Acho Reviews (in English & Spanish)

CCA CRA+

The CCA CRA+ have been sent to me by Linsoul in exchange for the publication of this review. As usual, they have not requested anything specific but I will leave a non-affiliate link to the CCA CRA+ via their webstore on my blog.

This means that I will be as honest and unbiased as possible, as I always am, but it is always good to take into consideration that these IEMs have not cost me anything.

Introā€¦

As you probably already know, CCA are a brand owned by KZ. I have not been paying any attention to KZ lately, since the whole ā€œnon working driverā€ fiasco. Not because I specifically have anything against them, it is just that there are so many IEMs available on the market that I have no need for drama. In fact, the last set of KZ IEMs I was sent were the DQ6s (which I did a very brief impression video of) and the ZES which I didnā€™t even review (you really didnā€™t miss much there).

However, not long ago I reviewed the CCA CRA, the predecessor of the model I have here today, and I said that ā€œwhat if the best KZ IEMs are not KZ?ā€. So, when Linsoul asked if I wanted to try the CRA+, I was more than happy to give them a listen and I am actually quite glad I did.

According to the publicity, they are an upgraded model with completely new drivers and while I take this with a grain of salt, there are noticeable differences between the original and the plus.

Presentationā€¦

There is absolutely no difference in presentation between the original CRA and the CRA+, the same box, the same contents except for the cable ( in this case I have received the version with microphone) and generally the exact same everything. So, if you really want to know more about the white box, you can check my review of the original CRA.

Build and aestheticsā€¦

The publicity jargon also says luxury appearance, which I guess means they are gold coloured. The originals were available in Black (actually a dark grey metal colour) and White, whereas the new CRA+ are only available in Gold.

That is literally the only difference I have been able to spot between the two.

Personally, I am not a fan of gold but I am not going to complain about it, these IEMs come in at around 27ā‚¬ (at the time of publishing this review) and aesthetics are not something I worry about too much at this price, although I will say that the original CRA comes in under 14ā‚¬, so these cost almost double the older model.

Soundā€¦

So, we have established that so far there are very few (if any) differences between the two models, but in the sound category is where things start to stand out. Before I get into it, let me mention that my listening has been done almost exclusively with the Gryphon (with no EQ) and using both the stock cable and tips from the original CRA. My choice of tips and cable was to keep it consistent between the two, that doesnā€™t mean that different tips wonā€™t react differently on each model, just that I havenā€™t tip rolled.

As a quick recap of the original, I said that they had a lot of bass, more than I would choose, but that it is very good quality bass and that although I wouldnā€™t use them all the time, that I liked them. In fact, they (the CRA) have actually been in my box of reference IEMs since then.

Well, the CRA+ seems to have kept the qualities of the original and changed the tuning slightly, making them more enjoyable (for me personally) than the originals.

Letā€™s take a quick look at the graph of the two:


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

So, starting off at the bottom, there is quite a difference in the subbass quantity of the two, with the newer model having much less. Putting them through my usual ā€œChameleonā€ test by Trentemoller, this makes itself quite apparent. However, I will say that I donā€™t find myself missing any subbass in this song with the CRA+. There is still plenty there and is still above what I would usually choose in this region, it is just not as spectacular in the ultra lows as the original CRA is.

The CRA also did a good job of controlling this low end and the CRA+ keeps things just as well defined as the original. I canā€™t say that it is the most defined and clean subbass I have heard but it is still quite a way above other options, especially in such a low price bracket.

Moving into the midbass, there is slightly more presence on paper with the Plus, hower, it is more of the fact that the focus is moved from the subbass of the original to the midbass on the newer version, putting more emphasis on this range and seeming like it is more present than it actually is.

In this range, the midbass punch is very impressive, even without factoring in cost, with notes presenting themselves with authority and definition. This can make songs that have plenty happening in the midbass region come across more impressively on this new set. Personally this is not something that I enjoy, I mean, I like a little boost in the midbass on certain genres (such as classic rock etc), but I feel that the CRA+ is a little overdone in this area. Again, that is just a personal preference and I feel that it is something that will be very impressive for those that enjoy it.

The mids are very similar between the two, however, on the Plus there is a little more presence in the 2k range and that peak at 5k, as we start to reach into the higher frequencies, has been tamed quite a bit. This is something that pleases me, as I am not a fan of the 5k being above everything around it, but at the same time I feel that a little more in the 3kHz zone (rather than just the 2kHz bump) would have worked better to bring vocals a little more forward and avoid a little of the darker smoothness that has resulted from the actual tuning.

I am actually nitpicking here, it is really not bad and I prefer the tuning to many other sets that are much more expensive, however, there is always room for improvement :wink:

As far as detail, this is still an impressive set for the money, sounding very well controlled and offering details that are usually not as apparent on IEMs with this kind of tuning. It is not detailed to a level that will be mind blowing but it is more than adequate for the price range that it sits in, in fact, it would embarrass some options that go for 3 or 4 times the price.

Soundstage comes across to me as being around average, much the same as the original CRA, with good image placement inside the space that it works with. You can easily identify images and while it may not have all the details that I am used to hearing, it is not something that I would point out as being bad, far from it.

Conclusionā€¦

I donā€™t think I can say that the CRA+ are not as good, or better, than the original CRA. When I first tried (and reviewed) the original CRA, I said that they were possibly the best KZ IEM to date, even if they are not officially KZ. In the case of the CRA+, I feel that most of my opinions regarding the originals can easily be referenced to these also.

Would I say that they are better than the originals, well it depends. For me personally, I prefer the higher mids of the CRA+, whereas I prefer the low end of the CRA, which takes a bit of emphasis away from the midbass and puts the focus on the subbass. Both of them are very good for the price and I think the preference will come down to the personal taste of each individual.

The new model is more expensive, but it is still way inside the bracket of what I would consider a cheap set of IEMs, therefore I donā€™t think that the price will be a deciding factor for the majority. The included accessories are also identical, so no points added or deducted there. I would say that, basically, it comes down to whether you prefer your slam to happen in the subbass or midbass regions.

(as usual, this review is available in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews)

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Thanks to Letshuoer, who are kindly collaborating with Acho Reviews, you can win a set of one of my favourite IEMs, the Letshuoer S12.

To participate, see here: LETSHUOER X Acho Reviews Giveaway ā€“ letshuoer

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The Dunu Vulkan have been sent to me by Dunu in exchange for the publication of this review. They have not requested anything other than I post my review within 2 weeks of receiving the IEMs, therefore, as always, I will do my best to be as unbiased and honest as possible.

Introā€¦

My experience with Dunu IEMs has been rather small, in fact, until now I have only had the chance to try out the Titan S, a budget set of IEMs that I like quite a bit.

The Vulkan is their latest release which comes in at around 350ā‚¬, meaning that it is by no means a budget set but is still a long way from the price of many of their upper tier models.

Dunu is no stranger in the IEM world, with many models that have received a lot of praise, along with their cables which, in my opinion, have one of the best modular systems in the game. As I just said, I havenā€™t tried any of their higher priced IEMs but based on my experience with the Titan S, and all that I have read about other models, I came into this with quite high expectations.

I know there are a couple of reviews out there already of the Vulkan, which I have not read or watched as I knew that I would be receiving a set for review, so I have done my usual process of trying to know as little about these IEMs as possible. I have visited their website, just to get a general overview of what these IEMs contain (and the price), but that is the limit of my knowledge.

The Vulkan are hybrid set of IEMs which feature 2x dynamic drivers, one being an 8mm Cross-Linked Polyethylene Structural Foam Cell Dome with soft surround and the other an 8mm Nanocrystalline Titanium-Coated Diaphragm, along with 4x Knowles balanced armature drivers, two for the Mid-Highs and the other a dual supertweeter.

Now, my knowledge of what all that means with regards to sound and performance is not exactly a lot, so I didnā€™t know what to expect in terms of sound. What I found, wellā€¦ Iā€™ll get to that shortly.

Presentationā€¦

The presentation of the Vulkan is nothing short of excellent. Arriving in a box with a flip up lid, inside a cardboard sleeve with brand & model on the front and various specs on the back, the contents are more than one could wish for, even when not talking about a strictly budget set.

Upon opening the box, we find a beautiful set of IEMs with their cable that is just as nice (more on those in build & aesthetics below). Lifting up the top layer we discover the three interchangeable modules for the cable, a plastic tray with 6 sets of tips (two types with an S,M,L of each) and another smaller box containing more accessories.

Inside the accessories box there is a large and good quality carrying/storage case which contains another 3 sets of tips of different sizes, a microfiber cleaning cloth, a small cleaning tool, a 3.5mm to 6.35mm TRS adapter and an airplane adapter.

To be honest, I have no idea why the airplane adapter is included as I am someone who flies quite a lot and it has been decades since I needed one, but it is there in case you do.

The rest of the accessories are of great quality (well, I guess the airplane adapter is also, not that I have any way of testing it) and there is absolutely nothing I can complain about as far as presentation, contents or the quality of what is included.

I donā€™t appoint scores to things I review (except on Head-Fi where it is obligatory) but if I did, the presentation and contents would get top score from me.

Build & Aestheticsā€¦

No matter where I start here, the answer is going to be the sameā€¦ excellent.

As I need to start somewhere, letā€™s start with the cable. I already said that Dunu have what I feel is the best IEM modular cable system in the game and the included cable just confirms it. Coming with three interchangeable connectors (plus the 3.5 to 6.35 adapter), 2.5mm + 3.5mm + 4.4mm, you are covered for almost any amp or DAP you would like to use. The connectors are of high quality, as is the connection point.

The cable itself matches my personal preferences well, being lightweight and not too thick, while still refraining from tangling and giving the impression of being very well built. As I have mentioned before, I am not the biggest fan of MMCX connectors but in this case, I will more than forgive them as the connectors are of good quality, they seem like they will last a long time, and to be honest, I really canā€™t see me wanting to swap the cable for any reason. If I need to change amps, just change the connector at the other end.

As far as the IEMs, they are beautiful. I can say that these are probably the best looking IEMs I have had in my possession. Apart from the build quality, which seems great, the looks are just as good. With a black metal shell sporting a dark metal grey faceplate with a Damascus steel design, they are fancy enough to look special yet discreet enough to not scream ā€œlook at me!ā€.

For comfort, I did find that I struggled to get the left shell to sit comfortably in my ear at first, but after a lot of tip rolling (there are plenty included and I tried a few more that I have on hand), I finally got a very comfortable fit that also seemed to bring out the best in sound from the IEMs.

Again, if I had to score these in this section, they would score just as highly as in the first section.

Soundā€¦

(as always, all tracks mentioned in this review are clickable links that allow you to open the track in the streaming service of your choice).

Before moving on, let me say that I have tried these with multiple sources and I have tip rolled quite a bit. However, in order to stay consistent in my reviews, my sound impressions are based on using them with the iFi Gryphon, no EQ enabled, and the stock red core tips (size M).

As usual, I spent about 4 or 5 days using these almost exclusively before doing any detailed listening or comparisons, and although I did take measurements before getting to my final listening tests, I really didnā€™t take much notice of the measurements until now.

However, as always, here is a graph of the Dunu Vulkan in comparison to my personal preference target:


(all measurements of the IEMs I review can be found and compared on achoreviews.squig.link)

It is easy to see that the overall frequency response of these IEMs is very close to my preference, a little more elevated in the bass regions that I usually request but the curve is still very similar. As always, preference curves are just an approximation of personal taste, sometimes things that are way off my target are still enjoyable (to me) and sometimes things that are close still donā€™t seem perfect to me (nothing ever is :wink:).

Following my usual review format and starting off with the subbass, there is no roll off to be heard. The extension is good, the presence is good, and I really enjoy this low end. I canā€™t say that the subbass isnā€™t great, being very close to my preferences, however, when playing tracks that really make the low end work out, such as the usual ā€œChameleonā€, it does seem that the driver(s) is almost at its limit.

I am not saying that it doesnā€™t keep, it does a great job of presenting ā€œChameleonā€, which is no easy feat, as it does with other subbass heavy tracks (although not quite to the same level of subbass craziness) like ā€œBury a Friendā€ or ā€œRoyalsā€. I didnā€™t actually come across any well recorded tracks that the Vulkan couldnā€™t cope with (bad recordings are, well, bad of course).

What I am referring to is that, if you are a certified basshead and need more subbass that the Vulkan offers, I am not sure that adding in more subbass by means of EQ is a good idea. I tried the XBass boost of the Gryphon with the above tracks and, while it was still acceptable, it lost a lot of cleanliness and coherency in the lowest ranges.

Moving into the midbass regions, again we are very close to what I like. In fact, although the actual levels may be slightly above what I would say I like, the curve follows my preferred curve almost exactly, balancing the low end just the way I like it. I much prefer that a set of IEMs increases the presence more as the notes get lower. This just feels much more natural to me, avoiding excessive midbass that can add warmth unnecessarily (even though that warmth does work well with some genres) and instead moving the focus more and more towards the low end as and when it is needed. When a track doesnā€™t have anything below, letā€™s say 60Hz, then the additional subbass will not have a negative impact, it will just not play what isnā€™t there, but when a track with 35Hz presence appears, the IEMs will make it known and not hide it behind a midbass bump.

I find that the Vulkan reproduces bass guitars with authority but without any additional warmth, just the clean tone, as can be heard in the lower notes of the bass guitar in ā€œElephants On Ice Skatesā€. Other synthetic bass tracks, such as ā€œStill D.R.E.ā€ or ā€œGet Luckyā€, sound just as clean in the midbass section, with good speed and definition, giving a very clean overall presentation in these ranges.

As we move into the mids, the transition is very clean with absolutely no sense of bloat or loss of control in the lower mids. Although I am a fan of the bass frequencies on the Vulkan, I do feel that the mids are the center of attention of this set. Vocals are pushed forwards slightly, although not excessively, just enough to place the light on the vocals a little more.

Some of my most listened acoustic + vocal tracks sound very clean and the voice is certainly the center of attention. As the main peak of the higher mids is at the 3kHz mark (I for one am very happy to not have a peak at 5kHz!), this gives the mids that extra bit of presence but also keeps the harshness in checkā€¦ mostly.

I say ā€œmostlyā€ because there are many tracks that are recorded with an extra presence in the 3kHz mark already, such as ā€œCrazyā€, where this gives Danielaā€™s voice a little push forwards on most systems, when it coincides with that extra peak of 3kHz on things like the Vulkan, it can come across a little harsh.

When strictly talking male vocals, such as ā€œThese Bonesā€, I find them to be very well balanced and presented, without any unexpected harshness. Adding some female vocals into the acapella mix, such as in the case of ā€œHallelujahā€, I do notice these as a little more ā€œshoutyā€, with a little more harshness than beforeā€¦

Moving into the higher ranges, there is a little bit of sibilance happening to those ā€œSā€ in the ā€œCode Coolā€ test. They are not the worst, far from it, but they are a little too hot for my taste. These are easily tamed with a very minor EQ tweak (they really arenā€™t that exaggerated) but, as always, my impressions are based upon not using EQ.

