Reviews by o0genesis0o
Do you feel Chi-Fi IEMs are evolving to be better yet more similar? Just pick any recent hype train. You would likely find forward upper midrange that more or less follows Harman target, relatively flat or suppressed lower midrange, and sub-bass focused shelf. These tuning choices inevitably lead to a forward, wide, relatively flat soundstage.
On the one hand, this trend is good for average consumers because their likelihood of running into a wonky IEM has reduced substantially. On the other hand, such convergence reduces your chance of running into interesting sound signatures that you didn't know you liked.
Within this context, let's discuss Dunu Vulkan, one of the more unusual recent releases in the AUD $550 bracket.
Forewords
- I like highly detailed IEMs that can produce a three-dimensional soundstage illusion and large bass without compromising tonal accuracy too much.
- My music library covers nostalgic pop music, epic orchestral music from Sci-fi shows, classical violin performances, piano, lo-fi beats, and a few rock songs.
- I rate IEMs by A/B tests them against a few benchmark IEMs, regardless of price point. If a $1000 IEM scores the same as a $100 IEM, then either the more expensive one underperforms or the budget one is a gem. See the methodology for more detail.
- I use frequency response measurements to double check my subjective impressions.
- I don't EQ when testing IEMs. However, I highly recommend EQing to fine-tune good IEMs to your ears and taste.
- Rating database and measurement database can be found on my IEM review blog.
Non-sound Aspects
Vulkan possesses an interesting driver architecture: 2 dynamic drivers + 4 Knowles BA drivers. The drivers are enclosed in metal shells and face plates that sport engraved patterns. The shells feel rugged yet not very heavy. The nozzles are short and chubby, so your fit greatly depends on your ear tips.
In usual Dunu fashion, Vulkan is accompanied by a generous set of accessories. You have
- 6 pairs of silicone ear tips (the same sets that come with Dunu Titan S)
- 1.2m MMCX cable terminated with the interchangeable plug system of Dunu,
- Carrying case (seems similar to the one that comes with Zen Pro and SA6).
The cable is thick, strong, and well-behaved. It terminates with Dunu's famous interchangeable plug system featured in their high-end models, not the lite version that comes with Falcon Pro. Vulkan does not feel like a fancy artsy product like the Meze Advar I reviewed recently. Instead, it feels like a decked-out, technology-centric audio product.
Comfort is alright. With my Whizzer tips, Vulkan does not rest against my concha. Instead, it dangles, held by the ear tips and ear hooks. Such fit might create wind noise when you use Vulkan outside. However, there was no comfort issue during my long critical listening session.
Sound Analysis
Frequency response of Vulkan compared to Andromeda 2020 and my preference target. Measurements were done with an IEC-711 compliant coupler and might only be compared with other measurements from this same coupler. The resonance peak was aligned at around 8kHz. Such a peak might be larger on the graph than in real life. Measurements above the resonance peak might not be accurate. Visit my graph database for more comparisons.
If I have to describe Vulkan's sound with one word, it would be "large".
The bass tuning of Vulkan is somewhat "old school", eschewing a distinct bass shelf for an elevation across the lower frequencies. It is not done to the degree of Andromeda or some JH Audio IEMs, but the bass shelf is not as distinct as something like Blessing 2 Dusk or Variations. You might think Vulkan's bass tuning is "wrong" because the bass "bleeds" all over instead of making distinct and sharp punches. However, I would say this tuning has merit in terms of impact and realism. Kick drums spread across and rumble the entire soundstage. Cellos, contrabasses, and orchestral drums are audible with a strong rumble, lending a realistic and physical sensation to orchestral music.
Vulkan's upper midrange and lower treble (i.e., the entire ear gain region) are pretty interesting. Vulkan peaks at 3kHz, thus unabashedly pushing the main vocal forward and strictly in-your-head. Therefore, you would think Vulkan is "intimate" if your library is vocal-focused. However, the climb from 1kHz to the peak at 3kHz is much more relaxed. This tuning creates the illusion that some instruments are pushed away from you toward the background. Therefore, Vulkan can have a large soundstage for certain orchestral pieces. Of course, a relaxed upper midrange tuning for enlarging the soundstage is usual. Peaking at 3k to sharpen the vocal as a counterpoint is something I have not heard before. Hats off to Dunu's engineers for such cleverness.
Treble is where Vulkan tumbles, IMHO. The first problem is the mid-treble region around 6kHz and 8kHz, contributing to both "sparkles" and sibilance in music. Vulkan's mid-treble is quite forward, to the point of adding an edgy and metallic tine to the timbre of violins, flutes, and even vocals like Ed Sheeran's. The second problem is the weak upper treble. This region highlights decays, room reverbs, micro-details, and other good bits that create an "audiophile" sound. Lacking upper treble leads to a lack of air and separation between layers of instruments in the soundstage.
Vulkan's resolution is adequate for its asking price. Note attacks are a bit blunted. Micro-details in the tail-end of notes are very subtle. The lack of upper-treble "air" also reduces the separation between layers of instruments in the soundstage. Vulkan is still better than its competitors in the budget range in terms of resolution. However, it is slightly below other heavy hitters like Blessing 2.
Of course, an enjoyable listening experience requires more than resolution. Let's listen to some albums, and I will point out the strengths and weaknesses of Vulkan along the way.
Vivaldi: The Four Seasons by Janine Jansen
- Apple Music
- Spotify
The Four Seasons album was released in 2004 and has been chart-topping ever since. Unlike other recordings of these famous concerti, Janine Jansen plays with a chamber ensemble made up of friends and relatives rather than a big orchestra. The soloist and the ensemble interaction is also a bit different and interesting. For example, there is a back and forth "conversation" between violin and cello at the beginning of the first movement of Autumn.
Vulkan renders the concerti in an interesting way due to its upper midrange tuning. On the one hand, the soundstage is undoubtedly large and decently deep. On the other hand, the soloist is quite in-your-face, more than what I hear from other good soundstage performers like Andromeda. Despite my nitpicking, I find that Vulkan is still successful with these concerti, thanks to its soundstage depth and the rumbly cello that keeps the rhythm.
However, there are two problems. Firstly, I hear a slightly edgy and metallic tone in the violin's timbre. The timbre is not entirely off but not as natural as I expected. Secondly, Vulkan comes off a bit blunted in busy sections of the concerti. The third movement (Presto) was a challenge for Vulkan. It has difficulty keeping the layers of instruments separated while revealing all the natural nuances of the string instruments. However, this track is one of my library's "worst-case scenario" tests. The IEM generally holds it together throughout the concerti.
Shall We Dance by Andre Rieu and Johann Strauss Orchestra
- Spotify
Let's listen to The Second Waltz as an example. This piece sounds similar to some classical CDs back in the 1990s, which place the orchestra in front of rather than around you. Therefore, headphones and IEMs tend to struggle with this piece. For example, my Blessing 2 tends to place the whole orchestra on a flat but wide plane in my head rather than projecting the sound forward.
How does Vulkan sound?
Decently successful. In the first 30 seconds, I can hear the snare near the centre, but a bit further to the background, whilst the cello and bass it near me, just a bit to the right. And then the saxophone comes, located right between the nearer bassline and the snare at the back, slightly to the left of the stage. The woodwind section comes after the saxophone, roughly at the same distance but tilted to the right of the stage. The positioning of instruments from closer to further away is apparent, but the separation between layers is not very strong. When the music swells with the introduction of the string section from 0:45, the stage starts to mesh together. However, the bass is still clear and physical. You can waltz with IEM.
Ed Sheeran Tiny Desk Performance
- YouTube
This performance is excellent for checking the detail retrieval capability of an IEM because you can see the band.
Let's focus on the Visiting Hours (from 14:15). This song has chime sounds at the beginning and lots of backing vocals. Unfortunately, both chimes and backing vocals are slightly hazy. Of course, this slight haze does not ruin the music or the enjoyment. But it shows that Vulkan lacks that last bit of technical performance to reach the top tier.
The tonality is more troublesome, though. To put it bluntly, Vulkan produces sibilance in this song, which is one of the mildest in his album. Given how sharp Vulkan reproduces Visiting Hours, I did not dare to listen to the whole Shivers (the first song).
Comparisons and Rating
Resolution, Detail, Separation: 3.5/5 - Above Average
Vulkan is adequate. You wouldn't mistake it for a budget IEM, but I think the jump from a high-performing budget IEM like Titan S to Vulkan is not that big of a leap. If you index resolution heavily in your IEM purchase, then perhaps this IEM is not for you. I rate Vulkan 3.5/5 for resolution, putting it between Aria (3/5 - Average) and Blessing 2 (4/5 - Good).
Percussion Rendering: 4.5/5 - Very Good
Vulkan renders percussion instruments and bass with realism and physical rumble. It's better than the textureless bass of Blessing 2 (3/5 - Average) and the deep-hitting-but-no-body bass of A4000 (4/5 - Good). However, it cannot challenge the thunderous bass of a properly driven E5000 (5/5 - Outstanding) or Zen Pro. Therefore, I rate Vulkan 4.5/5 for percussion rendering.
