Now I’m on vacation 
I thought that you had asked HBB to measure them for you but if not, I can do so when I get back from vacation (and I get the T2+ back).
ok perfect. Ye I asked hbb just to have two measurements, so I can average them haha. It’s ok, I can wait. HBB also said that he’s on holidays
Tanchjim Zero
The Tanchjim Zero have been sent to me by Linsoul in exchange for the publication of this review. As always, they have not made any specific requests and I will aim to be as unbiased as possible, however, you should always factor in the fact that these IEMs have not cost me anything.
You can find a (non-affiliate) link to the Zero on Linsoul by visiting the version of this review posted on my blog.
Intro…
It has been a while since I reviewed anything from Tanchjim, yet the previous models I have reviewed have been sub 50€ IEMs which exceeded my expectations. The Zero is another set that is firmly inside the sub 50€ category, coming in at under 15€.
I have to say that there have been some very impressive entries around this price point lately, moving the quality bar of ultra budget IEMs higher and higher. The Tanchjim Tanya, a set that cost around 18€, was already a very good set of IEMs in this price range, getting a lot of praise from many, including myself, even if the sound signature wasn’t exactly something that matched my personal preferences.
The Zero aims for a completely different tuning to the Tanya, but I will get to that in a moment.
Presentation…
For a price of 15€ we can’t expect a lot and the Zero I feel includes more than enough to meet expectations.
Arriving in a white box with an anime character on the cover, inside the packaging we get the IEMs with a non-detachable cable, 7 sets of silicone tips (in two different styles), a small bag for storage and the usual user manual & documentation etc.
I feel that this is plenty for a set of IEMs at this price and the packaging looks a lot more professional than many other presentations at a similar price point.
Build and aesthetics…
The IEMs have a completely transparent plastic shell, with a faceplate that looks like it is aluminium. The shape of the shells is completely round and while they are slightly larger than something like the Little Q I reviewed recently, with a shallower fit, they are still small enough to fit inside the ears. The nozzles are aimed slightly forwards and result in a fit that I find very comfortable.
The cable is fixed, as I just mentioned, and although it is nothing special, it is good enough to not receive any complaints from me. It is fairly thin, yet does not seem to tangle, covered in a clear silicone type sleeve that is not sticky to the touch (something that I appreciate). The hardware used is also plastic but is again of good enough quality for me not to complain considering the price that we are talking about here.
Sound…
As I already said, the Zero is aiming for a sound signature that is quite different from the Tanya, with much less bass and more presence in the upper mids. Here is a graph of the Zero in comparison to the Tanjim Tanya and also my personal preference target for reference:
.png)
Let me say straight away that if you are someone who likes an elevated quantity of bass, you can stop reading now, that is not what you are going to get from the Zero.
The subbass does not lend itself to producing any kind of rumble in the lowest regions, with my usual subbass test track “Chameleon” sounding rather thin and polite in the lowest regions. There is some subbass there, just that it maintains the same level of presence as the midbass, which I will mention next, resulting in it sounding as though there isn’t much going on way down low.
The midbass is also very polite, without any kind of boost in these frequencies, making these something that I wouldn’t recommend if you are looking to add any kind of warmth or extra punch in the lows. EDM such as “Sun Is Shining” is not really something that is going to sound impressive on these IEMs.
However, although the quantity is not there, the quality is. The lower regions are very clean and can keep up the pace even with the fastest moving tracks. Complicated bass lines do not make the Zero suffer, making each note easily appreciated, with great definition.
Moving into the lower mids, there is obviously no bleed from the bass, due to the fact that there isn’t a lot of bass to bleed over, keeping everything very clean. I find that this clean and tamed low end does leave me wanting a little more warmth from acoustic guitars, such as in “Long After You’re Gone”. Listening to a some complex flamenco, although I did miss some warmth to the guitars, the Zero did a great job presenting all the small nuances of the guitar playing.
As we move through the mids, there is a slight reduction in presence before we start to climb (around the 1kHz) towards the 2kHz area that gives the presence to vocals and other mid centric instruments. As this area is more of a plateau, or shelf, rather than a peak, the Zero actually do a good job of not being too harsh and although my dreaded 5kHz mark is where there is most presence, due to the presence leading up to it, it doesn’t jump out and attack me as it does on many other set.
But… I do feel that the whole 2kHz to 5kHz is too elevated, which, combined with the reduced presence of the low end, does push the sound signature of these IEMs towards a harsher “high mid forward” presentation.
The Tanchjim Zero does do a decent job of extending up in the higher ranges, better than a lot of single dynamic drivers at similar prices, giving a decent sensation or air and clarity, which is obviously helped by the overall tuning.
I also find the sound stage and image placement to be above average on the Zero, lending itself well to the appreciation of multiple layers of details. These are not a spectacularly detailed set yet the tuning and the sound stage help give an impressive overall “picture” of the music.
Conclusion…
The Tanchjim Zero are a set of IEMs that aim for a very forward tuning, something that will please some people and not others. As I said at the beginning of the sound section, if you are someone who likes warmth or present bass, these are not going to be for you.
I don’t dislike the overall tuning, I just find that those upper mids are a little too forward in my opinion, slightly less in that area would have worked better for my personal tastes.
What the Zero does well is keep up with fast moving tracks, keeping well defined with all kinds of things going on. They also have a soundstage that I find above average, with decent image placement.
With music that has the vocals a little too recessed in the recordings, these will certainly bring those vocals forwards, adding clarity to the whole area.
I don’t think I can say that these are going to be for everyone based on the tuning but I will say that the performance is good and with some EQ (I used the XBass a fair bit with these), they turn into a very nice set of budget IEMs. Without EQ, then it is going to depend on your music preferences and how you like it presented.
(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
2 Likes
I think you forgot “not” in this sentence.
2 Likes
Thanks but the sentence is:
“I don’t think I can say that these are going to be for everyone”
In other words, these aren’t for everyone. If I added the “not”, it would mean they are going to be for everyone.
1 Like
You’re right, I read it wrong.
1 Like
TRI x HBB KAI
The TRI x HBB KAI have been sent to me by KeepHifi in exchange for the publication of this review. There have been no specific requests, therefore, I will do my best to be as sincere and unbiased as possible, but it is always good to consider the fact that these IEMs have not actually cost me anything.
I will leave a non-affiliate link to the KAI via KeepHiFi in the version of this review published on my blog (link available at the end of this review).
Intro…
I think that at this point, most people in the IEM world, and especially on this forum, have heard of HBB (@hawaiibadboy), the person behind the YouTube channel, Bad Guy Good Audio Reviews. Apart from a large following of his reviews, he has increased his presence in recent times with quite a few collaborations. The TRI x HBB KAI is another of these collaborations and if I remember correctly (someone will certainly let me know if I don’t), it is his first collaboration with TRI and it is also the first single dynamic driver offering by the brand.
Strangely enough, while I have consumed a lot of content by HBB over the years, and discussed a few things, I have never actually tried any of his collaborations (unless we count the KZ fiasco, which I am not going to).
There really isn’t a specific reason behind not trying out his collabs, the ocasion just didn’t arise. I actually got a feeling for HBB’s preferences quite some time ago, when comparing his opinion to mine on specific sets, and while we may not share the same tuning preferences (depending on the music), there is no doubt that his input to the IEM world has been quite notable, whether you like his style of doing so or not.
Anyways, as some of his collaborations are not only recommended time and time again in their price brackets, they are also models that I get asked about regularly, to which I always have to respond “sorry, I haven’t heard them”. I guess that is something I need to work on fixing, and the KAI is as good a place to start as any.
Presentation…
I have to start this section with praise for what is almost the perfect presentation for me personally. I don’t mean perfect because of what is or isn’t included, I mean the actual way things are packed.
Inside the products box, which is quite compact, we get the storage/travel case (which is the same size as the box). Inside this case are all the contents included with the KAI. That is, the IEMs, the cable, 6 sets of tips (wide and narrow bore), a cleaning tool and a microfiber cloth, along with the usual user manual etc.
For a set of IEMs that come in at around 80€, I really don’t think there is anything to complain about here, you have everything you could need to enjoy the IEMs. Yes, there are always “wishes” that some people would like to see (like specific tips, etc) but seriously, the contents are more than enough in my opinion.
And my praise for the way things are packed is because there isn’t a ton of packaging that needs to be thrown away (or thrown in a drawer). There are still plastics used for the small bags that contain the tips and microfibre cloth etc. but these are minimal and I feel that more manufacturers should take note.