The extension of the upper ranges is not bad and apart from the excessive energy around the 6kHz to 8kHz mark, it is acceptable. I wouldnā€™t say that the treble is great on the Vulcan, I feel that it could be refined a little more, but it is not terrible and is listenable.

As far as details go, the Vulkan are not a set of IEMs that wow you with tiny details that are found in the background, however, it does do a good job of presenting details in the instruments themselves. As an example, a track that I like to use to evaluate such performance is ā€œAll Your Love Turned To Passionā€, more specifically the intro of the song. During the intro there is an acoustic guitar that is located in the left channel, with a lot of details happening in the reverb of the room, especially upon striking the body of the guitar. In the case of the Vulkan, then actual playing of the guitar itself is very well presented, with good details in the actual pluck of the strings, however, the reverb and decay in the background is actually quite absent in comparison to other much more detailed sets.

Another thing that I find very impressive on the Vulkan is the sense of openness and space that is created in the sound stage. I am someone who finds 90% of IEMs to be much of a muchness in this regard, with the remaining 10% being divided 80/20 in favour of sets that are pretty bad and very few that are actually good and above average.

The Vulkan is in the group of the very few IEMs that I find above average. There is a nice sense of space, well above average, in which the images are well placed and give me a very enjoyable overall feel. Due to the slight lack in the presence of background details, I canā€™t say that the imaging has pinpoint precision as there is not enough detail to reach this conclusion, but I must say that the overall imaging is very good.

Binaural recordings, such as ā€œLa Lunaā€, are enjoyable on many sets that are not exactly excellent as far as soundstage and imaging, but with the Vulkan, even recordings that are recorded in a simpler stereo imaging layout are still impressive. ā€œStrange Fruitā€ has a sense of space between the vocal layers that makes for a very enjoyable experience, as do many other similar songs. Live recordings, such ā€œHotel Californiaā€ and many others that I have listened to this week that are not on my usual test list, give a very nice sensation of being spread out, managing to recreate that stage presence that very few IEMs actually do.

Compared to the Letshouer S12ā€¦

I donā€™t usually make many comparisons in my reviews, as I always follow the same review layout, using the same test tracks for detailed listening, which allows comparisons of set just by reading (or watching) my impressions of each set individually.

However, as the Vulkan have come in strong, I feel that I should leave at least some brief impressions against a couple of my preferred sets, the first being the S12, which are a set of IEMs that I grab regularly for ā€œeasy listeningā€.

As far as tuning, the S12 have more warmth in the low end due to having more presence in the midbass range. This lends itself well to easy listening, especially when listening to songs that have a focus on acoustic instruments and other non-bass centric tracks.

I find that the Vulkan sounds more neutral in the lower ranges, without that extra warmth that the S12 provides, however, in the upper ranges I find the S12 to be smoother and more relaxed with a lot of my preferred vocal+acoustic music, a style that I listen to a lot.

As far as details, neither set is spectacular in this regard, both lack a certain amount of the smaller details, focusing on the main presentation rather than what is happening in the background.

I am a big fan of the S12 but I feel that the Vulkan, while being a different presentation, also has a lot going for it in this regard. Depending on music choice I would be drawn to one or the other.

Compared to the Moondrop Blessing 2 Duskā€¦

The other IEM that I would like to make a brief comparison with is the Dusk. I have had the Dusk for quite some time now and it is still my preferred set when listening to modern pop. By modern pop, I am referring to the usual pop music that has been released in the last 10 years or so, such as ā€œDonā€™t Start Nowā€ by Dua Lipa or other similarly recorded and mastered tracks.

I feel that the Dusk does very well with this kind of music and I feel that the Vulkan also works well in this regard, until we reach those upper ranges. My main issue with the Dusk is the treble, which is acceptable but not great, something that is also my impression of the Vulkan. The main difference between the two sets is that the Dusk has its upper presence slightly higher than the Vulkan, above the 8kHz mark, and I find that to come across as much smoother in this regard, with less sibilance in the typical ā€œCode Coolā€ test. It (the Dusk) is still on the ā€œhotā€ side in this regard but I do find it slightly tamer than the Vulkan.

With regards to detail, I find that the Dusk has the edge here, or at least in the upper ranges. It could be the difference in that upper frequency boost, which gives a false sensation of detail on the Dusk in comparison, but I do feel that I can appreciate details in the background easier on the Dusk than on the Vulkans. However, the details in other ranges, specifically how instruments are played (in the realm of acoustic guitars etc.), the Vulkan possibly edges out the Dusk here, giving a better overall sensation of the instruments.

Where there is no doubt that the Vulkan is superior is in terms of soundstage and imaging. I find there to be much more space and the presentation to be much better in this regard, making a lot of my music far more enjoyable. I would still say the Dusk has the edge for the modern pop side of things but other than that and the 6-8kHz hotness, the Vulkan has so many things going for it that I would rather have it than the Dusk in my collection (having both is even better :wink:).

Conclusionā€¦

This has turned into quite a long review but when I feel something is doing something different, it deserves attention, especially if that ā€œdifferenceā€ is being done well. That is the case with the Vulkan.

There can be absolutely no complaints as far as presentation and included goodies, the build and looks are amazing and the whole package is just, well, great.

In the sound department, it is different enough to stand out from the crowd but at the same time, not so different as to be bizarre and polarizing. As with anything, I am sure there will be people who like the Vulkan and those that donā€™t, there is no escaping that, but I am firmly in the camp of ā€œlikesā€.

Yes, there are things that could be improved (in my personal opinion of course), such as a little reduction to that hotness in the treble region and maybe a little more detail, but then maybe we would lose part of what makes the Vulkan different from other IEMs, even in the same Dunu line up.

I am very grateful to Dunu for sending this out as it is always refreshing to spend time with a product that brings something a little different to the table. In the case of the Vulkan, that is something that is deserving of far more praise than complaints.

As always, this review can be found in Spanish both on www.achoreviews.com & www.youtube.com/achorevews

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The winner of the Letshuoer S12 has been announced, check www.achoreviews.com for details.

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TRN TA1 Max

The TRN TA1 Max have been sent to me by Linsoul in exchange for the publication of this review, they have not made any specific requests, therefore I will do my usual best to be as unbiased as possible in this review, although you should always consider the fact that I have not had to spend any of my own money on these IEMs.

As always, I will leave a non-affiliate link to the TA1 Max via Linsoul on my blog, as it is the least I can do.

Introā€¦

Lately I have had quite a few new revisions of older models come across my desk, such as the T1S and the CRA+, just to name a few. Todayā€™s set is also a set that I reviewed some time ago and has been revamped into a new release.

I will do some brief comparisons between the original TA1 and the new TA1 Max as I go along but, to be honest, apart from some brief listens this week to compare, it has been quite a while since I spent time with the originals.

Once thing I will say in favour of TRN is that the new model keeps almost the same price as the original, around 35ā‚¬, which not only keeps them well inside my favoured sub 50ā‚¬ category, but also means that they have introduced the upgrades without increasing the price.

Presentationā€¦

The IEMs arrive in a fairly simple box with an image of them on the cover. Inside the box we find the IEMs in their cutouts located at the top, with a hard shell, round, storage/travel case below, sporting the TRN logo on the lid.

Inside the travel case we find the cable and attached to the bottom of the foam holding the IEMs, there is a box containing the remaining accessories, these being 2 different types of tips, with 3 sizes of each included.

This is not a lot of content but is enough to be able to enjoy the IEMs straight out of the packet, with the hard storage case being a nice touch.

Build & Aestheticsā€¦

The TA1 Max are the same shape and style as the original TA1, round with a small cylindrical shape offset to the top which holds the connector for the cable. They are slightly larger in size than the originals, not by a huge amount but certainly enough to be noticeable. Personally I find them to be comfortable but that is going to depend on each person and their anatomy.

One thing that has changed quite a bit in comparison to the original TA1 is the looks. While the shape is still the same and the colour is also very similar (slightly more matte on the Max), gone is the anime art (on the Japanese version of the originals, or plane silver on the regular version) and has been replaced with an X type design that has cutouts and a grille below.

They do state that these are a ā€œHalf Open Balanced Pressure Relief Coverā€ and the vents are in fact functional, giving them an open back look and feel.

I actually like the aesthetics, preferring them over the originals, and feel that they have put some thought and originality into the design.

Soundā€¦

Letā€™s do the usual and show a graph of the TA1 Max vs the original TA1, plus my personal preference target, just as a reference point before we start.


(all measurements of IEMs I review can be found and compared on achoreviews.squig.link)

I am going to go through my usual steps but straight away we can see that the overall curve is very similar to the original, with a few tweaks.

Starting off with the subbass, I really canā€™t hear any lack here but I must say that it is difficult to actually focus on the subbass due to the rather large midbass boost. If I actually pplay subbass tones, then maybe I could start passing comments but test tones are not really something I listen to. Therefore, letā€™s just say that I donā€™t think that people will complain about any lack of subbass on these IEMs.

Moving up into the midbass, here is where the low end is dominated by a strong focus on these frequencies. Now, as most of you probably know already (if you follow my reviews), I am not someone who likes an excessive amount of bass and yes, I find the amount to be excessive on the TA1 Max.

However, I must also say that the control over these midrange frequencies is impressive. With such an elevated frequency response in this area, it is very easy for a set of IEMs to lose control and become undefined and muddy in the low end, even carrying the excess through into the lower mids. The TA1 Max do a very good job of avoiding this problem.

There are certain tracks where I find the bass to be overwhelming, such as ā€œNo Sanctuary Hereā€ (and quite a few more), but at the same time, it does let me distinguish between the notes and while the midbass is definitely the center of attention, it does still let other frequencies through. I feel that many people will find the pressure of the midbass slam very impressive but personally I find it tiring.

In the mids, there is a clear drop in the center but again, they surprisingly keep the mids present, and do so without overdoing the boost at the higher end of the mids. The higher mids follow a similar tuning to the original TA1ā€™s but they have smoothened them out a little. Even the peak at almost 5kHz is not offensive to me, I donā€™t notice any harshness, and I am quite sensitive to those specific frequencies.

The higher ranges are also quite calm and collected. There are no annoying peaks, at least to my ears, and sibilance is kept in check without being overly dull. I would still say that the upper ranges are a little behind the lower ranges, with the bass being the center of attention, but they are surprisingly present, I expected much worse.

The soundstage is also not bad, on the higher end of average for a set of IEMs, although they do not sound as ā€œopenā€ as the aesthetics may lead one to believe. While the image placement isnā€™t going to win any awards for being the most precise, it is also by no means bad. Things are where they should be and details can be easily identified in the background. In fact, while these are also not the most detailed of IEMs, they are not bad in this regards either. I wouldnā€™t say you are going to be blown away by things you have never heard before but they certainly donā€™t come across as one dimensional and lacking.

Conclusionā€¦

Sadly for the TA1 Max, they are a sound signature that I am not a fan of, meaning that they werenā€™t off to a very good start. However, they have still surprised me by managing to keep an overall presence and clarity to the rest of the frequencies, they are not just a wall of bass.

If you are someone who likes having a lot of slam in the midbass range, then I certainly think that you should give these a listen as they are quite impressive, especially with regards to how they create such a sensation of moving air in those ranges without really taking over the rest of the spectrum. Yes, these are on the bassy/warm side, which is to be expected, but they still present you with plenty of coherency in the rest of the music.

Personally, I just donā€™t get on with this tuning but I know that and my personal tastes arenā€™t something that can lead me to say that these are not good IEMs, as they are.

As always, this review can be found in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

2 Likes

Tangzu Shimin Li

The Tangzu Shimin Li have been sent to me by HifiGo in exchange for the publication of this review. HifiGo have not made any specific requests or comments, therefore, as usual, I will attempt to be as unbiased as possible in my review but you should always consider the fact that these IEMs have not cost me anything.

As always, I will leave a non-afiliate link to the Shimin Li via HifiGo on my blog, as I feel it is the least I can do when somebody is kind enough to send a product in for review. You can find the purchase link by visiting the version of this review published on my blog here.

Edit: Hifigo have reached out to me and requested that I include the actual purchase link in this review. You can purchase the Shimin Li via HifiGo here: TANGZU SHIMIN LI Single Dynamic Driver In-Ear Monitors ā€” HiFiGo

Introā€¦

In the later part of last year, I reviewed a set of IEMs called Yuan Li, by a company called T-Force. I really enjoyed those IEMs and still do, being one of my favourite sets around 100ā‚¬ and actually getting more ear time than many other sets that I have reviewed. In fact, they still live in my case of 6 pairs of IEMs that are available to quick grab and I also use them for comparisons a fair bit.

Why am I mentioning the Yuan Li? Well, the Yuan Li was called ā€œTrilogy Part Iā€, something that was shown quite clearly on the box. Fast forward som 9 months and here we are with the ā€œTrilogy Part IIā€, although it is a little confusing I must say, as the brand has now changed from T-Force to Tangzu, the price has dropped from just over 100ā‚¬ to just over 30ā‚¬ and the whole package is quite a bit different.

When something is from the same series, specifically called a trilogy, then it is only normal that comparisons be drawn between them. However, in this case, while I still want to compare them, and will be doing so, it is difficult to do a direct comparison when they are in such vastly different brackets.

Anyhow, letā€™s take a look at the Shimin Li on its own merits as see what they offer in this ultra-budget IEM category.

Presentationā€¦

It is no surprise that the presentation of the Shimin Li has been cut down when the overall package has had such a price cut but that doesnā€™t mean that it is bad, it is still good for its new price bracket.

Inside a box that is quite reminiscent of the Yuan Li, with traditional chinese artwork decorating the exterior, we find the IEMs, a cable, and quite a large selection of tips (7 pairs in total).

Ok, there is no carrying case and a lot of the additional paperwork has been reduced, but honestly, I have absolutely no issue with the contents. As I always say with IEMs in this price bracket, I would rather them spend the money on the IEMs themselves than a bunch of accessories that I may or may not (probably not) use.

Build and accessoriesā€¦

The aesthetics of the Shimin Li have also changed a lot in comparison to part 1 of the trilogy. My understanding is that they are available in both gold and silver, with me having received the gold version.

Personally I am not a fan of gold coloured anything to be honest, it is just something that I donā€™t like, which is unlucky for the Shimin Li as there are probably people out there that love it. The finish is a mirrored gold which does attract a lot of fingerprints and I can imagine being quite delicate if you donā€™t place the IEMs correctly when transporting them.

The shape of the IEMs is actually quite unique and I must say that I donā€™t dislike the shape, I find it very comfortable and the overall look with the honeycomb style part is a nice original touch. I think that if they were in another colour, I would probably be saying how great they look, whereas gold (to me) makes them look cheaper rather than more expensive.