Stereo Imaging (Soundstage): 4/5 - Good
Vulkan's soundstage is difficult to rate. It cannot project the centre image (voice, solo instrument) in front of your like other high performers (Andromeda, U6t, U12t, Trio). It also lacks that airy, floating instrument illusion of IEMs with strong upper treble performance. However, Vulkan does have a large soundstage and produces a better illusion of depth than an average Harman-inspired IEMs like Blessing 2 or Aria (3/5 - Average). Therefore, I rate Vulkan 4/5 for soundstage.
Tonality: 3/5 - Average
The tonality of Vulkan is also tricky to rate. The clever and different tuning of Vulkan works most of the time. In my book, unconventional tuning that works deserves a high rating, perhaps even more so than a target hitter. However, Vulkan's mid-treble peak can be a deal breaker for listeners of harsher genres. Such treble tuning also impacts the timbre of some orchestral instruments negatively. Therefore, I rate Vulkan's tonality 3/5 - average in the grand scheme.
Conclusion
If this review appears to be harsh, it is because I have a high expectation for Vulkan, given its long development, unusual driver topology, and pedigree as a Dunu IEM. Against such expectation, perhaps any IEM would come up short. If you are looking for a highly technical IEM with fun tuning, Vulkan might not be the one.
However, suppose you are looking for an epic-sounding IEM that differs from most new releases. Suppose that you are looking for a well-built IEM with great accessories. Suppose that you are looking for an alternative to Blessing 2. In those cases, Vulkan gets a recommendation from this reviewer.
Ferdinando1968
I'm listening to Vulkan right now, and I find myself with your impressions.
Nice review.
Nice review.
Hark01
Detailed but concise review. Great!
Do you feel jaded after climbing the "audiophile" hill for a while?
I sometimes recall the feeling of the early days when every incoming IEM was magical, and I couldn't wait to climb on the next hype train. Nowadays, my default reaction to most (sometimes shockingly expensive) IEMs is: "Yup. It's an IEM. Let's measure and do some A/B tests".
That was my starting point when I picked up the Meze Advar from the post office as a part of a review tour arranged by @Andykong on behalf of Meze.
Of course, I measured, and A/B tested Advar. However, I also rediscovered some of that early days' magic in one week I spent with Advar. Let me tell you about this IEM.
Disclaimer: this unit is on loan from Meze in a review tour. It would be shipped to the next reviewer. I have no monetary compensation or any other benefits from Meze, besides being able to test this IEM for 10 days in my environments.
Non-sound Aspects
Advar is Meze's latest single dynamic driver IEM. By the time I write this article, Advar retails for $700, putting it in direct competition with Dunu Vulkan, Fiio FH9 and FD7, the lower-end of Westone MACH series, and, of course, the Blessing 2 family of Moondrop.
At the risk of sounding like a broken record, I must say that Advar looks and feels better in real life than in photos. Based on the official marketing materials, I thought Advar was a plastic IEM. However, Advar is made of a glossy and heavy material that feels similar to the ceramic used by Campfire Audio Solaris 2020 and Dorado. All of the golden components are metal. As a result, both earpieces feel like shiny and expensive pieces of marble.
Despite the weight, Advar is very comfortable. The ear pieces lock into my ear conchas securely. The comfort is excellent even in long listening sessions because the earpieces have no sharp edge (perhaps except for the sound. We will talk about that later).
Meze accompanies Advar with a generous set of accessories. You have
- Full set of Type E ear tips,
- 1.2m MMCX cable terminated with a 3.5mm connector,
- Fancy MMCX removal tool,
- Cleaning tool
- Carrying case.
Noted that the 4.4mm cable is not included in the retail package. It is an optional accessories from Meze.
The cable is soft and well-behaved. The case is the most luxurious-looking one I have ever seen. The unboxing experience makes me think of Advar as a luxurious consumer product rather than "made by audio geeks for audio geeks". With that in mind, how does Advar sound?
Sound Analysis
Frequency response of Advar comparing to Andromeda 2020 and my preference target. Measurements were done with an IEC-711 compliant coupler and might only be compared with other measurements from this same coupler. Resonance peak was aligned at around 8kHz. Such peak appear higher on the graph than real life. Results above the resonance peak might not be accuracy. Visit my graph database for more comparisons.
The overall tonality of Advar is surprisingly similar to Campfire Audio Andromeda 2020. It has a warm and laid-back midrange, accompanied by sparkly and airy treble.
The bass is not detached from the rest of the tuning because there is no distinct bass shelf. However, Advar is not muddy or boxy. Instead, it has a natural and "large" bass response that fills the soundstage. The bass is well controlled and full of texture. Despite lacking a bass shelf, the bass still reaches deep with Advar. Personally, I still want a bit more bass.
The tonality of Advar is generally correct, but high notes can sound brighter than natural because of the lively treble. The treble of Advar is somewhat "old school", focusing on the mid-treble region around 8kHz (sparkle, body of cymbals, chimes and hi-hats) rather than the lower-treble region around 5kHz (presence, note attack). The drawback is that the 8kHz peak can become piercing with harsh genres.
The part of the treble response that excites me the most is the dip from 10kHz, followed by a massive boost around 15kHz. The 10k drop creates the illusion of sound fading into the surrounding environment. The 15k gain highlights the outermost layer of the soundstage where background vocal, far-away details, room reverbs and decays exist. This excellent tuning, combined with the warm and laid-back midrange, helps Advar create a broad and deep soundstage without resorting to tuning tricks such as dips at 1k and 3k (64 Audio Trio and Fourte). However, Advar's centre image still tends to locate inside my head rather than before me, like Andromeda and 64 Audio IEMs. The very energetic 8kHz region also makes the soundstage unrealistically tall sometimes.
The excellent treble also helps Advar achieves a resolving sound. I did not expect such performance from a single dynamic driver without any fancy material. It is not quite Andromeda level, but close enough to surpass many mid-fi competitors.
Finally, perhaps because of the dynamic driver, Advar successfully reproduces subtle variations and contrasts in dynamic (loudness levels from piano to forte).
Anyhow, enough with abstract descriptions. Let's listen to some albums, and I will point out the strengths and weaknesses of Advar along the way.
Bach: Goldberg Variations by Lang Lang
- Apple Music
- Spotify
- YouTube Music
I wouldn't pretend I understand this piece of music more than "beautiful piano music that Hannibal Lecter likes." However, I liked it enough that I went to a concert to hear it live. It turns out Goldberg Variations are also excellent for testing IEMs.
To put it bluntly, a poor IEM turns this hour-long piano piece into a chore rather than a pleasure. Successful rendering of this piece requires an IEM to reproduce dynamic variations and nuances in music. By dynamic variations, I mean the ability to play music at and smooth transition between different loudness levels, from very loud to very soft, without losing fidelity. "Nuances" or "details" here mean the subtle reverb and ringing sound hanging in the air after a piano key has been released.
Let's listen to the variation 13 as a concrete example. Whilst the whole variation is already soft, there are frequent drops of dynamic to a very quiet level, such as around 0:50. Advar manages to reproduce these slight contrast well. Moreover, it successfully renders the subtle ringing sound of the piano when the keys are released at the softest moments, such as around 6:00.
Of course, when the dynamic raises to a higher level in the following variation, Advar gets loud. Following these subtle fluctuations and ringing sounds made the listening experience so engaging that the entire 30 variations passed me in a flash.
Shall We Dance by Andre Rieu and Johann Strauss Orchestra
- Spotify
Shall We Dance is the latest compilation of music by Andre Rieu and his orchestra, currently sold in music stores across Australia. I was so excited to see some of my favourite pieces on the tracklist that I didn't realise they were just copies from previous albums. Anyhow, this compilation is excellent for testing the soundstage reproduction of an IEM.
Let's listen to The Second Waltz as an example. This piece sounds similar to some classical CDs back in the 1990s, which place the orchestra in front of rather than around you. Therefore, headphones and IEMs tend to struggle with this piece. For example, my Blessing 2 tends to place the whole orchestra on a flat but wide plane in my head rather than projecting the sound forward.
How does Advar sound?
In the first 30 seconds, I can hear the snare near the centre, but a bit further to the background, whilst the cello and bass it near me, just a bit to the right. And then the saxophone comes, located right between the nearer bassline and the snare at the back, slightly to the left of the stage. The woodwind section comes after the saxophone, roughly at the same distance but tilted to the right of the stage.
Around 0:45, the string section comes, creating a dome of sound near the left back and covering a large part of the stage. Meanwhile, the bassline is always clear, allowing you to follow and, you know, waltz. The rest of the piece is also interesting because Advar can fully utilise its large stage to layer instruments from closer to further away.
Gundam Build Fighter OST
- YouTube
- Apple Music
Let's continue our listening with something more modern, shall we? This album explores Advar's ability to render artificial soundstages in electronic music.
Battle bar (Apple Music, YouTube) is a great demonstration of Advar's soundstage. The piece has a loop of two closer drum hits followed by a distant drum hit. Advar places the first two drum hits behind my neck and the distant one far in front of me, slightly to the right. The distant drum hit seems to decay across the whole stage rather than being limited to a single spot.