Build and aesthetics…
I have to say that I am not someone who favours anything gold coloured (as I have mentioned in past reviews of gold items), I find that it just seems to make things look cheap. In the case of the KAI, while it is still not a colour scheme that I would pick personally, they actually don’t look too “tacky”. Combining a light gold colour with a light blue faceplate, overall aesthetics work well together and I can see many people liking them.
The build is all metal, seemingly well assembled (although time is the only true test as far as build quality), with the small text and logos on the faceplate being discrete enough to not stand out but also done well enough to stand up to close inspection.
The included cable is also of good quality, with hardware that matches the IEMs, and while nothing extraordinary, it is better than so many other cables that are included with other sets. Swapping out the cable is something that each person will decide for themselves but I honestly don’t see any need in this case.
Finally, the storage/travel case is also of good quality. It is of a style that is included with a few brands and works well. I have quite a few similar cases and I have absolutely no issues with it, it is more than adequate for a set of IEMs, regardless of their price.
Sound…
*As always, all tracks mentioned are clickable links that will allow you to reference the track in the streaming service of your choice
As I said in the intro, I don’t always share the tuning preferences of HBB but that depends a lot on what music we are referencing. I do listen to a lot of the same music that he does, although probably not as often, and from past references, his tuning does work well for a lot of that music (actually, it works well for all of that music, it is just personal preferences that change).
Where our tastes usually differ are in the midbass area, with HBB preferring more warmth in these regions. This extra warmth is something that I also enjoy a lot with genres like rock, where it works well to give the bass guitar and lower end of electric guitars a little more warmth and roundness, especially with some of the older 70’s and 80’s recordings.
But anyway, let’s get on with it, here is the comparison of the KAI against my own personal preference. Let me say again, something that I have repeated in many of my reviews, that the preference target is just a guide, I don’t need things to stick to the target to enjoy them, and I also don’t always enjoy sets that do stick to it.
.png)
Starting off with the lowest frequencies, as I usually do, there is plenty of extension and rumble down there. It is also presented in a way that keeps things fairly clean and defined. I find that there is more than enough to enjoy things like “Royals”, or to make a decent job of my usual “Chameleon” test track.
Moving into the mid bass, the presence does reduce as we move through them towards the bottom end of the mids. Although there is more midbass (and subbass) than I would usually pick, I must say that I am a fan of this style of tuning, where the amount ramps up the lower we go. This is something that I find works very well to keep the low end impressive but non-invasive in regards to the mids.
There is enough midbass to give classic rock some warmth (such as “Whole Lotta Love”, to name a track from my test list), make the low hits of hip-hop impressive and yet not get in the way with more relaxed acoustical tracks.
I don’t think that details are the strong part of the KAI, even in the lower ranges, yet I really can’t fault the tuning at all in these low ranges.
Moving into the mids, there is no real sense of anything being pushed back, with things like the fretless bass of “Diamonds on the Soles of her Shoes” (which is highly dependent on those mid frequencies) being present enough to easily appreciate the great bass playing of Bakithi Kumalo.
As the mids start climbing towards their higher frequencies, the ramp up to bring vocals (and other mid centric instruments) starts to appear quite early yet it is not overdone. In fact, the KAI has the upper mids tuning that I said I would have liked the D13 to have, in other words, they aren’t as exaggerated as the D13 and don’t fall away as quickly, bringing vocals forwards without making them seem harsh.
Another positive is that they start to drop off before hitting my dreaded 5kHz range, although, with the ramp and presence between 1kHz and 4kHz, I probably wouldn’t have found the 5kHz mark too irritating even if the presence had extended a little further. However, as they ramp down before then, it’s a mute point anyway.
Moving into the higher frequencies, the KAI do roll away quite a bit, as is the case with so many single dynamic driver sets. While I would like a bit more in these upper ranges, I find that it does work well with the overall tuning, making the KAI more of a fun listening set than something you would pick to focus on details and nuances.
To be honest, I feel that the details are the weakest point of the KAI. Not that they are terrible, far from it, but they are not a highly detailed set of IEMs either. But, again, this does work in favour of the general vibe that they are aiming for (in my opinion of course). I am not saying that I wouldn’t have preferred more detail from these IEMs, I am saying that they way they present music does not put the focus on detail, so it is not something that is missed too much.
.png)
The isolation of the KAI is also pretty good, better than the average, meaning that, together with their additional bass presence, they do make for a good set to use while on public transport or just out and about in general.
Conclusion…
As I said at the start of this review, this is the first HBB tuning that I have listened to and I must say it’s pretty darn good. These are certainly IEMs that are focused on having fun listening to music and not sitting down to dissect the nuances of the reverb in the background of “All Your Love” (not that dissecting music isn’t fun also, depending on personal preferences).
They are not a tuning that I would personally pick as my daily driver but that is due to my personal preferences and not because these IEMs do anything wrong. In fact, they do a very good job of what they are aimed at, without even taking into consideration price to performance. Yes, there are things that can be improved upon, no doubt at much higher cost, but I think that these are something that most people could just pick up and enjoy.
I hope to try out a few more of the HBB collabs in the near future and if the KAI are anything to go by, then I’m sure I will enjoy reviewing them.
*As always, this review is also available in Spanish both on my blog, www.achoreviews.com, and on www.youtube.com/achoreviews
5 Likes
The Meze Advar have been loaned to me as part of a tour very kindly organized by Andy Kong on Headfi. The conditions were that each member of the tour could keep the Advar for 10 days and then post a review/impressions within 14 days.
Other than that, no specific requests were made, in fact, the exact words used were “You have complete freedom to write up your sharing or impression as long as it represents your true feeling and opinions toward the product.”
Therefore, my review will be as unbiased and sincere as possible (as always), but it hasn’t cost me anything to try out these IEMs.
You can visit the official page of the Advar here: ADVAR | Meze Audio - Sound. Comfort. Design. True high-end.
Intro…
Let me start off by mentioning that the dates that the Advar arrived unfortunately were while I was taking my summer vacation. They actually arrived on a Wednesday and, due to some delays on making it home, I didn’t get chance to pick them up until the Monday when I arrived back at work. As I mentioned above, the tour rules were 10 days, so I had wasted 5 of them before I actually got to listen to them.
However, my first days back at work are always spent catching up on emails and other administrative work that has built up in my absence, so that involves days of uninterrupted sitting at a desk, a perfect time to listen to the Advar.
Before moving on (finally) to the important part, let me just mention that the Advar are a set of IEMs that feature a single 10.2 dynamic driver per side, retailing for just under 700€ here in Europe. I am a fan of dynamic drivers and also a big fan of Meze in general (I still feel they make some of the best looking headphones out there), so I may actually be more biased than I said at the beginning 
Presentation…
As this is a tour unit, I am obviously not the first person to open the contents, so I won’t go through the whole unboxing process but I will say that it is nicely presented.
In the box we get the IEMs, underneath which we find a user manual and a very nice transport/storage case. The case may be a little on the large size but I have to say that I really like it, along with the multiple compartments it has on the inside to keep the multiple items that I like to carry (such as the Go Blu etc).
Inside the case we find the 3.5mm single ended cable, a cleaning tool, an MMCX removal tool (which is also a keychain) and a set of FInal E tips in multiple sizes.
In the shipment there is another smaller box included, containing a 4.4mm balanced cable, identical to the 3.5mm cable in the main box, which is not included with the usual retail package.
Build and aesthetics…
I have yet to see anything made by Meze that didn’t look good (in my opinion of course) and yet to hold anything by Meze that didn’t seem to be well built. The Advar are no exception.
I have said on multiple occasions that I am not a fan of gold and the Advar do use gold (or more of a brass) coloured highlights, I actually think they look rather good on them. I can’t say that these are the most beautiful IEMs that I have ever seen but at the same time, I must say that I do like the overall aesthetics, even if they do collect more fingerprints than I would like.
The build quality is what I would expect from Meze. These have been through multiple peoples hands, being shipped all over Europe, and while I have no doubt that everyone on the tour has taken good care of them, they show no signs of wear and tear that is common on so many demo units.
The shape of the shells is a shape that I have become very fond of lately, fitting my ears well and making them extremely comfortable for me.
My only negative would be the use of MMCX connectors but as I have said with other brands, if the connectors used are of good quality (that these certainly seem to be) then I don’t have too much of an issue. The inclusion of the MMCX removal tool is also a positive in this regard.