As far as build quality, they are all metal and seem to be well assembled. As with anything, only time will tell if this is the case or not but at first glance, I donā€™t see any build issues. The only thing that I see as being a possible issue is the mirrored finish that I already mentioned.

The included cable is also a little unique, I donā€™t remember having had a cable quite like it. It is sort of a matte rubbery plastic finish, which is nicely woven and has decent hardware at the TRS end, although the IEM end does have plastic connectors that donā€™t really scream quality. The connections are 2 pin, which I like, and although at first look and touch of the cable, I wouldnā€™t say I loved it, it is actually not a bad cable. It doesnā€™t tangle too much, it is not too thick or thin (in my opinion of course) and all in all it does its job without causing any issues.

Soundā€¦

Let me preface this by saying that I tried the included tips but in the end opted for Spring tips as I found they balanced the sound better and gave me a better seal and fit. As tips are very personal, you may find that a set of the included stock tips work better for you but my following opinions are based on using the Spring tips (powered by the iFi Gryphon as usual).

Although this is not exactly an updated version of anything, like a fair few of the the IEMs I have reviewed lately, it is the second in a series so I think that a comparison graph is in order between the Yuan Li and the Shimin Li. That and the fact that it is quite interesting to see how similarly these measure:


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

As you can see, the tuning is very similar between the two and although they are slightly different, they are very reminiscent of each other. However, since I took this measurement, I was discussing it with a couple of other reviewers and it seems that my measurement of the Yuan Li does not match the retail version of those IEMs. In fact, the measurement matches what was originally a pre-release version of the Yuan Li, which was later modified when released for retail.

Now, the Yuan Li I received was not a pre-release model, it was sent to me by a store that had them in stock months after the official release. Therefore, I have no idea why I may have received a version with that tuning but that is what I have (and I like it) and wanted to include this in this review. I will actually go back and add a note to the original Yuan Li also with this info.

The main thing that this affects is that when I am comparing the new Shimin Li to the Yuan Li, I am actually comparing it to the Yuan Li that I have, which is not necessarily the Yuan Li you will find on sale.

But anyways, back to the reviewā€¦

Starting off with the subbass, there is enough to make me happy. These are not IEMs that are really focused in the subbass area, they donā€™t rumble and produce a huge amount of subbass, but they donā€™t sound rolled off or anaemic either. My usual ā€œChameleonā€ test comes across with a nice amount of subbass and while it is maybe not a ā€œwowā€ experience like it is on many other sets, I donā€™t have any complaints.

Moving into the midbass zone, there is a little more emphasis here than in the subbass category but again, it doesnā€™t come across as being overdone. There is enough midbass to enjoy a little extra warmth in the low end but at the same time, it doesnā€™t place too much of the focus on these lower notes. With tracks like ā€œNo Sanctuary Hereā€, the low notes are present enough to be impressive whereas with things like ā€œGive Me One Reasonā€, there is not too much as to make the electric guitar seem bloated in the low ranges.

In fact, the whole low end of the Shimin Li is very very similar to the low end of the Yuan Li, which I believe to be the same on both tunings of the Yuan Li, something that I really donā€™t have much to complain about.

Moving into the mids, there is a slight recess in the middle of these frequencies but the presence around 2kHz does its job of bringing back the presence of vocals and other instruments in the higher mids.

I do feel that the additional presence in this 2kHz area is a little overdone, making it come across a little harsher in these frequencies than I would prefer but it is not too bad and it does do a good job of counterattacking that extra presence in the mid bass. I find that female voices especially show this extra presence, even more so when they are already a little harsh themselves, such as Beth in ā€œDonā€™t You Worry Childā€ or Alicia Keys in ā€œNo One (Acoustic)ā€. The higher mids of female vocals are really what I would claim to be the weaker point of the Shimin Li tuning.

In addition to this 2kKz presence, there is another peak slightly higher up in the spectrum but it is actually not as high, or as present, as on the Yuan Li that I have. This means that the Shimin Li avoids the dreaded 5kHz peak that I fear so much, but at the same time, it does add even more to the sensation of the 2kHz being just a little too hot.

Moving into the treble areas, it does seem to roll off quite early, which leaves the sensation of a lack of air and breathing space, but at the same time, this does avoid sibilance quite well. I would like it to extend a bit more in these upper ranges, having a little more openness, but to be fair, the vast majority of budget single dynamic driver IEMs suffer from the same thing in these regions. The ones that donā€™t are more of an exception than a regular occurance.

One thing that I do find to be quite a step down in comparison to their previous model is the soundstage. I actually found the Yuan Li to be a little above average in this regard, whereas the Shimin Li is a lot less spread out. It is not terrible but things are a lot closer on this new model, with image placement that is acceptable but by no means spectacular.

Finally, details. As with soundstage, I feel that the Shimin Li is not quite up to the performance of part 1, or at least the part 1 that I have here. I would not say that these IEMs are a set that will impress those looking for appreciation of the minute details of recordings. With the reduced soundstage and a reduction in the reproduction of the smaller details, songs like ā€œStrange Fruitā€ can become a little one dimensional, taking away from the experience of these kinds of recordings. Even with more separated recordings, such as ā€œLa Lunaā€, you just donā€™t get the sensation of the instruments surrounding you like you do on other sets.

Conclusionā€¦

There is a common saying that second parts are never good, and while I donā€™t agree totally, I do agree that in this case, the second part is not as good as the first. It is possible that I personally expected more due to how much I enjoy the first part of the trilogy, meaning that I was already starting with an expectation bias that wouldnā€™t have been the case if it was an IEM that I had never heard of.

However, while this second chapter may not be as good as the first, or at least not the first chapter that I enjoy, they have done something that I feel makes this a lot better, which is drop the price. If they had kept the price around the same as the original, then I would certainly say skip this but as they have reduced the price by almost 75%, they deserve to be recognized for they have done, and that is put out an extreme budget set of IEMs with some things that it does very well.

I know I said that the aesthetics are not my thing, but that is just as personal as the fit (which is very comfortable for me by the way), so that is something that people donā€™t really need a reviewer to comment on, although I do it anyway :wink:

That leaves the sound and to be fair, I do enjoy this tuning. Yes it is a little hot around 2kHz but I much prefer that than a 5kHz peak and in general, the tuning is very similar to the Yuan Li I have in my possession, a set of IEMs that I really like.

There is a lack of detail and soundstage in comparison to the Yuan Li, but again, it is not really a fair comparison when looking at the price brackets. If we compare it to other sets around the same price, yes there are some that are subjectively better, but there are also a lot that are subjectively worse.

Iā€™m looking forward to finding out what they will surprise us with in the third part of the trilogy.

(As usual, this review can also be found in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews)

2 Likes

Seek Real Audio Airship

The Seek Real Audio Airship have been sent to me by Linsoul in exchange for the publication of this review. As usual, they have not made any requests or comments and I will do my best to be unbiased in this review. Saying that, it is always good to consider the fact that I have not had to purchase these IEMs with my own money.

I will leave a non-affiliate link to the Airship via Linsoul on my blog, something that I always do in these cases.

Introā€¦

Let me start off by saying I have absolutely no idea who Seek Real Audio are. When I received these IEMs from Linsoul, I had seen the name a couple of times on forums but I really hadnā€™t paid any attention. They arrived in a box with a couple of other things that Linsoul sent me and it was pure coincidence that I picked them up first.

I did a quick search of the brand online and other than recent comments and a few reviews, I really didnā€™t find much. As usual, I refrained from reading any of the reviews as I try to keep any expectations (good or bad) at a minimum, when possible of course.

So, basically, when I started listening to the Airship, the only thing I knew was that they are available on Linsoul for $179 and that they feature a single 10mm CNT driver. Thatā€™s obviously not much info, which is actually just the way I like it, at least before I get to listen to them for a while and form some first impressions.

Since then I have obviously put them on the measuring rig, otherwise I wouldnā€™t be including a graph in this review, but other than that, I still have basically no information about these IEMs or the company itself.

Presentationā€¦

The presentation and contents of the Airship is nothing to complain about. Ok, there is nothing unexpected inside the box but at the same time, the accessories that are included cover the necessities and are of good quality.

The box is inside a cardboard sleeve that shows a spaceship beaming people up, with the phrase ā€œwe can hear more possibilitiesā€ shown in the top corner. The artwork is lighthearted and original, it is not what I would call ā€œelegantā€ but at the same time, it at least avoids some of the artwork found on many sets lately.

Upon opening the box, things do look a bit more elegant, with the IEMs sitting in a soft foam cutout, with a nice (faux) leather storage case below. The case is nice and large, without being huge, sporting a good quality finish in black.

Also in the box we get the cable, which I will mention in a moment, a set of foam tips, 3 sets of silicone tips, spare filters for the nozzle, the usual warranty card and other paperwork.

While I think that they could have included more tips, it is also true that usually people will only use one set out of the box, or maybe not even that, as many people will like aftermarket tips of their choice. Personally I found that the medium silicone tips included fit and worked well for me.

Build & Aestheticsā€¦

The shape of the Airship is similar to that of IEMs like the Aune Jasper, although smaller. The nozzle is also not very long, which could prove to be a fit issue for some people. In my case, I find that they fit me perfectly and are probably one of the most comfortable IEMs that I have worn in a long time. The size is small enough to actually fit inside my ear, without anything sticking out, and the nozzle, with the stock medium tips, is exactly the correct length for them to seal perfectly and be very comfortable. Obviously this is going to be different for everone.

The aesthetics are simple but not boring, with a few geometrical shapes and lines that break up what would otherwise be a simple oval. For some reason, the aesthetics remind me of something I am used to seeing from Fiio, just in a different shape.

The build quality also seems to be decent. They are completely metal shells which are very light weight, meaning that (combined with the comfort) I can just forget that I am wearing them.

The included cable is simple but again it of decent quality, with metal hardware (except for the 2.Pin connectors) that are finished in a colour that matches the IEMs. It is a non-braided cable, with a white interior covered by a clear rubber finish. Based on the overall gunmetal grey finish, I would personally have gone with a grey coloured cable rather than the white but that is just a comment rather than a complaint. It is not a spectacular cable but it is more than adequate and swapping it would be a personal choice rather than a necessity.

Soundā€¦

(Note: As always, tracks mentioned are clickable links that allow you to open them in the streaming platform of your choice for reference).

My usual process for testing IEMs (or headphones) is that I just used them for 4 or 5 days almost exclusively (while at work), listening to all kinds of music, as my tastes change a lot depending on my mood. After that period, I will spend various hours listening only to my test tracks (which can be found here by the way) and form my detailed impressions, doing any comparisons at the same time.

In the case of the Airship, I took them to the office as usual and when I hit play, it just so happened that my test track list was playing. I must say that I was instantly impressed by the Airship and I actually spent all morning listening to my test tracks.

But I am getting ahead of myself, so lets start, as usual, with a graph of the Airship in comparison to my personal preference target:


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

I have said it before but I am going to repeat it againā€¦ My target curve is really only as a guidance and sometimes things that follow the curve may still not be enjoyable to me and other things that deviate from the curve will actually be pleasurable. The latter is the case with the Airship.

Starting from the lowest notes, as I always do, the subbass of the Airship is present in both quality and quantity. I know that I say that I am not a fan of overly present bass, although the mid bass is usually where I suffer, if the set does keeps the subbass clean and articulate, then I enjoy it. I have used the Airship for quite a bit of hip hop and have obviously also put it through the usual ā€œChameleonā€ test, finding that the subbass response is very good, not quite excellent but certainly above many other sets in a similar price bracket, managing to keep things clear and concise while still offering a large presence in the rumbling frequencies.

Moving into the midbass, this may be where I am most impressed by the Airship. It is not the tuning that impresses me, as it is quite a bit above the presence I like and enjoy in this region, it is the way it deals with this additional presence. While there are many IEMs that are slightly over my preferred quantity in the midbass region, giving a warmth to the low end of guitars and basses that I actually like for some genres, there are many more that are way too much for my tastes. This is something that I actually find tiring and I find myself literally having to either switch music, reduce the bass, or even just give up on the IEMs.

Looking at the graph, I would place the Airship in the category of ā€œway overdone for my tastesā€, yet I donā€™t find it to be the case when listening to them. This is one of those cases where the graph doesnā€™t always relate to the experience. Yes, there is quite a bit more midbass that I would prefer, of that I have no doubt, but it doesnā€™t come across as tiring or make me want to take the IEMs out.

There is a clarity and definition to the midbass notes, as with the subbass, that is very impressive in my opinion, making the majority of my music enjoyable, even with the extra bass. For example, ā€œNo Sanctuary Hereā€ by Marian Herzog feat Chris Jones, is a track that needs a decent amount of midbass to sound impressive but at the same time is easily overdone and drowns out the rest of the frequencies, the Airship give it (more than) enough quantity to be impressive yet do not make the bass take control more than it should.

I find that the Airship goes from doing a great job of presenting EDM, such as ā€œSun is Shiningā€, without being overly bassy, to reproducing ā€œElephants on Ice Skatesā€ with authority but without bloat. If I had to complain, it would probably be more related to the pluck of the bass guitar in ā€œElephants on Ice Skatesā€ than the bass notes themselves, but that is higher up in the range.

Moving into the mids, there is not really a bass bleed as such but there are times when certain notes seem to carry over just a little too much. This is not a regular occurence but on certain tracks that are busy around the 200Hz to 300Hz mark, it can overshadow the mids a little, due to the slight dip around the 500Hz mark.

As we move up to the higher end of the mids, there is a nice smooth slope that reaches up to the 2.5kHz mark, keeping itā€™s presence up until another peak just below the 5kHz mark. Now, I have said many times that I am sensitive to peaks at 5kHz but as with the bass, I do not find it to be irritating on the Airship. Itā€™s true that it isnā€™t really a sole peak at 5k, more of a general presence between 2kHz and 5kHz, and this may be the reason for it not affecting me as much as it does on so many other sets, but I find the upper mids and their transition into the lower treble to be quite smooth and without giving the sensation of being harsh.

A lot of the music I listen to has female vocals and I find that the Airship do a great job of keeping voices present but without adding any harshness or pushing them too far forward. Even with female voices that are often too harsh on many sets, such as Beth in ā€œDonā€™t You Worry Childā€, still remain fairly smooth and do not become shouty and, well, irritating (at least no more than usual :wink: )

Climbing up to the higher end of the frequency range, there is a good extension and a nice sensation of air and breathing space. Many single dynamic driver IEMs suffer from lack of extension in the upper ranges, especially in the lower price categories, the Airship is actually a set that is above average in this regard.

Sibilance is also kept in check, without it being eliminated, meaning that sibilant recordings will still show up but the usual ā€œCode Coolā€ test does keep Patricia Barber within the range that I feel is normal for her vocals in this song.