When the guitar comes, the whole stage becomes even more interesting. The sliding, high-pitched guitar float somewhere slightly above on the left side. The lower-pitched guitar is right at the centre (which is, unfortunately, in my head). And at the lower right, somewhere around my throat level, is the bass. The snares continue hitting on both sides, around the shoulder distance. The whole audio image is tack sharp. The bass is not loud but textured and deep.
Ed Sheeran Tiny Desk Performance
- YouTube
This performance is excellent for checking the detail retrieval capability of an IEM because you can see the band. It is also where Advar's weakness is revealed: the peak at mid-treble. To put it bluntly, I have shivers whenever Ed hits high notes in Shivers, not because Advar sounds so good but because of the sibilances. The harshness here differs from the usual shoutiness of Harman and VDSF tuning, where the vocal is a bit too loud. No, the sharpness here comes from the "S" and "Sh" sounds. This problem is not unbearable and easily fixed, but I wish it does not exist.
Alright, back to the good part. This performance shows off Advar's airy treble well. For example, it reveals the background vocal in Make it rain (from 3:45) with clarity and detail, not just a blob of sound. You can actually follow the vocalists' hums. The chimes sound at the beginning of Visiting Hours (from 14:15) is also excellent. I can hear individual sounds distinctively rather than a blob of high-pitched sounds.
Comparisons and Rating
Resolution, Detail, Separation: 4.5/5 - Very Good
Advar is more resolving than I expected. It beats Blessing 2 (4/5 - Good) in all my test tracks and seems equal to my Andromeda (5/5 - Outstanding). However, Andromeda is still more resolving than Advar in the chaotic Presto movement of Summer. Therefore, I rate Advar 4.5/5 for resolution.
Percussion Rendering: 4.5/5 - Very Good
Advar has high-quality dynamic driver bass. Drums and bass instruments have a physical sensation (good sub-bass), a full and detailed body (good midbass), and snappy stick impacts. Across my test tracks, percussion sound better on Advar than on Blessing 2 (3/5 - Average) and A4000 (4/5 - Good, with excellent sub-bass but subdued midbass). However, it cannot challenge the realistic yet thunderous bass of a properly driven E5000 (5/5 - Outstanding). Therefore, I rate Advar 4.5/5 for percussion rendering.
Stereo Imaging (Soundstage): 4.5/5 - Very Good
Advar's soundstage is outstanding, without a doubt, thanks to its excellent layering, depth, and the ability to highlight the outermost layer of the soundstage.
If I have to nitpick, I would say its centre image tends to locate inside my head rather than in front of me, perhaps because its ear-gain boost peaks at 3kHz rather than 2kHz. Combining this with a louder listening volume, you might feel the stage is rather near or "intimate". This presentation is a crucial distinction between Advar's soundstage and Andromeda's or 64 Audio Trio's. Both other IEMs tend to put the centre image slight in front of you at the normal listening volume.
In other words, Advar has a wide and engaging soundstage but does not try to mimic speakers.
I would also say the stage can sound artificial at times. For example, in some piano pieces, I can hear the lower notes at the bottom of the soundstage whilst higher notes float above my head. I don't think such a piano exists.
Realistic or not, I don't feel Advar is lacking compared to my Andromeda (5/5 - Outstanding), and its layering is more engaging than my A4000 (4/5 - Good). Therefore, I rate Advar 4.5/5 for soundstage.
Tonality: 3/5 - Average
My original rating for the tonality of Advar was 2.5/5 due to the 8kHz peak. However, during my final listening before writing this review, I found that the mid-treble peak is not that bad, perhaps because of replacing ear tips. Still, I think Advar is only average in tonality in the grand scheme. 3/5.
Source and Tips Pairing
I tested Advar on the following source:
- Xiaomi Mi A1 (very low quality, hissy onboard audio): Advar picks up a lot of noise. If you pick up an Advar, you can at least get an Apple dongle instead of using onboard DAC.
- Apple dongle: The noise floor is completely gone. However, I hear an unusual upward tilt to the sound signature, making Advar thinner and harsher than usual. I'm a bit puzzled because Advar is not a hard-to-drive IEM.
- Hidizs AP80 Pro X: Excellent. The sound is clear and correct, even on low gain.
- Fiio BTR5: Exactly the same as the Hidizs DAP.
- Fiio KA3: Exactly the same as the Hidizs DAP and BTR5.
- Fiio KA3 balanced via 4.4mm cable (optional accessory from Meze): The sound seems to be a bit "tighter". However, this difference might be a placebo or volume difference because of the difficulty of rapidly switching cable and volume matching. If you get the 4.4 cable, it should be because you want to use your balanced source, not because you want sound quality improvement.
Advar is more sensitive to ear tips than expected. Despite Meze's belief in Final Type E ear tips, I don't think they are the right choice for Advar because they tend to intensify treble peaks, at least to my ears. I have more success with ear tips with wide-bore (to preserve treble) and stiff-core (to keep bass). I did most of my listening with some tips from Whizzer.
Real World Usage
I have used Advar for critical listening at home, for commuting, for outdoor walks, and work. Critical listening at home is the best use case for this IEM, given its sound quality.
Advar is usable but not ideal for commuting because its isolation is surprisingly low. It does reduce the noise a bit, but you can still hear the outside world. If you sit near a bus's engine, all of the lower frequencies of Advar would be gone. Turning up the volume to compensate is not a good idea because the treble peak at 8k would get piercing.
Outdoor walks are more suitable for Advar. You can hear the surroundings, so you have less risk of being run over by a bicycle or an E-scooter. The lack of isolation further intensifies the soundstage illusion of Advar.
Whilst Advar can be used at your desk without any problem; I don't think it is suitable for deep, focused work. The reason is simple: it is too engaging. It's hard to focus if exaggerated 3D stereo images constantly bombard you. The other reason is less glamorous: the treble peak at 8kHz.
Conclusion
I have been on the hunt for something warm and laid-back but does not sacrifice tonality, resolution, dynamic, and soundstage. Meze Advar is one of the most cost-effective IEMs to reach that ideal sound. Beside the mid-treble peak at 8kHz, there is not much for me to complain about. Advar gets a high recommendation from this reviewer.
archdawg
Excellent review, thanks. Still on the fence on that one.
You can find further details and my other impressions at my website.
Introduction
Launched in 2017, earned many rewards, and still being sold today, E3000 is one of the most iconic and enduring earphones from the eccentric Japanese audio manufacturer Final Audio. Unlike other manufacturers, Final does not focus on a "house sound" but on experimentation with tuning and manufacturing processes to deliver different experiences to listener. For example, B series studied the relationship between dynamic range and soundstage and A series was about measuring and achieving "transparency".
Final E3000 is the focal point of the E series, which focuses on finding a "good" sound at the intersection between acoustic engineering and psychological research results. This IEM aimed to be "standard for years to come" by providing "high definition and flat, natural sound quality." In some sense, E3000 has indeed become a standard because Final stills uses it as a benchmark nowadays.
But enough with the poetry. The IEM industry has advanced rapidly in the last several years with the onslaught of Chi-Fi manufacturers. How does E3000 fare in 2022?
Non-sound Aspects
Final E3000 is a tiny bullet-shape IEM with fixed cable. The cable seems thin and flimsy but is actually quite well-behaved and comfortable. The IEM can be worn cable-down or above the ears. I personally wear the IEM above the ears as it is more stable. Comfort is very good. I can lie down on the side without any problem because E3000 does not poke out as far as its brother E5000.
Accessories are spartan but, again, practical. In the box, you will find:
- A cloth carrying bag (I use for carrying my DACs and cables)
- 5 pairs of the legendary Final Type-E ear tips (I cannibalise for my other IEMs)
- 2 ear hooks (I never use)
Technology-wise, E3000 uses a tiny 6.4mm full-range dynamic driver that handles details surprisingly well. The ear pieces have an open-back design to help tune the bass.
Despite (or perhaps because of) using a micro dynamic driver, E3000 is harder to drive than expected, though it never sounds horrible even with very bad onboard DACs. You might get away with using an Apple dongle at medium volume without any EQ. However, as soon as you add a negative preamp and turn volume above 75% on Apple dongle to compensate, E3000 would start to sound congested and mushy like a bad onboard DAC. If you pick up this IEM, I recommend having a source with at least 70mW per channel to avoid gimping it.
Sound Analysis
Here is what Final says about E3000:
Personally, I dont think the "not emphasizing specific ranges" statement applies to the bass, as E3000 has a lot of wet, thumpy bass. However, the rest of the frequency response is certainly balanced and "flat." None of the details is overly sharpened and pushed to your face. However, if you turn up the volume so that the midrange is at the right level and pay attention, you will begin to hear fine details like treble air, background vocal, shimmering sound of chimes.
Tonality and Timbre (3/5)
Realistic. Smooth. Warm. Relax. Congested (sometimes).
