Reviews, Impressions, Rants, and More from darmanastartes

[darmanastartes]

Letshuoer D13 Review​

INTRODUCTION AND DISCLAIMER:​

The Letshuoer D13 is an in-ear monitor (IEM) which uses a 13mm diamond-like carbon dynamic driver. The D13 also features two different sets of swappable tuning nozzles. The D13 retails for $113 at HiFiGo, which sent me a unit in exchange for my impressions.

SOURCES:​

I have used the D13 with the following sources:

• Qudelix 5K
• Moondrop Dawn

PACKAGING AND ACCESSORIES:​

The Letshuoer D13 comes in a black cardboard box with a black slipcover. The front of the slipcover features a picture of the D13. The rear of the slipcover features technical specifications for the D13 in what I believe are Mandarin, Cantonese, English, and Japanese. Letshuoer’s corporate contact information is also listed on the back of the slipcover.
The D13 uses a detachable 2-pin cable. My review unit came with a 4.4mm balanced cable, but a 3.5mm single-ended cable is also available.
The D13 includes a faux-leather black zippered semi-rigid carry case with embossed Letshuoer branding and an internal mesh pocket.
The D13 includes two sets of silicone eartips (S, M, L). The clear-and-black set of eartips is shorter and wider in shape than the all-black set.
In terms of documentation, the D13 includes a manual, a warranty registration card, a product catalog, a quality control pass chit, and a card featuring quick response codes that link to Letshuoer’s social media profiles.

BUILD QUALITY AND DESIGN:​

The Letshuoer D13 has aluminum alloy housings with a rounded form factor reminiscent of Dunu’s DK series IEMs. The faceplate features a single slim arc-shaped vent and three arc-shaped recessions radiating outwards in a half-circle arrangement. The recessed arcs are filled in with bright yellow paint, which would not have been my first choice to pair with the metallic cobalt housings. “LETSHOUER D13-XXX” is printed in white on the back face of both the left and right housings, where “XXX” is the unit serial number.
There are circular resin plugs on the inner face of the 2-pin connector housing which are embossed with “L” and “R” indicators. The plugs are flush with the surface of the housing. The left side plug is blue and the right side plug is red, matching the resin endcaps of the included 2-pin cable. This is a subtle but impressive example of attention to detail in the D13’s design.
There are three small round vents on the inner face of the housing at the base of the nozzle. The nozzles are forward-swept and feature extruded lips for eartip retention. The two sets of tuning nozzles are distinguished by differently colored mesh covers.
The included 2-pin cable is wrapped in a quad-braid below the Y-split and double-helix patterns above the Y-split. The wire used in the cable’s construction is gorgeous and evokes a comparison to expensive aftermarket cables.
The cable jack has a straight form factor. There is a knurled band on the jack. “LETSHUOER” is printed in white towards the top of the jack housing. There is strain relief above the jack housing but none at the Y-split. The cable has pre-formed earguides without memory wire and an acrylic chin-adjustment choker. The cable microphonics are minor to non-existent even without the use of the choker.

COMFORT, FIT, AND ISOLATION:​

The Letshouer D13 is intended to be worn cable-up. The earpieces have a moderate insertion depth. I found the D13 to be exceptionally comfortable. Secureness of fit is average and the housings required occasional readjustment. I did not experience any driver flex with the D13. Isolation is very poor.

MEASUREMENTS:​

My measurements of the Letshuoer D13 can be found on my expanding squig.link database:
Letshuoer D13 (Silver) — Squiglink by Bedrock Reviews
Letshuoer D13 (Gold) — Squiglink by Bedrock Reviews

SOUND:​

The following sound impressions were taken with the silver nozzle filters.
The Letshuoer D13 has a U-shaped sound signature.
The D13’s bass tuning is highly reminiscent of the Moondrop Aria. Like the Aria, the D13’s bass is most elevated in the sub-bass region and gently decreases in emphasis all the way through the mid-bass region. The D13’s bass is clean and clear-sounding while retaining some mid-bass presence. There are moderate amounts of rumble and impact. Sub-bass extension is very good. Bass texture and detail retrieval are above average for the D13’s price point. I did find myself wanting more bass from the D13. Thankfully, the driver is highly capable and responds well to equalization (EQ).
The D13’s lower midrange is quite recessed. Some midrange instrumentation, such as analog percussion and electric guitars, can come across as a bit thin-sounding as a result. The D13’s pinna gain region is centered just past 2 kHz, which is earlier than I prefer. While not sibilant, both male and female vocals are overly forward and somewhat shouty to my ears. Harsh male vocals are appropriately abrasive and surprisingly intelligible. Female vocals sound realistic if overemphasized. The presence region is well-controlled and overall midrange clarity is excellent. Midrange timbre is very natural-sounding.
The D13 has a prominent lower treble peak. Treble-sensitive listeners may want to consider using foam eartips to dampen this peak, though will come at a cost to upper treble extension. Detail retrieval is average. Treble transient delivery is realistic and not overly splashy. Upper treble extension is fair. Interestingly, the D13 has a more natural-sounding timbre than the Moondrop Aria. The Aria, while having slightly superior detail retrieval, seems to have an overabundance of upper treble, which creates an artificial-sounding sheen. The D13’s soundstage and imaging are average. Instrument separation is slightly above average.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:​

The Letshuoer D13 is easy to drive. I did not notice hiss with either of my devices.

CLOSING WORDS:​

The Letshuoer D13 is a respectable offering at its price point but does little to stand out from the array of comparably priced and similarly competent IEMs on the market today. Bassheads comfortable with EQ and sticklers for timbre may want to take a closer look.
The Letshuoer D13 can be purchased below:
LETSHUOER D13-Custom 13mm DLC Diaphragm Dynamic Driver In-Ear Earphone — HiFiGo

[darmanastartes]

7Hz x Crinacle Salnotes Dioko Review​

INTRODUCTION AND DISCLAIMER:​

The 7Hz Salnotes Dioko is an in-ear monitor (IEM) which uses a 14.6mm planar-magnetic driver. 7Hz created the Dioko in collaboration with Crinacle. Please refer to my previous disclaimer addressing my reviews of Crinacle collaborations. The Dioko retails for $99 on Linsoul’s Amazon shop. Linsoul sent me a unit in exchange for my impressions.

SOURCES:​

I have used the 7Hz Salnotes Dioko with the following sources:

• Qudelix 5K
• Hidizs S9
• E1DA 9038D

PACKAGING AND ACCESSORIES:​

The 7Hz Salnotes Dioko comes in a white cardboard box. The packaging features pictures of the Dioko and lists 7Hz’s corporate address on the back of the box. There is also a large sticker on the side of the box highlighting the collaboration between 7Hz and Crinacle.
Inside the cardboard box is a large zippered carry case which takes up the entire volume of the box. The exterior of the carry case is covered in black synthetic leather and has a red “7” emblazoned across the top lid. The stitching is also red. “SAL♪NOTES” is inlaid in gold text near the bottom of the lid. The bottom of the case is lined with felt and features dedicated cutouts for the IEM housings and cable. The case also has a large mesh pocket on the top lid for storing accessories. The case is exceptional in terms of build quality, especially for the price point. However, the sheer size is excessive and requires the use of a sling or backpack if you intend to bring it with you on your commute.
In addition to the IEMs and detachable 2-pin cable, the Dioko includes seven pairs of silicone eartips in several varieties. The dark grey pair with red cores feels similar to AZLA SednaEarfit Crystal eartips. This pair aggravates my ears less than other non-foam eartips. The red, blue, and orange pairs are squatter and more conical in shape and feature wider nozzles. The light blue and yellow eartips are more round with narrower nozzles. The pink pair is also round but with wider nozzles than the other round eartips. The Dioko includes a product information card and a user manual written in English and Chinese.

BUILD QUALITY AND DESIGN:​

The 7Hz Salnotes Dioko has large aluminum housings with purple tempered glass faceplates. The faceplates have an ovular cross-section. “SAL♪NOTES DIOKO” is printed in white at the bottom of each faceplate. There is one circular vent at the base of the nozzle and three more in a line along the outer circumference of the inner housing. “L” and “R” indicators are printed in white on the inner faces of the housings. The nozzles have metal and paper nozzle covers and extruded lips to secure eartips.
The included 2-pin cable is wrapped in a quad-braid below the Y-split and double-helix patterns above the Y-split. Like the cable included with the Letshuoer D13 I recently reviewed, the wire used in the cable’s construction punches above the Dioko’s price point.
The cable uses gunmetal aluminum hardware. The cable jack has a straight form factor. “SAL♪NOTES” is printed in white along the length of the jack housing. There is strain relief above the jack housing but none at the Y-split. The cable has pre-formed earguides without memory wire and a metal chin-adjustment choker. The 2-pin connectors fit flush with the surface of the IEM housing body. The curved 2-pin housings have faintly raised “L” and “R” markings. The cable is moderately microphonic.

COMFORT, FIT, AND ISOLATION:​

The 7Hz Salnotes Dioko is intended to be worn cable-up. The earpieces have a very shallow insertion depth. I found the Dioko to be very comfortable. However, secureness of fit is very poor and the housings required frequent readjustment. I had to use the Dioko with the largest Misodiko foam tips I own in order to minimize the housings’ tendency to migrate out of my ear canals. Isolation is also quite poor.

MEASUREMENTS:​

My measurements of the 7Hz Salnotes Dioko can be found on my expanding squig.link database:
7Hz Dioko — Squiglink by Bedrock Reviews

SOUND:​

The 7Hz Salnotes Dioko features a sub-bass boost concentrated entirely below 200 Hz, a midrange tuned to Crinacle’s IEF Netural target, and an extended treble response with a distinct lower treble peak at 8 kHz as well as a noticeable upper treble boost.
The Dioko’s bass is fast, cleanly articulated, and adequately textured, but lacking in sustain and impact. As a result, the bass is somewhat limp in its delivery. There is also less rumble than the Dioko’s frequency response plot would suggest. On the other hand, bass detail retrieval is very good.
The Dioko’s lower midrange is slightly recessed and the overall midrange timbre is on the thin side. I would prefer if male vocals had a bit more body and warmth. The Dioko’s pinna gain region is correctly centered for my preferences, between 2.5 and 3 kHz. There is less pinna gain than I generally prefer, but it works well with the Dioko’s overall tuning. There is not as much separation between vocals and midrange instrumentation as the average Harman-ish IEM, but neither do vocals overshadow midrange instrumentation, as is often the case with such tunings. Vocal intelligibility for both male and female vocals is still excellent despite the restrained amount of pinna gain. The presence region is just emphasized enough to deliver an impressive amount of midrange clarity without straying into harshness or sibilance. Aggressive male vocals could use a bit more bite, but I am happy with the level of presence overall.
Like a lot of other planar-magnetic IEMs released in the last year, the Dioko has a prominent lower treble peak around 8 kHz. While this peak generally did not bother me, this is not an IEM for the treble-sensitive. Overall detail retrieval is excellent. The Dioko’s treble transient delivery is also more realistic than the significantly more expensive Raptgo Hook-X. Upper treble extension is spectacular for the price point, but this region is overemphasized relative to the rest of the Dioko’s frequency response. This creates an artificial-sounding sheen over the rest of the sonic presentation. The Dioko’s soundstage extends just slightly outside of the head. Imaging is very good, and instrument separation is excellent.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:​

The 7Hz Salnotes Dioko needs a moderately powerful source to achieve usable volume levels. I did not notice hiss with any of my devices.