Soundstage is also above average for a set of IEMs. Ok, it is not a huge space around you, like the sensation you will get from certain open back headphones, but it does create a nice space around you, with a good image placement and good details to go along with it.

Listening to live performances, such as ā€œSittinā€™ On The Dock Of The Bayā€ or ā€œFree Fallinā€™ā€, the Airship give you a nice sensation of space on stage, making them a pleasure to listen to. The same goes for tracks like ā€œStrange Fruitā€, where the layers of vocals are clearly identified and easily appreciated. The same goes for ā€œI Concentrate On Youā€, where the vocals are the center of attention yet the details in the background are still clear, giving the track the effect that it deserves.

Conclusionā€¦

I think that if you have made it this far, I donā€™t really need to say that the Airship are a good set of IEMs, not just for their price but in general. I have really enjoyed listening to them and would have no issues using them as my daily drivers. Do they replace my beloved S12, which are at a similar price tag, I have to be honest and say that I could probably be just as happy with the Airship for my general daily listening as I am with the S12. They are actually tuned very similarly and I do feel that the Airship have actually got more detail than the S12.

There is no doubt that I think that the Airship are worth their price tag and the only thing that I would be worried about when recommending them is fit. For me personally they fit fine, I find them extremely comfortable, but everyone is different.

I am going to leave it here as I feel I have made my opinion quite clear. As I mentioned in a previous review, I have a case that holds 6 sets of IEMs that are my usual go to sets and I think that I need to clear a space in it to award it to the Airship.

(As always, this review can also be found in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews)

4 Likes

Blon Fat Girl

The Blon Fat Girl have been sent to me by Linsoul in exchange for the publication of this review. They have not requested that I say or do anything specific, however it is always worth considering the fact that these IEMs have not cost me anything, no matter how unbiased I try to be.

As always, I will leave a (non-affiliate) link to these IEMs via Linsoul on my blog, as itā€™s the least I can do.

Introā€¦

I really canā€™t start this review any other way than with the name of the IEMs. I havenā€™t read any reviews or comments about these IEMs but I am guessing that this is something that has already been commented on by many, all I am going to say is that I donā€™t think the name is a very good choice, no matter how much you want it to be remembered. Yes, there are probably a lot worse names out there but still, Iā€™m sure Blon could have come up with something better. Letā€™s just call them FG.

I just said that I havenā€™t read anything about these, which is true, but I do remember them being launched recently as an ultra budget set, coming in at around 10ā‚¬, which is probably within the top 5 of the cheapest IEMs I have ever reviewed.

So letā€™s see if they are any good for such an extremely cheap price.

Presentationā€¦

There is not a lot to say in this section, I mean, what can you expect for this price?

A simple box containing the IEMs with their fixed cable and a couple of spare tips. That is it, but again, we canā€™t ask for more.

Build and aestheticsā€¦

The build of these is actually not bad. Itā€™s not stellar (did I mention 10ā‚¬?) but it is completely made of metal and the attached cable is not the worst you can get, even in higher price brackets.

The size and shape are going for a smaller bullet type style, similar to something like the Quarks or the Tanya, but a little bit bigger then either of those. They are sort of reminiscent of the Koss KEB90 but without the angled nozzle.

As far as comfort, they are not bad either. They arenā€™t small enough to disappear inside the ear but arenā€™t overly large either, so I really donā€™t have too much to complain about at this price.

Soundā€¦

Before getting into my opinion of the sound, letā€™s look at a graph of the FG compared to my personal preference target. Also, at the same time letā€™s add the BL03, Blonā€™s most successful model, to the graph.


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

Ok, now, for those of you that know what to look at on a graph, I donā€™t think that you will be surprised at what is coming. For those that prefer my subjective findingsā€¦

There is an elevated bass range that is something that I donā€™t personally care for. Usually I would break this section down into subbass and midbass but I feel that there is no real need here because the IEMs donā€™t do a great job of distinguishing between them.

Looking at the graph, you can see that there really isnā€™t much difference in the bass zone between the FG and BL03, in fact, the BL03 has slightly more. However, the big difference is in the quality of the bass. The whole low end just seems to merge into a largeā€¦ Iā€™m actually looking for a word to best describe this hereā€¦ maybe ā€œblobā€ would be a valid description.

There is just an overall lack of definition and clarity in the bass section, making things feel congested.

As we move into the mids, we have the opposite problem. Instead of a large blob, we have a large hole. There is a space in the center of the tuning which is where the mids should be, and they are just not there. I canā€™t say the mids sound bad, in fact, I played some simple mid focused tests and the mids arenā€™t terrible, but bring back anything that has lows or highs (we are getting to the highs!) and the mids just fade away into the shadows.

And the highs. The highs are over elevated and not elevated enough, all at the same time. There is a mismatch of frequencies happening in the upper ranges that can really create a weird sensation with instruments in these frequencies. There are peaks, including a fairly large one at my dreaded 5kHz range, which just present a treble that soundsā€¦ again searching for wordsā€¦ wonky?

Sound stage and image placement is very difficult to judge, well, actually itā€™s quite easy to judge negatively, as the mass of bass, lack of mids and random treble, all contribute to things not sounding like they should nor where they should.

Detailsā€¦ Well, I imagine you can guess.

Conclusionā€¦

Blon really made a name for themselves with the BL03, a set of IEMs that was loved by a lot of people. I donā€™t mind the BL03 even though they are not something I highly praise as I preferred the BL05s, but that is a personal opinion. Since then they have released quite a few models, some quite ā€œoff the wallā€, but none have really had the success of their first model.

Iā€™m afraid that I can not relate anything from the FG to the BL03. While I may not have been the biggest fan of the tuning of the BL03, itā€™s performance is fairly decent, whereas I have struggled to not be more negative in this review towards the FG.

I really donā€™t like leaving negative reviews, as I feel that this hobby is so subjective that somebody is always going to like things that I donā€™t. That might also be the case with the FG, who knows, but there are just so many good alternatives out there, even at the same price (and sometimes even cheaper), that I really canā€™t see the point in owning these IEMs.

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

2 Likes

The 7Hz x Crinacle: Salnotes Dioko have been sent to me by Linsoul in exchange for the publication of this review. The only request that I received was that these IEMs were placed at the top of the queue of the other items they have sent me. Other than that, no specific requests have been made and I will do my best to be as impartial as I always try to be, always remind you that these IEMs have not cost me anything.

The link to the Dioko via Linsoul can be found by visiting the version of this review published on my blog.

Introā€¦

When Crinacle announced the 7Hz x Crinacle: Salnotes Dioko, which I am just going to call Dioko or 7Hz Dioko from now on, I was interested in giving them a listen. This is one of the few cases where I actually reached out to Linsoul asking about them (usually they send me whatever they feel like sending) and was happy to hear that they would send them to me.

I have reviewed a few of the Crinacle collaborations in the past, although they were mainly mini-reviews, and I also did the same with the 7Hz Timeless, a set of IEMs that I really enjoyed, even though I ended up preferring the S12. So, when I heard that the Dioko were a budget set of planar IEMs, I was certainly interested.

I have put the Dioko through my usual review procedure, giving them around 120 hours on the burn in rig, 5 days of daily use and 4 or 5 hours of detailed listening (using my usual test tracks) and comparisons. I have used the Gryphon, as usual, for the detailed listening but I did use the Modi 3+ & Atom for a lot of my listening time at my desk this week.

Presentationā€¦

The presentation is different to what I was expecting for a budget set of planar IEMs, with a price that is below 100ā‚¬ at the time of publishing this review. They may not hit the extreme budget category but I do believe that they are the cheapest set of planar IEMs available at the moment, so I was expecting a watered down version of the Timeless presentation.

The first thing I found upon opening the box was that the storage case is the size of the actual box, with all the contents inside it. I was actually expecting a simple leather or plastic version of the Timeless case but what is included is actually a very nice storage case, with a moulded interior and a soft finish, covered in faux leather with a red and black theme. I canā€™t say I am overly ecstatic about the aesthetics of the case but it is not horrible and the build is the same as similar cases that I have seen available for anywhere between 18ā‚¬ and 35ā‚¬ online, so definitely not a cheap tacky case.

We obviously also get the IEMs and the cable, sitting in the moulded case interior, along with 7 sets of coloured silicone tips and a basic user manual.

Except for the case, there is nothing really out of the norm included, however, the case certainly does leave a good impression.

Build and aestheticsā€¦

I already mentioned the case, so letā€™s focus on the IEMs and the cable.

Starting off with the cable, it is actually quite nice, in my opinion of course. A nicely braided cable in a two tone brown finish, it is fairly nice to the touch and does not seem to tangle or misbehave in general. I donā€™t feel that the aesthetics of the cable really match the IEMs but I actually like the cable aesthetics.

With regards to the IEMs, they have a similar fit to the Timeless or Eternal, where the main part of the shell sits outside the ear, although they have opted for a slightly smaller size that is oval rather than round, something that I find more comfortable.

The build is plastic but I donā€™t see any specific faults that should cause issues, although only time will tell, as always.

So that leaves the aesthetics which, Iā€™m afraid, are not really my thing. The faceplate is made of what resembles a magnifying glass with a purple tint to it. This does give the sensation of it changing colour depending on the way the light hits it but I am just not a fan. The positive thing is that I canā€™t see them when they are in my ears, so listening to them takes away from looking at them :wink:. I will also say that I was surprised that the finish doesnā€™t show fingerprints, which I expected the glass type finish to do, so that is a positive.

Soundā€¦

Note: All tracks mentioned in this review are clickable links that will open the track in your preferred streaming service, in order to reference the song.

As usual, here is a graph of the frequency response in comparison to my personal preference target:


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

I really like what 7Hz and Crinacle have done in the subbass (and mid bass) realm. I know I am someone who looks for slightly less bass than the majority, so keep that in mind, but I find that the tuning of the Dioko makes for a very clean low end, something that Crinacle seems to focus on and something that I like.

There is enough subbass for when rumble is needed but that stays out of the way of the rest of the frequencies. The subbass is clean and articulate and while I would say that it is not the most detailed of bass in general (there isnā€™t usually a lot of subbass detail anyway, more just a rumbling effect) it does present things nicely and keeps up with fast paced subbass hits.

The midbass keeps the same kind of presentation. It is less present than on many other sets (including 7Hzā€™s own Timeless) and this may not be to the favour of many bass lovers, but I do like it. There are some genres, such as classic rock (things like ā€œWhole Lotta Loveā€ being an example), where a little more midbass would work in favour of the music but for many other genres I find that it works very well, again, keeping it clean and articulate with a decent speed. Personally I am a fan of the whole low end of the Dioko, at least as far as tuning goes, but I can see others wanting a little more warmth in these lower ranges. It really is quite a polite low end.

Moving into the mids, there is no need to mention that the transition is very clean, as is to be expected from the tuning. This can leave some of the lower guitar notes seeming a little hollow (not due to the clean transition but due to the lower midbass presence which often rolls over into the lower mids) but the midrange is very well balanced, maintaining a very clean presence until it starts to climb just before the 1kHz mark.

This does gives the Dioko a sensation of being very neutral all the way up to where the upper mids start. The lower end of vocals are present, as are instruments, all coming across as clean and as articulate as the lower frequencies do. This can make certain male vocals seem a little lacking in warmth, such as Leonard Cohen in ā€œWhat Happens To The Heartā€, especially when used to so many other sets that do have more going on in the lower mids (and midbass) frequencies.

However, in the case of female vocals, I donā€™t find this to be the case, seeming to come across as very neutral. The lower notes of Nellie McKayā€™s ā€œI concentrate on Youā€ are as clean as I would expect them to be from studio monitors.

As we reach the higher end of the mids, the presence region seems to not quite make it far enough, peaking around 2kHz and staying flat until around 4kHz. Now, this is not actually a negative, due to the neutrality of the frequencies up to this point. As there is no low end bump, nor central mids recess, to compensated for, the fact that the upper mids are not pushed forwards as much as we usually find on other sets works in favour of the Dioko. It helps not push the vocals too far forwards, while avoiding becoming too harsh at the same time. Trying just a quick touch of EQ to bring the 3kHz up to my usual preference target quickly made things more shouty and harsh.

The negative to this is that the higher ranges of instruments do not sound as natural as they should. I find pianos and the higher end of acoustic instruments to be well balanced but not quite correct as far as their tonality.

The higher ranges are well extended, with a nice sensation of air and space. There is a slight hint of sibilance on songs that are very borderline in this regard (such as ā€œCode Coolā€) but for the majority of tracks, this is not an issue.

As the Dioko are a very neutral tuned set of IEMs, this works in favour of space between instruments and layers, even if the soundstage is not huge. In fact, I would say that the soundstage is around average for a set of IEMs, however, due to the clarity, it works in their favour and does make things seem a little more spacious.

The biggest negative, which is really not a negative but more of a ā€œnot quite good enoughā€, is the subject of details. I mentioned in my review of the S12 that I donā€™t find them to be the most detailed of IEMs, however, the Dioko comes across as even less detailed in this regard. The intro of ā€œAll Your Love Turned To Passionā€ is something that I like to hear when assessing how a set of IEMs deals with those small background details and decays, and the Dioko just doesnā€™t quite do it. The initial strike of the guitar and the notes themselves are fine, but thre is no real decay or detail as the sound fades into the room.

Vs Letshuoer S12ā€¦

Before you say it, yes I know that the Dioko is a much cheaper alternative and this doesnā€™t make it a very fair comparison butā€¦ as both are planar IEMs and I find the S12 to be very similar to the Timeless, I feel that a (brief) comparison is in order. It would probably have more sense to compare the Timeless, which is the Diokoā€™s bigger brother, but I donā€™t own that IEM and I personally preferred the S12 anyway.

So, as far as tuning goes, they are different. Mainly in the bass regions, where the S12 has that warmer midbass presence while the Dioko focuses on the cleanliness and neutrality of the low end moving into the mids.

As a general preference, I actually prefer the tuning of the Dioko in this regard. However, when a set of IEMs has a slightly more present midbass which is still clean and articulate, I find it very pleasant, and that is the case with the S12.

The mids on the Dioko are also more neutral, approaching the presence of vocals in a different way. Listening to some of my favourite vocal focused tracks, I must say that I prefer vocals with the S12 approach (especially male vocals) but I have no issue with the Dioko either, it is just different.

As far as details, I have to say that I find the S12 to be superior in this regard, even if I have said that I donā€™t find the S12 extremely detailed.

I really feel that the Dioko and S12 (also the Timeless) have some similarities but are very different IEMs, approaching the presentation of music in different ways.

Conclusionā€¦

I could probably spend a lot of time comparing the Dioko to many other sets around and below the 100ā‚¬ mark, but honestly I think it has created itā€™s own space and while it may be competing for sales in this bracket, it is not actually competing at the same game.