I'm quite impressed with the midrange of E3000 (300Hz to 4kHz, to be specific). This IEM still has the "correct" ear gain boost centering at 3kHz, but peaking at around 7db rather than 10-12db like other "well-tuned" IEMs. There is no peak in the upper midrange that stabs your ears randomly, so you can safely turn up the volume. The ratio between fundamentals and overtones are well done, contributing to naturalness of voices and instruments and creating a good illusion of 3D depth. Because the lower midrange is not cut, you can hear the whole band rather than missing out on the bass guitars and other low-pitched instruments, which is not the case with some other "well-tuned" IEMs.
The politeness of the midrange carries to the treble. Cymbals and chimes are render correctly with enough detail. However, you really need to turn up the volume and pay attention. E3000's tuning is not for very low volume listening.
Lower frequencies are troublesome, though. To put it bluntly, E3000 sounds congested if the music you listen has a lot of midbass. I don't know if it makes sense but it feels to me that the bass energy does not decay fast enough on this IEM. If I EQ, I either lose all the bass punch or end up with some congestion. Another disappointment is that E3000 does not have very strong subbass (i.e., the type that you feel).
Anyhow, the good news is that E3000 is very easy to EQ given its smooth signature. Most of the bass issues are fixed beautifully by E5000 as well. An PEQ profile is given at the end of this review.
Resolution (2.5/5)
Benchmark IEMs for comparison:
- Andromeda 2020 (5/5): Clear and well resolved across frequency spectrum
- Blessing 2 (4/5): Outstanding midrange but not as well resolved in bass and treble
- Aria (3/5): Benchmark of a good midrange, but not well resolved in bass and treble
- FH3 (2/5): Textureless sound that lacks nuance and details.
With stock-tuning, E3000 does not sound like a detailed IEM. Midrange is where Aria and Blessing 2 pull ahead. On both Hotel Califonia and My Immortal, guitars sound more simplistic and less nuanced on E3000 comparing to Aria and Blessing 2. It's true that if I sit down and pay careful attention, I can hear the same details, but I don't think we should spend this much effort.
Treble and air details are where things get interesting. With Now you believe in you, Aria seem clearer at a glance, but if we zoom into the details, we see they trade blows. The claps from 1:00 for example are not clear and distinct on Aria comparing to E3000. The treble details are soft and mushed together, create that "fuzzy" feeling of Aria. The airy details from 2:00 is not as clear on Aria as E3000. The chime at 2:40 is much better on E3000. I also found that the treble of Blessing 2 is splashier and less refined than E3000, though the midrange is definitely better on Blessing 2.
Resolution-wise, I rate E3000 2.5/5: slightly below average due to the veiled midrange. By treble alone, it would have 3.5/5.
Percussion Rendering (3/5)
Benchmark IEMs for comparison:
- E5000 (5/5): Impactful and very full-bodied percussion
- A4000 (4/5): Impactful, but not very full-bodied
- Moondrop Aria (3/5): Average, slightly soft percussion attack, lacking deep impact
- ER2SE (1/5): Clear attack, but no drum body nor impact
E3000 has the drum lines that are not clean, but will hype you up. In Finale (William Tell Overture), E3000 render drums with great, full body. The bass and cello revealed surprising amount of details for example at 3:00 where the bass or cello section carries a melody line. However, the bass line at the beginning is not well defined, showing limitation of the driver.
In Force your way, drum has great body but at the same time a bit mushed together. It's like the bass frequency does not decay fast enough between two drum hits, so you hear a bass hum constantly between notes. However, drum attacks are decicive and precise. Not quite related to drum, but the pan of piano from left to right at 2:50 is very nice.
E3000 does a good job with Clarinet Polka. Bass is textured and you can hear the melody carried in the bass line clearly. This amount of bass is something that E3000 can handle.
In general, E3000 nails the attack and body of percussion, but lacks control and impactful subbass. Modern IEMs like Aria has less body in the bass than E3000, thus it sounds clearer than E3000. However, upon careful listening, I don't think Aria controls the bass better than E3000. It's just that it hides the limitation better.
Percussion-wise, I rate E3000 3/5.
Separation (3/5)
Benchmark IEMs for comparisons:
- Andromeda (5/5): Take advantage of both large soundstage and great resolution for separation.
- ER2SE (4/5): Rely on great resolution, but limited by the size of the stage
- Aria (3/5): Rely on the size of the stage, but limited by the its lack of ability to distinguish similar sounds
- FH3 (2/5): Rely on the size of the stage, but limited by the its lack of ability to distinguish similar sounds
Separation is not a strength of E3000. With bad guy, I can only hear faint mumble on the vocal line on the left from 0:40 with E3000 but I can hear individual words without much difficulty with Aria. With And the waltz goes on, E3000 mostly loses the bass line the stage collapsed when the music gets lush from 1:00. However, there are still some distinction between left part and right part of the soundstage.
E3000 surprisingly good job at rendering a live band in Ed Sheeran - Tiny Desk (Home) Concert. I can hear every instrument at the right place on the stage during the first song. Surprise surprise, E3000 is a bit better than Aria at separating elements in a live mix. At 1:00 when the chorus kicks in, E3000 manages to separate the back up vocals clearly, but Aria somehow managed to mush these lines into the rest of the band. E3000 is better than ER2SE in this track as well, due to the tuning the overall size of the soundstage. Because a lot of information in this track is actually in the lower frequencies, the fact that ER2SE suppresses these frequencies make it very hard to distinguish and separate different elements of the mix.
So, subpar performance in some songs and outstanding performance in others, I would rate E3000 3/5: Average.
Stereo Imaging (Soundstage) (3.5/5)
Benchmark IEMs for comparisons:
- Andromeda (5/5): Very 3D stage with the illusion that sounds come from different direction and distance. Not necessarily the largest, but one of the most interesting.
- Final A4000 (4/5): Wide and distant stage. The illusion of depth and layering suffers due to the distance.
- Blessing 2 (3/5): Wide but flat, with the center image strictly in your head.
- ER2SE (2/5): Strictly in your head. The width of the stage does not extend far beyond your ears.
Due to the warmer and darker tuning, E3000 does not feel very wide, though still wider than ER2SE. The ear gain centering at 3kHz puts the center image right in the middle of your head, some where behind your eyes just like other IEM with Harman or Diffuse Field tuning. The warmth gives E3000 an edge in depth and layering, with the bass more forward and the background elements further away. The lower separation ability prevents E3000 from producing a good layering effect, however.
We are the world: Great sense of depth and atmosphere with this song. Vocal at 1:50 takes a step back behind the sparkly chime sound at the foreground. From 3:30, you can hear difference in depth between closer vocals on the right and further background vocal on the left. However, the impression of depth is not particularly strong.
Eine kleine nachtmusik - I. Allegro: The cello feels closer than violin for the whole piece, helping with the separation and spatial illusion of the piece.
Ed Sheeran Shivers Official Performance Video: Comparing to Blessing 2, E3000 positions Ed Sheeran's voice is more or less the same, but the stage has a bit more depth. The keyboard sound is a bit further to the background. Comparing to ER2SE, E3000's soundstage is larger and more spread out than ER2SE, though ER2SE has an upper hand in terms of the precision of the soundstage.
Soundstage-wise, I would give E3000 3.5/5. It has an advantage in terms of depth, which translate to more immersive orchestral and live performance, but it lacks the refinement to be "holographic".
Performance after EQ
If you are willing to EQ, there are a lot of value to be extracted from this little IEM. Key changes include:
- Boosting subbass.
- Reducing the lower midrange frequencies around 250Hz to reduce the congestion and free the midrange details.
- Boosting 2kHz region slightly to sharpen up the sound (slightly is the keyword here)
- Boosting 8kHz region significantly to taste, just before your music becomes too piercing.
- Boosting 16kHz region significantly to taste, just before your music has a metallic timbre.
You can find a PEQ profile here. Please change the 8kHz and 16kHz to taste (as described above).
To me, the performance after EQ is quite competitive and pushes the IEM to the limit. The soundstage opens up, midrange is unveiled, treble is shimmering and airy. Bass does not get much better, unfortunately.
Selected comparisons
Let's talk about how E3000 compete with some "flavour of the month" IEMs:
- Chu: without a doubt, E3000 is a more comfortable IEM to wear. Sound-wise, most of the comparisons between E3000 and Aria apply to Chu.
- CRA: This IEM is exactly the type that Final criticises when designing the E series. And this criticism is a good reason. CRA has over abundant of treble energy around 5kHz and 8kHz, which make the timbre unnatural for some instruments. At the same time, it does not sound as detailed in the treble region as E3000 due to these peaks. IMHO, E3000 is a more thoughtful IEM.
- Tanchjim OLA: on one side, you have an IEM with overly abundant bass (E3000). On the other side, you have no bass (OLA). Your choice. OLA does a great job with treble (which is how it manages to sound so holographic). However, to my ears, E3000 is a bit more resolving across the spectrum.
- Dunu Titan S: on one side, you have a neutral IEM without fault nor character (Titan S). On the other side, you have a bassy and smooth boi with deep soundstage (E3000). Your choice. Titan S does a surprisingly good job at resolving treble details, pretty much on par with E3000. The accessories coming with Titan S are pretty sweet as well.