Sound…
*As always, all tracks mentioned are clickable links that will allow you to reference the track in the streaming service of your choice
No matter how good the build is or how good they look, the important thing is how they sound, and I think this may be the most polarizing part of the Advar. I have managed to not know much about them before testing them (as I always try to avoid creating expectations due to reading/watching reviews) but I do know that some people really like them and others, well, let’s just say they don’t like them quite as much. Personally, I am in the first group, those that like them. In fact, I enjoy them much more than I thought I would, but I am getting ahead of myself now so I’ll break it down into my usual pattern.
First let me say that, as always, detailed impressions were formed using the iFi Gryphon and the balanced cable, although I did listen from various other sources also. I also tried various tips (I didn’t try the ones included as I already have the same model tips, so there was no need) and I have to say that my favourites have been the Azla Crystals. The tips included (well, my set of tips that are the same type) made things a little too hot in the higher ranges for my personal tastes and I found that the Crystals balanced the signature a little more towards my personal preferences.
Speaking of preferences, here is the graph of the Meze Advar in comparison to my personal preference target. Although I have repeated this many times, I will say it again, my target is just a guide and not a “be all / end all” in regards to what I like.
.png)
Subbass is more than present enough to please those who look for that low end rumble. “Chameleon”, my usual go to for this, is very impressive in the lowest ranges as the rumble is there but it never seems to be out of control. “Royals” is a track that is not the cleanest of subbass but the Advar keeps it together nicely and makes the track actually sound much better than I am used to.
Midbass is very clear and articulate, surprisingly so. With modern recordings such as “Don’t Start Now”, there is a clear boost to midbass but it does not affect any of the other frequencies negatively. The same goes for EDM, suchs as “I Fink U Freeky” or “Sun is Shining”, bass hits are clear, well defined and do not interfere with the lower mids.
Based on the graph, I would have expected the upper mids to be more absent, struggling to bring vocals forward, yet that is not the case. For the majority of the vocal and acoustic instrument focused music I listen to, I found the vocals to be very clear and present, without seeming to suffer for presence at all. Even tracks like “Bombtrack” provide good clarity on vocals, even if they are not quite as forward as on other mid forward sets.
A track I like to use to test the forwardness of vocals is “Make Noise” as Busta Rhymes’ voice is pushed to the back of the mix in the recording, making it difficult to appreciate at times. While the Advar doesn’t push it forwards, it also doesn’t hide it completely, meaning that the vocals are actually intelligible, even if they are not present enough in the mix (again, this is a recording issue).
Up in the higher ranges is where I find the issues with the Advar. The extension is good, as is the sense of air, however, those higher frequencies can be a little harsh, depending on the track. For example, “Smooth Operator” by Sade, presents too much emphasis in the higher ranges of the percussion, making parts of the track seem too bright. The same happens with simple acoustic tracks, such as “Sugar (Acoustic)”, where parts of Francesco Yates’ vocals are just a little too hot in the upper ranges.
Taking my usual sibilance test track, “Code Cool”, it is quite easy to notice that things are just a little too sibilant, however, I actually notice more the upper brightness on the percussion than on her voice. Sibilance is present, more than it should be, but it is not painful, just too bright.
Details I find to be very good on the Advar, even if they are not the most detailed IEMs I have ever heard, they are still impressive, helped a lot by the soundstage and imaging. The soundstage I find to be way above average for a set of IEMs and the placement of the details is very good. This works together to make things sound detailed without actually pushing those details in your face. The timbre of vocals (and instruments in general) also works in favour of this, making for an impressive sound stage and presentation.
.png)
Isolation may not be the best, especially in the lower ranges, but it is much better than I would expect from such a wide and opening set of IEMs. I can’t see these being an issue if used in circumstances with average noise, although they will suffer on a plane or train, due to those low rumbles.
Conclusion…
I have to say that I am impressed by the Meze Advar, I find them to be a very capable and pleasant set of IEMs, except for one thing, and that is the additional brightness in those upper ranges, making certain music a little too harsh. Yes they are a bit above my usual bass level preferences but the clarity and definition of the bass makes up for it, and although the upper mids seem to be a little too tame on paper, that wasn’t my experience when listening.
I am not sure if more experimentation with tips (or maybe even a tuning filter) would tame that treble slightly but I did try a bunch of tips and none really seemed to improve it over the Crystals that I based this review on. Unfortunately I had limited time with these IEMs so I didn’t have more time to experiment.
Other than that, I personally can’t fault the Advar. The timbre is great, they have good details and performance, I find them very comfortable (maybe not quite as comfortable as the IE600 but very close), they are well built and I like the aesthetics.
All I can say is that I am grateful that I had a chance to try out these IEMs and Meze are still high on the list of manufacturers that impress me.
As always, this review is also available in Spanish on both www.achoreviews.com and www.youtube.com/achoreviews #MezeAdvar
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
4 Likes
Blon Z200
The Blon Z200 have been sent to me by Linsoul in exchange for the publication of this review. As is usual with Linsoul, they have made absolutely no requests, therefore, my review will aim to be as unbiased as possible (as always).
You can find a link to the Z200 on Linsoul by visiting the version of this review published on my blog.
As with all of the links I publish, it is a non affiliate link, meaning that I receive absolutely nothing in exchange for any clicks or purchases made by using the link.
Intro…
I really don’t think that I need to go into details on who Blon is or what they are known for, I have done that many times in the past, as have many others.
There are no shortage of Blon IEM models, some of which are better than others, but they have never really managed to hit it out of the park like they did with the BL-03, a set of IEMs that still remains highly praised after many other models have been and gone, even if I personally preferred the BL-05s.
The Z200 is the latest model from the company (unless any other models have been released since I received it, which is always possible in the land of IEMs) and with the quality of budget IEMs getting better and better lately, I was actually quite excited to try it out and see if they had developed something that could compete with the many other great budget sets that are on the market at the moment.
In their publicity they say that the Z200 features a Carbon Diaphragm driver that has evolved from the BL-03 with better acoustical performance. Seeing the praise that the BL-03 got (and gets), that is quite a claim.
Presentation…
Not much has changed with the presentation of Blon IEMs except for the spelling of their catchphrase. The Z200 arrive in a rectangular white box with clear plastic cover sporting their usual blue lettering and showing the IEMs inside.
The IEMs sit inside a cheap plastic moulded tray, something that doesn’t give the impression of quality at all. I have said many many times that I really don’t care for how a set of IEMs is presented in such a budget range, these cost less than 20€, but other brands manage to give a much better first impression in the same price range.
Inside the package we get the IEMs with a non-removable cable, a few sets of the typical Blon silicone tips, the usual Blon drawstring bag that gives off a recycled vibe and the user manual.
As far as presentation, in general it is pretty poor. I will say once more that the presentation is something that I pretty much ignore on budget sets such as this one but it really does give off a cheap vibe when opening.
Build and aesthetics…
The IEMs are made of an alloy metal, meaning they are very light and use a shape that is similar to many others that I have used lately. I normally find this shape very comfortable and the Z200 is also comfortable except for one thing, the length of the nozzle. Many people had fit issues with the BL-03 due to the short nozzle and although I can still get them to fit (and they are fairly comfortable), I find that I have to use larger tips which allow them to seal with a much shallower fit.
I must say that I am not a fan of the Blon tips and after some testing, I found that I had to opt for either the Spring tips in a larger size than usual (which is what I have used for this review) or a larger set of Xelastec which seal better when inserted for a while but make it a pain to remove and reinsert the IEMs regularly.
The aesthetics are a little more complex than the usual Blon offerings, with a gold moon crescent on a black shell. They are not my favourite design but they don’t look bad and are a nice touch on such a budget set.
The cable is non-detachable, even though it does look like a detachable cable (if you try to remove it, you will pull the cable out of the IEMs). This is not the end of the world on a budget set (in my opinion of course) as it does its job and stops people worrying about cable upgrades, yet I do feel that it is a step backwards in comparison to other Blon models such as the BL-03 or BL-05s.
Sound…
I guess the first million dollar (or $20 dollar) question is, are they better than the BL-03?
Well, better is very subjective and it is a term that I try to avoid. I was also not the greatest fan of the BL-03 (as I said, I preferred the BL-05s), even though I do feel that they (the BL-03) are a decent set of IEMs in their price range. In fact, the BL-03 was one of the better options until recently when many sets have come along and raised the bar quite a bit.
But let’s get on with the usual descriptions and categories, first starting off with a look at the graph in comparison to my personal preference target, the BL-03 and the BL-05s because, well, why not?
