impressive for a set of 100€ IEMs. Inside the box there are 5 sets of coloured silicone tips, plus another 3 sets in a bag, a brown (faux) leather carrying case, a single ended cable, a microfiber cloth and a little brush for cleaning purposes.

I didn’t actually use anything that was inside the box (I stuck with the Grace-S cable and my own tips), but the contents are certainly enough to not have any complaints at this price.

Build and aesthetics


Let’s start with the cable. It’s a rather chunky one. It is good looking and uses good hardware, however, it is heavy and is on the thick side for my personal tastes. I like well built cables but I mentioned in the S12 review that the included (balanced) cable was a little big for me, this one is much bigger. Therefore, I have no complaints about the cable from a functional or build point of view, but it is not a cable I would choose personally.

The IEMs are quite a generic shape, reminding me of things like Thieaudio, although maybe a little bigger. I have no issues as far as comfort, although the nozzle is a little chunky, but the right tips (I ended up using the Crystal’s) help with a slightly deeper fit and while they are not the most comfortable IEMs I have ever worn, they are not bad and I can wear them for extended periods.

As far as build, they seem to be well built and don’t have any glaring issues that jump out at me. The aesthetics are also quite pleasant, with a black tinted, transparent shell, and a black faceplate sporting the logo in silver along with some silver swirls.

I can’t say there is anything that makes me very passionate about them, good or bad, so I have no complaints.

Sound


The first thing that stood out to me about the Meteor is the smoothness of their sound. They have a warmish tone to them without actually sounding dark or too blunt, something that I do find with a lot of IEMs with a low end focus.

Before getting to the usual sound categories, let’s take a quick look at the graph in comparison to my personal preference



(all measurements of IEMs are available on achoreviews.squig.link)

Now it’s not difficult to see that the low end is quite a bit above my usual preferences in this zone, all the way from the subbass up through the midbass. If I was to just look at the graph of these IEMs, I would probably immediately think “no thanks” and move on. However, even though the low end is boosted, it doesn’t come across as the center of attention and it is kept very clean and articulate.

The subbass extends low and with authority, giving “Chameleon” all the bass it needs, but it still sounds articulate. While the low end rumble is no doubt there, it doesn’t overpower the rest of the bass frequencies.

In fact, the remaining bass frequencies, in other words the midbass, is also rather boosted, but as with the subbass, it still manages to not take over the whole sound signature. The dynamic driver does a very good job of keeping things clean and coherent. Listening to “I Fink U Freaky”, expected the bottom end to take the rest of the frequencies hostage with such a bass boost but it is not the case. Even with “When the party’s over”, the parts where the bass comes in strong, Billie’s vocals are still clear in the mix.

Moving into the mids, I was surprised that they keep a clarity that I really didn’t expect. Now, clarity shouldn’t be confused with “detailed”, as I feel that the mids are not really that detailed, in fact, I feel that the whole sound is general is rather smooth, throughout the whole range.

Vocals have a smoothness to them that, while not as detailed as I enjoy from many other sets, make for a very pleasurable listen. From “I Concentrate on You” to “Strange Fruit”, female vocals have a nice warmth and body to them, without becoming dull. Male vocals are just as smooth, although listening to “Hallelujah” and “These Bones”, they did give me an impression of taking just a step backwards in comparison to female vocals, but still, they are very pleasurable.

The higher ranges continue with the smoothness, without any specific sharp peaks or even sibilance, proven by the usual “Code Cool” test. The extension is maybe not the greatest but I feel that the general sound signature also adds to the sensation of roll off in this regard.

As I mentioned a moment ago, details are not the strong point of the Meteor, they don’t present you with tiny nuances, especially with regards to background details, but that really doesn’t seem to be the vibe they are going for anyway.

Soundstage does seem to be on the higher side of average, not exactly huge but still more than the majority of IEMs, with image placement that is very well done. Maybe this gives a sensation of being better due to the fact that I am not searching for the placement of all the tiny details, just the larger images in general. “La Luna” is a very pleasurable experience with the Meteor.

Conclusion


The Meteor are quite far from my preferred tuning for a set of IEMs, yet they are a very pleasurable set of IEMs. I found that I was very happy to listen to a lot of my preferred music genres while doing other things, they didn’t make me focus on the music and dissect it, they made me enjoy listening to music as I went about my day to day.

They actually remind me quite a bit of a set of Sony speakers that I have had for a long time and have given me many hours of joy (although they have not been out of storage for quite some time now). They are not something I turn to when I want to “experience” the music, they are miles behind other speakers that I use, but they are something that always brings a smile to my face when they just fill the room with great BGM.

The Meteor have left me with a similar sensation, they are not a set of IEMs that I would usually turn to but I have not found myself not enjoying the music at any time while using them.

As always, this review is also available in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews

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