Conclusion and Personal Preference: 4/5
Personal preference is my entirely subjective and personal opinion about an IEM, based on multiple factors. This score DOES NOT contribute to the rating of an IEM.
I still used E3000 even after getting Andromeda. This little IEM only retired when I bought its younger brother, the flagship E5000. I think that sums up perfectly my thought about E3000.
Upgrade path
Should you get E3000 if ...
- you have no IEM? If you want a good sounding IEM and have no intention of joining "head-fi" community, then of course. If you want to geek out about IEMs as a hobby, then perhaps grab something like Aria or Titan S first.
- you have a not-so-great budget IEM? It depends. Coming from a harsh Chi-Fi IEM, you are equally likely to enjoy or be bored with the gentle tuning of E3000.
- you already have something decent like Aria? Go for the flagship E5000 instead.
- you already have Blessing 2 or higher-end IEM? Go for the flagship E5000 instead.
- you want head-shaking, thick, boomy sound? Go for the flagship E5000 instead.
Where to go from E3000
- More clarity? EQ. If you don't want to EQ, then E5000. If you don't want lower midrange anymore, then perhaps something tuned to Harman, diffuse field, or Moondrop's target.
- More immersive soundstage? EQ. If you don't want to EQ, then E5000 or FD7. Of course, you can always go for Andromeda or 64 Audio Trio.
- More impactful bass? E5000, no doubt.
Cho Worsh
Pass on E5000. Gain joy with e3000 or Mele until you can afford something better.
o0genesis0o
@Cho Worsh Have you ever heard E5000 with a desktop class amp? A properly driven E5000 is no joke, and you don't need to pay a fortune for that "properly-driven" either. A VE Megatron portable DAC/AMP is enough to bring out all the E5000 can offer. However, if one insists that Apple dongle is end game, then of course one should skip E5000 to save money. There is no reason to spend AUD $400 on an IEM without getting all of its performance.
Gamergtx260
Why would I buy a desktop amp for an iem? Makes no sense to me. The E5k sounds great with a btr5 as well. But it’s definitely not worth the full price since E3k does what it does without an amp. I have both and E5k isn’t that far from E3k imo
My review, along with details about methodology, impressions, and ranking database are available at my website.
Preample
- I purchase this unit on my own. I have no affiliation with or financial interest in Tanchjim
- All listening tests were conducted at a comfortable level where the main vocal and instruments are loud and clear
- My music library covers nostalgic pop music, epic orchestral music from Sci-fi shows, classical violin performances, piano, lo-fi beats, and a few rock songs.
- What I look for in IEM, in order of importance: 3D soundstage with a strong sense of depth, detailed across the frequency spectrum, snappy and tactile note attacks in bass and midrange, natural timbre.
- IEMs are rated with a series of A/B tests against a few benchmark IEMs. The total rating is the average of component ratings. EQ is NOT used in these tests. See the methodology for more detail.
- Price is not a factor when comparing IEMs. I want to see where an IEM fits in the "grand scheme" of things rather than in arbitrary buckets such as "budget", "mid-fi", and "flagship".
- This review was done with stock bass tips, Comply foam tips, and DIY foam tips.
Non-sound aspects
I always think of Tanchjim as an unlucky fellow, always playing second fiddle despite having a similar approach to tuning and marketing to a fellow Chi-Fi company. Therefore, when Tanchjim announced a new budget IEM that focuses on stereo imaging, my curiosity got the best of me, and I blind bought it. After weeks of using and testing OLA, I am impressed.
First, let's talk about packaging and accessories.
In the box, you get:
- Ear pieces
- 3 pairs of bass tips (silicone)
- 3 pairs of treble tips (silicone)
- A cloth bag for carrying
- Paper work
Whilst the amount of provided accessories is not as generous as Dunu or Fiio, the unboxing experience is quite pleasant and thoughtful, making this IEM an exciting gift for beginners.
Build-wise, OLA is very light. It seems sturdy enough, but the moulding and finishing are not as good as one imagines looking at the advertisement material. It is not a resin-filled IEM like Blessing 2 or Dunu SA6.
Fit-wise, Ola is not the easiest nor comfortable one to use. It has a large short nozzle with a thick lip, similar to those warp pipes in Super Mario games. While the nozzle is small enough to go into your ear canal, the included tips might be too thick. Unless you sort this out, you will have a very shallow fit where the IEMs are held by the tip of the ear tips rather than the entire nozzle. Such fit can change frequency response and leak bass. I ended up creating custom foam tips to ensure the best fit.
Custom tips from foam earplugs
Sound Analysis
This table shows the results of A/B tests between OLA and the benchmark IEMs. +1 means OLA wins. -1 means OLA loses. 0 means draw. Some tests are too one-sided that conclusions can be reached without further tests.
Stereo Imaging and Layering: 4.5/5
Soundstage, Panning & Width, Layering & Depth
Test tracks:
- We are the world(3:00 onward): This song shows some excellent stereo imaging. Can you hear soloist upfront whilst the choir is pushed further away to the background? Can you hear one choir to the left and further to the back whilst the other to the right and a bit closer to you?
- Eine kleine Nachtmusik - I. Allegro: Listen for the clear direction of each instrument in the string quartet throughout the piece. You should also be able to hear cello locating closer to than the violin 1.
- I vow to thee, my country: This song is an excellent test for layering. Can you hear the boy choir standing in front of the men choir or they are on the same flat plane?
I was very sceptical when reading the marketing material from Tanchjim about how they tune OLA to "HRTF" (i.e., how a person's face and ears modify the sound reaching the eardrums) for accurate stereo imaging. The question was: which or whose HRTF?
It turned out my scepticism was unfounded. Perhaps because my HRTF (male, Asian) matches Tanchjim's target, OLA delivers one of the best stereo imaging performances amongst all IEMs that I have owned or heard.
Before further discussions, I want to remind you that regardless of how impressive these descriptions sound, OLA is still an IEM. The sound still comes from inside or close to your head, never from a virtual "stage" far away from you like how loudspeakers imagine. What OLA provides is a relatively 3D sphere of sound around your head, rather than a wide but flat wall of sounds like many other IEMs and even headphones.
For example, in the chorus of We are the world from 3:00, OLA imagings two choirs furthest from you, one slightly to the left whilst the others to the right. Soloists are upfront and centre, away from the choirs. I vow to thee, my country is another song that showcases OLA's strong performance in layering. You can hear the boy choir separated from the men's choir and located closer to you. OLA also places you in the middle of the string quartet in *Eine Kleine Nachtmusik - I. Allegro*, allowing you to hear the instruments around you, rather than a flat plane that goes from left, through your head, to the right.
The critical limitation of OLA is the lack of bass and lower-mid (i.e., all frequencies below 1khz). This tuning pushes the bass toward the background, reducing the sense of depth and layering that some IEMs like Andromeda and E5000 produce.
Comparison against benchmark IEMs:
- Vs CFA Andromeda 2020 (5/5): OLA is no match due to the lack of lower frequency described above. Andromeda does the depth and layering much better.
- Vs Final Audio A4000 (4/5): Whilst A4000 pushes the image further than OLA, it does not layer elements as well as OLA. In other words, everything is far away on A4000, rather than something closer, something further away at the same time as OLA.
- Vs Moondrop Blessing 2 (3/5): OLA creates a dome of sound, whilst Blessing 2 creates a wide, flat plane. I found OLA more engaging.
- Vs ER2SE (deep insertion) (2/5): OLA creates a larger and more 3D image compared to the narrow and shallow stage of ER2SE. Noted that we are talking about stock ER2SE with the deepest insertion and no EQ.
The benchmarks show that OLA fits between 5/5 and 4/5 levels, so I assign it 4.5/5 for stereo imaging and soundstage. This score puts it behind top-tier performers (Andromeda 2020, Final E5000) but above many peers with wide but flat soundstages like Blessing 2, Aria, Titan S, and similarly tuned IEMs.
Percussion Control: 2/5
Test tracks:
- Finale (William Tell Overture): How rhythmic the whole orchestra sound? Can you follow the drums clearly? How about the rhythm carried by the string and brass section? Can you hear texture and detail in the drum or just mushy thump thump sound?
- Force your way: Is the bass line impactful? Can you hear the melody in the bass or just a series of thump thump sound?
- Clarinet Polka: fun and chaotic polka. Is the drum clean and precise? Is the clarinet on the right well control? How about the accordion on the left?
If the above analysis seems too rosy, then this is where things collapse for OLA. To put it simply, its bass lacks quantity (loudness) and has only mediocre quality, so drums and other rhythmic elements of the music sound dull.
For example, Finale (William Tell Overture) demands snappy attacks of drums, strings, brass, and woodwind section at the same time to deliver its "horse galloping" sensation. OLA does not render attack fast and hard enough, making notes soft and mushed. It does not fare very well with Clarinet Polka for the same reason. Force your way lacks the expected strength. You might be able to hear some details in the bass, but it's not that great.
Comparison against benchmark IEMs:
- Vs Final E5000 (5/5): Far from the same level.