.png)
Starting off with the subbass, there is plenty of it on the graph yet it doesn’t come across as boosted to my ears as it looks on paper, at least with the Spring tips. It could be that I am turning into a sub bass-head but I feel it is more due to the way the subbass is implemented, with that slope down into the midbass which I find works really well on IEMs (in my opinion of course).
Testing the Z200 with the usual “Chameleon” workout, the subbass is definitely there, giving plenty of rumble to those lowest notes, yet it doesn’t become overpowering and actually does a decent job of keeping things defined. It is certainly not the best subbass I have heard but I can’t really bring myself to complain at 20€.
The midbass is the part that I feel brings these IEMs down. One of the things I disliked about the BL-03 was the excessive midbass that just made things a little too incoherent in the bass and lower mids. The Z200 is very similar in this regard.
On the graph I showed previously, you can see how the midbass is very similar on both sets and I would venture to say that the Z200 is even more congested in this regard. This is due not only to the overly present midbass, which is elevated into the lower mids, but also the lack of mids in general, being even more recessed than the BL-03 in this regard.
This could probably work well for certain genres of music, especially for those who like a very present (and bloated?) bass, but for the majority of music I listen to, I find that it makes things sound too congested throughout the mids. Even with very simple tracks, such as “Happens to the Heart”, the voice of Leonard Cohen seems to just be too smoothed over.
At the higher end of the mids, there is a bit of a boost to try and bring back the presence of vocals yet it is just not enough to compensate for that elevation in the lower ranges. I find that most vocals seem to be struggling for presence in tracks that have things going on in the lower ranges. With acapella tracks featuring female vocals, such as “I Concentrate on You” by Nellie McKay, there is a lot of warmth to her voice that could be pleasant if it wasn’t for the fact that it comes at the expense of clarity and definition.
Moving up in the frequencies, we hit a peak at the 5kHz mark which, as you may know by now if you follow my reviews, is not something I like at all. I am very sensitive to the 5kHz mark and that is probably the only part of the tuning that I preferred on the BL-03 to the BL-05s. I’m afraid the Z200 is even more pronounced in this area than the BL-05s, giving a peak that I find painful at times. It is not quite as bad as it could be, due to that extra warmth in the low end that (over)compensates, but it is still something that can jump out at me in certain tracks.
The extension of the upper ranges is actually not bad for a budget single dynamic driver but once again, the additional low end takes away from the clarity, removing the appreciation of those higher ranges.
The sibilance, tested as usual with “Code Cool”, is also quite acceptable. There is a little throughout the song but in general it is kept in check and is certainly not the focus point (again, due to the low end and recess in the mids, smoothing Patricia Barbers voice more than usual).
Soundstage and imaging is around average, maybe on the lower end of average, as is the detail retrieval. I feel that the driver could do much better in regards to details yet that overall sound signature is smoothing things over far too much to be able to appreciate the details.
.png)
And last but not least, isolation. The Z200 is actually much better in this regard than the BL-03 or the BL-05s. The added isolation, along with that presence in the bass, should mean that it will be able to compete quite well in noisy environments without too much of a change in performance.
Conclusion…
I really wanted this to be something new and exciting from Blon, yet I haven’t come away with that sensation. Yes, I am sure there will be people who really enjoy this set of IEMs but I am not one of them.
At the moment of creating this review, there is a difference of less than 5€ between the Z200 and the BL-03 and while I am not a huge fan of the BL-03, I think I would still opt for it over the Z200.
In my opinion, the Z200 gives a better response in the subbass and a better paint job, for 5€ less. However, the cable is fixed, the nozzle is still too short, the tips are still bad, the mids are more recessed, there is more of a peak at 5kHz and while there is a little more extension in the upper ranges, it is difficult to appreciate.
Again, I am sure there will be people who love this set of IEMs, unfortunately I am not one of them.
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
8 Likes
Hey man! Remember my t2 plus without foam and filter? I don’t want to come across as a puto pesado, just remind you for when you have the time <3
Hey there!
Don’t worry, I remember. I still don’t have the IEMs back yet though.
1 Like
TRN ST5
The TRN ST5 have been sent to me by Linsoul for me to test and share my opinions on them. As usual, Linsoul have made absolutely no requests, therefore I will do my best to be as unbiased as always in this review.
You can find a non-affiliate link to the ST5 on Linsoul by visiting the version of this review posted on my blog (link at the end of this rreview).
Intro…
The TRN ST5 are a hybrid set of IEMs that feature a single dynamic driver for the lower ranges, 2 balanced armature drivers for the mid range, along with another 2 balanced armatures for the higher ranges. Currently priced at just under 60€, they fall outside what I would consider the ultra-budget category (the sub 50€ range that I mention often on the blog) but can still be considered an economic set of IEMs nonetheless.
I have to say that when I first listened to the ST5, I was actually surprised by what I heard and was interested in spending more time with them. There are many sets of IEMs that are tuned in a way that is impressive upon first listen but can then become tiring very quickly over longer periods of use. I have to say that, while the ST5 are by no means perfect, I have found them to be something that I can use for extended periods and enjoy them without growing tired. I will give more details in the sound section but as always, let’s start off with the presentation.
Presentation…
While the ST5 have a no frills presentation, the contents are actually quite good, except maybe for the lack of a storage/transport case.
Arriving in a white box with an image of the product on the front and a basic diagram of the breakdown of the IEM on the back, we open it to find the IEMs, a cable with interchangeable connectors (more on that in a moment), 6 sets of silicone tips (in two different styles), a set of foam tips and various documentation.
My only complaint would be the lack of a case or at least some kind of storage bag. For me personally it is not an issue as I have plenty of cases (far too many!) available to use but I feel some kind of storage option at this price point should be expected, even if it is only a small drawstring bag to protect them from scratches etc. when placed in a pocket or bag.
Build and aesthetics…
Let’s start with the bit that surprised me the most, the cable. The cable is a nicely weaved white cable with black hardware except for the two pin connectors that have a silver accent to match the IEMs. While I find the cable itself to be nice enough, without being spectacular, it is the modular connector system that surprised me.
This is obviously not the first time that I have received a modular cable system with a set of IEMs but I do think that these are the cheapest set of IEMs that have arrived with a cable featuring this. Basically the connector to the source is removable and TRN include a 3.5mm, a 4.4mm and a 2.5mm connector, allowing you to connect them to (almost) any output of your choice. The connector system is a little more rudimentary than some of the higher priced alternatives, as it uses just a simple push on/pull off system but it works well and is something that would cost almost the price of the IEMs themselves if purchased separately from other brands.
As far as the IEMs, they use the common teardrop shape that is found on many models of IEMs and has proved to work well for the vast majority of people. The IEMs are made completely of metal, in a matte silver finish. They have a small, raised, area that sports the TRN logo and have a simple design of circles around this.
I can’t say that they are beautiful IEMs (although beauty is always in the eye of the beholder) but they are not ugly or offensive in any way, to me at least.
The comfort is good for me, which is to be expected seeing that they use a shape and size that has been used many many times before.
Sound…
Some months ago I reviewed the TRN TA1 Max and I found them to be fairly decent performers but with a tuning that did not fit my tastes. I find that the ST5 have a similar tuning with a few tweaks that make them far more enjoyable for me personally, even though they are still not my usual preference in tuning.
Here is a graph of the ST5 in comparison to my preference target, alongside the TA1 Max so you can see what I am referring to:
.png)
I am not going to go into comparisons between the two, you can read my full review of the TA1 Max if you would like to know more what I felt about them, but the main differences are around a 10€ difference in price (the ST5 being more expensive) and the ST5 using 1DD+4BA rather than the 1DD+1BA of the TA1 Max. “Better” is something that is very subjective but personally I find the ST5 to perform better and be tuned more to my liking, so let’s focus on the ST5.
Starting off with the subbass, there is enough of it to do a good job with content that relies on the lowest notes. It deals with my usual “Chameleon” test pretty well and while it is not the cleanest of subbass out there, it is more than acceptable. There are times when the rumbling may be a little too much for me personally, being a little too prominent in the lowest of lows but it is a minor complaint and I do not find it unbearable. I actually feel it is more due to the fact that the drive struggles a little with excessive subbass (“Chameleon” being a good example in parts), rather than the actual elevation of the frequencies.
The midbass is a little too elevated for my tastes and I would personally prefer to tame the low end by a few dB in general but the performance is again acceptable, especially with tracks that have a little less presence in the subbass regions, allowing the driver a little more freedom to perform better.