Many sets around this price are focused on getting a general flavour that is pleasant for as many people as possible and there is nothing wrong with that, however, the Dioko seems to bring its own flavour to the table, which is something different yet well done at the same time.

I donā€™t think that the Dioko is ground breaking in terms of planar IEMs, in other words, I donā€™t think it is trying to compete with some of the more expensive planar IEMs, rather it is offering a planar variant at a very affordable price range. Letā€™s face it, planars are in fashion at the moment and 7Hz, along with Crinacle, have proved that you can (finally) get good planar performance for less than 100ā‚¬.

(As with all my reviews, this is also available in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews)

3 Likes

7Hz Salnotes Zero

The 7Hz Salnotes Zero have been sent to mby Linsoul in exchange for the publication of this review. They have not requested anything specific and I will, as always, aim to be as unbiased as possible. However, you should always consider the fact that these IEMs have not cost me anything.

You can find a non-affiliate link to the Zero by visiting the version of this review published on my blog.

Introā€¦

When I received the Zero, they were not yet on sale and I had no idea what the price was. Since then, they have become available on Linosul at a price of less than 20ā‚¬, placing them firmly inside the sub 50ā‚¬ bracket that I consider ultra-budget orientated.

7Hz are a brand that have made quite a name for themselves recently, with the 7Hz Timeless, a breakthrough in the planar IEM market, and the recent Dioko (in collaboration with Crinacle), amongst a couple of other models. The Zero I believe is their attempt at entering this ultra-budget IEM market with a single dynamic driver set of IEMs.

Presentationā€¦

As is to be expected for less than 20ā‚¬, the presentation is rather basic. Arriving in a plain box that a plastic covered tray slides out of, these are very reminiscent of some of the KZ presentations.

Inside the box we get the IEMs, the cable, the user manual and the same collection of multicoloured tips that were included with the Dioko that I reviewed recently.

I really canā€™t see any reason to complain here, as I would much rather IEMs in this price range have as much budget put towards the actual IEMs as possible.

Build and aestheticsā€¦

The Zero are available in various colour options, these being black, blue and white. The version I have received are the blue ones, a colour that I would actually refer to as ā€œsmurf blueā€.

I have to say that I have not had a set of IEMs come across my desk in this colour, so bonus points for originality, even if I do find them to look a bit like a toy (especially with the red tips that they arrive with).

The build is a combination of a plastic shell along with a metal faceplate. The shape is also original, with the use of plenty of straight lines, forming a shape that I really wouldnā€™t know what to call. This may mean that for some people with smaller ears, the square corners may result in some discomfort but I havenā€™t personally noticed any.

To be honest, I am not quite sure what to say about build quality. As I said, they do look a bit like toys and there is a clear seam where the shells are fixed together but at the same time, I really can spot anything that shouts ā€œthis is going to breakā€.

The included cable is nice enough, although a little stiff. It does refrain from tangling though and in general does its job, so I donā€™t have any complaints either. Yes, the cable included with the Dioko was much nicer (at 5 times the price) but this is still far better than many other cables included with ultra budget sets.

At the end of the day, aesthetics are very personal and while I am not a huge fan, I am also not going to put too much into how a set of 20ā‚¬ IEMs look.

Soundā€¦

(Note: As always, tracks mentioned are clickable links that will open the referenced track in the streaming service of your choice)

This is the category that is ā€œmake or breakā€ for an ultra-budget set of IEMs in my opinion. I mean, sound is obviously the most important part of any IEM (maybe along with comfort) but in this price range, if something manages to sound good, it is 99% of teh way there (in my opinion of course).

So, here is the usual graph comparing them to my personal preference target:

I have said it before but I will say it again, my target is just a guide, I donā€™t always like things that are very close to it and I donā€™t always dislike things that arenā€™t. Saying that, on paper, we are off to a good start with the Zero tuning.

Starting off with the subbass frequencies, there is enough for my tastes, giving a nice sensation of rumble when the track calls for it, such as in the case of my usual test track, ā€œChameleonā€. They also stay fairly clean and articulated in these lower ranges, without giving a sensation of muddying up the low end.

I am not sure if these IEMs were developed after the Crinacle collaboration but I must say that the bass in general is very reminiscent (in quantity) of the Dioko, something that I find very positive.

Midbass is more of the same story, not overly done and staying out of the way of the lower mids. This makes for a very clean bass region in general, allowing me to appreciate what is going on in the low ranges, even in complex songs. Ok, the speed may not be up to that of certain planar models, or other dynamic drivers in higher categories, but is is still pretty good, better than a lot of models I have heard coming in at many times the price of the Zero.

As with the low end of the Dioko, this tuning may sometimes give the impression that the lower notes of guitars are missing a little bit of body, maybe the guitar of Johnny Cash in ā€œHurtā€ being a good example, yet I would much rather take this presentation over something that is too bloated.

The mids are very well balanced and follow my preferences almost exactly. This, in my opinion, gives just the right amount of presence and balance to vocals and instruments located in these frequencies. There is no huge dip in the mids, nor is there a huge spike at the top of the mids that is needed to compensate for any lack of lower midrange. The presence between 2kHz and 4kHz is almost perfect (again, in my opinion), starting to roll off before we hit 5kHz, a range that I am very sensitive to.

This is actually something that I equalized the Dioko to while I was testing it and it resulted in things becoming rather harsh in this area, that does not seem to be the case with the Zero. In the track ā€œDonā€™t You Worry Childā€ by Beth, her voice can become very harsh and almost unlistenable on many set that have too much in the higher mids, in the case of the Zero, she is still harsh (the recording is harsh itself) yet listenable.

Moving into the upper ranges is where I find the issue with the Zero. There is plenty of extension and feeling of air, yet there is also a spike that does make these upper ranges a little brutal on occasions. This peak does not actually create too much sibilance as ā€œCode Coolā€ is a little hot but not painful (which can certainly be the case), yet there is a bit of a metallic shine to the upper range, making it not feel natural.

My guess is that 7Hz have used this extra presence in the upper ranges to make the Zero seem like it has more details than it actually does. This is something that many brands have done with various models to give that impression of detail. This is something that can make a set of IEMs sound very impressive during the initial listening phase, yet can be fatiguing on longer listening sessions.

My take on this is that the Zero donā€™t really have a huge amount of detail. I mean, they are not bad, certainly more than acceptable for the price range that they sit in, but they are not as detailed as that upper range peak would like you to think. To be honest, this does give the sensation that they extend much better in the treble than other dynamic driver sets, yet they really donā€™t, it is more of an illusion created by that peak.

Soundstage is not bad but is another thing that is conditioned a little by that upper peak. That sensation of more air does sometimes add to the sensation of more space, yet when isolating certain instruments and sounds (such as in ā€œBubblesā€), the soundstage is actually around average for a set of IEMs.

Conclusionā€¦

Everything was going so well with the Zero until that upper peak. Now, that does not mean that they are a bad set of IEMs, far from it, they are a great set of IEMs for their price (and could could probably compete with sets priced quite a bit higher), I think it is more of me finding so many good things about the tuning that the one error, or maybe that is not the correct word, letā€™s say that one ā€œchoiceā€, is something that was probably more of a let down due to everything else being so surprisingly good.

Obviously this can be corrected (again, maybe corrected is not the right term) with a little eq, but I actually feel that maybe it is simpler than that and it can be corrected with a filter that just tames those highest ranges a little. When I get a chance (I have quite a list of backlogged items) I will certainly try a couple of things because I feel that these IEMs are almost perfect as far as tuning in their price bracket.

Again, please do not take this as a negative review, the 7Hz Salnotes Zero do almost everything much better than can be expected for their price.


As always, you can find this review in Spanish both on www.achoreviews.com and on www.youtube.com/achoreviews
My IEM FR measurements are available on achoreviews.squig.link and my IEM isolation measurements can be found on achoreviews.squig.link/isolation

3 Likes

KBEAR Little Q

The KBEAR Little Q have been sent to me by KeepHifi in exchange for the publication of this review. They have never requested anything specific and I will do my best to be as unbiased as possible, always reminding you that these IEMs did not cost me anything.

You can find a non-affiliate link to KBEAR Little Q via KeepHifi by visiting the version of this review published on my blog.

Introā€¦

I have reviewed quite a few of these small bullet style IEMs but I have to say that I think the Little Q are the smallest of all of them. When I first opened the package, I was very surprised at how tiny these IEMs really are.

Coming in at around 15ā‚¬, these are another set that are competing for the ultra budget category but do they do anything that so many other models donā€™t?

Presentationā€¦

The presentation of the Little Q is about as basic as you can get, with a white box that contains the IEMs and a few set of spare silicone tips.

Not a lot to really talk about here but as I have repeated many times, in this price range I donā€™t want to see a lot of accessories.

Build & aestheticsā€¦

I already mentioned how tiny these are, so again, there is not really much to say. They opt for an elongated cylinder type shape, very similar to the shape used by Final Audio on their E series, yet slightly smaller.

They are available with or without a microphone, with a 1ā‚¬ difference, in black grey and blue. As KeepHifi asked which version I would like, I opted for the blue version with a microphone and I am glad I did. As these are so small and compact, they are a perfect candidate to store in a pocket or even a small container on a keyring, allowing you to always have a set of IEMs (with mic) available.

The build quality is all plastic (at least I think its plastic) yet is is well constructed and the finish is very well done. There is the KBEAR logo down one side in black and the back of the IEMs has a small honeycomb design printed on in white (something that could also be reminiscent of the Final Audio logo on the back of their IEMs).

Even though I say that aesthetics are not really something I care about in these price ranges, I am actually quite fond of them and they are very comfortable, even when laying on my side.

Soundā€¦

So, the important part, sound. Letā€™s start off as usual with the graph of the Little Q compared to my personal preference target:

Ok, maybe we are not off to a great start here, as far as my personal preferences go, but all is not lost!

Down at the lowest frequencies, the Little Q are pretty elevated, giving quite a bit of presence to those lower notes. Now, if you remember (for those of you that follow my reviews), I recently reviewed the Blon FG which had less presence down low than the Little Q and I said it was not good. Well, the Little Q has something that saves it, itā€™s this thing called definition. Even though there is a fair amount of elevation in the lowest ranges, it doesnā€™t fall apart and become a hugeā€¦ ā€œblobā€ I think was the word I used.

This goes for the midbass too, which is also way above my preferences in this area but, as it actually has some clarity and definition, I donā€™t hate it. In fact, I actually find it kind of fun. I think those that like a lot of bass and are looking for something that is very cheap will have no problems with the low end of the Little Q.

I am not saying that it is amazing in the low end, nor that it is as clear and defined as higher range IEMs, I am saying that it is surprisingly good for the price and I find it enjoyable, which is quite a compliment from me for something with this amount of bass.

As we move into the mids, the tuning is again very similar to the FG, yet the Little Q actually performs rather well in these frequencies. Yes, there is a noticeable dip in the center of the mids but at least it stays defined, even if it does lean towards (or rather point towards) the warm side of things.

I found acoustic music to be quite enjoyable and while I wouldnā€™t pick these as my reference IEMs, ā€œCrazyā€ by Daniela Andrade had nice warmth and clarity in the mid range, as did Caro Emerald in ā€œBack It Upā€. Vocals were easily appreciated and overall fun to listen to.

A lot of this presence is due to the boost as we get up to the 2500Hz range. This climb is actually quite smooth and does a decent job of making sure vocals get the spotlight they deserve. Voices certainly donā€™t get pushed up front, there is too much going on in the lower ranges for that to happen, but there is enough presence to be pleasant.

There is another peak around 6kHz before they upper ranges start to roll off and this is something that does help brighten things up a little but can be a little hot on certain tracks, along with some presence of sibilance, especially when elevating the volume level.

Soundstage is not huge, as is to be expected with such a deep fitting set, but it is not terrible either, with image placement that helps make things seem a bit better distributed.

Isolationā€¦

This is something that I havenā€™t really mentioned much in reviews over the years but I have been working on putting together a collection of isolation measurements of the IEMs I have reviewed. The photo above is the isolation measurement of the Little Q but you can compare it with other isolation measurements by visiting achoreviews.squig.link/isolation (its the same address as my FR measurements but with /isolation on the end).

Conclusionā€¦

The KBEAR Little Q are a set of IEMs that I have grown quite fond of while trying them out. They are not highly detailed, nor are they going to win any awards for amazing sound, yet they are a pleasant listen that work great as a cheap ā€œout and aboutā€ set.

Due to the size of them, plus the fact that they have a mic, they are a great option to store in a tiny case that can be easily kept in a pocket or even on a keyring. This means that you have a set of IEMs that you can pull out at any time and plug them straight into your phone (if you have a headphone jack of course, if not, you can add an Apple dongle for another 10ā‚¬), enjoy some music and make some calls, without worrying about them being damaged or lost.

They might not be the best isolating IEMs (although that will depend on the tips used of course) but as they have that elevation in the lower ranges, they should also work pretty well in noisy environments.

All I can say is that, for 15ā‚¬, I think the Little Q are more than worthy of their price tag.

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

4 Likes

Hey man, I need help. I have a pair of Tin T2 PLUS and I love them. The problem is, I recently lost the filter on one of them. I also lost the little piece of foam inside the tube. Completely naked

Right now, one of the two is naked. Could you make a measurement of the tin t2 plus without filter and foam so I can equalize them to the original tuning? I also have foam and filters recommended by rikuGoku but I thought that would be a bore to try, eq is easier.

Thank you so much in advance.

I can measure them like that but Iā€™m afraid it may be a couple of weeks before I can do so. I loaned the T2+ to a friend who is on vacation at the moment and need to get it back from him first.

MuchĆ­simas gracias :revolving_hearts:

1 Like

Sennheiser IE600

The Sennheiser IE600 have been loaned to me directly by Sennheiser as part of a tour that was arranged on Head-Fi. The terms of the tour were that I would spend a maximum of 2 weeks with the IEMs, posting my honest opinions of them on Head-Fi at the end of the period. The also requested that any other reviews or comments on social media contain the hashtag #IE600Tour so they could be easily found.

There were a couple of other requests (such as at least trying the stock tips and comparing them to any other tips used, etc.) which you can find by visiting the first post of the Tour thread here: On the Road Again: Announcing the IE 600 Tour! | Headphone Reviews and Discussion - Head-Fi.org

No other requests have been made outside of the above thread, therefore, I will do my best to be as unbiased as I usually am, taking into consideration that it has not cost me anything to try out these IEMs.

Rather than sharing a specific official page link, I suggest you use this link: https://sennheiser.com/ which will take you to the relevant Sennheiser page for your location, from which you can navigate to the IE600.

Introā€¦

While I am someone who has been using Sennheiser gear for a very long time, due to me working in the pro audio field, I really havenā€™t had the chance to try any of their more hifi orientated IEMs. I have tried plenty of the consumer class stuff, along with plenty of their stage focused stuff, but the IE series is something that I just havenā€™t come across before.