- Vs Final A4000 (4/5): Far from the same level. A4000 might lack the quantity due to its subdued midbass, but its drum hits are fast, clean, and physical due to its sub-bass extension. You feel the impact in your throat.
- Vs Titan S (3/5): A bit closer in terms of performance level, but the quality of drum hits on Titan S is still better: snappier and stronger.
- Vs Blessing 2 (2/5): More or less the same. Bass attacks are a bit soft, like punching a pillow. Noted that we are talking about the stock Blessing 2 without any EQ.
I rank OLA 2/5 for percussion rendering based on the benchmarks. To put this in context, any score below 3/5 is unsatisfying.
Detail Retrieval: 3.5/5
Test tracks:
- Now you believe in you: testing the detail of background element and the treble extension / air
- Hotel California: testing details of the foreground elements from the 12-string guitar.
- My Immortal: testing the detail retrieval across spectrum.
Detail retrieval or "resolution" of OLA is slightly above average. It does a decent job rendering the tail-end reverb and decay of sound in *Now you believe in you*. The reverb fades away naturally rather than dropping abruptly when going below a certain volume. You can hear little vibratos and details there. The background choir is rendered with decent clarity, allowing you to detect its presence.
"Adequate" also describes how OLA renders Hotel California and *My Immortal*. You can hear small details when the guitar pick or fingernails catch the strings or the articulation of the left hand on the fingerboard. The notes are still a bit fuzzy around the edge compared to better performers. Still, there is not much to complain about mid-range details in general.
Treble and bass details are where the gap between OLA and better performers shows more clearly. Because we listen to the whole music rather than just midrange or treble or bass, these weaknesses pull the overall "resolution" of OLA down. In some songs, we can compare OLA's sound to an image that has been overly sharpened rather than taken with good lenses.
Comparison against benchmark IEMs:
- Vs Andromeda 2020 (5/5): The A/B was so lopsided that I did not need to go further after *Now you believe in you*. OLA is no match.
- Vs Blessing 2 (4/5): OLA was close, but not quite Blessing 2 level yet. With OLA, you tell yourself "hmm, not bad, maybe need a bit more, but not bad ...". With Blessing 2, you can immediately tell yourself "yes, that's it. Nice and clean".
- Vs Aria (3/5): This is the A/B I was looking forward to the most. Surprisingly, OLA is just a bit sharper and cleaner than the "average IEM" benchmark. Not hugely, but still better.
- Vs FH3 (2/5): No comparison is necessary. OLA does not have an overly smoothened sound like FH3 (or CFA Satsuma).
Based on the benchmarks, I rate OLA 3.5/5 in terms of detail retrieval, putting it very slightly above average. This score means I would not complain about lack of detail or fuzziness when using OLA.
Separation: 4.5/5
Test tracks:
- Bad guy: Can you hear the duplicated vocal line of Billie Eilish on the left? How easy it is for you to follow the words that she sings?
- Finale (William Tell Overture): Can you follow individual sections the orchestra? Can you hear the woodwind playing at the same time with the string section? Can you hear texture and detail in the drum or just mushy thump thump sound?
- And the waltz goes on: How easy it is to separate different sections of the orchestra when the music gets rich and lush from 1:00 onward?
Due to the tuning and the excellent stereo imaging, OLA performs admirably in separation and layering. It separates and renders elements at the fringe of the soundstage, such as duplicated vocals for stereo widening effect in *Bad guy*, as well as Andromeda 2020.
However, OLA's separation crumbles when many things happen in the same region in the soundstage and at similar frequencies. For instance, its separation is worse than Andro in Finale (William Tell Overture)*. Tracks that demand layering like *And the waltz goes on are also the bane of OLA.
Comparison against benchmark IEMs:
- Vs Andromeda 2020 (5/5): OLA falls behind compared to Andromeda when the music gets busy.
- Vs ER2SE (deep insertion) (4/5): OLA pulls ahead slightly thanks to the spacious staging. However, the ability to distinguish different elements in a mix is slightly better on ER2SE.
- Vs Aria (3/5): I found OLA to do a better job than the benchmark due to its staging.
Vs FH3 (2/5): While OLA does not separate exceptionally well when elements are bundled together, it still does better than FH3.
Based on the benchmark, I give OLA between 3.5 and 4.5/5, depending on the songs.
Tonality: 3/5
Frequency response graph, courtesy of Super* Review at Squig.Link)
I was disappointed when listening to OLA the first time. In my impression, I stated that the contrast between upper mid and lower-mid is relatively high compared to the manufacturer's graph, meaning vocals and instruments are more "in-your-face" but not full-bodied like Final E series, 64 Audio or Andromeda 2020. After weeks of listening and testing, I still have the same opinion.
To be clear, OLA is not a poorly tuned IEM. The instruments and vocals are relatively natural, with no harsh peaks. I believe some would even consider this IEM to be well-tuned, given how perfect it executes the ear gain region.
My issue with OLA is with the area below 1khz. OLA loses richness and details in that region by dipping the fundamental tones. This issue also impacts the soundstage depth. To verify this hypothesis, I use a simple graphical EQ to cut 2.4khz and 4.8khz by 2.5db and boost the lower-mid to match the curve of Final E5000. Lo and behold, the voicing becomes realistic, and depth is created correctly. In this configuration, I have no problem rating OLA's stereo imaging as 5/5, matching my Andromeda 2020.
In summary, OLA is a fashionably tuned IEM that is not bad on its own, but EQ is highly recommended. Thus, I rate it 3/5: average.
Conclusion and Personal Preference: 4/5
I give OLA 4/5. I appreciate what Tanchjim has done with stereo imaging, and I hope they know how to repeat that success. I also hope that they further improve these drivers and put them in better shells, like a new Hana or a new Oxygen. If Tanchjim also boosts the lower mid, I believe such IEM would be an end-game worthy for many.
Upgrade path
Should you get OLA if ...
- *you have no IEM?*: Yup. It's great, but you need to learn how to wear IEM properly and get ready to explore ear tips.
- *you have a not-so-great budget IEM?*: Yup. Same as above.
- *you already have something decent like Aria?*: If you don't want to EQ, then yes. The famous trio (Aria, Titan S, T3+) does not give you this kind of stereo imaging due to their tuning.
- *you already have Blessing 2 or higher-end IEM?*: Nope. You can use EQ to increase the soundstage depth. Blessing 2 sounds quite 3D with some added lower-mid and reduced ear-gain.
- *you want head-shaking, thick, boomy sound?*: Nope.
Where to go from OLA:
- More clarity? ER2SE/XR, Blessing 2, Andromeda 2020
- More immersive soundstage? Andromeda 2020 or E5000
- More impactful bass? E3000 or E5000
Ichos
Very detailed review, well done!
tl;dr: A relic of a (hopefully) bygone era. Surprisingly, it has some positive aspects, such as above-average separation and percussion control. However, and luckily, you can get much better stuff for the same price nowadays. Hard pass unless you are very curious.
Preample
- I purchase this unit on my own. I have no affiliation with or financial interest in KZ.
- All listening tests were conducted at around 65 dB.
- My music library covers nostalgic pop music, epic orchestral music from Sci-fi shows, classical violin performances, piano, lo-fi beats, and a few rock songs.
- What I look for in IEM, in order of importance: a strong sense of depth with elements in a mix layering from closer to further away, clear separation between elements, detailed and textured elements, snappy and tactile note attacks in bass and midrange, natural timbre.
- IEMs are rated with a series of A/B tests against a few benchmark IEMs. The total rating is the average of component ratings. EQ is NOT used in these tests. See the methodology for more detail.
- Eartips can change the insertion depth of an IEM, which in turn changes its soundstage and frequency response. I try to insert IEMs to rest against the concha of my ears unless indicated otherwise.
Non-sound aspects
KZ ZSN Pro X must be one of the most accessible and (in)famous IEMs in the audiophile world. Amazon carries them. DankPods recommends them. Audiophiles dread them. So, how good (or bad) are they, really?
First thing first, what is KZ ZSN Pro X? It is a hybrid IEM with a 10mm dynamic driver and a balanced armature driver. The dynamic driver handles bass and mid, whilst the BA driver delivers high frequency. So, you know which one to blame for that piercing treble response.
Accessories:
- 4 pairs of ear tips
- 2-pin QDC-type cable
- I use the box as the carrying case
Fit-wise, you can choose at least three insertion-depth when wearing ZSN Pro X due to their long nozzles. Deeper insertion gives you a bit more detail whilst reducing soundstage width.
Sound Analysis
This table shows the results of A/B tests between ZSN Pro X and the benchmark IEMs. +1 means the KZ wins. -1 means the KZ loses. 0 means draw. Some tests are too one-sided that I can reach conclusions without further tests.
Note: extra tests against FH3 were conducted during the write-up of this review. The table has not been updated to include these results.
Percussion Control: 3.5/5
Percussion control reflects an IEM's ability to render drums and other instruments that maintain the rhythm and tempo. IEMs with good percussion control can keep up with fast and complex rhythms without blurring the beats together. IEMs with excellent percussion control give a tactile "snap" to percussion attacks. Percussion control is determined by both bass and treble.
