That’s too bad if doesn’t have a feedback loop to hear your voice that would have been nice.
Thanks Krusty for bringing this piece to us in your review! 
1 Like
Did a quick video to help with upgrading the ThuthEar SHIO
Big thing to remember is uninstall the driver if you already had it installed and reboot. Then install driver and restart that’s what was causing all the grief for me. Cheers TDM
1 Like
See Eric’s M0 Review pretty funny!
I’m not sure voice feedback is doable while staying on analog like that: afaik the mic signal has to be amplified to be listened to.
With a desktop pc, you can add that functionality (and control the volume of feedback) with voicemeeter.
On the qudelix 5k, you have the option too.
I guess many voicechat apps allow to hear what you say.
On apple products, I don’t know though.
I am always amazed that the feedback options are always so hard to find: it is a basic need of voice chat/meeting as soon as you have a closed product (iem or headphone).
1 Like
My short follow up video post TinHiFi C3 arrival.
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A follow up to my follow up a St. Valentine’s Day Massacre 
Eric with the THIEAUDIO Ghost
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So Eric tell us what you really think!
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Ooohhh looks nice! Haven’t tried that one
How did I miss this thread?? Hellooo fellow Canucks! 
How about this weather?? Going back to -10 tomorrow from 8 yesterday ughhh 
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I will shoot the video for the Fiio FH5s today and the written review is getting pollished.
I hate tuning switches! When doing a review.
Yanyin Canon up next and by then the Joyodio Shine will be here and my green TRI Star River .
Damn more tuning switches why FML
3 Likes
Yep me too…pretty pointless tbh when everyone has the ability to EQ these days if that’s their bag…
Switches 
BASSHEAD v’s TREBLEHEAD 
3 Likes
100% on that one. Bad enough to tip roll, source roll them listen. My Playlist is 2:03:03 long x 3 for something that is wonky makes it a long night.
While writing down notes and drafting up a review I was beat.
1 Like
Some fine tunes there sir…
1 Like
Fiio FH5S - Fiio Fail Great Idea horrible implementation.
I have had the IEM for quite a while. I purchased it previously ( I was going to say enjoyed but I don’t think that happened either ) used.
While you can pick this up for under $200 now. Don’t.
I decided to take some time and review the Fiio FH5s as I have one more IEM with tuning switches that I like quite a lot The Yanyin Canon.
I will be getting 2 more in the next week here so I thought in order to prepare for the Joyodio Shine and TRI StormRiver I would get this one out of the way and have a bit of a shoot-out at the end to compare the 4 IEM’s with tuning switches.
I HATE TUNING SWITCHES AS A REVIEWER THEY ARE EVIL!
Pros:
- Build Quality and shell design is beautiful
- Quality MMCX is a pleasure to use
- Switches do change the sound signature
Cons:
- Switches so change the sound signature in some good ways and bad
- Short Nozzles were hard to find good seal with the right tips
- Mid Switch “On” reduces the mids.; Kind of opposite of the other too switches but makes sense if you know what it does or what I think it dose.
Now let’s get into it: The Techy Stuff
This IEM uses two Dynamic Drivers both are Beryllium Coated.
The Bass driver is a 12mm rather large in the IEM world and the mids. use a 6mm
The highs and to a lesser extent uses the 2x 30017 Knowles Balanced Armature drivers.
Semi-Open back design for a better stage - Keep reading to see if this was accomplished. SPOILER NOPE! - But it looks cool so there is that.
More information can be found here and non-affiliated link: 2 Balanced Armatures 2 Dynamic Drivers In-Ear Monitors FH5S/FH5S PRO
Subjective Part of my Audio Review -
Hello Ladies & Gents: Thanks for reading my feedback.
I share my impressions as I hear them with my ears.
As all our ears are different shapes & size so what I hear as bright or bass heavy -you might hear as dull and Vise-Versa; just something to be mindful of.
What makes my ears happy as a sound signature is a slightly more aggressive L shape. I love my Bass Sub and Mid Bass love it all actually; and in large quantity. With the Bass, I prefer a faster decay the faster the better so as to not bleed into the mids., I am treble sensitive and prefer a slightly darker warmer replay with good treble extension.
I prefer the fast speedy bass of the Beryllium Coated Driver of my Xenns Mangird UP as my IEM reference and my desktop Adam Audio studio monitors. My Car sounds amazing with all Focal Drivers & MacIntosh amps and I can play with my DSP to figure out what makes me happy across the frequency spectrum.
My music Library is widely varied from; Metallica, Great White, Cowboy Junkies, Pink Floyd, Adelle, Melisa Ethridge, Fleetwood Mac, Five for Fighting, Manskin, Poncho Sanchez, Jimmy Smith, Chopin, The Crystal Method just to name a few. When not listening to my test tracks the majority is Jazz or Alternative Rock especially Female Rock. Lorde, Halsey, Alanis Morrisette, Evanescence. All depends on my mood.
Sources: E1DA SG3, Shanling UP5, Geshelli JNOG J2 with AKM4493 chip. Truthear SHIO (Dual Cirrus Logic 43198 DAC Chips)
DAP/TRASPORT: From Lenovo Laptop with Tidal, iBasso DX160 (Dual Cirrus Logic 43198 Dac Chips), Samsung S22 Ultra with DSD Files.
Amps: LoxjiP20 & XDUOO MT-604 tube hybrid amps and Topping A90D Amp 4.4 Pentagon Balanced Out - Unless stated
My Format has changed with community feedback. So now I will list the music tracks I used & why with my musical impressions of the playback using that track. I hope this will give you some context for my library and give you some contexts to compare using the same tracks.
(26 Tracks 2:03:03)
Let’s Begin: I normally write my comments on each song but because of the tuning switches 2:03:03 turned into 5+ hours and a pattern became self-evident and so I will just summarize my impression in the summary below. To give you a idea of the sound pattern after listening to this entire playlist 2:03:03 long 3 THREE TIMES with each switch Bass, Mids., Treble in the on position to get my sound impressions. 6HRS + that I will never get back!
Notes I transcribed from what I wrote on my notepad during my time with the FH5s on the first 10 tracks and the other 16 sounds like a broken record.
#1 “Beautiful Blue” by Holly McNarland
(I love Holly’s vocals should be crips clear vocals with the right edge to here vocals)
- Nice vocals on Holly (110) too thick on (100) on (100) was more natural sounding but still not right
#2 “Give Me One Reason” Tracy Chapman
(I love her voice and the way it is recorded listen for the strums on the guitar - I have seen Ms. Chapman live a few times; so In my mind, I try and remember how she sounds like 5ft from me as I was blessed to experience)
- See notes above - that’s what I wrote LOL
#3 “Paint It Black” by The Rolling Stones
(I use this track because I love hearing how well the IEM can give me a sense of stage and placement. At 28 Seconds you can hear Mic change his position and face towards the Mic on the left side with the overall stage outside of your head)
- Better male vocal on (100)
#4 “Rock Me” by Great White
(80’S Baby, Double Kick drums at the beginning of the first track I am listening to how fast it hits how solid is the bass and what’s the decay like. An ideal replay here would be fast, powerful bass with nice note weight to feel it in your chest so to speak if you were at a concert.) ( With “Rock Me” same thing but I am listening for the bass guitar drops on this track it should be quite low)
Lacked deep sub exertion and was just missing something
#5 “Wheat Kings - Remastered” by The Tragically Hip
(Sense of stage and Male vocals)
Whoa with (101) Not in a good way take my face off.
#6 “Chemical Mentalist” The Crystal Method
(Bass, more bass fast and lots of it - How does it do end of the story - Huge Smile or poo emoji?)
NOPE has bass but somehow no excitement drivers all sound veiled?
#7 “Its Time” by Labrinth, Sia, Diplo
(3 very different singers and their voices come together. I use this because it’s a cool track and at higher volumes lesser IEM’s get sibilant.)
Not bad on (100) - on second listen (110) not sure if that’s better something off
#8 “All My Friends Are Here” Joe Satriani
(In this track you can hear Joe playing dead Center with the busy and very separated L & R licks added in and then he brings you back to center with some crazy and very hard-to-play Descending A Major rifts! As Joe described this song as “A rock guitarist trying to control a wild beast”
FAIL guitars sound like Ukulele aghhhh
#9 “The Antidote Is In The Poison” GoGo Penguin
(Modern Jazz at its best. Powerful, Dynamic track full of emotion and snappy bass. Fantastic track to listen to how well Micro Dynamics are conveyed and get a good sense of the IEM’s ability to convey that to the listener.)
Ok on (110 ) but lacks dynamics and sounds veiled not a great listen
#10 “Angel” by Massive Attack
(Say it with me - massive textured bass drops )
Has Sub bass on (110) but not correct still x-overs and drivers messed up.
#11 “Bring Me Some Water” by Melissa Ethridge
(I like this track to hear Melissa’s voice and see if the transducers (speakers) reproduce her voice to how edgy I think it should be.)
#12 “A Whiter Shade Of Pale” Annie Lennox
(A Bach-inspired Hammond Organ M102, I seriously love it and its unique sound with Annie’s voice this is so cool)
#13 " So Cold " Holly McNarland
( Vocals on this track are further back in the track and L & R upfront good track for testing depth of stage and vocals - Sub Bass at the very beginning has a nice drop.)
#14 “Shape Of My Heart” Sting
(in this track I am listening to the sound of the guitar pulls and slides. How well does the IEM give an emotional presentation of the mix between the vocals and the bass.
#15 “Wishing You Would Stay” by The Tea Party with Holly McNarland
(Love this track. With this song and this band, it was the first time having a guest vocalist. Holly McNarland has a great voice and I have seen her live a few times front and center getting sweat on. Listening for Holly’s voice being forward in the mix and not sibilant.)
#16 “Avenue A” Tom Cochrane and Red Rider Live from the Symphony Sessions
(This track with more resolving IEM’S you can hear the guitar pulls and slides with a sense of open spaciousness and grandeur)
#17 “Eden” Hania Rani
( The way Hania has recorded this track with the mics on the strings in the body of the piano is incredibly unique and such a unique presentation you can hear the string’s tension at the beginning, Bass kicks in at 1:40 and goes low that’s what I am listening for )
#18 “Summertime” Louis Armstrong & Ella Fitzgerald
( This Track has both legendary artists Simply listening to Louis and Ella’s voices and of course, the Piano and trumpets how accurate and lifelike )
#19 “Blue Train” Poncho Sanchez
( Trumpets here are silky or should sound that way with good timbre, overall mix how does it present, and of course Poncho’s drums )
#20 “ My Girl “ Royal Philharmonic Orchestra
(Listening for instrument placement and stage and this track gives a good sense of dynamics and excitement with lots of dynamics in the mix)
#21 “Iconic” by Alanis Morrissette
(More edgy female vocals to give you the chills)
#22 “The Day That Never Comes” Metallica - Live with the SFO from S&M2
(Big open stage good depth of stage excellent recording with a excellent orchestral opening)
#23 “Tricycle” by Flim & BB’s
(Turn this one up and wait till 0:28 seconds- Have Fun Dynamics test)
#24 “Thriller” by Michael Jackson
(Great song to listen for stage and imaging)
#25 “Team” by Lorde
(Female vocals if your lover of those this is a great track)
#26 “ Wake Up “ Oliver Mtukudzi
(Oliver Mtukudzi is an African Musician and prolific guitarist and Vocalist. He sings with a mix of South African styles sometimes in English sometimes mixed like in this track and includes the traditional drumming styles of the Korekore. TUKU MUSIC at its finest – Listening for vocals, bass lines, and clarity – and because it is just fun! Right at the beginning you have some very cool snaps and instrumental)
SUMMARY & FINAL THOUGHTS FOR: Fiio FH5s
Fiio messed up this one. I could not find a happy place with any of the 8 Tuning options none of them resonated with me.
I guess the idea was the create a tunable IEM that you could hone with the switches and that’s were Fiio failed.
The overall systemic problem resides in the overall tuning of the crossover points and the overlap of frequencies each driver is responsible for.
I suspect since the 6mm Berry driver is responsible for in this case or what I can hear 100hz to 3kish I don’t honestly know exactly and herein lies the problem.
It sounds like Fiio crossed over the 12mm Driver too fast and should have let it play a bit higher giving the FH5s a bit more note weight, because it sounds like they let the 6mm play lower to get a faster speed out of the replay in the overall tuning.
That’s actually sounds ideal except the mid switch reduces the “Mid’s” but what in reality it does by tuning this switch on is increasing the overall driver resistance and lowering the overall volume of the 6mm driver. Now since this driver is responsible for lower mid-bass frequencies as well as upper mids. when you hit the switch the mid-bass is sorely lacking and the vocal presence for female vocals suffer a lot as the BA’s don’t seem to be crossed over low enough either to fill in the gap.
The 12mm bass driver should have been utilized more and the 6mm less. The 12mm should be playing 400 hz and below and the 6mm 400 to 3k, with the BA playing 3K and up. All with a gentle x-over slope of like 6db/Octave. ( A gentle slope lets the drivers bleed higher and lower from the x-over frequency. With X-over component you normally see 6/12/18/24 db. per octave slopes the higher the value the faster the cut off at the tuning frequency.)
I think Fiio used excellent drivers. But and a large one here- But Bottom line Fiio messed Up a mix of great drivers with the wrong implementation and tuning.
On setting 100 (Bass Boosted, Mids. not muted, Treble not boosted) This setting kills the stage , micro and macro dynamics suffer and female vocals sound a tad too thick.
On setting 110 (Bass Boosted, Mids. 6mm driver gets snipped in volume output, Treble Not Boosted) This setting caused much better female vocals but bass guitar and male vocals sound too thin. Not enough snap and weight on the bottom end of the frequencies.
On setting 101 exactly how you suspect Bass boosted , Treble Boosted brough back some of the air and female vocals but not enough and makes the BA’s have a certain metallic timbre that gets much more noticeable.
Bottom line is there is no good combination, either the weighted lower bass suffers or is lacking and or and or and or, just too many compromises and the incoherency between the three different drivers is the worst mix that I ever heard, solely caused by poor tuning.
Stage also suffers same as the rest following the same pattern from great width and air to very intimate and undynamic and boring.
A further note of the FH5s’s stage is it has great width but lacking any depth or height.
The tunings switches while versatile to change the overall tuning, compromise everything else and at no point with any setting was there a time through any of the test tracks that left me wishing for more or less of something. It was hard to just enjoy the music.
Final thoughts, Warmer sources helped with 110 to add back in some weight but not enough. More analytical dacs didn’t add enough air and sparkle to 100 to give it a better stage and vocal presence.
I just could not come up with a pairing with all the gear I have to be able to bring out the best in the Fiio FH5s.
Thanks so much, Cheers from the Tone Deaf Monk.
6 Likes
Aroma Audio Thunder
“Split Personalities”
Single DD - Aroma in house custom, size not specified.
10 BA - 1 Low, 4 Low/Mid, 4 Mid/High,
1 Ultra High.
4 way crossover.
17 ohm impedance.
108 dB/1mW.
10Hz-22kHZ frequency response.
Single tuning switch.
- Preamble:
Aroma Audio is a Hong Kong based company that focuses on high end universal and custom IEM’s, and other audio gear.
Probably best known for their ultra high end Aroma Jewel IEM, the Thunder slots into the mid range of their IEM line up.
I am admittedly “enthusiastic” that the opportunity to experience this IEM crossed my path.
Thunder has a single tuning switch on each ear piece that provides two different sound profiles.
Aroma calls them Harmony, and Focus, that’s the English translation at least, and although a bit ambiguous as to what to expect, simplified;
Focus - Bass tilt
Harmony - Mids/Vocals tilt
I found both profiles enjoyable.
After much back and forth I chose Harmony as my preferred profile as an overall all rounder. I concede however, that for my listening preference, I found Focus mode had better synergy with genres like EDM, Rap, Hip Hop, etc.
Harmony for Classic Rock, Blues, Jazz, Symphonic, Country, etc.
I will be doing this evaluation in Harmony mode, but I will footnote my thoughts on Focus mode where appropriate.
The stock cable is terminated 4.4mm and is a less than impressive offering.
I wasn’t able to confirm composition of the stock cable. Some quick cable rolling and I settled on the Eletech Prudence 8 core, a 4.4mm balance terminated, SPC cable.
For ear tips my choice was Sedna Xelastec wide bore.
Thunder is packing 11 drivers per side and is, understandably, a larger iem.
I have larger ears and I have room left over to fit the outer dimensions of the shell, but Thunder is thick and they stick out of my ears a fair ways.
The nozzles are long, the reach and angle work very well for me, but those with smaller and/or shallower ears could find fit challenging.
-
Equipment:
Aroma Thunder, Harmony Mode.
Shanling M9, 4.4 balanced out, low gain.
Eletech Prudent 8 core SPC terminated 4.4mm.
Sedna Xelastec wide bore ear tips. -
Bass:
Despite the name, Thunder is not a dedicated Bass head iem, it should however satisfy most bass lovers.
Quality bass is delivered in the quantity the recorded source dictates. It will lay low and slow, or step up with impact and rumble.
Sub bass has good extension and on bass heavy tracks is capable of sinking very low. It is well controlled and stays mostly in place, but, there is some sub bass bloat/bleed that encroaches on the entire head stage. It is not excessive, but does add an overall warm timbre to the sound signature.
Bass starts to roll off as it enters the mid bass region, it’s not an excessive decline so mid bass maintains a presence and has good definition and detail.
Bass is as polite, or as powerful, as the recorded source dictates. -
Focus mode:
Sub bass gains depth, rumble, and prominence in the head stage.
Instruments like Bassoon sound “throatier”. -
Mids:
Mids don’t rise much above the bass, but do present forward.
Thunder is capable of reproducing mids with excellent clarity and detail. They exhibit a very natural timbre and have an engaging presence.
However, depending on the track, mids clarity and detail can become somewhat subdued or overshadowed by the sub bass bleed. -
Focus mode:
Sub bass bleed impacts the mids reducing lower mids detail. However there is a peak around 3.5k in the upper mids that allows instruments like piano, violin, electric guitar, etc. to shine through and present nicely forward. -
Vocals:
Like the mids, vocals do not extend much above the bass but do present more forward than the mids.
They are clear, detailed, accurate, and have natural timbre for both male and female. -
Focus mode:
Vocals are less forward and just a touch warmer. They remain clear and accurate. -
Highs:
With 10 BA in the mix, it would have been easy for Thunder to have an over active and extremely energetic high frequency presentation.
This is not the reality.
The recorded source determines where things are going, and Thunder can take it to the top, but always in control and never harsh or sibilant.
The highs are crisp, clean, and clear with very good macro and micro detail retrieval.
Peaks in the 8k and 9.5k region don’t extend much above the sub bass shelf but cymbals, guitars and violins provide good air with reach stretching well into the upper limits of the head stage.
There is little or no hint of BA timbre. -
Focus mode:
The change is more in the upper mids lower highs, they become more subdued, and less forward. Which does negatively affect detail retrieval.
There is very little noticeable change in the upper highs, still good air and good presence high up in the head stage. -
Head Stage:
The head space is fully encompassed. Bass is present throughout, but warming, not overpowering.
Very wide left to right, the perception is slightly outside the head.
Highs have enough air to carry the height to the top of the skull, and sub bass can extend below the chin.
Front to rear depth perception is very good. Percussion and bass present toward the rear, with various other instruments and vocals sharing the remaining stage forward.
Despite the fullness of the head stage it manages to retain an open and spacious atmosphere. Imaging and layering are excellent allowing for precise and accurate placement of individual instruments on all three dimensions. -
Focus mode:
Head stage is where I notice the most significant difference between Harmony mode and Focus mode.
In Focus mode the head stage presents less forward and higher up in the head space.
It’s difficult to describe how I perceive it.
Like the stage is physically elevated and further back from the listener. The sound still comes forward, but it seems to be emanating from above and further away.
“Elevated and less intimate”
-
Technicals:
Dynamics, tonality, and timbre are excellent.
Listening to high quality solo recordings of various instruments and all sound natural and accurate.
Timbre can sway a bit between slightly warmer or brighter depending on source.
Thunder is very easy to drive.
On the Shanling M9 set to low gain, I was most often between 20-30% volume level, and never over 50%.
Rolling between the following sources, I made a few observations regarding source synergy;
Shanling M9 low gain, AK SP2000T, AK Kann Max mid gain, FiiO M11Plus ESS high gain, Hiby RS6 R2R high gain, Hidizs AP80x high gain, and iPhone 13 with these dongles, Colorfly CDA M1, AK HC2, FiiO BTR7 Bluetooth.
-
none required volume set above 40% to provide a good listening level.
-
The lower powered sources sounded thinner on note weight. So even though very little power is needed to achieve good volume, more powerful sources provided a fuller more satisfying note weight.
-
All provided a good listening experience, so Thunder doesn’t appear to be overly source sensitive, but there are differences that could affect individual enjoyment.
My personal preference leans toward a warmer source with enough power to provide a fuller note weight. Shanling M9, Hiby RS6 R2R, and FiiO M11Plus ESS met the criteria.
AK Kann Max, while being more resolving and brighter, provided the nice full note weight, and I found it favourable as well. -
Summary:
Pros: -
A nice balanced tuning with a slight sub bass boost.
-
The Thunder works very well with most genres (all that I tried). Some genre sound better in Focus mode. (Subjective)
-
Tuning switch
-
Fit well and comfortable for very extended listening sessions. (Subjective)
-
Good Dynamics, timbre, and tonality. (May be source dependent and subject to personal preference)
Cons: -
Stock cable is uninspiring.
-
Driver flex (not a concern for me)
-
price
-
Tuning switch (I don’t care to fiddle, just make it sound good)
A bit about me and the music types used for evaluation below.
If you give a cats meow about that stuff.
** note: I try to be objective, but I am biased somewhat by my personal preference for sound signature. I lean toward a more balanced sound with perhaps a slight mids forward bias, good bass, good mids, good treble.
I am somewhat treble sensitive in the 8-9K range.
I do NOT consider myself a professional/career reviewer as I have no formal training as a sound engineer or musician.
- i.e. the thoughts presented here are strictly personal opinion based on my hearing, your mileage may vary.
** My hearing taps out at around 12.5 kHz, I can hear 12.5 but it’s more a background sound. I think it is fair to note this.
“Air” is typically a reference to treble that is present above 12.5 kHz, it is therefore beyond my hearing capability. When I reference “air” in a sound evaluation I’m referring to where I perceive the positioning of the upper treble ranges, ie. where they present themselves within the sound stage/head stage.
*** I have large ear canals, and typically the stock tips included with most IEM don’t fit well for me. I have a selection of third party ear tips that fit well in most cases so I default to these. I will identify my tips of choice, but unfortunately, seldom can I comment on the stock offerings.
- Music:
varied selection of tracks from my playlists played from SD card. FLAC 44 through 192 and DSD 2.8 (64) through 22.4 (512)
My mainstay are Blues, Rock, Jazz, Country, Classical.
I also streamed Apple lossless for electronic, R&B, Death Metal, etc. to get a well rounded experience of how well this IEM handles a variety of genres.
3 Likes
5 Likes
TRI StarRiver - A Modern Vocal-Centric Wonder
Vid is up here:
Pros:
- Tuning switches change the pina gain and overall tuning with a unique presentation
- Build Quality and fit and finish top notch!
- German resin shells are beautifully polished and look very premium the Blue or Green is almost 3D
- Cable is ok but has 4.4 Pentagon option so there’s that.
- Comes with a nice little case that’s useable a nice touch at this price only reason I mention it.
- Vocals are OMG amazing especially female.
- Instrumental and orchestra are so nicely done.
- This IEM screams Made for modern music!
- Sub driver fast & punchy is nicely weighted and takes EQ like a champ.
- 6mm Driver is well chosen and does exactly what its intended tuning tried to achieve so bravo.
- Highs are very well done big energy without sibilance (10) Setting (01) not so much - Treble-heads rejoice!
Cons:
- Can be a bit fatiguing with longer listening sessions with the overall treble volume and shouty with 01 settings.
- Cable while decent probably not the best synergy.
- TRI Clarion tips wont work for most people with the shorter nozzle length. -
- Needs different tips that are not included.
- Needs power to get going not for listening at low volume levels.
- Nowhere in the packaging is there any mention, description or instructions for the tuning switches leaving you guessing what they do, how they will change the sound. A huge oversite and you should not be left having to research it.
Now let’s get into it: The Techy Stuff
The StarRiver is a dual dynamic IEM. A 10mm and a 6mm drivers. Both use a Beryllium coated diaphragm.
Thank you to KeepHiFi for providing me this IEM for review.
More information and purchase link can be found here: 【TRI Star River】Dual Dynamic Drivers 2Pin Wired Earphone with Tuning S
Subjective Part of my Audio Review -
I share my impressions as I hear them with my ears.
As all our ears are different shapes & size so what I hear as bright or bass heavy -you might hear as dull and Vise-Versa; just something to be mindful of.
What makes my ears happy as a sound signature is a slightly more aggressive L shape. I love my Bass Sub and Mid Bass love it all actually; and in large quantity. With the Bass, I prefer a faster decay the faster the better so as to not bleed into the mids., I am treble sensitive and prefer a slightly darker warmer replay with good treble extension.
My version of what my perfect balanced IEM is: Good Sub Bass, with a warmer tone weight but faster and a nice transition into lower bass that adds the correct note weight to male vocals without too much bleed to effect female vocals with too much added thickness. I want to hear guitar plucks sounding with good intensity and tone.
Male vocals should sound correct and female vocals not to thin or forward.
Highs need to good extension and no sign of sibilance.
Instruments need to have correct tonality and sound natural.
For reference my favorite IEM is the Xenns Mangird UP with it’s EST drivers that add sparkly enhancement only and not forced in a smooth natural way I prefer the fast speedy bass of the Beryllium Coated Driver.
My music Library is widely varied from; Metallica, Great White, Cowboy Junkies, Pink Floyd, Adelle, Melisa Ethridge, Fleetwood Mac, Five for Fighting, Manskin, Poncho Sanchez, Jimmy Smith, Chopin, The Crystal Method just to name a few. When not listening to my test tracks the majority is Jazz or Alternative Rock especially Female Rock. Lorde, Halsey, Alanis Morrisette, Evanescence. All depends on my mood.
Sources: E1DA SG3, Shanling UP5, Geshelli JNOG J2 with AKM4493 chip. Truthear SHIO (Dual Cirrus Logic 43198 DAC Chips)
DAP/TRASPORT: From Lenovo Laptop with Tidal, iBasso DX160 (Dual Cirrus Logic 43198 Dac Chips), Samsung S22 Ultra with DSD Files.
Amps: LoxjiP20 & XDUOO MT-604 tube hybrid amps and Topping A90D Amp 4.4 Pentagon Balanced Out - Unless stated
My Format has changed with community feedback. So now I will list the music tracks I used & why with my musical impressions of the playback using that track. I hope this will give you some context for my library and give you some contexts to compare using the same tracks.
(26 Tracks 2:03:03)
Let’s Begin: I transposed my listening notes on each track as I heard them.
For all these songs after determining that I prefer the tuning with first toggle switch Up or on and the second switch down or off.
This setting lowers the pina gain has a nice dip to not make it sibilant and extends the highs for vocal clarity.
#1 “Beautiful Blue” by Holly McNarland
(I love Holly’s vocals should be crips clear vocals with the right edge to here vocals)
“lovely Vocals”
#2 “Give Me One Reason” Tracy Chapman
(I love her voice and the way it is recorded listen for the strums on the guitar - I have seen Ms. Chapman live a few times; so In my mind, I try and remember how she sounds like 5ft from me as I was blessed to experience)
“Good Guitar strums in this track I like for forward Tracy’s voice was in the mix and was perfect. Backup singers were accented nicely and vocals were perfect.”
#3 “Paint It Black” by The Rolling Stones
(I use this track because I love hearing how well the IEM can give me a sense of stage and placement. At 28 Seconds you can hear Mic change his position and face towards the Mic on the left side with the overall stage outside of your head)
“Did the turn nicely nice wide stage was a good sense of depth of stage”
#4 “House Of Broken Love” & “Rock Me”
(80’S Baby, Double Kick drums at the beginning of the first track I am listening to how fast it hits how solid is the bass and what’s the decay like. An ideal replay here would be fast, powerful bass with nice note weight to feel it in your chest so to speak if you were at a concert.) ( With “Rock Me” same thing but I am listening for the bass guitar drops on this track it should be quite low)
“Guitar has the lower bass notes but not the most prominent. Had excellent speed & note weight. High hats were great and sounded natural and balanced.”
#5 “Wheat Kings - Remastered” by The Tragically Hip
(Sense of stage and Male vocals)
“Yes well done Great Male Vocals and nice balance of vocals and instruments”
#6 “Chemical Mentalist” The Crystal Method
(Bass, more bass fast and lots of it - How does it do end of the story - Huge Smile or poo emoji?)
“$hit YES” Good times but highs pushing my tolerance limit bass was slammin but the highs would not let me keep going on the volume wheel."
#7 “Its Time” by Labrinth, Sia, Diplo
(3 very different singers and their voices come together. I use this because it’s a cool track and at higher volumes lesser IEM’s get sibilant.)
“No sibilance this was the track I normally can pick it out, All vocals were spot on and the StarRiver did a excellent job of allowing me to hear when there was more than one singer in the mix”
#8 “All My Friends Are Here” Joe Satriani
(In this track you can hear Joe playing dead Center with the busy and very separated L & R licks added in and then he brings you back to center with some crazy and very hard-to-play Descending A Major rifts! As Joe described this song as “A rock guitarist trying to control a wild beast”
“Great Instrumental felt it needed a bit more sub note weight here and the stage was not the deepest I have heard and was looking for in this track. The descending A major was a bit disappointing.”
#9 “The Antidote Is In The Poison” GoGo Penguin
(Modern Jazz at its best. Powerful, Dynamic track full of emotion and snappy bass. Fantastic track to listen to how well Micro Dynamics are conveyed and get a good sense of the IEM’s ability to convey that to the listener.)
“Attack was very good piano in this track sounded natural”
#10 “Angel” by Massive Attack
(Say it with me - massive textured bass drops)
“Where the bass ? No just kidding it was there but not in the quantity that this track screams for. On the flip side you hear the vocal with excellent clarity. The StarRiver still made this track a good listen with the vocal clarity making up for the lack of lows”
#11 “Bring Me Some Water” by Melissa Ethridge
(I like this track to hear Melissa’s voice and see if the transducers (speakers) reproduce her voice to how edgy I think it should be.)
“I love Mellissa’s voice in this track. Guitar is nice and vocals are perfect.”
#12 “A Whiter Shade Of Pale” Annie Lennox
(A Bach-inspired Hammond Organ M102, I seriously love it and its unique sound with Annie’s voice this is so cool)
Good stage with a nice pan from L to R overall stage was smooth with excellent instrument separation but more intimate and vocals dead center. Lots of twinkles and Annie’s voice was perfect."
#13 " So Cold " Holly McNarland
( Vocals on this track are further back in the track and L & R upfront good track for testing depth of stage and vocals - Sub Bass at the very beginning has a nice drop.)
“Sub bass at the beginning was lean it was there but not as much as I would have preferred. Good Left & Right separation but I wish the depth of stage was deeper and left me a bit disappointed - only because I have heard it presented nicer.”
#14 “Shape Of My Heart” Sting
(in this track I am listening to the sound of the guitar pulls and slides. How well does the IEM give an emotional presentation of the mix between the vocals and the bass.
“Vocals from Sting were so well done it was a special replay. Here again with my preference I was wishing the guitar pulls had more weight on this track.”
#15 “Wishing You Would Stay” by The Tea Party with Holly McNarland
(Love this track. With this song and this band, it was the first time having a guest vocalist. Holly McNarland has a great voice and I have seen her live a few times front and center getting sweat on. Listening for Holly’s voice being forward in the mix and not sibilant.)
“Both vocals were beautifully done and this is a testimonial of how well the StarRiver balances the note weight of vocals over the whole frequency spectrum.”
#16 “Avenue A” Tom Cochrane and Red Rider Live from the Symphony Sessions
(This track with more resolving IEM’S you can hear the guitar pulls and slides with a sense of open spaciousness and grandeur)
" Tom Cochrane’s singing sounded very natural but I felt this track is missing some instrumental enery to give it more dynamics."
#17 “Eden” Hania Rani
( The way Hania has recorded this track with the mics on the strings in the body of the piano is incredibly unique and such a unique presentation you can hear the string’s tension at the beginning, Bass kicks in at 1:40 and goes low that’s what I am listening for.)
“Piano sounded natural and you could clearly hear the microphone effects inside the piano.
Not all roses as I felt in this track the piano needed more note weight.”
#18 “Summertime” Louis Armstrong & Ella Fitzgerald
( This Track has both legendary artists Simply listening to Louis and Ella’s voices and of course, the Piano and trumpets how accurate and lifelike)
“Trumpets were lovely and both vocals were liquid smooth; the vocal inflections were perfectly reproduced. Well done TRI.”
#19 “Blue Train” Poncho Sanchez
( Trumpets here are silky or should sound that way with good timbre, overall mix how does it present, and of course Poncho’s drums.)
" Drums were great as was overall presentation. With the instrument playback being so natural and the upper high frequency energy made this track and music like this lively and fun."
#20 “ My Girl “ Royal Philharmonic Orchestra
(Listening for instrument placement and stage and this track gives a good sense of dynamics and excitement with lots of dynamics in the mix)
“Great instrumental playback but would love to have heard more bass energy and attack on this track.”
#21 “Iconic” by Alanis Morrissette
(More edgy female vocals to give you the chills)
“Yup vocals will give you goosebumps.”
#22 “The Day That Never Comes” Metallica - Live with the SFO from S&M2
(Big open stage good depth of stage excellent recording with a excellent orchestral opening)
“Nice Kicks not the biggest stage.”
#23 “Tricycle” by Flim & BB’s
(Turn this one up and wait till 0:28 seconds- Have Fun Dynamics test)
“Stumbled on this track as it needs more low frequency energy to bring the dynamics”
#24 “Thriller” by Michael Jackson
(Great song to listen for stage and imaging)
" Average stage great Vocals"
#25 “Team” by Lorde
(Female vocals if your lover of those this is a great track)
“Was getting lost in this track with her voice - memorizing”
#26 “ Wake Up “ Oliver Mtukudzi
(Oliver Mtukudzi is an African Musician and prolific guitarist and Vocalist. He sings with a mix of South African styles sometimes in English sometimes mixed like in this track and includes the traditional drumming styles of the Korekore. TUKU MUSIC at its finest – Listening for vocals, bass lines, and clarity – and because it is just fun! Right at the beginning you have some very cool snaps and instrumental)
“Kind of funny this was the last track as it summarizes what the StarRiver does so well. Vocal-Centric with instrumental to back it up. You can listen to this music all day.”
SUMMARY & FINAL THOUGHTS
I am done with my conclusion and impressions of the TRI StarRiver here is my synapses look for my follow up with video.
With less Pina gain settings with switch position (10) 11 hours of in- ear and 72 hours of total burn in.
I felt I had enough information to conclude my thoughts, I came to for the newest TRI.
This one was really hard to review for me. On one end I really prefer bassier warmer sets but I love my vocals especially female.
I had to keep reminding myself not to bias to my personal preference for tuning and focus on how this IEM sounds.
Example of this polarization was my notes on listening to “Ironic” from Alanis Morissette - I wrote “Sometimes I wish the StarRiver had more sub-bass horsepower up to 120hz because the highs overpower the lows.”
Then I would check myself and realized that if there was any more bass it would pull you away from what the StarRiver excels at - INCREDIBLE VOCALS"
Stage is one area I was again wishing for bigger , wider, deeper, and higher - self check again. If the stage was more expansive it would pull you away from the Instrumental playback and again silky vocals."
As it is the TRI StarRiver has average stage more intimate and in your headspace and directly in front of you. In this case where I would wish for more I found the intimate nature makes you focus back on the well done vocal. You are sitting front row 10’ from the singer.
Dynamics the micro and macro (The nuances and volume changes to bring changes within a passage and overall track to bring effect or emotion) are not spectacular with the StarRiver. This just plays into its overall tuning and works in it’s favor. No big drops or extra attack to distract you.
The whole tuning of the StarRiver is Vocal-Centric meaning Vocals are
predominantly in the mix and bass energy is there, but not enough to distract you from the vocals or instruments playback.
The Newest TRI will not make Bass-Heads jump with excitement.
Treble heads will get excited with the energy especially with 01 settings, this was too much for me and take the top of your head off levels. At 10 settings the StarRiver has enough energy to do it’s special magic but not enough to get sibilant - even for people like me who are treble sensitive.
A quick look at the graph once you learn how to interpret one will show you that what I just takes about, and in most cases a graph gets you a good idea of what to expect.
In conclusion I believe the TRI StarRiver is very much tuned for modern music where vocals are front and center and here is where the StarRiver really shines. One listen to Matchbox 20, or Counting Crows the heavens open up and a beam of light shines down illuminating this IEM.
Ok that was a bit silly and dramatic but I wanted to get my point across.
Here is a excellent read on Vocal-Centric I was reading and it’s a good one.
The TRI StarRiver is a well tuned IEM FULL STOP.
The StarRiver really doesn’t do anything bad. Not a all-rounder but it’s really a special IEM if you were looking for a strictly vocal centric IEM, and love or listen to modern music, this one is definitely for you!
The TRI StarRiver really excels both with male and female at the expense of the lowest sub bass and extension and without piercing highs it just finds a middle ground in a most excellent way.
THE END.
Thanks so much, Cheers from the Tone Deaf Monk. TDM
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