Listening to something like “The Expert” by Yello, the bass has a bit more breathing room and the bass is a little less prominent, although the detail in the bass is still not quite as good as it could be. It is by no means terrible, as I said earlier, I have been using these IEMs and enjoying them, but it still leaves room for improvement.
I don’t know at what point the crossover between the lower ranges of the bass moves into the mids of the BA’s but I do get the feeling that the bass frequencies can sometimes “linger” and roll over a little into the lower mid ranges. It doesn’t seem to affect the lower end of vocals, it is more a case of the lower bass and guitar notes just sneaking into those lower mids and making things seem just not quite as clean as they could be.
The mids themselves are clean and articulate, with the BA’s doing a good job of keeping things coherent and while, again, they are not the most detailed of IEMs in these ranges, I do not find things to be blurred or to suffer throughout the mids.
In the higher mid range, there is a climb starting around 1kHz that peaks around 2kHz and does a decent job of giving presence to vocals and other mid centric instruments. However, I do feel that the presence could have extended just a little more to make things a little cleaner and defined.
Where these differ vastly from the TA1 Max is in the 5kHz peak, which is not present on the ST5 at all. This is something that I am happy about, however, that does leave that 2kHz peak as the only real boost that is trying to give presence in the upper mids.
The upper ranges have good extension, obviously helped by the use of separate BA drivers for these frequencies. The sensation of air is present but… again that lack of a little extra in the upper mids doesn’t really help the treble ranges sound quite as clear as they could.
The soundstage is about on average for a set of IEMs, although I would say that image placement is on the higher side of average. This means that, while they aren’t going to give the sensation of a huge space, they do make the most of the space they work in and make for a pleasant listen.
.png)
Isolation is not great, maybe around average for a set of IEMs for this style, but the additional sub and mid bass will do a decent job of combating external noise when listening to music.
Conclusion…
I started off by saying that I enjoyed these IEMs and then it seems that I went on to list a whole lot of things that I feel could be better. I think that looking back on the review, it would be easy to interpret this as a negative review, yet that is not really the sensation that these IEMs give me.
Yes, all of the things I mentioned are points that I feel could be improved upon, yet in general, these are not a bad set of IEMs by any means. I think that these can (and will) be enjoyed by many people. In fact, I am one of the people that has enjoyed them, even if they are not the set I would pick personally.
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
4 Likes
Tin Hifi T3 Buds
The Tin T3 Buds were sent to me by Linsoul for me to share my opinions and publish this review. They have not made any specific requests and therefore, as usual, I will be as unbiased and honest as possible.
You can find a (non-affiliate) link to the T3 Buds via Linsoul by visiting the version of this review published on my blog (link at the end of this review).
Intro…
I don’t think anyone can deny that Bluetooth has come a long way recently and that it is going to continue to improve, becoming the main audio solution for the general public. Yes, there are still going to be the audiophiles who focus on improving things and getting performance that only cables can bring (at this moment in time), along with those who simply prefer cables (me being one of them), but the majority of people will be more than happy to opt for bluetooth solutions.
It’s also true that IEMs have come a long way in recent times, getting better by the day (or so it seems) at prices that are getting cheaper and cheaper. That is bringing us to start seeing wireless IEMs in the “middle ranges” from companies who have focused mainly on wired options until now. By “middle ranges”, I am not referring to prices, it is more in reference to products from companies that are quite a step above the usual no-name TWS options on Amazon but way below some of the higher end (and more known) options like Apple, Samsung, etc.
Tin Hifi are one of those companies, bringing in the T3 Buds at a price of just under 90€. As Tin Hifi have had some good success with some of their wired IEMs (and some not so good), it is interesting to see what they can offer in this TWS world.
Presentation…
The box that the T3 Buds arrive in is fairly simple, just a black box (although the box does have a nice finish to it) inside a white sleeve with the brand and model on the exterior.
Inside the box we get the TWS IEMs inside their charging case, 4 sets of silicone tips, a USB to USB-C charging cable and the user manual/documentation.
That is the extent of the contents but except for maybe a few more kinds of tips, not much else that can really be asked for.
Build and aesthetics…
The charging case is round and rather compact, although I do find that the shape makes it a little more uncomfortable to carry than the oval or rectangular models from other companies. It is a very nice looking case though, in a dark metallic blue finish with a nice texture to the outside.
It may just be me but I did find it was a little more difficult to get them out of the case than with other models but that also means that they sit well in their charging ports, avoiding them moving and not charging correctly (something that I have experienced with other TWS IEMs).
The Buds are very similar to the T3+ in looks and shape, although these are slightly smaller with a little change to the ergonomics. They feel the same in the ears, except for the lack of cable over the ear of course, which means that I do find them comfortable. They are obviously a little heavier than the T3+, which is to be expected as they have the electronics inside them, but are not overly heavy and I find they can be worn for longer periods without fatigue.
Overall I like the aesthetics of the T3 Buds, as I did the T3+, giving them a bit of a premium look. They also seem to be well built, although that is something that will need more time to confirm.
Functionality…
The functionality is similar to many other models, using a combination of short or longer presses on the faceplate of the IEM.
A single press on either of the IEMs is for play/pause, a double press is for next/last track (right side for next and vice versa) and a triple press summons the assistant. To raise or lower the volume, it is a long press on the right (up) or left (down) but not too long, as too long will turn the Buds off.
While I applaud the fact that volume can be controlled from the IEMs, something that many brands miss and I feel should be obligatory, the choice of a long press to do so isn’t the best option. It makes changing volume a rather long task, especially if you want to raise or lower by more than a step or two, at which point it is quicker to just grab the phone.
I also find that the response to the touches is not great, taking various attempts on occasions for them to recognize the press. It could just be the fact that I haven’t got the hang of it but it did get a little irritating at times.
The connectivity is decent, letting me roam around my office or home with the phone on my desk, so no complaints there. They also connect very quickly, both on first connection and when reconnecting.
Audio from the mic is not the greatest but it is decent enough for short calls. I wouldn’t recommend them (or, to be honest, any TWS that I have tried) for conference calls and regular online meetings etc.
Sound…
I had already been listening to the T3 Buds for a while before I saw someone post a graph of the frequency response. When I saw the graph, I was surprised as it looked far more exaggerated than what I was listening to. I measured it myself and got the same results, which still look far more exaggerated than what I hear personally.
Here is the graph in comparison to my personal preference target:
.png)
While on the subject of graphs, let’s get isolation out of the way also. As you may already know, you can view any of my isolation (or FR) measurements and compare them by following the link at the end of the review. Here is the graph of the T3 Buds isolation in comparison to zero isolation (grey dotted line):
.png)
Ok, now let’s get on with my subjective opinions on the sound, which do sort of resemble the graph but at a reduced level.
Starting at the lowest frequencies, down in the subbass area, the performance of the T3 Buds is actually fairly decent. It may not give the rumble that more subbass focused sets give but there is enough for these frequencies to be appreciated and not suffer from a large amount of roll off. I found myself enjoying music with plenty of content in the lowest of lows, without really feeling too much was missing, and while “Chameleon” may not vibrate the inside of your head, it does still sound full in the subbass areas.
In the midbass, there is a little extra presence there, giving some warmth to the low end of instruments such as guitars and basses, yet it is not too overdone. I would say that the extra presence of the midbass is about too much as subbass is too little. Noticeable but not terrible, making a lot of music enjoyable, especially things like classic rock that benefit from that extra bit of warmth.
In the midrange, there is a bit of a scoop going on that can make certain vocals seem to be missing a bit of presence in their lower to mid ranges. I find that vocals like Dua Lipa in “Don’t Start Now” seem to lose a little fullness in the lower vocal ranges yet they are still very present due to the boosted higher end of the mids.
In fact, the higher end of the mids is the point that my ear most disagrees with the graph of these IEMs. I said above that the graph seems to be more exaggerated than what I actually here and these ranges are exactly what I am referring to. Yes there is a little bit too much in the higher mids, which brings vocals forwards but at the same time can make the sound a little thin, especially in the case of acapella or vocal centric tracks, such as “I Concentrate on You”.
However, although the extra bit of “thinness” is noticeable when coming from other sets, it is not something that really jumps out too much and I found that my ears adjusted to it pretty quickly. Luckily this extra boost does fall away before hitting the 5kHz mark, meaning that I can tolerate it much better, but of you are someone who is sensitive to the 3 or 4kHz range, then this will probably be much more of an issue for you.