Songs used for A/B tests:
- MS Gundam: Iron-blooded Orphans (1:10 to 1:35): focus on the timing and composure of the bass line during busy section.
- INFINITY (0:40 to 1:05): focus on the timing of bass and cymbal.
- Imperial March (0:00 to 0:45): focus on the timing of percussion and double bass.
ZSN Pro X is surprisingly decent at percussion control. I was surprised that bass does not bleed into the mid, giving ZSN Pro X a clean and lean presentation. Drum hits, such as in INFINITY, are snappy and "fast", perhaps due to the excessive treble energy.
However, the drum hits do not feel impactful. Despite having a lot of mid-bass in the graph, ZSN Pro does not have a loud "thump" sound of drums. It also does not produce rumbles and physical sensations in your throat like other IEMs with great sub-bass extension.
Speed-wise, ZSN Pro X was also responsive enough to keep up with the Imperial March's marching rhythm and the complex drum lines in MS Gundam: Iron-blooded Orphans.
Comparison against benchmark IEMs:
- Vs EarPods (1/5): ZSN Pro X wins hands down. It renders drum lines much cleaner.
- Vs Aria (3/5): Aria might be more impactful, but ZSN Pro X is better at the clarity of the drum lines. As we are evaluating percussion *control*, KZ wins this round.
- Vs ER2SE (4/5): Speed vs speed. ZSN Pro X is more or less in the ballpark with ER2SE, but it is slightly worse in rendering the rhythm lines led by string instruments, so ER2SE wins this round.
From the comparison, I found that ZSN Pro X is somewhere between Aria and ER2SE levels in percussion control. So, I give it 3.5/5.
Detail, Texture, and Micro-dynamic: 2.5/5
Detail, Texture, and Micro-dynamic reflect an IEM's ability to render fine details in individual elements of a mix. IEMs with excellent detail retrieval render vocal and instruments clearly and reveal small details such as breaths, small vibratos, and the subtle reverb at the end of a musical phrase. They can make the violin section in an orchestra sound like a collection of violins playing together rather than a blob of sound. They also render background elements such as backing vocal and orchestra clearly.
Songs used for A/B tests:
- I have a dream - remix (0:50 to 1:20): focusing on small elements and backing vocal in the background of the mix.
- Memories (0:00 - 0:21): focusing on the texture and micro-details of the guitar.
- My Heart Will Go On (0:00 to 0:40): focusing on the texture and micro-details of the voice, especially the last words of each phrase.
The details and textures that ZSN Pro X manage to pull out of elements in a mix are middling. However, it avoids the overly smoothened vocal and instrumental sound that some BA-based IEMs have.
Comparison against benchmark IEMs:
- Vs EarPods (1/5): ZSN Pro X extract more details and texture from vocal and instruments than EarPods.
- Vs FH3(2/5): ZSN Pro X does not have that overly smoothened, untextured sound in the midrange of FH3.
- Vs Aria (3/5): Aria is simply more detailed and textured than ZSN Pro X. The differences are apparent in the Memories and My Heart Will Go On.
I found that ZSN Pro X is somewhere between FH3 and Aria based on the comparison. So, I give it 2.5/5
Separation and Layering: 3.5/5
separation and layering reflects an IEM's ability to render elements in a mix distinctively. IEMs with excellent separation and layering can separate elements from left to right and from front to back, minimising the overlap between them.
Songs used for A/B tests:
- And the waltz goes on (0:50 - 0:15): focus on the layering and separation of the instrument.
- Beethoven Symphony No. 5 Mvmt 1 (0:00 to 0:30): focus on the sharpness of instruments, layering of woodwind over the string, and the panning of string from right to the left channel.
- Waltz 2 (0:35 - 1:00): focus on the separation and layering of woodwind over string over percussion.
Surprise surprise: ZSN Pro X is actually decent at instrument separation.
Elements in a mix sound thinner and, therefore, more separated on ZSN Pro X. However, the actual ability of the IEM to render overlapping elements in a mix is only mediocre.
Comparison against benchmark IEMs:
- Vs Aria (3/5): "And the waltz goes on", and Symphony No. 5 sound cleaner and more separated on KZ.
- Vs ER2SE (4/5): When comparing against a similarly lean sounding IEM, ZSN Pro X is no match.
Based on the comparison, I found that ZSN Pro X is somewhere between Aria and ER2SE. So, I give it 3.5/5
Spatial Illusion: 2.5/5
Spatial illusion reflects an IEM's ability to construct an imaginary sound field around a listener's head. IEMs with excellent spatial illusion create a dome-like and open soundstage around the listener's head.
Songs used for A/B tests:
- Danger Zone (0:00 - 0:50): focus on the centre of the soundstage to see how much it is pushed away from the head.
- Presto (0:00 to 0:40): focus on the reverb. Does it wrap around the head or appear inside the head?
- Shaker test: for drawing out the overall shape of the soundstage.
The soundstage width of ZSN Pro X is as you expect from an IEM. The depth, however, is a bit lacking. Elements in the centre channel might appear in your face rather than in front of you.
Comparison against benchmark IEMs:
- Vs FH3(2/5): Same width, but better depth on KZ. The stage on KZ is not pushed in the listener's face as much as FH3.
- Vs Aria (3/5): Same width, but less depth. ZSN Pro X cannot create a dome of reverb sounds around the listener's head like Aria and other IEM with decent depth.
Based on the comparison, I give ZSN Pro X 2.5/5
Tonality: 1/5
Tonality reflects the timbre and relative loudness of different elements in a mix. I assess IEM's tonality based on how bad they are rather than how good they are. As long as the tuning does not make timbre unrealistic nor reduce technical performance significantly, it is acceptable.
ZSN Pro X does a reasonable job in the bass and midrange region. It traces the frequency response of Aria reasonably. This KZ IEM is not well-tuned, but it certainly does not sound muddy or bloated.
The critical weakness of ZSN Pro X is the treble. This IEM gives all vocals and instruments a metallic timbre that is unnatural and unpleasant.
To make the matter worse, KZ's treble is also "spiky", meaning some high notes are much louder than others. Therefore, it is hard to turn the volume up without hurting your ears.
Comparison against benchmark IEMs:
- Vs Apple EarPods (2/5): Wired earbuds from Apple has more pleasant tonality than KZ, despite being more muffled in the midrange. At least, EarPods does not hurt your ears.
- Vs Aria (3/5): Aria is much smoother in the treble region. Therefore, it gives a more natural timbre, and you can turn up the volume without any issue.
Because of the stated problems, ZSN Pro X has 1/5 in tonality.
Personal Preference 2/5
Personal preference is my entirely subjective and personal opinion about an IEM, based on multiple factors. This score DOES NOT contribute to the rating of an IEM.
I appreciate these IEMs for what they represent: a push for more budget-friendly in-ear headphones with exciting technologies.
On some aspects, I think ZSN Pro X was successful. It stomps those bullet-style, cheap earphones in supermarkets and bookstores on both sonic performance and build quality.
With that being said, I find these IEMs uncompelling and, sometimes, uncomfortable. Therefore, I give ZSN Pro X 2/5 in personal preference.
Upgrade path
Should you get ZSN Pro X if ...
- No. There are better options out there nowadays, even from KZ and CCA.
Where to go from ZSN Pro X if you want ...
- all-rounder on a budget: Dunu Titan S
- all-rounder with a larger budget: Blessing 2 / Blessing 2 Dusk
- properly done warmth: Final Audio E3000 / E5000
- more transparent sound and soundstage: Final Audio A4000
nicksson
Nice, elaborated and instructive work.
tl;dr: The best description of Titan S is that it sounds right: timbre is realistic, frequency response is not too warm nor cold, separation and micro-dynamic are adequate, drums are adequately tactile and snappy. The key limitation is that it does not sound special: no extreme detail, no exaggerated soundstage, no epic bass. Still, it represents excellent value and an excellent beginning of an IEM journey.
Preambles
- I purchase this unit on my own. I have no affiliation with or financial interest in Dunu.
- All listening tests were conducted at around 65 dB.
- My music library covers nostalgic pop music, epic orchestral music from Sci-fi shows, classical violin performances, piano, lo-fi beats, and a few rock songs.
- What I look for in IEM, in order of importance: a strong sense of depth with elements in a mix layering from closer to further away, clear separation between elements, detailed and textured elements, snappy and tactile note attacks in bass and midrange, natural timbre.
- IEMs are rated with a series of A/B tests against a few benchmark IEMs. The total rating is the average of component ratings. EQ is NOT used in these tests. See the methodology for more detail.
- Eartips can change the insertion depth of an IEM, which in turn changes its soundstage and frequency response. I try to insert IEMs to rest against the concha of my ears unless indicated otherwise.
- You can read the full article on my website.
Non-sound aspects
Dunu announces Titan S by the end of 2021. It seems to replace the Dunu DM-480 as the most budget-friendly option in their current lineup.Titan S is equipped with a single 11mm dynamic driver. Unfortunately, it does not use the ECLIPSƎ technology featured in other DD IEM from Dunu, such as Luna, Zen, and Falcon Pro.