I was very tempted to pick up the IE300 when they were released, to get a taste of what Sennheiser were doing with this line, but in the end I ended up not doing so. I was also interested in trying out the IE900, the TOTL in this series, but the price tag is something that doesnā€™t make it easy to blind buy.

So when the IE600 was released, priced at just under 600ā‚¬, I was interested in finding out what they were all about and, when Sennheiser announced the tour, I was very happy to make the selection of people to get to try them.

Presentationā€¦

The IE600 comes packaged in a very professional way. Upon opening the outer box, the two IEMs sit in a foam surround, which either makes the IEMs look tiny or the box look huge!

Beneath this top layer we find multiple documents, user manuals etc. and below these we get to the accessories.

The accessories included are 2 cables, one 3.5mm and the other 4.4mm, a square transport case, 3 sets of foam tips, 3 sets of silicone tips and a cleaning tool.

To be honest, the included accessories are what I would consider to be just the correct amount. There is nothing missing that we need to enjoy (and look after) the IEMs but at the same time, there is nothing included that is just to fill a void (except maybe for some of the packaging itself).

Balanced and unbalanced cable options are included, a nice travel case that is not overly large is included, basically offering a presentation that I would consider very well thought out.

Build and aestheticsā€¦

Starting off with the IEMs, they are small and fairly lightweight (although they could be considered heavy for their size I guess). Completely made of what seems to be some kind of sandblasted metal, they look rugged and discreet at the same time. When wearing them, they are even more discreet, as they fit inside the ear very well, sitting flush inside the ear (at least in my ears).

Speaking of comfort, I find them to be probably the most comfortable IEMs that I have ever worn. Recently I said that the Airship were one of the most comfortable sets of IEMs that I had worn in a long time. Well, the IE600 came along and blew those out of the water as far as comfort.

Added to the comfort of the IEMs, there comes the cable. While I wouldnā€™t say the cable is anything special, itā€™s just a simple grey cable, the mouldable hooks over the ears are great. This reminds me of the moldable hooks on pro gear, such as DPA mics, that are made to be comfortable and not move throughout a show, no matter what the artist is doing. However, in the case of the IE600, these moldable hooks are covered with a slightly thicker outer sheath than the DPA mics (for example), making them work even better in my case.

When inserting the IEMs at the beginning, you do need to fiddle around a little to get the perfect fit, but onese they are in place and the hooks are moulded to the correct shape, they are extremely comfortable (for me) and are going nowhere unless I want them to.

The cable itself is nothing special, as I already said, which sort of keeps up with the ā€œproā€ functionality of these IEMs. I would expect to just run the cable down the artists back, connect it to the belt pack, and not have to worry about it.

One thing that may be a negative for some is the fact that, while the cable does use MMCX connectors, they seem to be Sennheiser proprietary connectors. This means that you canā€™t just grab your favourite cable of choice and expect it to fit the IE600 (I believe this is the case with the IE300 and IE900 also). However, the connectors used are so smooth and so easy to connect/disconnect, without worrying about them being too loose or too tight, that it makes it almost worthwhile having to stick with the stock cable.

At the other end, while the 3.5mm/4.4mm is plastic, I have no doubt that it is also of great quality. I have Sennheiser cables that I have used thousands of times over the tears and not once have I had to worry about the connector.

Another thing to point out, which I will discuss more in sound, is the included tips. These tips are also proprietary to the IE line of IEMs, as they include tuning material inside the actual tips. While I do know that some people have had issues with these tips, personally I find the included foam tips to be extremely comfortable and while I did try a few other tips, I also found that I preferred the sound with the foams.

The rest of the included accessories are of a quality that seems just as good and, while 600ā‚¬ is not exactly cheap for a set of IEMs, I feel that the build of all of them are up to the standard of the price point.

Soundā€¦

(Note: All tracks mentioned are clickable links that will open the track for reference in the streaming service of your choice)

As the IE600 is part of a tour (which goes back to Sennheiser between each person on the tour, for cleaning and replenishing with a new set of tips), I didnā€™t have to bother with putting it on the burn in rig for days to avoid the ā€œitā€™s because you didnā€™t burn it in long enoughā€ comments. So I opened the box, put them in my ears (marvelling at the comfort) and connected them to the Go Blu. Within 30 minutes, I had decided that these were the best single DD IEMs I have heard to date.

I have said many times in the past that I donā€™t put together any detailed impressions of things until I have been using them for at least 4 or 5 days as sometimes that period will either show more flaws that I hadnā€™t noticed upon first listen, or even get me used to the flaws and dfind that I enjoy them more than I originally thought.

During these two weeks, I havenā€™t used the IE600 exclusively as other things need to be reviewed, but I did find that, apart from the exclusive use for 4 or 5 days, that any time I felt like listening at other times of the day, I reached for the IE600. That is already something that goes to prove my very positive experience with these IEMs. They are not perfect, I will get into details in just a second, but I still feel that the overall sound of these IEMs is very very good.

I have to say that when I put them on the measuring rig, I was very surprised at the results. I do remember noticing that they had elevated bass on the graphs when I first saw measurements of them, but measuring them for myself brought me to realize that either:

a) I have become a bass-head without realizing it.

Or

b) These do not sound like they measure.

Before moving on and explaining what I mean, here is the graph of the IE600 with the usual foam tips I use for measuring, along with the included foam tips (the ones I have been using) and the included silicone tips:

As you can see, the low end is way above my usual preference target, but as I have said in the past, if an IEM is capable of producing very clean and articulate bass while still being boosted, I will often find that I like the low end. And that is the case with the IE600.

Starting off with the subbass, we are almost 10dB above my preference on paper. Yet to the ear, this subbass only comes into play when the song needs it. The IE600 donā€™t produce subbass on their own, they just boost what is already in the track and, as they do it in such a clean and articulate way, they come across as impressive with many subbass tracks.

Putting them through the usual ā€œChameleonā€ test, there is a large quantity of subbass but there really isnā€™t an overly present sensation of rumble, at least not to the extent I would expect looking at the graph. The same happens with Lordeā€™s ā€œRoyalsā€, although this track does have a subbass that is a bit more ā€œout of controlā€ than ā€œChameleonā€, which is due to the recording more than the way that the IE600 portrays it.

The midbass is where I usually suffer when a set of IEMs is overly boosted in the low end. An overly present midbass is something that I find tiring and can make me want to either stop listening or move to music that has less of a bass presence. With the IE600 I did not get this feeling. Again, it is clearly boosted in these frequencies, yet somehow manages to keep the bass clean and stop it from interfering with the lower mids.

Listening to ā€œNo Sanctuary Hereā€ by Marian Herzog feat. Chris Jones, there is no lack of bass presence to make this track sound excellent in the lower ranges, yet it does not detract from other parts of the song.

Moving away from more electronic bass focused tracks and towards bass guitars, here I did find on occasions that the low end was not quite as clean or tonally correct as I would like. For example, ā€œBlack Museā€ by Prince, where this particular track did give me the sensation that the bass was overly bloated, missing some of the clarity that this needs to appreciate the bass playing. The same could be said for other tracks such as ā€œNo Ordinary Loveā€, where the music is much simpler, allowing the bass to become a little too present. As soon as I moved back to more electronically focused tracks, like ā€œShot Me Downā€, the bass went straight back to being great.

What the IE600 does do is keep the bass away from the lower mids, offering a transition that is much cleaner than I would have expected from such a tuning. In fact, the mids on these IEMs are nothing short of excellent on most tracks.

Even more simple and melodic songs, such as ā€œNo Ordinary Loveā€ that I already mentioned, or ā€œBillie Jeanā€ by The Civil Wars (to move more towards the acoustic side of things), sound very balanced and well defined throughout the mids. The upper mids have a rise around 2kHz which, while maybe not the best I have heard, do a very good job of presenting these voices and instruments with detail and not too much harshness.

Acapella tracks, such as ā€œHallelujahā€ or even ā€œHappens To The Heartā€ (which is not exactly acapella but almost), do sound clear and articulate, although, in the case of Leonard Cohen, I got a sensation that it was maybe not quite as smooth as it could be.

After the 2kHz mark there is a bit of a dip which, thankfully, does not come back with a peak at the 5kHZ mark like on so many other sets. I do feel that the presence just above 2Hz could have extended slightly more, maybe to just past the 3kHz mark, but that is just a personal preference and more of a nit pick than anything else.

As we get into the higher ranges, there is a bit of a peak that can suddenly appear now and again, giving the sensation of a bit of brightness that can come across a little harsh, such as brief appearances in ā€œSugarā€ by Francesco Yates. Sibilance is mostly controlled, although not eliminated, making ā€œCode Coolā€ be just hovering on that sibilance mark, without actually getting there.

As far as soundstage, I would say that it is not huge, maybe at the higher side of average, yet the image placement and details make it seem like there is much more space than there actually is. With tracks like ā€œBubblesā€, you can focus on literally any of the sounds and follow them, without ever getting the sensation that you have lost them. The same can be said for ā€œStrange Fruitā€, where each and every layer of vocals can be tracked on its own.

Last but by no means least, the detail. The details that this small dynamic driver is capable of presenting is very impressive. I never found that I was having to focus on anything to appreciate the details, yet at the same time, it doesnā€™t push them in your face. It just does a very good job of keeping everything just where it needs to be.

Conclusionā€¦

I havenā€™t mentioned it during the review as I always share my opinions without EQ, yet, I find that with a little bit of EQ, these IEMs go from being very good, to almost excellent. I found that dropping the low end quite a bit (not 10dB to match my target but around 6dB), along with just a little tweak of the upper mids (to extend that 2kHz presence just a little more) really opened up these IEMs and made them sound amazing (in my opinion of course). Now, I am in no way saying that my little tweaks improved these IEMs, far from it, more that they adjusted them to my personal preferences.

Without EQ, these are still very good IEMs, with a performance that I find spectacular for a single DD, providing details that are way above what I expected. I am sure that others, who prefer more bass than me, will enjoy the tuning as is.

I also feel that the build, aesthetics, cable, accessories, everything really, is well thought out and is presented in a way that I doubt anyone could fault.

In fact, with the possibilities of EQ, I wouldnā€™t hesitate to recommend these IEMs as on stage monitors to any of the artists that I work with. As each artist gets their own in-ear mix, the IE600 can be tailored to almost anyone, as there isnā€™t anything missing, just some people will prefer to drop certain frequencies more than others.

And then there is the comfort. If ever there was a set of IEMs that I would want in my ears for extended periods and just forget they are there, the IE600 are those IEMs.

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

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

5 Likes

Letshuoer D13

The Letshuoer D13 have been sent to me by Letshuoer in exchange for the publication of this review, they have not made any specific requests, although I will leave a non-affiliate link to the official page of the D13 below.
This means that, as always, I will do my best to be as unbiased as possible in the review of these IEMs, always reminding you that these IEMs have not actually cost me anything.

The Letshuoer D13 official page is here: LETSHUOER D13 DLC diaphragm dynamic driver IEM moving coil headphones ā€“ letshuoer

Introā€¦

Letshuoer, previously known as Shuoer, are a company that have been around for quite a while, at least as far as the world of IEMs time frame is concerned, with a few models that have gained a lot of popularity. One of my favourite daily drivers is the Letshuoer S12, a planar magnetic set of IEMs that I am very fond of.

The D13 is a dynamic driver set, featuring a 13mm DLC diaphragm, which comes with two sets of nozzles featuring two filter types that create slight changes to the overall tuning of the IEMs.

At the time of this review, the IEMs cost around 115ā‚¬, although there is a sale that drops them to around 105ā‚¬.

That means that, while they are not in the ultra-cheap budget category, they are still reasonably priced IEMs.

Presentationā€¦

Presented in a nice modern box, the contents are similar to those included with the S12 that I have received previously.

Other than the IEMs, we get a nice cable which is available either as a 3.5mm unbalanced or a 4.4mm balanced (the latter being the one I have received), 6 sets of silicone tips (in two types), a storage/transport case which is the same as the one included with the S12 but with a different text on top, the additional set of nozzles, the usual warranty card and a Letshuoer product manual.

There is nothing included that is extraordinary but at the same time, the contents are plenty for a set of IEMs in this price range, at least in my opinion.

Build and aestheticsā€¦

Starting with the IEMs, the build quality looks to be of very good quality and the aestheitcs are something that I find very pleasurable (of course, this is a totally personal opinion).

The shape of the IEMs is a break from the norm, using a round shell with the connection point located on top. The shape is not unique, as there are other manufacturers that have used similar shapes in the past, but the overall design and aesthetics give it a very original look. Available in black or blue, I have the black version which is actually a very dark gunmetal grey, something that I am quite fond of, making the red highlights stand out without looking out of place.

As far as comfort, I personally find them very comfortable, with the shells fitting nicely inside my ear and no hot spots developing even after long listening sessions.

The included cable is thinner than the one included with the S12, something that I also prefer, in a dark brown colour sporting hardware that matches the finish of the IEMs.

I have absolutely no complaints with regards to build, aesthetics or comfort, although two of these three will vary from one person to the next.

Soundā€¦

NOTE: as always, all tracks are clickable links to reference the mentioned track in the streaming service of your choice.

As I mentioned, the D13 includes two nozzles, one with a gold filter and the other with a silver filter. The differences in sound between the two are not huge but they are noticeable, here is what they look like in comparison to my personal preference target:

As you can see on the graph, the silver filter adds some more presence in the low end, while dropping the 2kHz presence a little, the rest is almost identical. Now, anyone who has followed my reviews will guess that I prefer the nozzles with the gold filtersā€¦ and I do.

I find the gold filters to have a little more clarity to them, still with plenty of bass (maybe a little too much at times) for my tastes, making the overall sound more impressive in my opinion. I have spent time with both sets of nozzles, yet my overall feeling when using the silver nozzles was that things are just a little duller and not quite as defined.

So, my following thoughts are based on using the nozzles with gold filters, together with the dark grey silicone tips that come included.

In the low ranges, there is plenty of presence, with the bass being the main focus of this set, and in my opinion, what it does the best. Playing the usual test track, ā€œChameleonā€ by Trentemoller, when the main bass kicks in at 0:31, it is quite a ā€œwowā€ moment, especially upon first listen. I do find that at 0:47, when bass increases even more, it can get a little overpowering for me but then again, the track itself is rather overpowering.

Testing the subbass with something a little more sane, like ā€œRoyalsā€ by Lorde, there is a nice rumble that I donā€™t find overpowering. I have mentioned before that the subbass in ā€œRoyalsā€ is a little ā€œlooseā€ (for lack of a better word) and the D13 certainly donā€™t make it any worse.