The higher frequencies do seem to extend fairly well, without any exaggerated roll off in these ranges, giving a nice touch of air and clarity. I can’t say they are amazing up at the top but I do find them to be similar to the regular T3 Plus in these areas, with sibilance being kept in check fairly well, only appearing on tracks that already have a large sibilance presence in the recording.
Details I also find to be similar to the T3 Plus, in other words, they are not the strong point of the T3 Buds yet there are enough to enjoy music without getting the feeling that things are missing. You certainly aren’t going to get suprised by details you have never heard before but you won’t have to search for things you have heard a thousand times either.
Soundstage I find to be decent, as is image placement, maybe not groundbreaking but enough to get a good sensation of openness and feel that the music is not just on a single plane.
Conclusion…
There is one major issue with the T3 Buds that I haven’t mentioned yet but is something that needs to be considered. I was going to mention it under functionality, then under sound, but I guess late is better than never.
The issue I am referring to is the background noise of these IEMs. There is a background hiss that is quite prominent on the T3 Buds and is very noticeable both in silent parts and on quieter passages of songs. It is not the worst background hiss I have heard on a TWS but it is something that is very apparent.
In addition to that, there is the isolation, which is not great in general but even worse in the lower ranges. I would say that the main use for TWS IEMs is while out and about, due to the commodity of not having a cable, yet the lack of isolation in the lower ranges can make it difficult to appreciate the deeper notes, putting more emphasis on that boosted high mid range.
In general the tuning is ok, far better than I think it looks on paper, but those two issues do take away from the overall user sensation in my opinion. If you are mostly listening to busy music, in other words, songs that don’t have quieter passages or silent parts, then these are probably not going to be as apparent to you or be much of an issue.
As usual, this review is also available in Spanish both on my blog (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
3 Likes
Tripowin Rhombus
The Tripowin Rhombus have been sent to me by Linsoul in exchange for the publication of this review. They have not made any comments of specific requests and my review will aim to be as sincere and unbiased as possible. However, as always, it is good to consider the fact that I have not paid for these IEMs.
You can find the Tripowin Rhombus via Linsoul here by visiting the version of this review published on my blog (non-affiliate link as always).
Intro…
I have actually received two sets of Tripowin IEMs from Linsoul, the Rhombus, that I will be talking about today, and the Cencibel, which I haven’t actually listened to yet.
The Rhombus is a hybrid set of IEMs, featuring a single DD and a single BA, coming in at a price that is just under 80€. So these are not an extreme budget set of IEMs but they are not something that can be considered expensive either.
I can’t say that I have had much experience with Tripowin IEMs, in fact, I think I tried another set briefly but the only set that I have reviewed were the Tripowin Leá a set that left me rather confused. Therefore, I was looking forward to listening to something else from the brand.
Unfortunately I can’t say that I have fallen in love with the Rhombus either but we will get to that as we go through my usual review process and sections.
Presentation…
The Rhombus arrive in a simple black cardboard box with Tripowin written on the top. There is no mention of the model except for a small sticker with the barcode and model on the back.
The box opens “flip top” style, to reveal the IEMs sitting in a foam cutout in the top half of the box, with the cable attached and running through some channeled cut outs.
The bottom half of the box has a space where we find two kinds of tips in 3 sizes each, a small carrying pouch (drawstring bag style), the user manual and the coil of the cable.
Nothing to get to passionate about here but there is enough included to not say that there is anything missing.
Build and aesthetics…
The aesthetics of the Rhombus are, I guess, inspired by the rhombus shape, with lots of small shapes that angle and give them quite a modern or even futuristic look. They are finished in what looks like a simple black at first glance but is actually a very dark purple when viewed in better lighting.
The inside of the shells are smoother than the outside, making them more comfortable than I would have thought at first. They are not the most comfortable IEMs I have ever tried but they don’t seem to cause any hotspots over long listening sessions.
The shells themselves are made from “aerospace-grade aluminum” (Tripowins words) but I have to be honest and say that these are the most plastic feeling metal shells that I have experienced in a long time. They are light, however, and that adds to the comfort for those longer listening sessions.
The cable is nothing spectacular but it does its job, it’s also rather lightweight and is very similar (or even identical) to other cables that I have received in the past. The connectors and hardware are metal and in general, it does its job without issue.
Sound…
So I said that the Tripowin Leá left me a little confused, as I didn’t mind the tuning and overall sound but it got a little harsh as soon as the volume was raised. In the case of the Rhombus, I just find it to be a little harsh in general.
Here is the graph of the Rhombus compared to my personal preference (which is by no means something that is obligatory for me to like an IEM) and against the Leá for reference:
.png)
Now, straight away, looking at the graph we see that the low end has been raised quite a bit in comparison to the Leá, eliminating that roll off that the Leá presented in the lowest ranges. However, I don’t hear it.
While the measurement would suggest that it is rather present in the low end, I find that the rest of the tuning detracts from that low end presence. It is a bit of a strange sensation, as the low notes are actually there when isolating the lower frequencies but when the rest of the frequencies come into play, the focus is moved dramatically.
For example, with my usual sub bass test, “Chameleon”, there is a fair bit of rumble in those lower notes when the track is just bass focused, yet when the rest of the frequencies start to appear, it is as though those low notes somehow get lost and fade into the background.
With other tracks that focus more in the mid bass ranges, such as “No Sanctuary Here”, there is more of the same. Parts of the tracks that are mostly bass come across as present and well defined in those low ranges, yet in more complete sections, there isn’t as much bass as I would have guessed.
Now this is not necessarily a problem, as I have said many times before, I am not really someone who enjoys overly boosted bass for the most part, and the Rhombus are actually fairly clean and articulate, but it is the higher ranges (especially the higher mids) that push the sound towards something that doesn’t really appeal to me.
I will get to the mids in just a second but their affect on the lower ranges seems to take away the warmth and body that the lower end of guitars and other acoustic instruments should have (and is expected by looking at the graph).
The center of the mids have quite a dip to them which puts even more emphasis on what I feel is an overly present upper mid range. There is quite a boost in the 2 to 4kHz range and, while it does drop away before my dreaded 5kHz mark, it makes things sound overly fragile and thin.
Snare hits can become harsh and even quite painful on occasions (if the recording is already a little too present in these ranges) and voices again sound thin and fragile rather than present. As an example, Alison Kraus in “Down To The River To Pray” lacks warmth and body to her voice, created by the combination of the dip in the mids and the boost in the upper mids.
There is also a metallic touch to the sound which is very reminiscent of some of the older BA or Hybrid models that were known for their “BA timbre”. I am not a huge BA fan, although I have heard some very good BA sets (the Helios still being the best IEM I have heard to date and that is all BA), and the Rhombus encapsulates what it is that I (usually) don’t like about BA drivers.
There is another peak located higher up in the treble range that does give the Rhombus a sensation of good extension and it actually deals with sibilance better than I expected it to do based on the overall signature, but there is still some sibilance in “Code Cool”, which added to the boosted upper mids, can make the song quite uncomfortable.
As far as detail, there is a bit of a false sensation here due to those overly present frequencies, but I can’t say it’s terrible. When isolating the lower frequencies, the DD performance is actually pretty good.
.png)
The isolation is actually pretty good, better than average, which means that these could be used while out and about without too much issues (at least as far as isolation is concerned).
Conclusion…
I am sorry to say that I haven’t really enjoyed my time with the Tripowin Rhombus. I would really love to only review sets that I like as I much prefer to listen for 4 or 5 days to something I enjoy rather than not. However, I can only say what I feel and the RHombus just aren’t for me.
I don’t necessarily think that the components are bad, I just feel that they either don’t work well together or that they need some polishing as far as their implementation. It is as though the BA driver just takes over the sound and is focused on those upper mids, pushing everything else into the background.
As always, audio is probably one of the most subjective experiences out there (at least when listening to music is concerned), so I have no doubt that there will be some people who enjoy these IEMs. I’m afraid I am just not one of them.
As always, this review is available also in Spanish both on my blog (www.achoreviews.com) and on YouTube (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
3 Likes
Tin Hifi T2 DLC
The Tin Hifi T2 DLC have been sent to me by Linsoul for me to try them and share my opinions. They have not commented or made any requests, so my review, as always, will aim to be as unbiased as possible. Saying that, it is always good to consider the fact that these IEMs have not cost me anything.
I will leave a direct link to the T2 DLC via Linsoul in the version of this review published on my blog (link at the end of this review).
As always, this is a non-affiliate link and I do not gain anything by clicks or purchases via the link.