Titan S comes with a lot of accessories:
- 10 pairs of ear tips: they have different heights, which can change the distance between the IEM and your ear and impact the soundstage.
- Carrying case: good quality, but quite flat. You have to be careful when putting the IEMs in because their nozzles might prevent closing the case.
- 2-pin cable: very soft and well-behaved. The 2-pin side matches the design of the IEMs, so changing the cable might not be a good idea.
Design-wise, Titan S has a unique look. However, it does not look as good in real life as 3D renders. Its angles are not as defined, the ridges of the IEM and the cable do not match exactly, and there is a seam line going down on the side of the IEM. On the plus side, the metal seems strong and does not use any paint. Thus, chipping and bubbling might not be an issue.
Fit-wise, Titan S has at least three insertion depths due to having long nozzles.
The blue eartips give you the shallowest insertion, with the IEMs resting at the outer edge of your ear canal. The red eartips allow for a medium insertion depth. The small white eartips allow for deep insertion, similarly to Etymotic IEMs. In this position, Titan S rest against the concha of my ears.
The deeper your fit is, the more clarity and detail you get at the expense of soundstage. In this review, I use the medium insertion depth.
Sound Analysis
This table shows the results of A/B tests between Titan S and other IEMs. 1 means Titan S wins. -1 means Titan S loses. 0 means draw. Some tests are too one-sided that no further tests are required.
Percussion Control: 3.5/5
Percussion control reflects an IEM's ability to render drums and other instruments that maintain the rhythm and tempo. IEMs with good percussion control can keep up with fast and complex rhythms without blurring the beats together. IEMs with excellent percussion control also gives a tactile "snap" to percussion attacks. Percussion control is determined by both bass and treble.Song list:
- MS Gundam: Iron-blooded Orphans (1:10 to 1:35): focus on the timing and composure of the bass line during busy section.
- INFINITY (0:40 to 1:05): focus on the timing of bass and cymbal.
- Imperial March (0:00 to 0:45): focus on the timing of percussion and double bass.
A strength of Titan S is the way it renders percussion instruments. It does not mean that Titan S has loud bass. Instead, it offers the proper ratio of sub-bass (rumble), midbass (punch), and treble around 4-6k (attack) to make drum hits snappy and energetic yet clean.
It has no trouble keeping with the chaotic sections from 1:10 to 1:35 in MS Gundam: Iron-blooded Orphans and 0:40 to 1:05 in INFINITY. The low-end and high-end percussion hits remain distinctive and rhythmic with the minimal mushiness.
Comparison against benchmark IEMs:
- Titan S renders percussion instruments similarly to ER2SE but louder and a bit more tactile, meaning you feel the hits in your eardrums more.
- Titan S renders drum hits cleaner and snappier than Aria. As a result, it remains more composed in difficult percussion sections.
- Titan S is one step behind FD5 in terms of energy and the physical impact of percussion instruments.
Detail, Texture, and Micro-dynamic: 3.5/5
Detail, Texture, and Micro-dynamic reflect an IEM's ability to render fine details in individual elements of a mix. IEMs with excellent detail retrieval render vocal and instruments clearly and reveal small details such as breaths, small vibratos, and the subtle reverb at the end of a musical phrase. They can make the violin section in an orchestra sound like a collection of violins playing together rather than a blob of sound. They also render background elements such as backing vocal and orchestra clearly.Song list:
- I have a dream - remix (0:50 to 1:20): focusing on small elements and backing vocal in the background of the mix.
- Memories (0:00 - 0:21): focusing on the texture and micro-details of the guitar.
- My Heart Will Go On (0:00 to 0:40): focusing on the texture and micro-details of the voice, especially the last words of each phrase.
Titan S is average at detail retrieval and micro-dynamic. The vocal and instruments do not feel overly smoothened. At the same time, it does not stand out in this aspect.
If I have to nitpick, I would say Titan S is a bit lacking in terms of the subtle reverb and decay at the end of notes. Luckily, it has a lean and revealing tuning, so this limitation does not stand out unless you look for it.
Comparison against benchmark IEMs:
- Titan S sounds a bit more revealing than Aria due to the tuning. However, Aria does a bit better in the subtle reverb and decay at the end of notes. The A/B tests show that Titan S wins, but I would not purchase based on this slight difference.
- Titan S has no chance against Blessing 2, which has similarly lean tuning and better micro details. Of course, Titan S would also lose to ER2SE, which trades blow with Blessing 2 on this aspect.
Separation and Layering: 3/5
Separation and layering reflects an IEM's ability to distinctively render elements in a mix. IEMs with excellent separation and layering can separate elements from left to right and from front to back, minimising the overlap between them.
Song list:
- And the waltz goes on (0:50 - 0:15): focus on the layering and separation of the instrument.
- Beethoven Symphony No. 5 Mvmt 1 (0:00 to 0:30): focus on the sharpness of instruments, layering of woodwind over the string, and the panning of string from right to the left channel.
- Waltz 2 (0:35 - 1:00): focus on the separation and layering of woodwind over string over percussion.
Titan S is average at separation and layering. It renders elements in a mix with minimal blending and overlap. The stage remains organised when the music gets busy.
The limitation is that it does not layer well. For example, it fails to distinct orchestral sections in And the waltz goes on (0:50 - 1:15) because this piece does not spread elements from left to right but layers them up from closer to farther at the middle of the stage.
Comparison against benchmark IEMs:
- Surprisingly, Titan S does not do better than Aria at separation and layering, despite having a leaner tuning.
- Titan S is entirely outclassed by Blessing 2 and FD5, which can actually do the layering in And the waltz goes on.
Spatial Illusion: 3/5
Spatial illusion reflects an IEM's ability to construct an imaginary sound field around a listener's head. IEMs with excellent spatial illusion create a dome-like and open soundstage around the listener's head.
Song list:
- Danger Zone (0:00 - 0:50): focus on the centre of the soundstage to see how much it is pushed away from the head.
- Presto (0:00 to 0:40): focus on the reverb. Does it wrap around the head or appear inside the head?
- Shaker test: for drawing out the overall shape of the soundstage.
The soundstage of Titan S is average in the world of IEM. It's not surprisingly bad but does exceed the expectations of a vented IEM.
The soundstage width of Titan S varies from medium to wide, depending on your insertion depth. The soundstage depth is not exceptional. The stage does not feel wide open like other semi-open IEMs. The whole soundstage is slightly pushed away from the head, so the music does not sound inside your head.
Comparison against benchmark IEMs:
- Titan S soundstage is more or less the same as Aria.
- Due to the lack of depth, Titan S is entirely outclassed by Blessing 2 and FD5.
Tonality: 4/5
Tonality reflects the timbre and relative loudness of different elements in a mix. I assess IEM's tonality based on how bad they are rather than how good they are. As long as the tuning does not make timbre unrealistic nor reduce technical performance significantly, it is acceptable.Titan S sounds *right*. Vocal and instruments sound natural and have appropriate weight. I did not hear any honkiness or nasally tone. Titan S does not have an overly lean tonality, but it is undoubtedly less warm than expected. The biggest praise I can give Titan S is that I haven't found the need to EQ it. Not even adding a bass shelf.
Comparison against benchmark IEMs:
- Titan S is leaner and cleaner than Aria.
- Titan S's tuning is closer to Blessing 2.
Upgrade path
Should you get Titan S if ...
- you have no IEM? Get it. It presents excellent value and shows you how a competent IEM should sound. From there, you can branch out and find the signature that you like.
- you have a not-so-great budget IEM? Get it. Same reasons as above.
- you already have something decent like Aria? Saving up for something better instead. You don't gain much with Titan S, except better cable and perhaps more durability.
- you already have Blessing 2 or higher-end IEM? If you want to write a review, then yeah, get one.
- you want head-shaking, thick, boomy sound? No. Titan S does not offer that kind of sound signature.
Where to go from Titan S?
- More clarity? Moondrop Blessing 2 / Blessing 2 Dusk or Etymotic ER2SE
- More immersive soundstage? FD5 and Final A4000
- More impactful bass? FD5
Fahmi Misbah Bangsar
missing some words here , referring to what i wrote . correction .
" Hi There , i have T2 plus and my current favourite "is HZ HeartMirror ".
and typo "NM2"
" Hi There , i have T2 plus and my current favourite "is HZ HeartMirror ".
and typo "NM2"
o0genesis0o
@Fahmi Misbah Bangsar: thanks for the question. I have two points to raise:
- If you already have T2+, then you fall into the "you already have something decent like Aria?" camp, thus getting Titan S will not get you much.
- If you like bright signature with great separation and layering, Titan S also does not give that to you. The best one on a budget that I know is Final Audio A4000. I did a series of A/B tests against Campfire Andromeda 2020, 64 Audio U6t, U12t, and Tia Fourte, and the A4000 stood its ground nicely in terms of soundstage, separation, and treble extension. The key advantage of the much more expensive ones is warmer and more comfortable sound signature.