CLOSING WORDS:​

While I take issue with certain aspects of its tuning, from a technical standpoint, the 7Hz Salnotes Dioko is better than any other IEM that I can think of at the $100 dollar price point. For me, the biggest issue with the Dioko is the shallow and insecure fit. My recommendation comes with a warning that buyers should prepare to tip-roll extensively.
The 7Hz Salnotes Dioko can be purchased below:
Amazon.com: 7Hz x Crinacle Salnotes Dioko HiFi 14.6mm Planar Diaphragm Driver in Ear Earphone IEMs with CNC Aviation-Grade Aluminum Case, Detachable 4-Core Litz OCC Copper Cable for Audiophile Musician Studio : Electronics

[darmanastartes]

7Hz Salnotes Zero Review

INTRODUCTION AND DISCLAIMER:
The 7Hz Salnotes Zero is an in-ear monitor (IEM) which uses a 10mm dynamic driver. The Zero retails for $20 on Linsoul’s Amazon shop. Linsoul sent me a unit in exchange for my impressions.

SOURCES:
I have used the 7Hz Salnotes Zero with the following sources:

Qudelix 5K
Hidizs S9
E1DA 9038D

PACKAGING AND ACCESSORIES:
The 7Hz Salnotes Zero comes in a small white cardboard box. The packaging features pictures of the Zero on the front and back covers.

In addition to the IEMs and detachable 2-pin cable, the Zero includes six pairs of silicone eartips in several varieties. These appear to be the same varieties described in my Dioko review:

The red, blue, and orange pairs are squatter and more conical in shape and feature wider nozzles. The light blue and yellow eartips are more round with narrower nozzles. The pink pair is also round but with wider nozzles than the other round eartips.

The pair of eartips resembling AZLA SednaEarfit Crystal eartips included with the Dioko is not included with the Zero. The Zero includes a product information card and a user manual written in English and Chinese, as well as a small velcro tie. The Zero does not include a carry pouch or case.

BUILD QUALITY AND DESIGN:
The 7Hz Salnotes Zero has a two-part plastic chassis with a stainless steel faceplate. The faceplates have a jagged, angular outline. “SAL♪NOTES ZERO” is laser-etched at the base of each faceplate. There is a small circular rivet at the top of each faceplate. The faceplates have developed minor scratches over the course of my review.

There is a small circular recession on the inside of each chassis with an embossed “L” or “R” indicator. There is also a pinprick vent at the base of the nozzle. The nozzles have the same metal and paper nozzle covers as the Dioko, and have extruded lips to secure eartips.

The 2-pin connectors are very snug and quite difficult to remove. The 2-pin connectors fit flush with the surface of the IEM housing body. Each 2-pin entry site is marked with a small red dot to indicate polarity.

The included 2-pin cable has two strands that are joined in parallel below the Y-split. The cable uses a mix of metal and dark plastic hardware. The cable jack has a straight form factor. “SAL♪NOTES” is printed in white along the length of the jack housing. There is strain relief above the jack housing but none at the Y-split. The cable has pre-formed earguides without memory wire and a rubber chin-adjustment choker. The curved 2-pin housings have faintly raised “L” and “R” markings. The cable is mildly microphonic.

COMFORT, FIT, AND ISOLATION:
The 7Hz Salnotes Zero is intended to be worn cable-up. The earpieces have a shallow insertion depth. I found the Zero to be very comfortable. However, secureness of fit is below average and the housings required occasional readjustment with most eartips I tried the Zero with. Isolation is fairly poor. There is mild driver flex.

MEASUREMENTS:
My measurements of the 7Hz Salnotes Zero can be found on my expanding squig.link database:

7Hz Zero — Squiglink by Bedrock Reviews

SOUND AND COMPARISON TO THE MOONDROP CHU:
The 7Hz Salnotes Zero is tuned very similarly to the Moondrop Chu.

Like the Chu, the Zero has a Harman-ish sound that emphasizes sub-bass over mid-bass, features a robust pinna gain region, and slopes downward from the pinna gain region through the upper treble.

The biggest tonal difference between the Chu and the Zero is that the Zero’s pinna gain region peaks later than the Chu. The Chu’s pinna gain region is centered around 3 kHz, while the Zero’s peaks later at around 3.5 kHz. This is a subtle difference, but depending on your ear physiology, may impact which of the two IEMs vocals sound more natural with. The Zero has a twinge more measured sub-bass than the Chu, although the difference between my samples is so small that this may be a question of unit variation rather than intended tuning. Subjectively, I feel that percussion actually has a greater impact on the Chu than the Zero. The Chu also has a hair more upper treble extension than the Zero.

The Zero’s sub-bass shelf is mild in its amplitude, and sub-bass extension is average. Bass articulation and resolution are both very good. The Zero’s bass is well-textured for the price but is lacking in impact. The result is a clean but underwhelming bass tuning. After hearing the Chu and now the Zero, I have come to believe that if an IEM opts for a pure sub-bass shelf, the amplitude of that shelf needs to be greater than what either of these IEMs displays. The bass does not bleed into the lower mids.

The Zero’s midrange is on the cooler side. Male vocals have grit but are slightly lacking in warmth. The amount of body to male vocals is somewhere in between these two other qualities. Female vocals are slightly more forward than male vocals, though both are very intelligible. Female vocals do sound more natural on the Chu than the Zero. On the Zero, there is a hint of strain and sibilance. On the Chu, female vocals are just slightly more grounded. With that said, the Zero’s midrange clarity is astonishing for an IEM of this price. The level of presence is essentially perfect for heavy rock genres. Timbre is slightly dry but natural sounding overall.

The Zero has slightly less lower treble energy than the Chu, which I prefer. Like the Chu, the Zero has a noticeable drop-off in the mid-treble which deprives cymbal hits of sparkle. While the Chu has better upper treble extension than the Zero, the Zero has slightly crisper treble transient delivery. The Chu has a larger soundstage and slightly better detail retrieval. Imaging between the two is comparable. The Zero has the best instrument separation I have heard on an IEM at this price.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:
The 7Hz Salnotes Zero does not need a powerful source to reach a usable listening volume. I did not notice hiss with any of my devices.

CLOSING WORDS:
Overall, the 7Hz Salnotes Zero and the Moondrop Chu are neck-and-neck in terms of sound quality. They each have certain strengths and weaknesses compared to the other, but both put other options at the price point to shame. The two IEMs also make different trade-offs in terms of build and accessories. With the Zero, you get a detachable cable, whereas, with the Chu, you get Spring tips. While buyers will need to weigh which characteristics they value more in choosing between the two, both are solid buys for $20.

[darmanastartes]

Moondrop Stellaris Review

INTRODUCTION AND DISCLAIMER:

The Moondrop Stellaris is an in-ear monitor (IEM) which uses a 14.5mm planar-magnetic driver. The Stellaris retails for $109 at ShenzhenAudio, which sent me a unit in exchange for my impressions.

SOURCES:

I have used the Moondrop Stellaris with the following sources:

• Qudelix 5K
• Hidizs S9
• E1DA 9038D
• Xumee USB-C to 3.5mm Audio Adapter

PACKAGING AND ACCESSORIES:

The Moondrop Stellaris comes in a large square black cardboard box with a white slipcover. The slipcover features an anime waifu on the front cover and an exploded diagram of the Stellaris on the rear cover. The rear cover also provides a frequency response graph for the Stellaris, technical specifications for the Stellaris in English and Chinese, and Moondrop’s corporate address.

The box has three compartments. The first compartment holds the IEMs in a removable foam tray. The second compartment holds the included carry case. The third compartment holds a smaller rectangular box. This box contains the included eartips, a translucent zip-lock bag in which the included 2-pin cable is stored, and several pieces of paper documentation.

The Stellaris includes three pairs of Misodiko foam eartips (S, M, L) and three pairs of what appears to be Moondrop’s take on a thermoplastic elastomer (TPE) eartip (S, M, L). The included case is similar in size and materials to the case included with the Moondrop Variations but uses a more traditional form factor, which is my preference. The flap of this case features a magnetic closure, which works well. In terms of documentation, the Stellaris includes a user manual, a postcard featuring another anime waifu illustration, a quality control pass chit, and a contact card featuring a scannable quick response code.

BUILD QUALITY AND DESIGN:

The Moondrop Stellaris has metal housings with the same glittery blue glossy enamel finish as the Moondrop Starfield. The left faceplate is illustrated with a comet design, and the right faceplate features a sun and a crescent moon. The faceplates are secured via gold screws which feature three tiny circular divets. “STELLARIS” is printed on the back face of each the housing body just below the seam between the body and the faceplate. “L” and “R” indicators are printed above the base of the nozzle in line with the “S” in “STELLARIS.” All the text and designs on the faceplates and shell bodies are printed using gold paint.

There are small circular vents at the bases of the nozzles. The nozzles have substantial lips to secure eartips, which is a welcome change for Moondrop. The nozzles appear to be stuffed with black mesh a millimeter or two down the nozzle bore. The 2-pin connectors are slightly recessed.

The included 2-pin cable uses blue and gold wires wrapped in a transparent plastic sheath. The cable is not braided above or below the Y-split. The Y-split and jack hardware are made from hard dark blue rubber. The Y-split hardware is embossed with Moondrop branding. The cable jack has an L-shaped form factor. The cable features pre-formed earguides and a gold-colored metal chin-adjustment choker. There is strain relief above the jack housing but none at the Y-split. The 2-pin connectors have nearly invisible raised “L” and “R” markings. The cable is mildly microphonic.

COMFORT, FIT, AND ISOLATION:

The Moondrop Stellaris is intended to be worn cable-up. The earpieces have a moderate to deep insertion depth. I found the Stellaris to be average in comfort. However, secureness of fit is below average because the large and heavy housings protrude substantially away from the ears. The housings required periodic readjustment using the included TPE eartips. Isolation is poor. There is no driver flex.

MEASUREMENTS:

My measurements of the Moondrop Stellaris can be found on my expanding squig.link database:

Moondrop Stellaris — Squiglink by Bedrock Reviews

SOUND:

The Moondrop Stellaris does not sound like any other Moondrop IEM I have reviewed, and this is not a positive distinction. Unfortunately, the tuning of the Stellaris reminds me of something TRN would release.

The bass region is most reminiscent of a conventional Moondrop IEM, featuring a moderately elevated sub-bass region that tapers off gently rather than abruptly. Subjectively, the Stellaris does not have as good sub-bass extension as its frequency response measurement would suggest. The bass response is lacking in weight and punchiness. Bass articulation and resolution are both excellent. Bass texture is middle of the road. The bass does not bleed into the lower mids.

The Stellaris has a strained, peaky midrange. Other reviewers have described the Stellaris as “shouty.” I do not feel that shouty is the correct adjective for the Stellaris’ midrange. I would instead use the term Head-Fi-er baskingshark used, “nasal.” Vocals, especially male vocals, seem compressed along the X-axis and have nowhere to go but up. The result is that male vocalists often sound as if they are battling a cold. Harsh male vocals lack body and warmth, while simultaneously sounding overly gritty. Female vocals are a little more realistic but still sound overemphasized and potentially sibilant. Vocals and midrange instrumentation are not well-integrated. Timbral accuracy is acceptable, as is the level of presence.

The Stellaris has an uneven treble response. There is a reasonable amount of lower treble which seems roughly in line with the presence region. However, this is followed by an audible mid-treble peak. This peak overemphasizes the trailing edge of cymbals and hi-hats and can make these kinds of percussion unpleasant to listen to. The Stellaris does have excellent upper treble extension and superb detail retrieval. Other types of technical performance such as soundstage size, imaging, and instrument separation are also excellent for the price point. These qualities are more easily appreciated if the Stellaris’ overall frequency response is massaged into coherency with equalization.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

The Moondrop Stellaris is quite difficult to drive and requires a moderately powerful source to reach a usable listening volume. I did not notice hiss with any of my devices.

CLOSING WORDS:

The Moondrop Stellaris is a disappointing first entry by Moondrop into the planar-magnetic IEM space. This is an IEM that could have used more time in development and has unfortunately become a victim of the Chi-Fi industry’s breakneck rush to capitalize on a new driver type trend.

Below are my thoughts on why the Stellaris sounds the way that it does:

My suspicion is that Moondrop is using the same or a similar driver as everyone else and hasn’t figured out how to shift the center of the pinna gain peak too far away from 2.3 kHz using this driver, nor have they figured out how to avoid the tendency of this driver to narrowly peak at this frequency. As far as I know, 7Hz is the only manufacturer who’s managed to both shift the apex of that peak further down the frequency range and broaden it, as seen on the Dioko.

I don’t think the problem is the amount of pinna gain on its own. I think the problem is that Moondrop tried to give the Stellaris what on any other Moondrop IEM would be a reasonable amount of pinna gain without solving these driver limitations. Something like the Raptgo Hook-X works a lot better for me even though they haven’t solved these issues either because they adjusted the amount of pinna gain down substantially.

I do not recommend the Moondrop Stellaris.

The Moondrop Stellaris can be purchased below:

MOONDROP STELLARIS 14.5mm Planar IEMs SUB-Nanometer Diaphragm Dynamic (shenzhenaudio.com)

[domq422]

@darmanastartes

I do not recommend the Moondrop Stellaris

Great write up, straight to the point, but I have to admit that this line here made me chuckle. There is something about that dry, straight to the point no BS statement ohhh poor Moondrop. This set needed some more R&D for sure, that chi-fi planar pressure got to them I suspect.

[darmanastartes]

TinHiFi T2 DLC Review

INTRODUCTION AND DISCLAIMER:

The TinHiFi T2 DLC is a new revision of TinHiFi’s famed T2 in-ear monitor (IEM). The T2 DLC features a new 10mm dynamic driver with a diamond-like carbon diaphragm and adopts 2-pin connectors for the detachable cable interface. The T2 DLC retails for $52.51 directly from TinHiFi at the time of writing this review. TinHiFi sent me a unit in exchange for my impressions.

SOURCES:

I have used the TinHiFi T2 DLC with the following sources:

• Qudelix 5K
• Hidizs S9

PACKAGING AND ACCESSORIES:

The TinHiFi T2 DLC comes in a small rectangular black box. The TinHiFi logo and the text “T2” are printed on the top of the box in white. Inside the box is a second black-and-beige cardboard container designed to resemble a book. The top lid of this container features TinHiFi’s logo inlaid in silver. This “book” unfolds right-to-left, revealing the IEMs held in a foam mounting block. The included cable, accessories, and documentation are stored below this block.

The T2 DLC includes six pairs of silicone eartips (2xS, 2xM, 2xL) and one pair of the iconic teal TinHiFi foam eartips. A TinHiFi-branded velcro zip tie is also included. In terms of documentation, the T2 DLC includes a user manual and a contact card featuring scannable quick-response codes that link to TinHiFi’s Facebook and Twitter pages. The T2 DLC does not include a carry pouch or case.

BUILD QUALITY AND DESIGN:

Apart from the switch from MMCX to 2-pin, the TinHiFi T2 DLC largely resembles its venerable predecessor. The IEM is composed of a three-part polished metal assemblage. The faceplate is circular in shape and is marked with the TinHiFi logo in light blue. The bottom of the outer section of each housing has a pinprick circular vent, as does the back face of the midsection. The nozzles have perforated metal nozzle covers and substantial lips to secure eartips. The 2-pin ports are flush fit into a circular base that matches the cable-side pin connector base in diameter. This base is marked with a dab of blue paint to indicate polarity. The base on the right-hand side IEM and the base of the 2-pin connector of the right-hand side cable are made of red plastic. The corresponding left-hand side bases are clear resin. The cable and IEM housings otherwise lack directional indicators.

The included 2-pin cable uses a complex eight-strand braid below the Y-split and twin quad-braids above the Y-split. The cable has strain relief above the straight 3.5mm jack and below the Y-split hardware. The cable hardware is polished metal without any branding. The 3.5mm jack hardware does feature two knurled bands. The cable features pre-formed earguides and a plastic bead chin-adjustment choker. The cable is mildly microphonic.

COMFORT, FIT, AND ISOLATION:

The TinHiFi T2 DLC is intended to be worn cable-up. The earpieces have a moderate insertion depth. I found the T2 DLC to be average in comfort. Secureness of fit and isolation are above average. There is no driver flex.

MEASUREMENTS:

My measurements of the TinHiFi T2 DLC can be found on my expanding squig.link database:

TinHiFi T2 DLC — Squiglink by Bedrock Reviews

SOUND:

The TinHiFi T2 DLC has a Harman-ish tuning that strongly resembles the Moondrop Aria.

The T2 DLC features a sub-bass region that is more elevated than the mid-bass region, a comparatively recessed lower midrange, a broadly yet moderately elevated upper midrange, and a treble region that is slightly less emphasized than the upper midrange.

The T2 DLC’s sub-bass extension is above average but not exceptional. There is a satisfying amount of weight and impact to percussion. The speed of bass articulation is average. Bass texture is very good, and bass resolution is above average. There is a mild amount of mid-bass bleed, but in my opinion, this is a trade-off worth making for bass impact and lower midrange body.

Considering its price, the T2 DLC has a very natural-sounding midrange. Male vocals are vibrant and have excellent body, though harsh male vocals do sound slightly smoothed over. Vocals sit above midrange instrumentation but do not overshadow it. Midrange timbre is generally very good, but there is a smidge of compression to analog percussion. Overall midrange clarity is excellent, and the level of presence is generally appropriate. Distorted electric guitars do sound a hair overdriven.

The T2 DLC has a competent if unexciting treble response. There is a moderate amount of lower treble which prevents cymbals from disappearing completely into the mix, but there is an audible dip in the mid-treble which robs those cymbals of sparkle. With that said, the T2 DLC has very good upper treble extension. Overall resolution and detail retrieval are average at best, but imaging, instrument separation, and the size of the T2 DLC’s soundstage are very good for a single dynamic driver design at this price point.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

The TinHiFi T2 DLC is easily driven to a usable listening volume. I did not notice hiss with either of my devices.

SIMILARLY PRICED ALTERNATIVES:

Listeners in search of a slightly more aggressive but still coherent presentation should look at the Truthear Zero, which features a more defined sub-bass shelf and slightly more upper midrange presence. However, the Zero is much more difficult to drive than the T2 DLC.

CLOSING WORDS:

The TinHiFi T2 DLC is competent in all respects and is a great addition to TinHifi’s lineup. I could not ask for more from an IEM with a street price of around $50, and I am happy to recommend the T2 DLC to new IEM listeners.

The TinHiFi T2 DLC can be purchased below:

TINHIFI T2 DLC TINHIFI T2 EVO TINHIFI T2

[darmanastartes]

Dunu Talos Review​

INTRODUCTION AND DISCLAIMER:​

The Dunu Talos is an in-ear monitor (IEM) utilizing a planar-magnetic driver and two optional balanced armatures (BAs) per housing. The BAs can be activated with a toggle switch. The Talos normally retails for $199.99 but is on sale for $179.99 at the time of writing this review. Dunu sent me a unit in exchange for my impressions.

SOURCES:​

I have used the Dunu Talos with the following sources:

• Qudelix 5K
• Hidizs S9
• E1DA 9038D

PACKAGING AND ACCESSORIES:​

The Dunu Talos comes in a medium-sized rectangular black box. The Talos is pictured on the front of the box’s slipcover, and technical specifications for the Talos and Dunu’s corporate contact information are provided on the rear of the slipcover. The lid of the box features Dunu’s logo. Inside the box are the included semi-rigid zippered carry case, a small rectangular cardboard box that stores the included 2-pin cable, and a foam mounting sheet that holds the IEMs. Confusingly, the Talos includes an instruction booklet for one of Dunu’s modular cables, but the included 2-pin cable is not modular. This is disappointing considering the Dunu Falcon Pro included a modular cable. The only other piece of included documentation is a quality control pass chit.
The Talos includes nine pairs of silicone eartips in three different styles. The first is a set of light grey conventional eartips (S, M, L), the second is a shorter, squatter set of black wide-bore eartips (S, M, L), and the third is a set of cylindrical tips which resemble a factory version of flip-tips (S, M, L). The Talos also includes a Dunu-branded velcro zip tie, a cleaning brush, and a Dunu-branded 3.5mm to 1/4" adapter.

BUILD QUALITY AND DESIGN:​

The Dunu Talos has water droplet-shaped faceplates. The center of the faceplate features a raised circular plateau marked with a stylized golden “D.” This raised section is surrounded by concentric grooves. The lip of the faceplate is rimmed with gold trim. The toggle switches that activate the BAs are located on the forward-facing side of the IEM. The off position is labeled “1,” and the on position is labeled “ON.” The 2-pin housings are flush with the rest of the shell. There are small “L” and “R” indicators near the base of the 2-pin housings. Each IEM has a pinprick circular vent near the base of the nozzle and three tiny ovular vents along the bottom of the housing. The nozzles are metal with metal mesh covers. The nozzles have substantial lips to secure eartips.

The included 2-pin cable uses a quad-braid below the Y-split and double-helix braids above the Y-split. The cable uses silver-plated wires with transparent rubber sheathing. The 3.5mm jack and Y-split hardware have a reflective, glossy finish. The jack uses a straight form factor. The Y-split is marked with the unit serial number. The cable features pre-formed earguides and a chin-adjustment choker. The cable is moderately microphonic.

COMFORT, FIT, AND ISOLATION:​

The Dunu Talos is intended to be worn cable-up. The earpieces have a shallow insertion depth with most eartips. Secureness of fit and isolation are poor. I was forced to use the largest size of the included wide-bore eartips to get a reasonably secure fit. There is no driver flex.

MEASUREMENTS:​

My measurements of the Dunu Talos can be found on my expanding squig.link database:
Dunu Talos — Squiglink by Bedrock Reviews

SOUND:​

With the BAs off, the Dunu Talos has a neutral tuning with a moderate sub-bass boost.
The Dunu Talos has above-average sub-bass extension. The bass does lack physicality, even on intense electronic dance tracks. However, the speed of bass articulation is excellent, as are bass texture and resolution. There is no mid-bass bleed.
The Talos has a vocal-forward midrange with textbook pinna gain centering at 2.5 kHz. Male vocals have grit and some body, while female vocals are rich and vibrant without being oversaturated. While the Talos has excellent midrange clarity and detail retrieval in most respects, I did feel that male vocals were not rendered with the same resolution as other types of midrange instrumentation. The internal resolution of female vocals is slightly better. There is a hint of planar plasticity to the midrange timbre but it did not impede my listening enjoyment. There is an appropriate level of presence.
What sets the Talos apart from similarly-priced IEMs is its treble response. In its stock configuration, the Talos has a detailed yet even treble response that avoids any harsh peaks. Even with the BAs off, the Talos has exceptional treble extension. There is ample sparkle and air but not too much of either. Overall resolution and detail retrieval are terrific, and the Talos has class-leading instrument separation. Imaging and soundstage width and depth are above average but not amazing.
The optional BAs are a tool best reserved for slower and darker-sounding recordings. For music with a heavy emphasis on top-end percussion, particularly fast-paced analog drums, I found that the lower treble emphasis created by the BAs was too strong. However, for slower ambient tracks, I felt that the BAs offered me greater insight into the soundscapes and textures.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:​

The Dunu Talos requires at least a modest dedicated source device with power delivery capabilities beyond what the Apple dongle can provide without circumventing the hardware volume limitation on Android. I did not notice hiss with any of my devices.

CLOSING WORDS:​

The Dunu Talos puts many of the IEMs under $300 I have heard to shame in terms of both tuning and technicalities. I do think the optional BAs are limited to niche applications, and I would love to see a streamlined, planar-magnetic-only version of the Talos for a modestly reduced price. Even so, the Talos is easily worth its retail price and is a no-brainer purchase on sale.
The Dunu Talos can be purchased below:
TALOS | DUNU (dunu-topsound.com)

[darmanastartes]

Truthear Hexa Review

INTRODUCTION AND DISCLAIMER:

The Truthear Hexa is an in-ear monitor (IEM) utilizing one dynamic driver and three balanced armatures (BAs) per housing. The Hexa retails for $79.99 at ShenzhenAudio. ShenzhenAudio sent me a unit in exchange for my impressions.

SOURCES:

I have used the Truthear Hexa with the following sources:

• Qudelix 5K
• Hidizs S9
• Xumee Dongle
• Apple Dongle

MUSIC:

I tested these headphones with local FLAC and Spotify Premium. Visit my last.fm page to get an idea of what I listen to:

XenosBroodLord’s Library | Last.fm

PACKAGING AND ACCESSORIES:

The Truthear Hexa comes in a small rectangular black box with a white slipcover. Shiroi, one of Truthear’s anime mascots, is pictured on the front of the slipcover. Technical specifications for the Hexa, including a frequency response graph, and Truthear’s corporate contact information are provided on the rear of the slipcover in English and Chinese.

The IEMs are held inside the box in a foam mounting sheet. A Truthear-branded plastic mounting tray holds the included eartips. The Hexa includes seven pairs of eartips. There is one pair of black foam eartips, three pairs of white round silicone eartips (S, M, L), and three pairs of white conical wide-bore eartips (S, M, L). The Hexa includes the same Truthear-branded black synthetic leather carry pouch as the Truthear Zero. A user manual and warranty card are also included.

BUILD QUALITY AND DESIGN:

The Dunu Talos has black triangular aluminum alloy faceplates secured by a single screw. The black finish on one of these screws has already started to wear off on my unit. “Truthear” is printed in white along the bottom of the right faceplate. The housing bodies are 3D-printed from a translucent black acrylic material. The 2-pin connections are slightly recessed. “L” and “R” indicators are recessed into the housing in line with the 2-pin connections. The nozzles have two separate sound bores with green and yellow acoustic filter plugs. The nozzles do not have a raised lip.

The cable is the same as the one included with the Truthear Zero:

The cable uses black sheathed wires wrapped in a quad-braid below the Y-split and coiled into double-helix patterns above the Y-split. The cable has pre-formed heat-shrink earguides and a metal chin adjustment choker. The cable is very microphonic if the chin adjustment choker is not used. The L-shaped 3.5mm jack uses rubber hardware. There is strain relief above the 3.5mm jack but none at the Y-split.

COMFORT, FIT, AND ISOLATION:

The Truthear Hexa is intended to be worn cable-up. The earpieces have a moderate insertion depth. The Hexa is one of the most comfortable IEMs I have ever used. Secureness of fit is excellent, but isolation is below average. There is no driver flex.

MEASUREMENTS:

My measurements of the Truthear Hexa can be found on my expanding squig.link database:

Truthear Hexa — Squiglink by Bedrock Reviews

SOUND:

The Truthear Hexa has a neutral tuning with a moderate sub-bass boost.

The Hexa has excellent sub-bass extension. The bass has impressive physicality and impact without creating bloom or muddiness. The bass is also highly textured and resolving. However, the Hexa has slower-than-average bass articulation compared to other IEMs priced between $75 and $100.

The Hexa has an appropriate level of pinna gain centered at 3 kHz. Both male vocals and female vocals are accurately rendered in terms of body, grit, and presence. Midrange clarity is excellent, and vocal intelligibily is terrific. BA timbre is noticeably absent.

The Hexa has a smooth yet detailed treble response with very good upper treble extension with silicone eartips. There are good amounts of both sparkle and air. Overall resolution is terrific for the price point. The Hexa has excellent instrument separation and a larger-than-average soundstage.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

While it is possible to power the Truthear Hexa with the Apple dongle, doing so required the volume level on Android devices to be nearly maxed out. Depending on your typical listening volume, I would recommend using a different source without the Apple dongle’s limitations if you regularly use an Android device. I did not notice hiss with any of my devices.

CLOSING WORDS:

The Truthear Hexa is my new default recommendation at the sub-$100 price point. It is a nearly perfect purchase at its price, with my sole complaint being the relatively slow bass articulation.

The Truthear Hexa can be purchased below:

Truthear HEXA 1DD+3BA Hybird Earphones with 0.78 2Pin Cable Earbuds (shenzhenaudio.com)

[darmanastartes]

Kiwi Ears Cadenza Review

INTRODUCTION AND DISCLAIMERS:

The Kiwi Ears Cadenza is an in-ear monitor (IEM) that uses one dynamic driver per housing. The Cadenza retails for $35 at Linsoul’s Amazon shop. Linsoul sent me a unit in exchange for my impressions.

SOURCES:

I have used the Kiwi Ears Cadenza with the following sources:

• Qudelix 5K
• Hidizs S9
• Apple Dongle

PACKAGING AND ACCESSORIES:

The Kiwi Ears Cadenza comes in a small rectangular black box with a dark blue slipcover. Technical specifications for the Cadenza are provided on the side of the slipcover in English. The IEMs are held inside the box in a foam mounting sheet. The detachable cable, included eartips, and user manual are stored underneath this mounting sheet. The Cadenza includes nine pairs of eartips in three color schemes (3xS, 3xM, 3xL). The eartips are seemingly identical apart from the color. The Cadenza does not include a carry pouch or case.

BUILD QUALITY AND DESIGN:

Uploading: _DSC4294-ARW_DxO_DeepPRIME.jpg…

The Kiwi Ears Cadenza has black resin housings. The faceplates feature a swirling pearlescent pattern underneath a lacquer topcoat. There are circular vents adjacent to the 2–pin connector and at the base of the nozzle. The nozzles have perforated metal covers and substantial lips to secure eartips. The finish at the base of both nozzles has started wearing off on my unit. The 2-pin connectors are flush with the housings. It was extremely difficult to insert the 2-pin connector on one side. There are no directional indicators on the housings.

The cable is wrapped in a spiral pattern below the Y-split and uses twin double-helix patterns above it. The cable hardware is a mix of dark rubber and polished grey metal alloy. The 3.5mm jack uses an L-shaped form factor. There is substantial strain relief above the jack but none at the Y-split. There is a rubber chin adjustment choker. The cable uses pre-formed earguides. Large “L” and “R” indicators are printed on the 2-pin connector housings in white.

COMFORT, FIT, AND ISOLATION:

The Kiwi Ears Cadenza is intended to be worn cable-up. The earpieces have a moderate insertion depth. The Cadenza is very comfortable, but isolation and secureness of fit are fairly poor. The earpieces require frequent readjustment to maintain a good seal. There is also substantial driver flex if the IEMs are inserted too deeply.

MEASUREMENTS:

My measurements of the Kiwi Ears Cadenza can be found on my expanding squig.link database:

Kiwi Ears Cadenza — Squiglink by Bedrock Reviews

SOUND:

The Kiwi Ears Cadenza has a U-shaped tuning that is reminiscent of the Moondrop S8, just with more bass.

The Cadenza has fair sub-bass extension, though it would benefit from increased sub-bass quantity. There is a moderate amount of impact to percussion hits. The bass is very textured and more resolving than I would expect at this price point. Bass dynamics are excellent, but bass articulation is a little sluggish. When listening to hard rock, such as the song “First Punch” by Nothing More, I found that bass guitars were more prominent in the mix than with many other IEMs. I do hear a hint of mid-bass bleed.

The Cadenza has a vocal-centric midrange with a prominent pinna gain region centered at 3 kHz. Midrange instrumentation generally takes a back seat to male vocals when both are present. The main exception is percussion, which the Cadenza does an exceptional job of rendering. On the song “Unshakeable” by Celldweller, I can clearly hear the first half of a drum fill at 1:24 which is typically obscured by synthesizers. Male vocals are clear, full-bodied, and gritty. Female vocals are noticeably more prominent than male vocals and are vibrant without being sibilant. Vocal intelligibility is excellent for both. The Cadenza has terrific timbre.

The Cadenza has a middle-of-the-road treble response that splits the difference between smooth and energetic. The Cadenza has moderate upper treble extension, with less sparkle or air than I would like. Detail retrieval is better than the $35 price point would suggest and is closer to what I would expect from a $50 IEM. Instrument separation is average at best, and the soundstage is on the small side.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

While it is possible to power the Kiwi Ears Cadenza with the Apple dongle, I had to use a volume setting of 22/25 on Android to reach my typical listening volume with Spotify Volume Normalization set to “Normal.” I recommend using a different source without the Apple dongle’s hardware volume limitations if you regularly use an Android device. I did not notice hiss with any of my devices.

CLOSING WORDS:

Uploading: _DSC4305-ARW_DxO_DeepPRIME.jpg…

The Kiwi Ears Cadenza is an excellent if not earth-shattering IEM. If you already own a well-reviewed IEM released in the last year at $50 or less, there is no need to pick this up. However, I would personally pick the Cadenza over the CCA CRA+ for a sub-$40 starter IEM because of how similar the Cadenza’s midrange tuning is to the Moondrop S8.

[darmanastartes]

Dunu Kima Review​

INTRODUCTION AND DISCLAIMERS:​

The Dunu Kima is an in-ear monitor (IEM) that uses one 10mm dynamic driver per housing. The Kima retails for $109.99 directly from Dunu. Dunu sent me a unit in exchange for my impressions.

SOURCES:​

I have used the Dunu Kima with the following sources:

• Qudelix 5K
• Hidizs S9
• Truthear Shio

PACKAGING AND ACCESSORIES:​

The Dunu Kima comes in a rectangular black box with a light grey slipcover. The Kima’s slipcover features an anime waifu wearing a maid outfit. Technical specifications for the Kima are provided on the back of the slipcover in Chinese, English, and Japanese. The Kima includes a zippered semi-rigid carry case and nine pairs of eartips in three different varieties. There are three pairs of Dunu Stage & Studio (S&S) eartips (S, M, L), three pairs of Dunu Candy eartips (S, M, L), and three pairs of generic silicone eartips (S, M, L). The Kima, like the Dunu Talos, includes an instruction manual for Dunu’s modular cable termination system even though the included 2-pin cable does not use this system. Finally, the Kima includes a cleaning brush, a microfiber cloth, and a 3.5mm to 1/4" jack adapter.

BUILD QUALITY AND DESIGN:​

The Dunu Kima has zinc alloy housings with a non-reflective, nearly matte finish. The faceplates have four sub-faces. On the left earpiece, the bottom edge of the sub-face closest to the 2-pin connectors is printed with the text “CRIZ FACTION.” “Kima” is printed in this same spot on the right earpiece. There is a circular vent with a paper blocker offset from the 2-pin connector on the inner face of the housing body. “L” and “R” indicators are printed in dark grey on the opposite side of this vent from the 2-pin connector. There is a second, smaller circular vent at the base of the nozzle. “DUNU 10 mm DLC DYNAMIC” is printed in a radial pattern around this vent on both earpieces. The nozzles are brass with metal mesh covers. The nozzles have substantial lips with which to secure eartips. The 2-pin connectors are flush with the housings. The 2-pin connectors are very snug, perhaps too much so.

The hefty monocrystalline silver-plated copper cable uses a quad-braid pattern below the Y-split and double-helix patterns above it. The cable hardware is mostly polished alloy. The Y-split hardware is branded with the Dunu logo. The 3.5mm jack hardware has a straight form factor. My biggest issue with the cable is the red rubber accent at the base of the 3.5mm jack, which detracts from the otherwise elegant aesthetic. There is substantial strain relief above the jack but none at the Y-split. There is a metal chin adjustment choker. The cable uses pre-formed earguides, and the 2-pin connectors are embossed with “L” and “R” indicators. The cable is quite microphonic even with the use of the chin adjustment choker.

COMFORT, FIT, AND ISOLATION:​

The Dunu Kima is intended to be worn cable-up. The earpieces have a shallow insertion depth. The Kima is very comfortable, but isolation and secureness of fit are below average. The earpieces require frequent readjustment to maintain a good seal. I recommend either using the included Dunu S&S tips or the largest possible size of your preferred third-party eartip with the Kima. I did experience some driver flex with a medium-size Dunu S&S eartip on the right side. For reference, my right ear canal is smaller than my left.

MEASUREMENTS:​

My measurements of the Dunu Kima can be found on my expanding squig.link database:
Dunu Kima — Squiglink by Bedrock Reviews

SOUND:​

The Dunu Kima has a Harman-ish tuning. The Kima has a more pronounced sub-bass emphasis and a more distinct pinna gain peak than many of its peers that opt for more relaxed transitions in these frequency ranges.
The Kima has good sub-bass extension. There is a 7.5 dB bass boost relative to the lower midrange. This imparts enough impact and slam to percussion hits to satisfyingly render energetic electronic music. Bass articulation is good, but bass resolution leaves a little to be desired. Bass texture is average, while bass dynamics are better than average. I do not hear mid-bass bleed.
The Kima has a distinct pinna gain region centered at around 2.5 kHz. There is not as much vertical separation between male vocals and dense instrumentation as I would like. With that said, the Kima does a good job of balancing between the two and not burying distorted electric guitar riffs beneath harsh male vocals. Analog percussion fares less well in terms of overall emphasis but avoids timbral compression, which is a win for the Kima. There is a tinge of boominess to male vocals which impairs male vocal intelligibility, even if only slightly. Female vocals sound deeper and more subdued than I am used to. While this avoids any potential sibilance, I felt myself wishing for a bit more energy and zing to female vocals.
The Kima attempts to placate the treble-sensitive without compromising detail retrieval. This effort bears mixed results. The Kima has a smooth, relaxed lower treble response. The Kima tries to offset this with a heavy dose of upper treble. The Kima’s upper treble extension is excellent for a single dynamic driver design at this price point. However, the uneven application of treble creates a discongruity between the leading edge of notes, which are not emphasized enough, and the trailing edge of notes, which are too emphasized. In the end, detail retrieval is merely average, as are instrument separation and soundstage.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:​

Reaching my typical listening volume with the Apple dongle required the system volume on my Android device to be maxed out. Note that I use Spotify Volume Normalization on the “Normal” setting. Even then, it was clear to my ears that the Apple dongle could not drive the Dunu Kima competently. The Kima’s bass performance in particular took a noticeable step back. I strongly recommend using a source other than the Apple dongle with the Kima. I did not notice hiss with any of my devices.

CLOSING WORDS:​

The Dunu Kima is fun to listen to but does not stand out compared to its similarly-priced competitors in terms of technical proficiency. I would pass on this one.
The Dunu Kima is available for purchase below:
KIMA | DUNU (dunu-topsound.com)

[darmanastartes]

Truthear Shio Review

The Truthear Shio is a compact digital-to-analog converter (DAC) and amplifier combination unit that retails for $69.99. The Shio features a 3.5 mm single-ended output and a 4.4 mm balanced output, as well as a physical volume rocker. The Shio uses dual Cirrus Logic CS43198 DAC chips, only seen previously on more expensive products. ShenzhenAudio sent me the Shio in exchange for my impressions.

HEADPHONES:
I have used the Truthear Shio with the following headphones:

Moondrop S8
Dunu Kima
Truthear Hola
TinHiFi T4 Plus
Moondrop Void
HiFiMan HE400SE

PACKAGING AND ACCESSORIES:
The Shio comes in a small grey cardboard package with a white slipcover. The slipcover features the anime mascot “Shiroi” on the front face and details the Shio’s technical specifications on the rear face. The device itself and a small Truthear-branded USB-C to USB-C cable are secured in a foam mounting tray inside the package. In terms of documentation, the Shio comes with a warranty card and an owner’s manual written in Chinese, English, and Japanese. The Shio also includes an illustrated postcard providing key biographical details about Shiroi.

DESIGN, BUILD QUALITY, AND AESTHETICS:

The Truthear Shio has an oblong form factor with rounded corners. The four long faces of the device are covered in a textured pleather wrap. The wrap is subtly embossed with the Truthear logo on one side. I strongly dislike the use of pleather in most products and the Shio does not change my mind. The pleather looks and feels cheap and tacky. I would have preferred the entire device use the black anodized finish present on the top and bottom faces. The Shio features a female USB-C port, which enables use with different kinds of transport devices. The metal volume rocker is located on the spine of the device. There is a small LED indicator off to the side of the volume rocker that indicates the current gain setting. The pleather around this LED is not cut perfectly, adding to the cheap presentation. The 4.4mm balanced output is gold-plated, but the 3.5mm output is not.

STANDARDS COMPLIANCE AND FUNCTIONALITY:

The Truthear Shio is not compatible with headset controls, nor does it send connector status to the host device. It also lacks pause on headphone disconnect functionality. Because the Shio is most likely intended for use with a desktop or laptop, I am willing to overlook these omissions, but I would love to see at least the pause on headphone disconnect feature enabled on more balanced source devices. My aging Qudelix 5K has this feature for its balanced 2.5mm output, so I do not understand why this functionality is overlooked on so many products.

USB DRIVER:

Truthear has made an ASIO driver available for the Shio here. I generally stick to WASAPI (Shared) for ease of use with Equalizer APO, but I did confirm that the driver worked with MusicBee.

POWER DELIVERY:
Note: I made the following observations with a system-wide -4 dB pre-amp setting as suggested here. While I recommend using this pre-amp setting to preserve fidelity, it does reduce the headroom of all connected source devices.

The Truthear Shio is very powerful. Pairing the Shio with the Moondrop S8 using the balanced output, I reach my typical listening volume at a Windows system volume setting of 12/100. The HiFiMan HE400SE requires a volume setting of around 40/100 using the balanced connection. On the single-ended side, the Truthear Shio required a setting of 20/100 and the Moondrop Void needed 32/100. I did not need to use the high-gain setting for any of the headphones I tested the Shio with.

POWER CONSUMPTION AND HEAT MANAGEMENT:
I took the following power consumption measurements with the Truthear Shio connected to my PC:

Single-Ended:

Balanced:

All measurements were taken on the low-gain setting. The Windows system volume was set to 60/100 using the balanced output with the Moondrop S8 and 94/100 using the single-ended output with the Truthear Hola. Playing a -12 dBV 1 kHz test tone from REW, these volume settings achieved an SPL of roughly 94 dB, as registered by my IEC-711 clone microphone.

The Shio does not appear to have a true idle mode:

The Shio has excellent heat management and does not get warm to the touch even with prolonged use.

SOUND COMPARISON WITH THE HIDIZS S9:
Note: I made the following observations switching back and forth between the Truthear Shio and the Hidizs S9 repeatedly under sighted conditions. The two devices were volume-matched to within .5 dB. Any perceived differences between the two sources may be a result of the remaining volume difference. There was also a delay of several seconds when switching between devices. The Moondrop S8 was used as the transducer for this comparison. In most cases, any differences between competently designed sources are infinitesimal and not necessarily apparent under uncontrolled testing conditions.

The Truthear Shio sounded slightly more grounded than the Hidizs S9, which is to say that there was more of a bass emphasis. The bass was better controlled and there was greater instrument separation, particularly between low- and high-frequency instruments. The S9 tends to oversharpen treble transients, whereas the Shio sounded smoother and more realistic.

CLOSING WORDS:

The Truthear Shio is a terrific value and an easy recommendation from both a measured and subjective performance perspective. However, the sub-par build quality and questionable aesthetic may be dealbreakers for some. I hope that Turthear releases a revision with a cleaner, less polarizing exterior design quickly.

The Truthear Shio can be purchased here:

Truthear SHIO Dual CS43198 D/A Chips Lossless Portable DAC Amplifier/Dongle

[darmanastartes]

Truthear Hola Review

INTRODUCTION AND DISCLAIMER:

The Truthear Hola is an in-ear monitor (IEM) featuring detachable cables and one 11mm dynamic driver per housing. The Hola retails for $18.99 at ShenzhenAudio. ShenzhenAudio sent me a unit in exchange for my impressions.

SOURCES:

I have used the Truthear Hola with the following sources:

• Qudelix 5K
• Hidizs S9
• Truthear Shio
• Apple Dongle

PACKAGING AND ACCESSORIES:

The Hola comes in a small grey cardboard package with a white slipcover. The slipcover features the anime mascot “Shiroi” on the front face and details the Hola’s technical specifications on the rear face. The rear face of the slipcover also features the Hola’s frequency response graph. The text on the packaging is inconsistent as to whether this set of headphones is named “Hola” or “Halo.” In addition to the IEMs, the Hola includes an Truthear-branded pleather carry pouch with a magnetic closure and a Truthear-branded plastic mounting tray for the included eartip selection. The Hola includes three pairs of generic black silicone eartips (XS, S, M) and four pairs of squat, wide-bore black silicone eartips (XS, S, M, L). In terms of documentation, the Shio comes with a warranty card and an owner’s manual written in Chinese, English, and Japanese. The Shio also includes an illustrated postcard providing key biographical details about Shiroi.

BUILD QUALITY AND DESIGN:

The Truthear Hola features 3D-printed black resin shells with a pseudo-custom fit paired with CNC aluminum faceplates. The faceplates feature a geometric pattern printed in white. Directional indicators are engraved into the shell just below the slightly recessed 2-pin ports. The shells are unmarked otherwise. There is a small circular vent at the base of each nozzle and a larger bean-shaped vent towards the edge of the inner housing body. The nozzles have mesh covers and raised lips with which to secure eartips.

The Hola uses a different cable than the one included with the Truthear Zero and Truthear Hexa. This plain two-strand cable features a double-helix pattern below the Y-split. The wires are wrapped in a shiny black plastic sheath. The 3.5mm jack uses stout rubber hardware in an L-shaped form factor, whereas the Y-split and chin-adjustment choker hardware are made from black anodized aluminum. The Y-split hardware features the text “Truthear Co.” There is substantial strain relief above the 3.5mm jack but none at the Y-split. The cable has pre-formed heat-shrink earguides. The 2-pin connectors are embossed with “L” and “R” indicators. The cable is virtually silent in terms of microphonics, especially when the chin-adjustment choker is used.

COMFORT, FIT, AND ISOLATION:

The Truthear Hola is intended to be worn cable-up. The earpieces have a shallow insertion depth. The Hola is comfortable but required the use of the largest size of included wide-bore eartips to maintain a secure fit. Isolation is above average. I did not experience driver flex with the Hola.

MEASUREMENTS:

My measurements of the Truthear Hola can be found on my expanding squig.link database:

Truthear Hola — Squiglink by Bedrock Reviews

SOUND:

The Truthear Hola has an overall warm tuning with a neutral midrange and a relaxed treble response. The Hola has a nearly identical tuning to the Moondrop Aria below 1 kHz, with the most noticeable differences between the two appearing in the upper midrange.

The Hola scores well in terms of both sub-bass rumble and mid-bass slam. The Hola’s bass response is also highly textured. Bass resolution and articulation are very good for the price but I do not agree with other reviewers who place the Hola in the same league as the Aria in terms of technical performance. There is still a gulf in technical performance between the Hola and the best IEMs in the $80–100 price bracket, especially with the arrival of the Truthear Hexa to the market.

There is a touch of bloom from the mid-bass into the lower midrange, but not enough that I would consider the Hola to suffer from mid-bass bleed. The effect is mostly positive, in that the Hola has a little extra warmth in the lower midrange. However, I can think of other IEMs around this price, such as the Moondrop Chu, which have greater midrange clarity. Switching back and forth between the two IEMs, I get a distinct feeling that the Hola is over-dampened.

The Hola centers its pinna gain region at 4 kHz, whereas the Aria centers its pinna gain region at roughly 2.5 kHz. I prefer the pinna gain region to be centered right at 3 kHz, so neither approach is ideal for me. With the Hola, male vocals are pressed too far forward for my tastes. On the other hand, I really enjoy the presentation of female vocals on the Hola. Vocal intelligibility is very good for both male and female vocals, though female vocals are slightly clearer. Timbre is very natural.

The Hola has a safe and relaxed treble response with limited sparkle and moderate air. While it may be unreasonable to expect more from a sub-$20 IEM, the subdued treble response hurts the overall listening experience for me. The Hola’s overall resolution is very good for the price point but is edged out in this respect by the Moondrop Chu. Instrument separation and soundstage are both better than what I would expect from an IEM at this price point, but again, I feel the Chu is slightly superior in both respects.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

While it is possible to power the Truthear Hola with the Apple dongle, doing so required the volume level on Android devices to be nearly maxed out, at least with Spotify volume normalization set to “Normal.” Depending on your typical listening volume, I would recommend using a different source without the Apple dongle’s limitations if you regularly use an Android device. I did not notice hiss with any of my devices.

CLOSING WORDS:

The Truthear Hola is a solid contender at the sub-$20 price point. I do think there are real gaps between the Hola, the Moondrop Chu, and the 7Hz Zero with respect to various aspects of technical performance. With that said, while these gaps are concrete, they are small enough that your primary decision point should be based on the subtle differences in tuning between the three. The Hola is the warmest of the three, the Zero the closest to textbook neutrality, and the Chu the brightest. In addition, each present what is ostensibly a Harman-ish midrange in slightly different ways. For those just entering the IEM space, my recommendation would be to purchase all three to better inform your more expensive purchases down the road.

The Truthear Hola can be purchased below:

Truthear HOLA Earphone 11mm High-Performance Dynamic Driver In-ear Mo (shenzhenaudio.com)

[darmanastartes]

Since I can’t edit my intro post, I wanted to make it clear that all measurements currently available on my squiglink database use this clone IEC-711 coupler.

[darmanastartes]

Tin HiFi T4 Plus Review

INTRODUCTION AND DISCLAIMER:

The TinHiFi T4 Plus is an in-ear monitor (IEM) featuring one 10mm carbon nanotube dynamic driver per housing. The T4 Plus retails for $119.99. I am not receiving any compensation, financial or otherwise, for writing this review.

SOURCES:

I have used the TinHiFi T4 Plus with the following sources:

• Qudelix 5K
• Truthear Shio

PACKAGING AND ACCESSORIES:

The TinHiFi T4 Plus comes in a square black cardboard box with a black slipcover. The slipcover displays an image of a satellite that resembles TinHiFi’s iconic tube-shaped IEM design. I’m grateful for the refreshing change from the now-commonly featured anime waifu illustrations on IEM packaging. The rear face of the slipcover features several scannable Quick-Response (QR) codes that link to TinHiFi’s social media profiles.

The IEMs are securely held in place under the box lid, via a white foam mounting sheet. The T4 Plus comes with nine pairs of eartips — three each of generic silicone eartips with black and red cores (in sizes S, M, and L), as well as three pairs of Symbio-like hybrid silicone-foam eartips (also in sizes S, M, and L). The hybrid eartips come packaged in a sturdy, transparent plastic container, whereas the generic eartips come in a clear plastic bag. The T4 Plus comes with a card with quick response (QR) codes that link to TinHiFi’s Twitter and Facebook pages, as well as a user manual written in both Chinese and English. The T4 also includes a semi-rigid pleather carry case with a magnetic closure.

BUILD QUALITY AND DESIGN:

The TinHiFi T4 Plus largely resembles the iconic TinHiFi T2. The IEM is composed of a three-part polished copper assembly, featuring a circular faceplate with a faux-wood grain finish. At the base of the nozzle and the middle housing section, where the two housing sections meet, there are small ventilation holes. The nozzles are equipped with perforated metal covers and robust lips that ensure a secure fit for eartips. The 2-pin ports are fitted flush into a circular base that matches the diameter of the pin connector base on the cable side. This base is marked with a dab of blue paint to indicate polarity. The base of the right-hand side IEM connector and the base of the 2-pin connector of the corresponding cable are red plastic. The corresponding left-hand side bases are composed of clear resin. The housings otherwise lack directional indicators. In fact, the housings lack any branding or text whatsoever.

The only TinHiFi branding on the T4 Plus is found on the metal chin-adjustment choker on the cable, which bears TinHiFi’s logo. I appreciate this subtle approach to branding. I’m always impressed with the aesthetics and quality of the stock cables TinHiFi includes with IEMs at this price point, and this cable is no exception. It uses a quad-braid below the Y-split and double-helix patterns above the Y-split. The metal 3.5mm jack hardware, Y-split hardware, chin-adjustment choker, and 2-pin housings are all similar in appearance to the coppery alloy used for the IEM shells. The jack and Y-Split hardware feature an intriguing fluted pattern engraved onto them. There is strain relief above the 3.5mm jack, but not above or below the Y-split. The cable has pre-formed heat-shrink earguides. The 2-pin housings have “L” and “R” indicators printed in white. The cable is moderately microphonic even with the use of the chin-adjustment choker.

COMFORT, FIT, AND ISOLATION:

The TinHiFi T4 Plus is intended to be worn cable-up. The earpieces have a moderate-to-deep insertion depth. The T4 Plus is neither comfortable nor securely fitting. The housings are on the larger side, which, combined with the deepish insertion depth, makes the user acutely aware that they are using IEMs. Isolation is average. The housings also frequently need to be pushed back into the ear canal. I did not experience driver flex with the T4 Plus.

MEASUREMENTS:

My measurements of the TinHiFi T4 Plus can be found on my expanding squig.link database:

TinHiFi T4 Plus — Squiglink by Bedrock Reviews

SOUND:

The TinHiFi T4 Plus has a V-shaped sound signature that places more emphasis on bass than treble.

The T4 Plus has excellent bass technicalities, managing to strike a good balance between staying nimble in articulation yet still having impact. Bass is adequately resolving for the price and highly textured. There is ample sub-bass rumble. However, I do feel there is too much mid-bass, particularly between 100–200 Hz, which clouds the lower midrange. Midrange clarity is not great. Fast analog percussion, down-tuned and distorted electric guitars, and harsh male vocals can blur together. Combined with the T4 Plus’s limited soundstage, this creates a sense of vertical compression.

The T4 Plus centers its pinna gain region at roughly 2.5 kHz. I find that this causes the vocals and midrange instruments to blend together more than I would prefer. Male vocals do have plenty of warmth, grit, and body. Male vocal intelligibility is moderate. Female vocals enjoy notably better intelligibility and separation from the rest of the frequency response compared to male vocals. However, female vocals do sound a little husky. Midrange timbre is natural-sounding overall.

The T4 Plus has a subdued and unremarkable treble region. There is less in the way of sparkle or air than the T4 Plus’s measured frequency response would suggest. Overall detail retrieval is not quite up to the standard I would expect for this price. As mentioned above, instrument separation and soundstage are quite limited as well.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

The TinHiFi T4 Plus can be powered by the Apple dongle, though I needed to set the volume on my Pixel 7 to 21/25 to reach my usual listening level when Spotify Normalization was set to “Normal.” Depending on your typical listening volume, music player of choice, and feelings on volume normalization when using a streaming service, you may have more leeway when using the Apple dongle than I do. I did not notice hiss with any of my devices.

CLOSING WORDS:

The TinHiFi T4 Plus is not a bad IEM, but it is overpriced given what it brings to the table. If you are dead-set on a warm, bassy IEM under $150 and are more interested in strong bass technicalities than other performance aspects, it may be worth considering. Otherwise, I would look elsewhere.

The TinHiFi T4 Plus can be purchased below:

TINHIFI T4 PLUS Space Station

TINHIFI T4 PLUS 10mm Magnetic CNT Driver In Ear Monitor — Linsoul Audio

[darmanastartes]

Moondrop LAN Review

INTRODUCTION AND DISCLAIMER:

The Moondrop LAN is an in-ear monitor (IEM) featuring one 10mm beryllium-plated dynamic driver per housing. The LAN retails for $39.99 at ShenzhenAudio. ShenzhenAudio sent me the LAN in exchange for my impressions.

SOURCES:

I have used the Moondrop LAN with the following sources:

• Qudelix 5K
• Truthear Shio
• Apple Dongle

PACKAGING AND ACCESSORIES:

The Moondrop LAN comes packaged in a white, rectangular cardboard box with a slipcover featuring an anime waifu on the front and technical specs and a frequency response graph on the back. In the box, the IEMs are held in place in a white foam mounting sheet. It comes with three generic silicone eartips (S, M, L) but no Moondrop Spring tips. The LAN comes with a card with a quick response code that links to Moondrop’s QQ page, as well as an illustrated postcard and a user manual written in both Chinese and English. The LAN also includes a soft leather carry pouch.

BUILD QUALITY AND DESIGN:

The Moondrop LAN’s earpieces feature an all-metal, stainless steel build with ovular faceplates. The faceplates are etched with a flower petal design, which is the only marking found on the earpieces. This includes directional markings, of which there are none. Metal injection moulding (MIM) manufacturing provides an attractive, consistent finish. There are two small ventilation holes on the inner face of the housing body, one at the base of the nozzle and one near the back edge of the face. The nozzles are equipped with perforated metal covers and robust lips that ensure a secure fit for eartips. The 2-pin ports are recessed.

The only Moondrop branding on the LAN is found on the Y-split hardware, which uses the same MIM stainless steel material as the earpieces. While Moondrop has never been a leader in included cables, the LAN’s cable is underwhelming. The LAN’s cable consists of spiraling silver and black wires wrapped in an unbraided clear plastic sheath. Sadly, the 3.5mm jack does not feature the same MIM stainless steel materials as the earpieces and Y-split hardware. The cable does feature strain relief above the 3.5mm jack. The cable has pre-formed heat-shrink earguides. The right-side 2-pin connector is denoted with a small red rubber ring that sits just below the 2-pin housing. The cable does not feature a chin-adjustment choker and is moderately tangle-prone. On the other hand, the cable is less microphonic than one might expect given the absence of a chin-adjustment choker.

COMFORT, FIT, AND ISOLATION:

The Moondrop LAN earphones should be worn with their cable up. The earpieces have a shallow-to-moderate insertion depth. The LAN is comfortable but is not the most securely fitting IEM. Isolation is less than average, with noticeable driver flex when using larger ear tips.

MEASUREMENTS:

My measurements of the Moondrop LAN can be found on my expanding squig.link database:

Moondrop Lan — Squiglink by Bedrock Reviews

SOUND:

The Moondrop LAN’s sound tuning is the same Virtual Diffusion Sound Field (VDSF) target found in many other Moondrop IEMs. Of the dozen Moondrop IEMs I have reviewed, the LAN’s tuning is most akin to the original Moondrop Aria.

The LAN has more sub-bass than mid-bass, transitioning smoothly between the two rather than adopting a distinct sub-bass shelf. While I would not characterize the LAN as a bassy IEM, there is a good amount of rumble and enough impact to the mid-bass to convincingly render percussion. The LAN has excellent bass technicalities across the board, with terrific resolution, articulation, and texture for the price. The LAN does not have mid-bass bleed.

The LAN has a broad pinna gain region from 2.5 kHz to 5 kHz, creating a clear midrange with good separation between vocals and instrumentation. This comes despite the use of a plateau-style pinna gain region as opposed to a focused peak, which normally results in less separation between vocals and instrumentation. On the other hand, the midrange is on the thin side, with limited body, particularly in the lower midrange. Male vocals are highly intelligible but lack warmth. Male and female vocals are roughly even in emphasis. I do not have any complaints when it comes to the LAN’s presentation of female vocals. Instrument separation is quite good overall, and the overall soundstage is expansive for a budget single dynamic driver design. The overall timbre is pleasant and natural.

The LAN boasts an energy-filled treble response that is more balanced than the Moondrop Chu. The amount of lower treble is just shy of what might cause me discomfort, giving cymbal crashes an exciting amount of sparkle and definition. Similarly, the upper treble region is present enough to create a sense of airiness without making the sound feel artificial. The LAN punches well above its asking price in terms of treble extension, and detail retrieval is excellent.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

The Moondrop LAN can be powered by the Apple dongle. For me to reach my usual listening level with Spotify Normalization set to “Normal”, I had to set my Pixel 7’s volume to 22/25. Depending on your preferences, you may not have to adjust your volume as much. I experienced no hissing with any of my devices.

CLOSING WORDS:

The Moondrop LAN is what we expect from Moondrop in terms of tuning. While not a bad thing to my ears, some hobby veterans may find it too familiar. If you are not a VDSF convert already, the LAN will not change your mind. However, the Moondrop LAN is a surprisingly competent performer from a technical perspective. I would go so far as to say that the LAN is to the Aria what the Moondrop Starfield was to the Moondrop KXXS, which is to say the lion’s share of the performance for a substantially lower price.

The Moondrop LAN can be purchased below:

MOONDROP LAN Earphone 10mm Dynamic Driver In-Ear HiFi Headphone (shenzhenaudio.com)

[ASD]

“how similar the Cadenza’s midrange tuning is to the Moondrop S8.” - wow that is a HUGE pointer.

[jmwant]

I’ve only used the t2 and t4 long ago, recently got the c2. I find it good for it’s price. Was considering the T4 Plus. Now after reading the review, not so much hehe .

[darmanastartes]

TinHiFi C Series Impressions (C2, C3, C5)​

The TinHiFi C series includes several recently released budget in-ear monitors (IEMs). The TinHiFi C2 and C3 both feature 10mm liquid crystal polymer diaphragm dynamic drivers, and the C5 features a 10mm square planar magnetic driver. The C2 is $29, the C3 is $49, and the C5 is $79. The C2, C3, and C5 were sent to me by TinHiFi. I am not being compensated for writing these impressions, and my thoughts are my own.

SOURCES:​

I have used the TinHiFi C2, C3, and C5 with the following sources:

• Qudelix 5K
• Truthear Shio

TinHiFi C2​

TinHiFi C2 — Squiglink by Bedrock Reviews

The C2 is the brightest sounding of the three and is my personal favorite. The C2 is Harman-inspired in its tuning and nearly mirrors the Moondrop Aria from the sub-bass through the lower midrange. Like the Aria, the C2 features a plateau-style pinna gain region which is broadly elevated from 2 kHz to 6 kHz. The C2 has a slightly steeper rise into this plateau than the Aria and places more emphasis on the presence region. The C2 avoids the Aria’s sharp upper treble drop after 10 kHz, which helps its upper register to sound more natural.

Bass articulation is in line with my expectations for the price point and is competitive with similarly priced options released over the last year like the 7Hz Zero. There is plenty of punch and impact to percussion hits, but bass texture is a bit lacking.

The midrange is tuned for clarity and does a great job of intelligibly rendering both male and female vocals. On the other hand, there is too much presence for distorted electric guitars, which take on a buzzsaw-like quality. Male vocals are also on the thin side, and there is a bit of sibilance to female vocals. On the other hand, I do not hear any glaring timbre-related anomalies, like plasticky analog percussion or overly metallic cymbal crashes.

I think the C2 does a great job of delivering a brighter-than-average treble response, especially for the price. There is more lower treble than I would ordinarily prefer, but the C2 generally avoids sounding harsh. The C2 also has the best upper treble extension of the three TinHiFi IEMs and has excellent detail retrieval for a $30 IEM. In addition, the C2 has a remarkably three-dimensional soundstage for a budget single dynamic driver design, with noticeably more depth to its soundstage than the Zero. Instrument separation is adequate but not exceptional.

TinHiFi C3​

TinHiFi C3 — Squiglink by Bedrock Reviews

Compared to the C2, the C3 has more sub-bass emphasis, less presence in the upper midrange, and a more relaxed treble response with worse upper treble extension.

The additional sub-bass aids the audibility of bass guitars in heavy rock music but accentuates kick drum hits to the point of being distracting. The C3 fares better than the C2 in terms of bass texture while retaining the C2’s excellent bass articulation and impact.

The C3’s midrange is less clear than the C2’s but is better suited for music involving distorted electric guitars. There is a deliberate dip in the presence region beginning after about 4.5 kHz which keeps the distortion from sounding exaggerated. Male vocals have more body but can be shouty sounding. Female vocals are vibrant without sibilance. Like the C2, the C3 has a natural-sounding timbre.

The C3 has a much more relaxed treble response than the C2. I find it boring in comparison, and I perceive much less detail. The C3 also has worse instrument separation and a more two-dimensional soundstage than the C2.

Overall, while the C3 comes with a much nicer cable than the C2, I do not feel that it justifies its higher price tag relative to its sibling.

TinHiFi C5​

TinHiFi C5 — Squiglink by Bedrock Reviews

The C5, which is the most expensive of the three, is unquestionably the worst sounding. It is one of the worst IEMs I have heard in a long time. This is mostly because the C5 has even poorer treble extension than the C3, to the point where there is very little frequency response above the lower treble region. Detail retrieval is nonexistent and the soundstage is a one-dimensional lateral smear. Instrument separation is below average for the price point.

The C5’s bass response is quick in terms of articulation, which might be the only positive thing I can say about this IEM. On the other hand, bass delivery is limp with no punch, impact, or dynamics.

Despite the absence of mid-bass bleed, the midrange is muddy and indistinct. Despite the appearance of a distinct pinna gain region in my measurements, male vocals are half-submerged beneath the vaguely attempted reproduction of midrange instrumentation. The same female vocals that sounded vibrant on the C3 sound nasal and stuffy here. In contrast to the C2 and C3, the C5 has a dry, plasticky timbre.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:​

I did not find any of the three IEMs particularly difficult to drive.

CLOSING WORDS:​

The TinHiFi C2 is a great budget IEM that ably competes with similarly priced alternatives on technicalities and offers a well-executed take on a less common tuning. The C3 fails to pair its higher asking price with improved technical performance but may be more suited to certain genres than the C2 due to its more restrained presence region. The C5 is a bad IEM at any price and should be avoided.

The C2, C3, and C5 can be purchased below:

TINHIFI C2 Mech Warrior

TINHIFI C3

TINHIFI C5

[darmanastartes]

Kiwi Ears Orchestra Lite Review

INTRODUCTION AND DISCLAIMER:

The Kiwi Ears Orchestra Lite is an in-ear monitor (IEM) featuring eight balanced armature (BA) drivers per housing. The Orchestra Lite retails for $249.99 at Linsoul. Linsoul sent me the Orchestra Lite in exchange for my impressions.

SOURCES:

I have used the Kiwi Ears Orchestra Lite with the following sources:

• Qudelix 5K
• Truthear Shio
• Audirect Atom 3
• Hidizs S9
• Apple dongle

PACKAGING AND ACCESSORIES:

The Kiwi Ears Orchestra Lite comes packaged in a black, rectangular cardboard box with a dark green slipcover. Inside the box, the IEMs are held in place in a black foam mounting sheet. The Orchestra Lite comes with nine pairs of generic silicone eartips (S, M, L) in three different colors. A black semi-rigid zippered carry case and a user manual are also included.

BUILD QUALITY AND DESIGN:

The Kiwi Ears Orchestra Lite has clear acrylic housing with teardrop-shaped colored faceplates. The faceplates feature the Kiwi Ears logo inlaid in silver. The housings are otherwise unadorned. The housings are unvented and the nozzles have three distinct sound tubes. The nozzles lack protective mesh filters or raised lips with which to secure eartips. The 2-pin ports are flush with the surface of the housings.

The Orchestra Lite includes an attractive 4-core 7n oxygen-free copper cable. The Y-split and 3.5mm jack hardware are polished aluminum, and the chin-adjustment choker is translucent plastic. There is strain relief above the straight 3.5mm jack but not above or below the Y-split. The cable has pre-formed plastic earguides. The plastic base of the right-side 2-pin connector is red, which is the sole directional indicator for the set. The included cable is not especially microphonic.

COMFORT, FIT, AND ISOLATION:

The Kiwi Ears Orchestra Lite should be worn cable up. The earpieces have a shallow-to-moderate insertion depth. The Orchestra Lite is comfortable but is not the most securely fitting IEM. The earpieces are on the larger side and tend to rotate backward out of their ideal orientation. The earpieces also extend past the surface of the ear when fully inserted, so the Orchestra Lite is not ideal if one plans to use them at night. Isolation is less than I would have expected for sealed all-BA IEM. However, there is no driver flex due to the absence of a dynamic driver.

MEASUREMENTS:

My measurements of the Kiwi Ears Orchestra Lite can be found on my expanding squig.link database:

Kiwi Ears Orchestra Lite — Squiglink by Bedrock Reviews

SOUND:

The Kiwi Ears Orchestra Lite has a neutral tuning with a sub-bass lift below 200 Hz.

The Orchestra Lite has atypical bass for an all-BA IEM. From memory, it reminds me of the Softears RSV in that it delivers more textured and impactful but slower and less precise bass than one might expect given its driver configuration. The Orchestra Lite also fares better than one might expect in terms of dynamic contrast, although it does not compete at the level of the RSV. Despite the emphasis on an impactful and dynamic bass presentation, bass resolution and articulation remain adequate for the price point.

The Orchestra Lite has a distinct but restrained pinna gain region centered around 2.5 kHz. This is not ideal for my head-related transfer function and results in less separation between instrumentation and vocals than I would prefer. Instrument separation is variable. For example, there is better instrument separation between male vocals and analog percussion than there is between male vocals and distorted electric guitars. As a result, overall midrange clarity is average at best. The Kiwi Ears Cadenza’s more pronounced pinna gain hump, which is centered at 3 kHz, worked more consistently for me. The lower midrange has plenty of body and warmth despite the linear mid-bass response. Male and female vocals are roughly even in emphasis, though female vocals are more intelligible. Female vocals can occasionally sound strident but generally sound excellent. The Orchestra Lite has very natural-sounding timbre for an all-BA IEM.

The Orchestra Lite has a safe and relaxed treble response that conceals very good internal detail retrieval. The upper treble is less extended than I would like, and there is limited air. The Orchestra Lite does respond well to equalization in this region, but other IEMs in the same price range like the SeeAudio Bravery are going to have more up-front resolution. The soundstage is adequate but is less expansive than I would have expected given the number of BAs used per housing.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

The Kiwi Ears Orchestra Lite can be powered by the Apple dongle. For me to reach my usual listening level with Spotify Normalization set to “Normal”, I had to set my Pixel 7’s volume to 20/25. Depending on your preferences, you may not have to adjust your volume as high. I experienced no hissing with any of my devices.

CLOSING WORDS:

The Kiwi Ears Orchestra Lite is a good IEM, but not necessarily the IEM one might expect from looking at its technical specifications. Given its particular strengths, it is perhaps best viewed as a budget Softears RSV as opposed to a budget Moondrop S8.

The Kiwi Ears Orchestra Lite can be purchased below:

Kiwi Ears Orchestra Lite – Linsoul Audio

[darmanastartes]

Truthear Zero: Red Review

INTRODUCTION AND DISCLAIMER:

The Truthear Zero: Red is another collaboration project between Truthear and Crinacle, and is a follow-up to last year’s Truthear Zero. Like the original Zero, the Zero: Red uses a dual dynamic driver setup. A 10mm driver handles low frequencies while a 7.8mm driver handles the remainder of the frequency response. The Zero: Red retails for $54.99 at ShenzhenAudio. ShenzhenAudio sent me a unit in exchange for my impressions.

Much of the non-sound-related content of this review will be lifted from my review of the original Truthear Zero, as the Truthear Zero: Red is nearly identical in physical form and packaging:

SOURCES:

I used the Truthear Zero: Red with the following sources during my review process:

• Qudelix 5K
• Truthear Shio
• Hiby R6 Pro II
• Apple Dongle

MUSIC:

I tested these headphones with local FLAC and Spotify Premium. Visit my last.fm page to get an idea of what I listen to:

XenosBroodLord’s Library | Last.fm

PACKAGING AND ACCESSORIES:

The Truthear Zero: Red comes in a medium-sized rectangular black cardboard box with a white slipcover. The front of the slipcover is illustrated with an anime waifu. The Zero Red’s technical specifications are listed on the back of the slipcover in both English and Chinese. A frequency response graph is also featured.

The Zero: Red includes six pairs of silicone eartips (2xS, 2xM, 2xL), a single pair of foam eartips, a faux leather carry pouch with snap closures, and a detachable .78mm 2-pin cable. Half of the silicone eartips have a wider bore than the other half. In terms of documentation, the Zero includes a warranty card, an owner’s manual, and a cryptic “Install Guide” of unclear purpose.

The Zero: Red also includes two pairs of replacement nozzle covers.

BUILD QUALITY AND DESIGN:

The Truthear Zero: Red has dark translucent acrylic shells and glittery red faceplates. The faceplates have a triangular cross-section and feature a detailed feather-like relief pattern beneath a glossy top layer. The gap between the faceplate and shell is visibly seamless, and the overall build quality of the shell is impressive for the price point. There is a circular vent adjacent to the 2-pin connector, which is slightly recessed. “L” and “R” indicators are printed in gold on the other side of this vent. The nozzles are acrylic with metal mesh nozzle filters. The nozzles are thick and have substantial rims to secure eartips.

The cable uses black sheathed wires wrapped in a quad-braid below the Y-split and coiled into double-helix patterns above the Y-split. The cable has pre-formed heat-shrink earguides and a metal chin adjustment choker. The cable is quite microphonic if the chin adjustment choker is not used. The L-shaped 3.5mm jack uses rubber hardware. There is strain relief above the 3.5mm jack but none at the Y-split.

The Truthear Zero: Red also includes a 10-ohm adapter with attenuates the bass response below 500 Hz. This adapter uses the same materials as the included cable’s 3.5mm jack.

COMFORT, FIT, AND ISOLATION

The fit of the Truthear Zero: Red is identical to that of the original Zero, which is middle of the road in terms of comfort.

The Zero: Red intended to be worn cable-up. The earpieces have a fairly deep insertion depth. Secureness of fit is above average, while isolation is average.

On the other hand, there is no longer any driver flex.

MEASUREMENTS:

My measurements of the Truthear Zero: Red can be found on my expanding squig.link database:

Truthear Zero Red (no adapter) — Squiglink by Bedrock Reviews

SOUND:

Unlike the Truthear Zero, which was tuned to the Harman In-Ear target, the Truthear Zero: Red is tuned to Crinacle’s In-Ear Fidelity target with a 5 dB bass boost.

Like the Zero, the Zero: Red has an elevated bass response below 200 Hz, and has excellent sub-bass extension. The Zero: Red retains the excellent bass technicalities exhibited by the original Zero.

There is a palpable, subwoofer-like impact to the sub-bass region. There is plenty of both rumble and slam, and electronic dance music is a joy to listen to on the Zero. Bass dynamics, texture, and detail retrieval are excellent for a $55 IEM.

Out of the box, the Zero: Red has less sub-bass than the original Zero, which allows for easier pairing with a wider variety of music. The included 10-Ohm adapter, which further attenuates the sub-bass region, is an intriguing addition I would like to see included with more IEMs.

The most noticeable changes from the original Zero are found in the Zero: Red’s midrange, which is less forward than the original Zero’s. The apex of the Zero: Red’s ear gain region is centered around 3.5 kHz, whereas the original Zero was most elevated around 3 kHz. While I generally prefer IEMs that favor 3 kHz, the overall midrange balance of the Zero: Red is superior to its predecessor. It does a better job of balancing vocal delivery and midrange instrumentation. In contrast, the original Zero favored vocals to the detriment of instruments. The Zero: Red does sacrifice a bit of vocal intelligibility to accomplish this balance. Harsh, aggressive male vocals have more grit and power but are slightly less distinct. Male and female vocals are much more even in emphasis than on the original Zero, and female vocals more easily avoid sibilance. The Zero: Red also has a more reasonable level of presence. Distorted electric guitars sound meatier and analog percussion sounds less compressed.

The Zero: Red’s treble is largely identical to its predecessor and shares the same strengths and limitations:

The Zero: Red has neither too much lower treble nor too little upper treble extension, but I do find the measured gap in the Zero’s mid-treble to be audible. The sparkle usually provided by an emphasis in the 10–12 kHz range is missing. As a result, the overall treble presentation is a little dull for my taste. The Zero does avoid any sense of metallic timbre or excessive sizzle to cymbal hits. Treble transient delivery is crisp, and overall detail retrieval is very good. The soundstage is on the wider side for an IEM not using a multi-balanced armature arrangement, but instrument separation is fairly average, as is imaging.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

Like the Truthear Zero, Truthear Zero: Red is surprisingly difficult to drive. Reaching a usable volume on Android using the Apple Dongle with Spotify volume normalization set to “Normal” required a system volume setting of at least 23 or 24/25. I recommend grabbing a more powerful source for the Zero: Red if you are using an Android device. I did not notice hiss with any of my sources.

CLOSING WORDS:

The Truthear Zero: Red solves most of my quibbles with the original Zero. Like its predecessor, it is an unqualified recommendation at its asking price. However, the IEM market has continued to progress in the year since the original Zero was released, and the Zero: Red is less revolutionary now than it might have been if released earlier. I cannot help but wish we had received this version of the Zero in lieu of the original.

The Truthear Zero: Red can be purchased below:

TRUTHEAR x Crinacle ZERO: RED Dual Dynamic Drivers In-Ear Headphone (shenzhenaudio.com)