Intro…
If there ever was a model of IEMs in the budget category that made itself a name for a very long time (and is still talked about now) it is the T2 by Tin Hifi. The amount of times that the T2 has been talked about, recommended and praised is incalculable. They were the first set of IEMs that many picked up when looking for a “good balanced set at a budget price” and although budget IEMs have come a very long way since then, you will still see them brought up regularly in the budget IEM world. They really were a “stepping stone” for many people, opening up a world of budget sound that those people hadn’t really experienced until then.
Tin Hifi have released many many models since then, with varying degrees of success, yet I believe that the T2 is probably still their most successful model.
I can’t say when the original T2 were released but I believe I picked up my first set in 2018, which seems like centuries ago in this IEM world. I have to say that I was rather unlucky and had 3 out of 4 IEMs fail on me, all related to the MMCX connectors, which made me move on and also started my dislike for MMCX connectors (which have given me various problems over the years on different models).
As I just said, IEMs, especially in the budget world, have come a very long way since then and although Tin did recently release the original T2 with the connectors changed to 2 pin (well done Tin, although a little too late in my opinion), they have also just released the model that I am reviewing today, the T2 DLC. This new set is based on the original T2 IEMs but with a new DLC dynamic driver, aiming to put the T2 back on the radar.
Coming in at 59€ (at the time of this review), they are around 10€ more expensive than the original model (with the updated connectors). That is just outside the sub 50€ range, which I consider to be “extreme budget”, but still a price that can be considered a budget friendly set.
Presentation…
Opening the T2 DLC was a bit of a blast from the past. The packaging and the contents are all very similar, in fact almost identical, to the original T2 presentation.
Arriving in a black cardboard sleeve (rather than the white one of the originals), inside we find a box that resembles a book, yet is wider than it is tall. The cover of the box is also black (where the originals were blue) but inside we find basically all of the same contents that we did with the original T2.
In other words, we get the IEMs, the cable, a selection of silicone tips, some foam tips and the user manual etc.
I think that the original T2 were one of very few sets to include foam tips with the IEMs and it is nice to see that this tradition has been maintained. I used foam tips for quite a while before finally finding silicone tips that I preferred, and I still find them very comfortable to use now, even if they do age pretty quickly.
Build and aesthetics…
The build and aesthetics are also easily identified with the original model, sticking with the round shells made from aluminium which allow you to wear the IEMs orientated both up and down (although the cable has preformed ear hooks, so you would need to either swa the cable or remove the heat shrink to wear them “cable down”).
The aesthetics have been tweaked ever so slightly, with the center circle now being recessed just a tiny and featuring the Tin logo in the center. The connectors have also been switched to the 2 pin variant, which is something that I personally appreciate.
As far as the cable, it is a little different from the original and is actually the cable that Tin have included with other models of theirs. The cable is white, with silver hardware that matches the IEMs, and is rather simple but quite adequate for the job it does. Tin list it as an 8 Core silver plated cable in the specs, in case that is something that interests you.
Sound…
Let’s start with the important question, is the T2 DLC and upgrade from the original T2?
Although very subjective, I have to say that yes it is.
Ok, being totally transparent here, it is a long time since I last listened to the original T2, as the two sets I have only have 1 IEM working in total (so I can’t really rehash an impression with just one ear) but the impression that the T2 DLC give me is that they are certainly a step up in performance. I don’t remember the T2 ever giving me the sensation of being very detailed, their main attribute was the balanced tuning, and the T2 DLC do seem to have improved both in detail and in overall performance, including a tuning that matches my preferences (which will have evolved since back in the OG T2 days). But I’ll get to that in a moment.
Let’s start with the usual look at the graph of the T2 DLC, with my personal preference target and the original T2 for reference. At the risk of being repetitive (I say this in almost every IEM review), my personal preference target is just a rough guide, it does not guarantee that I will like something that sticks close to it, nor hate something that doesn’t.
.png)
Starting off with the lowest notes as always, we can see that the T2 DLC has increased the presence in the subbass ranges, no longer presenting the roll off that the original did in these frequencies.
Putting them through the usual “Chameleon” test, I find that the subbass is at a level that I find pleasant and enjoyable, without being overly present nor lacking rumble. Those that prefer more of a brain rumbling subbass may not agree with me but in my case, I find it works well.
Moving over to “Royals”, with a subbass that is slightly less controlled than “Chameleon”, I find that the T2 DLC does a good job of keepin the low notes tight and while it is not groundbreaking, it certainly performs well enough.
In the midbass section, things are a little more present that I like. However, it is not a midbass that I find offensive. It works well to give classic rock some warmth in those lower electric guitar and bass notes, while still being clean enough to sound fairly balanced with newer productions.
With acoustic guitars, the midbass presence gives plenty of warmth and body, and while it is not what I would consider 100% correct in the timbre department, it is close and it does give a nice tone to tracks like “Hurt” by Johnny Cash.
The mids are well maintained throughout and the climb into the presence area in the upper mids is smooth, matching my personal preferences very closely. In fact, the T2 DLC is a good example of something that I have mentioned in many other reviews regarding the upper mids. I am quite sensitive to the 5kHz mark and sets that have a peak in that region come across as very harsh and uncomfortable to me. However, in the case of these IEMs, while there is plenty of presence in the 5kHz region, it is not a peak but rather a “plateau” that covers the 2kHz to 5kHz range. This makes things sound much smoother to my ear, giving a good presence without becoming harsh. This obviously depends on the recording of tracks but in general it works very well for me.
As we move into the higher ranges, I find the extension to be good, with a nice sensation of air and presence. Sibilance is kept in check well, tested as always with “Code Cool”, which is quite a pleasant listen on the T2 DLC. There is still a presence of sibilance on certain parts of “Hope is a Dangerous Thing”, which proves that they are not overly dampening sibilance, just controlling it well.
Details are not bad either. I wouldn’t say they are amazing but they are good enough for tracks to not sound smoothed over or missing info. In the case of the intro to “All Your Love (Turned To Passion)”, they present the reverb and other background details fairly well, with them being easy to appreciate. Ok, we are not talking high end planar levels of detail, nor IE600 DD levels of detail, but they are still more than acceptable. It may become difficult to
Soundstage is not the widest, falling into the “average” range that I find 90% of IEMs to fall into. However, image placement is decent enough, making layers such as in “Strange Fruit” be easily placed and identifiable. In busy tracks with many layers, it may not be quite as easy to place and track the individual sounds but I feel that is more due to the detail than the placement.
.png)
Isolation of the T2 DLC is not bad but not excellent either. They should work well enough for normal use while surrounded by normal noise levels, yet they will suffer if used on a plane, train or other places with constant low rumbling noises.
Conclusion…
I honestly think that the T2 DLC are the most enjoyable tuning I have heard from Tin Hifi so far, making them a very worthy successor to the original T2 model. They are not perfect and they may verge on being a very “safe tuning”, yet I think they have done a good job here.
I reviewed the T3 Plus a while back and basically said that they were enjoyable because Tin had tuned them similar to many other successful models from other brands. In this case, Tin have taken a similar tuning with a few tweaks that push it even more towards my preference.
They are not perfect of course, the details are not the best and the driver does seem to struggle with very complex and detailed tracks, yet in general, they do a job that I have no complaints about.
I could probably list a few more things that I feel could be improved yet I feel they should be given credit where it is deserved and the Tin Hifi T2 DLC certainly deserve it in my opinion.
As always, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (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
4 Likes
TRI i One
The Tri i One have been sent to me by KeepHifi for me to try out and share my opinions on them. The only request from KeepHifi was that I reviewed them in a short time frame as they are a new launch and there is not much in the way of reviews out there just yet, or at least there weren’t when they sent them to me, I haven’t checked since.
I was happy to accommodate their request, I always am when the request is a fair one and doesn’t become a habit, as long as they are happy with my opinions being honest about what I think about them, which is something that KeepHifi has always respected.
You can find the Tri i One via KeepHifi by visiting the link I have published on my blog (link to my blog at the end of this review).
As always, it is a non-affiliate link, I do not benefit in any way by people clicking or buying via the link.
Intro…
As I said a moment ago, these are a new launch from Tri and were only released very recently. I promised to review them as quickly as I could and I have had these IEMs a little over 2 weeks, which is basically the minimum I like to spend with a set to be able to review them coherently, 1 week for burn-in and 1 week for listening and testing etc.
The i One are classed as the flagship model of Tri, using a single Carbon PET dynamic driver and coming in at around 250€ at the time of writing this review. This means that they are certainly not a budget set of IEMs but they are still way more economic than “flagship” models from other brands.
I have to say that my experience with them over the last week has been a bit of a roller coaster, going from dislike to like and back again on various occasions, which is one of the main reasons that I like to spend at least 4 or 5 days of continuous use before actually putting together impressions.
Now let’s get on with what those impressions actually are and what my conclusions are regarding the Tri i One.
Presentation…
I have to say that the unboxing of the i One’s was quite an unexpected experience. They arrive in a large box which is white and simply shows the name and not much more. However, once the box is open, everything turns orange!
The box extends both to the left and the right, with the whole interior being orange, I mean, just look at the photos that speak a thousand words.
Everything is neatly packed and they have really put some care and effort into the presentation of these IEMs. For some reason there is a picture of a deer included that, combined with the orange, sort of reminds me of a hunting store, but I would rather have the deer than some of the anime art that appears with so many other sets.
As far as contents, it is also a very respectable amount. We get the IEMs, the cable, 3 sets of “balanced” silicone tips, 3 sets of “Clarion” silicon tips, a cleaning tool, the user manual, a small net storage bag and a very nice storage case in orange to match the box.
I really can’t complain about the contents as I feel they are more than acceptable for a set of 250€. Ok, they could have included a balanced cable also to really surpass expectations, but I feel that they have covered everything that is needed.
Build and aesthetics…
All of the contents seem to be well made and of good quality but let’s focus as usual on the IEMs and the cable, starting off with the IEMs.
Using Aluminium alloy shells, they opted for a shape that is quite simple but at the same time, uses small curves and deviations to what would have probably been quite boring. The faceplate uses a mirror like insert with the model name and a simple block design, however, the way the mirror finish is done, it changes from light to dark depending on the angle (and makes it rather difficult to photograph, at least for someone like me who isn’t really well versed in photography).
The TRI logo also appears on the forward part of the shells and in general, they do look fairly elegant and I feel they live up to their price as far as aesthetics and build goes.
The cable is a bit on the large size for me personally, as I am someone who prefers thinner cables for IEMs (within reason) but there is no denying that it is a well built cable. According to Tri it is a “OFC shielded pure silver wire”, which is individually wrapped in a cloth type material using a quadruple twist that then splits to two double twists.
Sound…
Here is where I couldn’t make up my mind with the i One. I did graph these IEMs before listening to them, so let’s start there:
.png)
So, straight away we see how far the frequency response of these IEMs is from my preferred target and we can also see a huge peak at 5kHz, my dreaded frequency for peaks. In fact, in the next graph we can see how it compares to two IEMs that I have also tried recently and disliked quite a bit, the Rhombus and the Cencibel (which I believe I haven’t actually published the review for yet, so I guess this counts as a spoiler).
.png)
So, let’s just say that I went into this with expectations of suffering that peak. I have to say that upon first listen, that was exactly what I experienced. I was listening to some indy style rock and found that the electric guitars were just piercing in the 5kHz range, along with certain parts of the percussion. This straight away put me in the “I don’t want to spend a week with these” frame of mind.
However, I do know that spending more time with something will sometimes make it grow on me (and sometimes bring me to dislike things that I initially liked), so I persevered and the next day I put on the included grey tips (the Balance tips) and sat down at my desk, hitting play on a jazz playlist while focusing on my work load. After a while I realized that I was enjoying the music and I started paying a bit more attention. I found that some of the brass instruments in the specific tracks I was listening to were actually rather smooth and not coming across as harsh and unpleasant as I expected things like saxophones and trumpets to do.
So, for the next few days, I spent time with the i One and found that they would go from unpleasant to very enjoyable depending totally on my music selection, something that we often forget when talking about IEMs (or headphones), someone’s experience will vary wildly depending on the kind of music they listen to.
But anyway, let’s try and give this review some kind of organization and focus on my test list that I always use for final impressions and opinions. It’s been a while since I mentioned it but you can find the full test track list that I use here: List of test tracks Also, each of the tracks mentioned here is a clickable link that will allow you to open the track in the streaming service of your choice.
Starting off with the lowest notes and using my usual test of “Chameleon” for the subbass performance, there is no shortage of rumble in the low end. The performance of these IEMs in the subbass notes is impressive, giving enough of that lowest presence for any subbass lover to be happy without actually being too overpowering. They also do a good job of keeping the subbass clean and defined, even when trying out a track like “Royals” which has a subbass that is not as clean and controlled as it could be, the i One do a good job of presenting it without it taking over the song.
With something like “No Sanctuary Here” or “Sun Is Shining”, which are tracks that focus more on the midbass side of things, the i One does a good job but there can be just a little too much in the lower end of the midbass (the crossover point between subbass and midbass you could say) which can make it feel sometimes like the bass is not quite working together with the rest of the frequencies. This is something that is difficult to explain but think of it like a speaker set up where the crossovers between subs and midrange drivers are not quite set up correctly. This is something that I experience on things like the DT1770 Pro and while it is not terrible, it can just sound a little “off”.
With tracks that use instruments rather than electronic created bass, such as “Bombtrack”, on the heavier side of things, or “Back It Up” which is more of a double bass track, I do feel that there is a little too much presence. This gives a nice round edge to the low end but it does detract from the actual sound of the instruments, or at least the timbre I would expect.
The mids are the point that I most find I changed my mind about. Depending on vocals, some of them can seem a little too recessed. This is mainly in the case of male vocals but I did experience it also with Caro Emerald in “Back It Up” that I just mentioned, or Sade in “No Ordinary Love”, where the voices lose out to the bass playing due to increased midbass and the dip in the mids.
The upper mids are even more of a lottery depending on music though, at least in my opinion. I would find that certain tracks would be extremely exaggerated in those upper mids (with that 5kHz peak stabbing me), such as the upper mids of “Killing in the name of” by RATM or “Light Years Away” by Oliver, whereas other tracks would come across as smooth in those areas such as “Don’t Start Now” by Dua Lipa or “Breezeblocks” by alt-J (a track that can be very aggressive in the upper mids).
Up into the higher regions, I find the extension to be pretty good, giving a nice sensation of openness and air in those ranges. Sibilance is also not bad, with Patricia Barber being just a little hotter than her usual “on the verge” in “Code Cool”. It is not overly exaggerated as far as sibilance goes, but it certainly doesn’t tame it down either.
Details I feel are a strong point of the i One. They are not the most detailed IEMs I have ever heard but they do portray a lot of the smaller details of music very well, without the need to focus on them to appreciate them, yet not pushing them forcefully towards you either.
Soundstage I also find to be above average, with things seeming to be nicely spread out and well placed across the stage. I never really find IEMs to be overly spacious in this regard (at least in comparison to open back over ear headphones) but I must say I was pleasantly surprised by the i One.
.png)
The i One do a decent job of isolation in the upper mid and higher ranges. The lower frequencies do leak through a little more but are still better isolated than the average of the IEMs I have measured so far.
Conclusion…
The i One are a set of IEMs that are going to depend very much on the music preferences of the listener. I feel that if someone was to try out these IEMs with just a song or two, they would either love them or hate them (again, depending on the choice of those songs). After trying all kinds of music through them, I have to say that my opinion on them literally changed from track to track (when listening to a random playlist).
I have tried to relay some of the information while focusing just on my test tracks but I feel that a different review of these could probably be written on a track by track basis.
In the rest of the categories I have no doubts I would recommend them, the build is good, the aesthetics (very personal I know) are good, comfort is good, presentation is good, details are good, performance is good… it’s just the actual tuning and the way it reacts with difference music that will be the polarizing part for people.
I have to say before I finish this review that I have heard a lot (too many?) of IEMs with a very similar tuning to this set recently and the i One are the only ones that I found to be so different depending on music, the others have just been something that I have not enjoyed.
I you can get your ears on a set, I highly recommend you do so, as they might be something that fits you perfectly, or they may not.
As always, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (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
4 Likes
Very nice write up, my friend. It’s a shame that it wasn’t a cohesive and consistent set for you. Oh well - you can’t win them all!
I will say - that cable looks really interesting. Any idea whether you can buy it alone?
1 Like
I honestly have no clue but KeepHifi would probably be able to tell you if you drop them an email.
1 Like
It’s the TRI Wolfram upgrade cable. A $199 cable in a $270 IEM…yeah
Can I be honest, I thought it was that cable, I was looking at it earlier. But I just thought there was no way they’d package a $200 cable with a $270 IEM … interesting.