Focusing more on the midbass, listening to ā€œSun is Shiningā€, I find the bass to be clean and articulate, making a good job of this specific track and resulting in a pleasant listen. With another common test track of mine, ā€œNo Sanctuary Hereā€, I find that there is a little too much midbass for my taste but it is clean and articulate, making the track still enjoyable, even if a little overly boosted in these ranges.

With ā€œBlack Museā€, here I do find that the bass is not quite as detailed as it should be, yet I am coming to realize that this track seems to be a difficult one for IEMs to get right, at least as far as what I consider ā€œrightā€. ā€œNew Lifeā€ is another track that I felt had too much in the low end but in general, for such a bass orientated set of IEMs, I must say that I found myself enjoying more often than not.

Moving into the lower mids, the presence drops quite a bit, through the center of the mids also, and this helps keep the low end clean and tidy. The mids can seem to be further back than I appreciate (even more so with the Silver filters), yet they are not absent, it is just the kind of V tuning that these IEMs are going for. An example of this would be ā€œBack It Upā€, where vocals could do with a little more presence.

When playing acapella tracks, such as ā€œThese Bonesā€, vocals are warm and articulate, in fact, ā€œThese Bonesā€ sounds pretty good on the D13! With Nellie McKay in ā€œI Concentrate On Youā€, I did find her voice to not be quite as lively as I would like it to be.

That brings us to the upper mids, where the 2kHz presence works hard to bring vocals and the likes further forwards, avoiding them being too far back in the mix. The D13 donā€™t do a terrible job in this regard but they donā€™t do an excellent job either.

In some tracks, such as ā€œBack It Upā€ that I already mentioned, I get the feeling that vocals are not quite present enough, where on other tracks, such as ā€œAll Eyez On Meā€, I find the opposite to be true, it is just a little too harsh in the upper mids.

I feel that this is due to the 2kHz rise being a little too much and rolling off a little too soon. If the presence wasnā€™t quite as boosted and was extended a little more towards the 3kHz mark before dropping, then it would maybe be a little more balanced.

One thing I will say is that, when a track is recorded in a way that matches the tuning of the D13, such as ā€œDonā€™t Start Nowā€ by Dua Lipa, it sounds pretty great. In fact, I would say that these IEMs are best suited to modern music recorded like ā€œDonā€™t Start Nowā€, as they seem to work great for it. I would even venture to say that, for modern pop, I would need to think long and hard about choosing the Dusk over these (the Dusk being my default pick for modern pop).

Moving into the upper ranges, some harshness can again present itself on occasions but only sporadically. In general the upper treble is decent and sibilance is also avoided quite well. Listening to ā€œCode Coolā€, sibilance is tamed but is not dulled, which is a good thing.

Details are not spectacular, making smaller details in the background difficult to appreciate, although I donā€™t really think that these are IEMs that are designed for fixating on tiny details. For example, in the track ā€œAll You Love (Turned To Passion)ā€, the tonality of the guitar and vocals I find quite nice, along with the majority of what is happening in the foreground, yet those tiny details that depend on the reverb etc. during the intro, they are not quite there, even when focusing on them.

Soundstage is about average for a set of IEMs, nothing groundbreaking in this regard, with an image placement that is good but is also not excellent. I donā€™t really have any complaints here but I donā€™t really have any praise either.

As I have been mentioning lately, the above is a graph of the isolation of the D13 in comparison to Zero Isolation (grey dotted line). They are not the most isolating of IEMs but are not terrible either, sort of around average, which is to be expected with the rear vents. You can compare these to other IEMs by following the link at the end of this review.

Conclusionā€¦

The D13 are another set of IEMs that bring some fun to the table for a reasonable price. The build is good, the aesthetics and comfort are great (both in my opinion of course) and the overall sound signature is something that works well for a lot of music.

They put plenty of emphasis on the bass region without overdoing it, at least not with the majority of music, and I find that they make for a very pleasant listen with EDM, modern pop and other similarly produced music.

They are not a set of IEMs that I would choose to focus on details and pick apart recordings, more something that I would pick for being on the move or while doing other things that involve focus elsewhere. Paired with a BT receiver, such as the Go Blu in my case, I find that they are a great pick for doing chores that involve moving around and enjoying music without dissecting it.

I also wouldnā€™t pick them for acoustic music, which a lot of my listening is, I think they are more of a ā€œFriday afternoonā€ set :grin:

I think Letshuoer are working hard to improve and bring quality with their latest releases and the D13 is another good effort that is around the 100ā‚¬ mark. There are a couple of other models of theirs that I would like to get to try and Iā€™ll be interested to see what else they bring forward in the near future.

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

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

5 Likes

Great idea to start measuring noise isolation, very useful info and usually hard to find (RTINGS and Woodenears only come to my mind).

2 Likes

The Venture Electronics "ad"Venture

What I am about to share is by no means a review! It is more my personal ramblings about what I have experienced with a lot of Venture Electronics items that have been sent to me as part of a tour that Charly very kindly organized together with Venture Electronics. I have named this my Venture Electronics ā€œadā€Venture.

This tour included quite a few items, as you will see in a moment, and were sent to me to try out for a week. There were no requests, not even to publish this, although ā€œimpressions are always appreciatedā€ were the words used. Therefore, the following are just my personal opinions and ramblings, regarding the items I have been trying out.

Preambleā€¦

I usually follow a specific format with reviews, however, as I just said, this is not a review. When I review something, I spend at least 4 or 5 days with it, using it almost exclusively, before sitting down and doing detailed listening and comparing it to other things. In this case, I have just been using the items as and when I felt like it, mostly at my desk at work, I havenā€™t sat down and done any specific detailed listening sessions or other tests. I obviously couldnā€™t spend 4 or 5 days with each of these exclusively.

So I suppose the best way to describe this would be ā€œthinking out loudā€ about my discovery of these earbuds and other items. I say discovery because I really donā€™t have much experience with earbuds at all. I did review the RY4S (300 Ohms) quite some time ago (2020 I think), and I quite liked the experience. I also have the Vido somewhere, since around the same time, but never really spent any time with them. Other than those two models, my only experience with buds is from the 90ā€™s, which are horrible memories of crappy sounding, uncomfortable plastic things stuck in my ears :grinning:

Anyway, I have already started rambling, so let me share, in the order that I tried them, what I have experienced with each of the Venture Electronics items over the week of ā€œadā€Venture.

As this will basically follow the random order in which I tried things out, please forgive my jumping backwards and forwards without any logical order.

One last thing before moving on, as I am sort of out of my usual realm here, so those reading may not (are probably not) familiar with my personal tastes. While I listen to all kinds of music, depending on my mood and the day, my most listened to music is mainly acoustic guitar + vocals (mainly female) or other simple acoustic based music. I do have a specific test track list that I use for all my reviews (that includes all kinds of songs, from different genres, good and bad) but I havenā€™t used that list specifically with these buds.

So, finally, Iā€™ll get on with it, starting out with things powered by the iFi Gryphon.

Asura 3.0ā€¦

These were the first earbuds I picked up out of the package. There was no specific reason for this, they were just the first case I opened. In fact, they donā€™t even have a name on them so I didnā€™t even know what I was listening to and had to look up the name after listening and making some notes.

The first thing I noticed with these is that I couldnā€™t get them to sit still in my ears at all. I know earbud fits are different to IEMs and that the sensation of insecurity is normal, but even typing would make these move around in my ears. I remember reading that VE earbuds are tuned without foams, so I decided to use the silicone rings that were included (no idea what the specific name is for these rings) and that solved the movement issue.

Once they had stopped moving, I found comfort to be pretty decent. Ok, they are not as comfortable as some of my most comfortable IEMs but it is normal that a new strange shape feels a little weird at first. Other than the feeling of having new shoes in my ears, I didnā€™t really experience any hot spots or similar.

Listening to a lot of acoustic music with these I found vocals to be very pleasant and forward, with natural sounding acoustic guitars and basses. Obviously coming from IEMs, the bass is noticeably reduced, yet that is not something that bothers me as I am not someone who loves overly present bass (even though I am actually a bass player), so I found most of the acoustic presentation to be smooth and very enjoyable.

Remember that these were the first ones that I tried and I have shared the experiences noted at the time of trying them out, meaning as we go on, there will be more ā€œexperienceā€ as I tried more models.

In general, I found these earbuds to have a presentation that I really enjoy, especially in the vocal range, with a smooth presentation and no sense of harshness. This led to me spending at least 3 or 4 hours straight enjoying music.

did find the cable to be a little too chunky for my personal preference but as I do most of my listening sitting at a desk (while trying to get some work done), it wasnā€™t a major problem. I donā€™t think I would choose these buds, or rather the cable, for moving around at all.

Monk SMā€¦

Let me say that I donā€™t actually know what the price of any of these buds are but it is my understanding that the Monk SM are the cheapest model out of all the ones included and to be honest, moving from the Asura 3.0 to the Monk SM (which was just the next one that I randomly picked) did present quite a reduction in performance, or rather, a reduction in enjoyment.

I found that the overall signature was quite a bit ā€œthinnerā€, with some appearance of sibilance in certain tracks. The mids were a lot less smooth and ā€œlushā€ than on the Asura 3.0. The bass was also not as well defined. It is not like the Asura 3.0 had a huge amount of bass but the Monk SM had noticeably less, losing some warmth to the lower end of guitars and, again, making everything sound thinner overall.

They are not a terrible presentation, they are just not for me.

Masterā€¦

Moving on to the Master, this brought immediate improvements over the Monk SM, in my opinion of course. The upper ranges were smoother again and the tonality of vocals and acoustic instruments were much more realistic again. Saying this, I did find that the upper mids were a bit more exaggerated on these than on the Asura 3.0, with upper ranges that I didnā€™t find quite as pleasant as on the Asura 3.0, with a slight hint of sibilance in some tracks that are more prone to it. I also found that the bass wasnā€™t quite as rounded as on the Asura 3.0.

I made a note here to do some back to back listening between the Master and the Asura 3.0 later.

Sun Diceā€¦

These are buds with a different shaped shell, a bell shape I guess (sorry but I donā€™t know what each shell shape is actually called), which actually gave me most issues with fit, although once I found the correct placement, they were not uncomfortable. I also found that these were the ones that needed the dial turning up most on the Gryphon.

These were a set that reminded me much more of the Asura 3.0 as far as sound presentation. I actually found that these seemed to do a bit of a better job as far as details, yet I felt that the Asura 3.0 still has something special in comparison. I think that, although I found a comfortable fit, the placement wasnā€™t as perfect as it was with the Asura 3.0, giving the Asura the lead in the midbass and lower mids to some extent, adding a bit more warmth to vocals and body to acoustic guitars.

Due to this slight reduction in warmth, the Sun Dice seemed to add a little more focus to upper mid range and lower treble, again, not seeming quite as smooth as the Asura 3.0. but certainly not becoming shouty or overly sibilant. I really do feel that if these fit me a little better, that the sound would possibly be better (in my opinion of course) than the Asura 3.0 but I still made a note to try them more back to back later.

BIEā€¦

Ok, these are not actually earbuds, they are IEMs, but as this is the story of my ā€œadā€Venture week, I am going to include them here anyway.

I could probably go into far more detail here as I am used to reviewing IEMs but in this case I am going to keep it short and simple, mainly because I only spent a couple of hours with them. These were the only ones that I had a quick listen of my test track list with, as that is the list I usually use for evaluating IEMs.

The impression I got from the BIE is that it is a very punchy IEM with quite an elevation in the lower ranges. I donā€™t find the to be extremely detailed or defined, although they are not bad, they are sort of an ā€œokā€ set of IEMs that I donā€™t hate but havenā€™t really fallen in love with either.

Measurements of these IEMs can be found (with all my IEM FR measurements) on achoreviews.squig.link and isolation measurements can also be found on achoreviews.squig.link/isolation

Monkā€¦

I have to say that I didnā€™t even realize that these buds were even in the bag until I was looking to try out the dongles (up next) and found them in the zipper compartment.

These are the only buds that I didnā€™t have to use the silicone rings with, mainly due to how light both the buds and cable are. They are also the only ones that had a single ended connector on the cable.

Iā€™m afraid that I have to say that these are the ones that I enjoyed the least. I did move back to acoustic music with these (after using my test track for the BIE) and I found the sound of instruments to be quite bland, lacking body and definition in the case of guitars etc. Vocals, while not as ā€œfullā€ and pleasant as with other models, are still well presented and are quite upfront in comparison to the instruments, however, I still find tonality to be a little off, at least in comparison to what I find natural.

Judging by the build and cable, sound etc., my guess would be that these are the cheapest of the bunch (again, I have no idea what any of these cost). I canā€™t say I hate them, the open and airy soundstage is still pleasant, yet I donā€™t think they are something that I could spend long sessions listening to.

Megatronā€¦

Until now I have been using the Gryphon for all of my listening with the buds, mainly because it is what I always use for IEM reviews and it is a device that I really like.

However, in the collection of VE stuff, there were also a couple of dongle DACs included and the Megatron, a ā€œtransā€portable DAC/Amp that is approximately the size of the Gryphon and a little bit lighter.

The Megatron has an internal battery with a USB-C port for charging on the back, along with a USB-C data port, a line out and a switch to choose between DAC or DAC/Amp. On the frontit sports a 3.5mm unbalanced output, along with both a 2.5mm and 4.4mm balanced output.

As with the earbuds, I have absolutely no idea of the specs or the price of the Megatron (again, this is not a review, more of a diary of experiences), so I really donā€™t know what it is competing against, so this is just my opinion on how I found it to perform. As far as functionality, there are no bells and whistles, so these are just my opinions on performance.

The first issue I had was getting the Megatron to work with Windows. I tried on two separate PCs (both running Windows 10) and I could not get it to work correctly. The device was detected but alternated between static or a very distorted sound. In the end, I gave up and just used the Megatron connected to my phone or DAP, working without issue on both.

I must say that as far as use case, I do wish that the Megatron had some kind of volume control on the unit. Yes, I can control the volume both on my phone and on my DAP but I would much rather be able to send a direct signal to the unit and control there.

But anyway, the first thing I did was plug the Asura 3.0 into it, as they were the buds that left me wanting to experience them more the most. While the performance is good, I feel that the Gryphon paired better, seeming to drive them better. With the Megatron, I got the sensation that things were just a little brighter and a little harsher in comparison. I did some non-scientific back and forth tests between the two and personally preferred the Gryphon much more.

I decided to test the Megatron with stuff that I know much more, such as the S12 and the Vulkan (amongst a few others) and I kept coming away with the same feeling, the Megatron just seems harsher. In fact, the Megatron reminded me quite a bit of the S9 Pro as far as sound.

I also tried a few headphones with the Megatron and more of the same. While it performed and drove most of the fairly well, it was just a little too bright and harsh on ocasions.

(NOTE: Please see the end of this ā€œdiaryā€ when I finally find out prices of all these things!)

Abigail & Avaniā€¦

The Abigail and Avani are dongle style DACs similar to something like the Apple Dongle. I thought, due to the style, that the fairest comparison would be with the Apple Dongle itself. As I only had a week to spend with all these things and was interested in getting to spend more time with a few of the earbuds, I honestly didnā€™t spend too much time with the dongles.

Basically I grabbed a couple of sets of IEMs that I know well and did a quick comparison of the 3 connected to my phone using UAPP.

Any of the 3 will work and perform well enough to power the majority of IEMs without issue. I got the feeling that the Abigail was slightly more forwards in the upper mids while the Avani was slightly smoother and warmer in the bass. This could totally be my mind making things up and me thinking I hear them, I donā€™t think for one minute that I would be able to tell them apart in a blind test, at least not after the brief testing I did of them.

I am not sure how they perform with some of the more power hungry earbuds, as I honestly didnā€™t spend the time to test and also didnā€™t have a 3.5mm to 4.4mm adapter on hand, but in general they perform well enough.

It is hard to recommend a dongle DAC over the Apple at 10ā‚¬ one unless the dongle is doing something special and to be totally honest, I didnā€™t find that they did anything special but they didnā€™t do anything wrong either.

Soā€¦ back to earbuds and some further testing

As I said, all of my previous listening experiences were limited to the Gryphon (except the brief experience of the Asura 3.0 with the Megatron) so I decided I wanted to see what these buds would do with other sources. Itā€™s not that the Gryphon had any real issues powering them, especially as I am someone who listens at fairly low levels, but sometimes things just ā€œcome aliveā€ with a specific source.

I had already decided that the Asura 3.0, the Master and the Sun Dice were the three earbuds that interested me the most (even though the fit on the Sun Dice wasnā€™t great), so those are the three that I started to spend more time with on different sources.

Some people will probably think that the sources I am going to mention are totally overkill and that may be true, however, I am someone who does 90% of their listening at a desk and, as I live somewhere that hits over 40ĀŗC every day for months, I find over ear headphones to be an experience that I prefer to avoid during summer. This usually leaves me with IEMs but in this case, earbuds offer an experience that gives a speaker like presentation without closing me off from the rest of the world (there are times that someone will come into my office and give me a heart attack as I didnā€™t hear/see them come in :slight_smile: ).

This time I will mention all three of the buds at the same time under the source, as that is how I used them.

With Hifiman EF400ā€¦

This Amp/DAC has quickly become a favourite of mine lately, giving a wonderful presentation to a lot of my headphones, so I was very interested to see how it paired with earbuds.

I started off with the Asura 3.0 as these were the ones that had left me wanting to try them out more. Immediately with the EF400 I found that I preferred them to when I was powering them with the Gryphon. There seemed to be more separation, a little more detail and an overall increase in performance from the earbuds.

Next up were the Master and I have to say that the EF400 seemed to exaggerate more the upper mids on the Master. I already noticed on the Gryphon that the upper mids and treble were a little more a bit too forwards and with the EF400 this was even more apparent. It worked well for some tracks but in general, I didnā€™t find the result very enjoyable after coming from the Asura in this case.

The last set that I tried on the EF400 set up (due mostly to time but also due to these three being ā€œselectedā€ during the Gryphon phase) were the Sun Dice. Itā€™s such a shame that I canā€™t get them to stay still in my ears (especially the left) as, when I hold them in place, I think that they would probably be superior to the Asura 3.0 in performance and presentation. With the EF400 I found them to be a great combination but I had to literally sit completely still and hold them in place (not pushing them in to increase bass, jst lightly keeping them from moving).

With Feliks Audio Echo Mk2ā€¦

Here the Asura 3.0 did seem to lose a little of the soundstage separation that they had with the EF400, yet the slight reduction in openness (which is still a very open soundstage) came with much richer vocals and midrange. I spent quite a few hours of simple listening with the Echo + Asura combination, enjoying track after track of vocal focused acoustic music. I would be very happy to spend all day listening to this set up. This is still not a set up that I would chose for all genres of music, but for the main part of the music I chose to listen to, this is a great combo!

With the Master and I have to say that the Echo Mk2 made a huge difference to those upper mids and occasional treble spikes. They still appeared a little too ā€œhotā€ on some tracks but in general the Echo tamed those upper ranges a little, making for a much more pleasant listen with the Master. I still prefer the Asura 3.0 with this combination but the gap is reduced a fair bit with the tube amp in play.

Finally the Sun Dice. I have to stress again what a shame it is that the fit doesnā€™t work for me as I really like the Echo + Sun Dice combo but alas, we all have different ears.

Discovering pricesā€¦

So, I went through all of this ā€œadā€Venture without a clue as to what any of the prices (or specs) were. So after all of the impressions above, I sat down (well, I was actually already sitting) and strarted searching for info.

As far as the earbuds, I wasnā€™t too surprised at the results, although I was surprised to find that the Asura 3.0 was half the price of the Sun Dice ($150 vs $300). As I couldnā€™t really get the most out of the Sun Dice, I suppose it is not really fair for me to comment but I must say that the Asura 3.0 at half the price seems like a very good deal!

The Master ($100) is still a decent deal, as it does work very well with a lot of tracks but personally I would opt for the Asura 3.0 for the difference in price. The Monk (which I believe, after looking online, is the Monk plus) and the MOnk SM have very similar preces, both below $20, which I feel is a very good price. I was not overly excited with them but as a first step into the earbuds world, I donā€™t think anyone can complain at their performance for that price.

I was surprised to find that the BIE (the IEMs) were around $25 which I feel is a very reasonable price for them. They didnā€™t wow me and would not be IEMs that I personally would choose, but at that price, they are a reasonable buy. They are just up against some very tough competition from other well known brands in that price segment.

The two dongles, Avani and Abigail, I discovered were not available without some kind of bud or IEM bundle, however, bundled with buds for less than $20 is again a very reasonable price. As I said earlier in this ramble, I find it very difficult to recommend dongles over the Apple version unless they are doing something special, yet, at this price, they are more than capable dongles that come in at a very cheap price and are great value.

The price of the Megatron is probably the one that surprised me the most. When testing it out, I was expecting a price in the multiple hundreds of dollars, yet it is listed at $50. At this price, I really canā€™t bring myself to fault it. Yes, it is a long way from something like the Gryphon that I usually use, yet it is around 16% of the price. I certainly expected the price to be much higher!

Conclusion of the ā€œadā€Ventureā€¦

I did warn at the beginning of this wall of text that this was going to be a long ramble, bouncing back and forth, without any real structure, and I didnā€™t lie! If anyone read all of this, then you were obviously very bored :wink:

As someone with very little experience with earbuds, zero experience with Venture Electronics products, and a very limited amount of time to spend with all this stuff, I feel that this was really the only way to share my experiences. It is not something I plan on making a habit of :grin:

So, after a week of ā€œadā€Venture, my conclusions are that, while I donā€™t enjoy earbuds for every genre of music, nor for every situation, they do work very well for one of my main situations, that is sitting at my desk listening to music while working. As I said, I do listen to all kinds of music (depending on my mood and the day) but a great part of my music is vocal and acoustic instrument focused. Earbuds work very well for that.

They also work very well for the current summer time where I find that wearing headphones is like having two wet sponges strapped to my head, not a nice sensation. Earbuds give a very nice and open presentation, without blocking off the outside world, while still keeping music private.

As far as the earbuds I have tried this week, my favourites have been the Asura 3.0 by far. They are a set that I would really like to spend more time with to get to know them better. I always say in my reviews that I like to use something exclusively for at least 4 or 5 days before starting to come to conclusions and sharing detailed opinions, as that time frame can change my opinion of something dramatically for better or for worse. I obviously didnā€™t get that much time with the Asura, so my opinions are brief and possibly do not match what I would feel after a more extended time frame, but they are what they are.

Itā€™s also a shame that the Sun Dice didnā€™t fit me correctly as I feel it would have been a strong contender to the Asura 3.0 but I canā€™t change my anatomy (without involving a surgeon at least!). The Master I also found pretty good but quite a way behind the Asura for my preferences, at least after the short testing periods I have had with them.

The Megatron I thing is probably the best ā€œbang for buckā€ in the whole package. Not because I feel it is the best portable DAC/Amp ever, but because I feel it offers a lot for the price it sits at. I donā€™t have any need for something like the Megatron due to what I already have but it would make a good alternative to always have at work or similar and not have to worry about it breaking the bank if it grew legs and disappeared.

All in all it has been an interesting week. I certainly wouldnā€™t want to do this every week, I much prefer my more laid back routine of spending more time with a single option, but it was still a lot of fun. It has been a but like visiting an earbud trade show, just with far less noise and the possibility of listening to music I know.

Anyway, I guess that is enough rambling as I am now approaching 5000 words, my teachers would have been proud, if it wasnā€™t for the lack of coherency :grin:

So, thanks for reading, no matter how much of this you skipped!!

(I will leave non-affiliate links to all of the products mentioned in the version published on my blog. As always, you can also find this in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews))

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KZ AS16 Pro

The KZ AS16 Pro have been sent to me by Linsoul in exchange for the publication of this review. They have not made any specific requests or comments, meaning that I will do my usual best to be as unbiased as possible, always considering the fact that these IEMs have not cost me anything.

You can find a non-affiliate link to the AS16 Pro via Linsoul by visiting the version of this review published on my blog.

Introā€¦

At this point, I donā€™t think that KZ needs any introduction. Anyone who has looked at the budget end of the IEM world will know of KZ, it is difficult to not come across them, as they have so many models and a constant presentation of new models.

While KZ may have done some things very wrong over their time manufacturing IEMs, they have also done a lot of things right, being a first step into the HiFi world of IEMs for many people.

The model I am reviewing today is the AS16 Pro, a set of IEMs with 8 Balanced Armatures per side. This model, as with so many others that end in ā€œProā€, ā€œPlusā€ or ā€œXā€, is an updated version of the original AS16, also featuring 8 BAā€™s per side, which is actually still available and is priced around 130ā‚¬. The AS16 Pro sells for around 55ā‚¬, so we are talking quite a large reduction in price for the new model. I have never heard the original AS16 Pro, so I am not going to be able to compare Iā€™m afraid.

Presentationā€¦

The presentation of the AS16 Pro reminds me a little of the KZ ZAX that I did review a while ago. Packed in a black box, already giving it a bit more of a premium feel than the simple white boxes of the cheaper models, there is not a lot in the way of contents but enough to at least enjoy the IEM straight out of the box.

We get the AS16 Pro IEMs, the usual cable that KZ includes with their recent models (something they call ā€œHigh purity braided silver-plated cable with 2 pin changeable interface designā€), three sets of the KZ ā€œstarā€ tips and the usual user warranty documents etc.

Build and aestheticsā€¦

The shells of the IEMs are on the large side, with a shape that resembles something between a triangle and half a heart. Iā€™m afraid that I find the result rather uncomfortable. Obviously this is going to be different for each person, as everyoneā€™s ear anatomy is different, but in my case, they feel like the are digging into my ears and become rather painful after a while. Looking at photos, they do seem to be a very similar shape to the original AS16, so if someone already has a KZ with this shape and is looking for an upgrade, the fit should be fine.

The build quality is the usual KZ standard, nothing extraordinary but seemingly well built. I canā€™t say I have ever had an issue with the build quality of a KZ IEM, so I donā€™t have any reason to not expect these to be of the same level over time.

As far as aesthetics, something that is again very personal, I donā€™t mind them. I havenā€™t really fallen in love with the way they look but at least they seem to have an original design to them, using a semi transparent shell, with a design on the front plate surrounded by a metal plate.

As usual with KZ, they are as good as, or better than, what can be expected as far as build quality but aesthetics and comfort will be down to each individual.

Soundā€¦

(All tracks mentioned are clickable links that will open the song for reference in the streaming service of your choice)

Letā€™s take the usual look at the AS16 Pro compared to my personal preference target (remembering that my target is just a guide and not a ā€œbe all, end allā€ as far as my tastes):

Starting from the subbass, using the usual ā€œChameleonā€ as a reference, there is a fair amount of it and the BA drivers do keep it fairly clean, however, I really am not a fan of the tonality of the BA bass, at least usually and that includes this set. There really isnā€™t much rumble to this song, which is something that I feel that the track actually needs.

Moving up into the midbass realms, it is a similar story. The bass is there but it is lacking life in my opinion, at least in comparison to a good dynamic driver in these frequencies. Donā€™t get me wrong, listening to something like ā€œNo Sanctuary Hereā€, the bass is there and it is fairly clean, it is just not exciting, it is rather polite.

The mids do have a fairly large dip in the center, pushing the overall tuning towards a V shape. This makes certain vocals seem to miss a bit of life in the lower ranges. The same happens with acoustic guitars and other acoustic instruments, there is a little hollowness in the center with a low end that is not warm enough to give them the necessary ā€œbodyā€ that they need to seem natural.

As we move up to the higher end of the mids, the AS16 Pro brings vocals a little bit too far forwards. It is not terrible, there are far worse out there, but I do notice a little bit of harshness on tracks like ā€œDonā€™t You Worry Childā€ by Beth. Her voice has a habit of becoming harsh on many IEMs and the AS16 Pro are no exception in this regard. They do avoid the 5kHz peak that I am quite sensitive to, so the harshness is not overly irritating for me personally, just a little too hot.

The upper ranges do extend quite nicely and, although the treble is not overly detailed, there is a sensation of clarity and air in the treble. It is nice to see that KZ seem to have left that metallic shine of yesteryear behind them in the upper frequencies, making things seem a lot smoother and more realistic in this regard.

Soundstage is about on a par with the usual KZ offerings, behind some of their more ā€œopenā€ sets yet still better than many other options. ā€œLa Lunaā€ does not give a huge sensation of space yet it is still nicely placed, making the binaural recording something to appreciate.

Isolation is pretty decent, meaning that these IEMs work fairly well while outdoors and moving around. You can check out the isolation graph (and compare to others) by following the link at the end of this review.

Conclusionā€¦

I canā€™t really say anything too bad about the AS16 Pro, they are a set that performs pretty well for their price and if you are looking for a V shaped sound signature, then you can do a lot worse than these.

Howeverā€¦ I just find them to be lacking life for a lot of my preferred music. It is not the tuning, as the graph shows that there is plenty (more than enough) of low end to give weight and body to guitars, basses and even drums, it just seems that the bass from the BAā€™s is a little dull. Not dull in the sense that it isnā€™t there, or that it doesnā€™t perform well, just dull in terms of it not sounding very natural to me. I have always said that I am a big fan of dynamic drivers for low ranges and the AS16 Pro just reinforces that feeling.

Another issue that affects my overall impressions of these IEMs is comfort. Obviously this is a very personal thing but it does make it difficult to focus on the positives when you canā€™t ignore the fact that they are causing pain. Again, this will be very different from person to person but I can only speak for myself.

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

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

hey man alguna novedad? :grin: