TANGZU Wan'er S.G
HiFi 10mm Dynamic Driver PET Diaphragm in Ear Earphone

• 10mm Dynamic Driver, Remarkable Performance
• Dual Cavity Chamber, Fine Tuning
• Durable & Reliable 0.78mm 2Pin 5N OFC Cable
• Ergonomic Shape, Comfortable Fit

$19.00
https://www.linsoul.com/products/tangzu-waner-s-g?variant=43530411180249

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena of Linsoul for the love and the TANGZU Wan'er S.G Universal IEM review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm and 3.5mm

Driver 10 mm dynamic driver
Distortion Rate <0.5%
Sensitivity 107dB (1kHz)
Channel Difference 1dB (1kHz)
Impedance 20 ohm
Frequency range 20-20kHz
Cable Material 5N OFC 4 braid 38 wire (0.05)
Cable Length 1.2m± 5%
Interface 0.78mm 2Pin Connector

What’s in the Package
Wan’er S.G IEM
5N OFC Cable
Cleaning cloth
3 pairs of Silicon ear-tips (balanced)
3 pairs of Silicon ear-tips (vocal)




TANGZU:
While I have only had the opportunity to hear one other TANGZU product, it was a doozy! That’s right, probably my favorite Planar IEM out of 10 Planar IEMs in my possession. Now at first that single fact may not resonate upon reading it. The best of ten? That means all year long additions of Planar IEMs examples and 8 reviews written about them. While the ZETIAN WU isn’t the most analytical it is definitely musical.

https://www.head-fi.org/showcase/th...ar-in-ear-monitors.26114/reviews#review-29383

To make a long story short there is also a new version of the ZETIAN WU where they tuned the frequency response to provide a slightly more even (not so V shaped) character. So simply taking off a little from the treble and a little from the bass possibly offers more view into the midrange, I don’t know I haven’t heard it. But that’s a pretty good explanation of what is going on. Today I am challenging the Wan’er S.G IEM against a legend, the Salnotes 7Hz Zero. But I may be a little late to the party? Who knows? Maybe not? Probably still, these two are still totally competitive and at battle. While Salnotes really offered the world a new idea of quality in sound for the under $20 realm, the Wan’er S.G IEM is doing exactly the same. Only some places now offer the Salnotes 7Hz Zero for a new price of $24.99, the Wan’er S.G IEM remains true to that wonderful under $20.00 price point. Years and years of passed since the value sector of the industry started to show just what could be acquired for under $20.00. To be honest I left that exact value segment in 2019, as I thought I was too good for it. But just like it can, the value segment started to pull me back in. Stories of great sound and little cash expenditure perked my interest. Not to bore you but looking at my list of equipment, I have had a history going as far back as 2010 when I started to truly find love in cheap IEMs. And while the Wan’er S.G IEM is not perfect, it does summersaults which endear it, somehow wiggling into the limelight............being just what you want for $19.00, providing a sound to enjoy your afternoon by.


The Salnotes 7Hz Zero IEM v The Wan’er S.G IEM

First you’ll note how the Pinna gain arrives at 2.5 kHz instead of like the Zero at just short of 3.5 kHz. This may not look on the surface to be a big deal, yet this is exactly where our hearing is most sensitive. Little changes in the pinna gain area affect how the whole signature is ultimately perceived. And I took time comparing the two way before seeing how it plays out on this graph. In hearing it almost sounds like the midrange is brighter or slightly more forward and in contrast to the slightly more sleepy ways of the Zero. While the amount of frequency is similar on both, note how the The Wan’er S.G IEM is just slightly bigger covering more ground. That’s kinda how I hear it…..less laid back. Then the second treble peak for the The Wan’er S.G IEM at 8 kHz, where the Zero takes until 10 kHz to peak. And while the after 10 kHz is debatable as to accuracy, the Zero has way more playful itemizations of trebles going-on, and that is exactly what you hear. In fact my main take-away from my first listening secession was the fact that I called it “typical for the price-range” treble details. Remember too, that this style of perception depends deeply on what IEMs you were listening to prior. And in fact that first impression of the The Wan’er S.G IEM was after using more expensive IEMs with a more involved treble and enhanced dexterity in high-pitched playback. Yet I was right regardless of prior exposure, that if anything we still have the 6 kHz anti-sibilance dip, and graphically the Zero and the The Wan’er S.G IEM are almost the same when it comes to bass. But is it in reality?



Bass:
The Wan’er S.G IEM v The Salnotes 7Hz Zero IEM
First off the Wan’er S.G is slightly more efficient which makes comparisons more difficult, but with the included bass it comes off about the same quality. Really though, in the end the Wan’er S.G is slightly more vibrant. Moving the two peaks of the Wan’er S.G’s output to the left increases what almost could be interpreted as brightness? While it’s interesting as the main issue people have with the Zero is it’s lack of bass presence. In my Zero review I still enjoyed the bass playback, while the bass in general (while still there) but is not the main focus of the replay, where it’s more about how the Zero does midrange which is so captivating! And.......the same goes for the Wan’er S.G, only it’s midrange happens to come-off even more vivid, which in the end sounds almost like a clearer IEM……….almost?

Midrange:
The Wan’er S.G IEM v The Salnotes 7Hz Zero IEM:
The mids are where 80% of the information is, in fact little is often talked about the importance of midrange as often bass artifacts or treble artifacts remain of higher noticeability. Meaning often the midrange is just a given that it’s there and doing its job. When in fact that job is in reality the whole sound almost of what the IEM is doing. The character of the mids is behind the scene and of less noticeability, because in reality it’s bigger and takes more precedence, but there is less you can do with it and get away! Where giant treble shelfs get interjected into the highs, or tremendous bass excursions get brought into play............there is simply a more critical and less flexible area inside of the pinna gain due to its inherit sensitivity to any change. The other ways change is brought about is the relationships to bass and treble energies and to the effect which they are perceived in relationship the pinna gain. So it can be put into less dominance through extra energies in the treble/bass. Here regardless of those factors the actual midrange itself (in a way) are almost identical. It’s really the 2 kHz to 17 kHz range where these two (slightly) pull apart, yet of course that upper Wan'er S.G (treble) area is emits far less persuasive energies into the mix, in relation to the pinna gain area. Such upper treble energies could almost be looked at as jewelry in affect, they add a tone but it’s ornamental at best and often lacking any emotional connection like you would find with-in the midrange. And of course this isn’t always the case, as some super bright IEMs challenge the midrange for emotional movement as do bass heavy IEMs, which create a fuss no matter what music is playing due to heavy bass influx.

Treble:
The Wan’er S.G IEM v The Salnotes 7Hz Zero IEM:
Laughably the treble (while tuned down to equalize volume) is dramatic to the point of almost calling the Wan’er S.G the better IEM. There is not a lot of difference in the way-up-top extensions, except that 8 kHz to 10 kHz difference in cymbal tone. Where as far as clarity goes I would almost give it to the Wan’er S.G here. Why? Because the replay is slightly more forward both in imaging and in attack and decay, the sound is absolutely more vibrant and clear.

Soundstage:
Staging..........while the Wan’er S.G offers an up-close rendition, such differences are neither good or bad as far as image placement. Is it different, absolutely, does it matter? In whole the Zero is slightly more laid back on all fronts, exuding a slightly more forgiving stance, yet if vibrancy is what floats your boat choose the Wan’er S.G as it delivers that on a different level, despite the similarities graphically.

Pace:
Both IEMs do well with pace, which is understandable with how the emphasis is not on the low notes, here we are gifted a faster mid-centric sound which prevails due to good separation and imaging into the stage. Musical elements are introduced and pulled away fast due to the dexterity of the enclosed single full-range driver.

Conclusion:
In so many ways this came as a surprise. Not by first listening to the Wan’er S.G, but after setting-up side-by-sides the truth in contrasts between the Zero and Wan’er S.G started to emerge. While at first more similar than apart, after many many back and forth movements a climax in understanding was achieved, seemingly a clearer picture of this sonic reality. The Wan’er S.G? Well you maybe don’t need me to recommend it as a few others have beat me to the point here? But just incase you are curious…….yes, by all means yes. Get it, especially if you don't already have the 7Hz Salnotes Zero.

TANGZU have slightly reinvented the wheel, they have beat Salnotes at their very own game. TANGZU have gone and disrupted the market that 7Hz Salnotes disrupted a few months ago. Seemingly overnight this new player gains credibility and confidence justly deserved due to playback. Add exceptional build and fit and we now have a stone-cold deal. Does it really matter if you already have the 7Hz Zero? Yes, and no. Yes, because the vibrancy is real…….no because if you are short on funds they almost do the same style of replay. Meaning they are closer together in more ways than they are different. But if you have an extra $19.00 laying around and wanted to place it towards audiophile endeavors, I am not sure I have found a better tune to throw money at?

Extras:
Build:
Three piece construction afforded by a resin shell with a metal nozzle. Such metal lips hold tips on wonderfully. Weighing in at only 4 grams a piece (compared to the 6 gram Zero) they are the perfect size and shape. And while not necessarily the most expensive looking build, they have a 3D quality where they have incased these gold inner markings. These strange marking at the tip of the faceplate and center area of the faceplate (as shown in the pictures here). The inner-driver mechanism is encapsulated in gold finish and two separate air-vents make themselves noticeable on the back side. There is a set-back fine mesh-screen which is set-back inside of the nozzle. There is a protruding qdc style two pin mount which still accepts any style of 0.78 2 pin required. The 5N OFC cable is the usual expected in this style of package, yet you may find sonic upgrades with aftermarket cables. The main reason I chose an aftermarket cable is to access the 4.4mm balanced out put of both my WM1A and Sony WM1Z DAPs. And while the Wan’er S.G was fine from a phone, noticeable up-scaling took place when joining in with a better source.



Cable:

Packaging:

Seriously?
What more could you ever ask for at $19.00? Oh a better tune, nope the Wan'er S.G has that too. More ear-tips? Please.......just look at them. All and all it is a very carefully constructed ear-phone with a great assortment of adds.

The TINHIFI T2 MKII
Redcarmoose Labs February 17th, 2023

You know I would like to say the T2 MKII brings back memories, or something remotely romantic, to find a way in, a way into liking it? I mean that is what TIN HIFI obviously is trying to do right, reintroducing a model of IEM that was popular in 2017? Hoping and betting on the chance that you may remember the T2 from way back when, before when the original T2 was famous, and carried that respect that comes from notoriety found amongst the in-ear world. In truth I have a long relationship with TIN HIFI, as such I have reviewed over my fair share of their music makers…….

The TINHIFI T5 May 7th, 2021
The TINHIFI T1S April 26th, 2022
The TINHIFI Giant Panda Planar April 28th, 2022
The TINHIFI Tin Buds TWS June 24th, 2022
The TINHIFI T2 DLC October 20th, 2022
The TINHIFI C2 January 10th, 2023
The TINHIFI T4 PLUS January 11th, 2023
The TINHIFI C3 January 20th, 2023
The TINHIFI C5 April 20th, 2023
The TINHIFI C0 ELF October 17th, 2023
The TINHIFI T5S February 4th, 2024
The TINHIFI T2 MKII February 17th, 2024

So you can see I just reviewed the expensive T5S just recently. Yet I have to say the two IEMs, the T2 MKII and the T5S seem to be manufactured by two completely different companies. As you can see the T5S was a bold departure from the house sound of TINHIFI. Now some claim that it sounds a lot like the recently released C3, and even though it may measure somewhat close to the C3, it sounds way better to my ears. I mean sure the T5S is a 129.99 TOTL IEM, the best the company TIN can do, and it fact I recently way after the review was written and posted.......found a great aftermarket cable which further took the T5S to an amazing self-actualized place, a place that in reality asks for more listening time.


https://www.head-fi.org/showcase/tinhifi-t5s.26981/reviews#review-32891



All I’m saying here with this past T5S review and right at this moment is that TINHIFI knows how to tune an IEM, for me anyway? My first example of TINHIFI’s work was the original T5 (shown graphically) which totally bombed in my eyes. In fact Linsoul dropped me from the review program for about a year due to my honest 3 out of 5 review……..and whatever, I mean I just said what I thought. After my year in purgatory they let me review IEMs again. And whatever….the TINHIFI T2 MKII is going to get another 3 star review here. How could it not, how?



TINHIFI T2 MKII
HIGH-DEFINITION BALANCED HI-FI IEMS

• Neutral Promotion for Unbiased Sound
• Balanced Adjustments for Original Audio Signal
• Coaxial Dual Driver Design
• Composite Diaphragm for Supernatural Performance
• Lightweight Aluminum Build for Comfort and Durability
• Premium MMCX Cable
• Outstanding Ergonomics with Circular Deep Fit Design

Price USD $59.00 USD

Now the scary part is it is relatively expensive for what you get. Meaning I have tried to embellish the T2 MKII, making sure I report to the very best of my subjective/objective observations here? You see, IEMs are always a matter of subjective opinion. When we are forwarded these things at no cost some folks get their underwear in a bind thinking that our reviews are going to be biased to positive thoughts only cus we got a free gift. But the reality is the more IEMs I review the easier it is to judge them, and truly I don’t care what anyone thinks as these are simply my ramblings here, for better or worse.

The review process:
I have had the T2 MKII for a whole month, during that time they spent over 100 hours on the burn-in machine, they have been tried with multiple DAPs, some bright, some bass laden and dark and one with a subtle M shape signature. I have used various ear-tips including the regular wide-bore ear-tips, and the DIVINUS VELVET EARTIPS……I tried it all to come-up with sound performance quotas.

Packaging:

Build:
Interestingly these are actually a subtly different build from my history with the brand, thus holding that barrel shape of the original T2, except having extra additional form-factors added, by looking at photos. Where the T2 DLC almost looks exactly like the original T2 as seen in these comparison photos. And the totally strange thing is TIN HIFI went with MMCX with this MK II this time for the cable connections. Also in the end, the build shows many small flaws I have never encountered from TIN. As such you can see the rough edges to the connection site, like the form was all new and difficult to get polished right on this model? Where if you take the time to look at my past reviews there is better construction outcome with the finish……and even that new MMCX device placement seems to be used to adapt the MKII’s new design look to fit more people? What I am saying is from using the T2 DLC IEM, it seems this new design is a step backwards in comfort, with me shaking my head, especially wondering why MMCX was chosen, and the fact that there is a total departure from the original ergonomics that lead to the original T2 success.


Above the original TinAudio T2 (now with MMCX removed) https://www.linsoul.com/products/tinhifi-t2

Below the TINHIFI T2 DLC


Sure I have never heard the original, except I understand enough about this IEM business, that if you create a 2017 revolutionary sound and combine that with a 2017 memorable (and comfortable) shape, at the original price of $49.90…..you will maybe create market disruption, if marketed right? Though the original T2 was MMCX too. Yet the original T2 has 15 reviews here at Head-Fi and over 115,000 views. I probably just need to hear a pair as my curiosity really is getting the best of me, and they still sell them for $65.98………………….do they even sound better than this new model or have time passed them buy? I will reiterate that plenty of better sounding IEMs have surfaced, and this is way past any subjective listening ideas on my part. Stuff that is in the $20.00 to $30.00 range that simply blows the T2 MKII out of the proverbial water! Let’s list a few just to pour a little more salt into the wound, shall we?

https://www.head-fi.org/showcase/7hz-x-crinacle-zero-2.26878/reviews#review-32694
https://www.head-fi.org/showcase/ziigaat-nuo.26845/reviews#review-32542
https://www.head-fi.org/showcase/kiwi-ears-dolce.26577/reviews#review-31478
https://www.head-fi.org/showcase/tangzu-princess-chang-le.26529/reviews#review-31342
https://www.head-fi.org/showcase/tinhifi-c2.26227/reviews#review-29951
https://www.head-fi.org/showcase/tangzu-waner-s-g.26236/reviews#review-29952
https://www.head-fi.org/showcase/7hz-salnotes-zero-universal-iem.25980/reviews#review-28978

So this simply is a list a quick put together to help someone who was looking for sonic value in the world of entry level IEMs, entry level audiophile IEMs, no doubt. And these options are not just mine, as this list has a few legends, like the 7Hz Salnotes Zero MK1 and MK2. The Tangzu Waner SG, and even the TINHIFI C2, surprisingly enough?

And just look at the C2?
Maybe the design is for 14 year old boys, but this IEM is sturdy and sounds great, a far cry from what we have here, in fact it follows accepted and understood tuning philosophies.

Sure I’m trying to stay brand loyal here, but also keep it in reality, the T2 MKII simply doest have enough bass to make this work-out under any stretch of the imagination. I’m not being biased here, get the C2 instead.

$29.00
https://www.linsoul.com/products/tinhifi-c2

Top row C2, C3
Bottom row T2 DLC and T4 PLUS

Conclusion:
All I’m saying is TINHIFI knows what is up, now sure there could in fact be those who want a lean, vocal centric style of playback, yet even then the midrange the 7Hz Salnotes Zero 2 has………..its better separation and 3D charm, and does vocals well. So? This is not 100% my opinion just because I like bass, but I do like bass, and it is missing here.


$59.00 Your choice of silver or gray.
https://www.linsoul.com/products/tinhifi-t2-mkii

Also if you want to know what TINHIFI is up to recently check out my review of the T5S, truly the best I ever heard from this brand, and yes, it is smooth and performs bass!
The TINHIFI T5S: 100% the better choice!

Disclaimer:
I would like to thank Kareena from Linsoul for the love and TINHIFI T2 MKII review sample.

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Shanling UA3 Dongle 4.4mm balanced and 3.5mm output
Samsung Phone 3.5mm
HiBy R3 II 3.5mm/4.4mm output and USB Type-C output
SIMGOT AUDIO DEW4X with 4.4mm balanced output

These are the experiences and thoughts of a single individual, your results may vary.

Ending:
To end this review on a kind of positive note, the T2 MKII is not terrible. What it does is offer a clear soundstage especially in perception of midrange energies. I suspect this is partially due to balance, which states you try to strip away bass, mental focus happens to be relocated to the treble and midrange. As such the response character in those areas moves forward to actually proclaim even more detail and better midrange stage, even from a medium skilled driver. This is simply what is left over to compensate for not fighting the bass frequencies for attention, your mental attention, also there can be a pronounced perception of such imaging, only because such frequencies exist out in the open. So more relief, more vividness and fast and correct timbre takes place. There is OK note-weight still surprisingly, and these (the T2 MKII) do fairly OK with vocal music. In this highly competitive IEM modern day world there are still IEMs that cost less and do many of these features better……….as such I feel TINHIFI is simply playing the field, knowing there is still some low burning embers of fame from 2017 that they can still capitalize on, and sure besides the missing bass, there is not a whole lot else wrong with the T2 MKII. Besides being a little cluttered in performance, and boring……..there is an even and complete response which performs timbre correctly, yet with limited reverberations it may be already bettered by what you already have in your collection? The fact that they can’t all be winning tunes and design here.

I really want to thank Thibault for sending the ONYX in exchange for this review. I can totally get behind what the ONYX is doing; happy to join in the release hoopla!

Get em here. Sold only factory direct.
https://www.earsonics.com/onyx/index.html

The EarSonics ONYX is incredibly revealing of source. Be it your amplifier, digital audio converter or song file......the ONYX simply replays stuff. This can be quite confusing as its bass and lower midrange are boosted, provided they are boosted in your song file. So it will not make your thin files sound better, but it will offer an incredible window into what’s provided with your audiophile playback. Note, this will take into account your amp personality, DAC personality and basically everything else in your signal-chain.

So try the ONYX from a phone and get its basic personality. But switch to an audiophile DAP or desktop and prepare to be floored. Strange but true, this is simply how it is.

Does the ONYX have a personality of its own? With-in the realm of playback the ONYX does bestow traits of its own. Yet those traits are so darn pure and admirable, they almost are not perceived as color; but ultimately they are!

So maybe the best way describe the bass here is to tell you what it’s not.

1. It’s not poofy in any way shape or form
2. It’s not thuddy or one dimensional
3. It’s not omnipresent
4. It’s not boring
5. It’s not slow
6. It’s not incorrect
7. It’s not foggy
8. It’s not fake
9. It’s not distorted
10. It’s not dry
11. It’s not in the way
12. And most importantly......it’s not wet

Every time I write the word “bass” I am not actually meaning just bass. That’s right. What I mean is the most visceral, deep-reaching, physical and timbre complex bass you have ever heard...........ever in your life.....bass. The best placed, best toned, most complete bass you or I have ever heard...............ever. It’s quite simply bass you do not know yet. It’s bass you can’t imagine. It’s bass that has to be heard to be believed.

Now the crazy part is I’m not exaggerating, I’m communicating. Does bass tone define the EarSonics ONYX whole signature? I mean is there still a balance...of sorts? Yes, and no.

Bass IS the first thing you notice upon placing them in your ears, there is no denying that. So…………the question that comes to mind is surely this must get old? Fun for ten minutes, but then you have had your thrill, and its overstayed its welcome? No............you never tire of this bass. In fact, you endlessly find new tunes to exploit and love. It’s just that good. The way the tone is integrated IS special. For the segment of folks reading that have already made up their minds about the ONYX………….that it’s too much.......I feel sorry for you.

While the ONYX sounds fine from a phone, they beg for more power. Also you will not appreciate their sound till at least 75 hours of burn in, full burn in at 100 hours. The ONYX is roughly 6dB more efficient than the IER-Z1R. So typically the WM1A/WM1Z Walkmans have just enough power on high gain for the IER-Z1R. 6dB doesn’t sound like a lot but it is. Try out a desktop amplifier to find the ultimate scalability. This was very surprising and the most up-scaling IEM I have ever heard. So they are efficient but keep getting better with better gear! The ONYX just keeps scaling up and up.

The bass tone and placement are so correct, how could any of this be bad? The bass is taken apart, delineated and re-introduced in such a way......we haven’t heard before. Due to the texture, pace and timbre, we are now in the presence of all we could ever ask for.

Much of the time it’s not truly the bass quantity but the bass quality that makes for this experience.



Could the EarSonics ONYX be too dark?
This is an interesting question? I mean……….I like darker signatures so? But before burn-in and mentally adapted, yes, it could seem too dark. It’s not forward (due to a forward midrange) also it’s not bright due to an overwhelming treble. So? I mean yes, it’s a slightly tilted response, yet totally comfortable and smooth. But still it depends what sound you are after? There are always going to be people looking for more of a flat reference sound, and we don’t have that here!

The Acclimatization:
(biology) The climatic adaptation of an organism that has been moved to a new environment.

It takes a while. That’s all I can say? Maybe 100 hours burn-in, and a couple days listening. So for any noobs there is a way out of the woods.

I mean we are always going to feel there is a give and take to IEMs. We are raised to believe you give and get. Even the tooth fairy gave you money, but took the tooth under your pillow. Still you get a lot with the ONYX and have to give up very little. It effectively plays 90% of my library better than I ever heard it.

The Treble Experience:
While never strident, it seems to walk that proverbial line where just a smidge more would be too much? So I guess you would say it’s perfect frequency wise. I mean this treble section is needed this way to counterbalance the bass.......and it does. There are obviously other IEMs which offer an embellishment in treble. This is not that way. Meaning the frequency is correct with no real bumps out of place. But where the embellishments are to be found happen with what the soundstage imaging does. So not everything goes way outside the soundstage, but when it does it’s fully surprising and accurate! The treble is not as harmonically enriched as some, but somehow this causes the ONYX to seem more accurate? It’s interesting too, as the technology has not been disclosed yet. I have no idea how this treble is made. Thus all the better in case of predisposition getting in the way. Obviously by this time this review is published I’ll know the technology.

The best part of the treble is how the correct rendition of elements fall outside the center. I’m pretty sure this is due to created correct phase? They are using Acrylic Heart technology, offering sound rigor and phase control. Plus TrueWave technology allowing optimal work on phase control, and a first-order “Magnitude Curve”. It’s also maybe the black background which is results in such a contrast between elements? To add to the effect, the transient response (across the board) is top level! When all of these attributes are placed together, the results are greater than the sum of each individual trait! Everything is totally cohesive and not one area of the treble seems like a bolt-on?

To get back to the dark background, it seems this is especially what’s going on when you hear small minuta arriving from a distance.

The Bass Experience:
Simply it’s real bass. It has all the factors of timbre and texture that you hear in real life. The ONYX sounds like bass guitar played live. The rhythm of the bass and how it interacts with the other constituents of the song is correct. If its bass by itself you seem to simply hear it clearer. You are closer to it, you understand its character better.

The Midrange Experience:
I don’t think the mids will let all that many people down. It’s the IER-Z1R mids in a way? So if the midrange didn’t work out for you with the IER-Z1R, well history is going to repeat itself. Really this is the IER-Z1R sound, if not better!



Scale:
Scale is everything, unless you don’t care about sound quality. Maybe you’re just interested in convenience? Whatever your value system is the ONYX has you covered. From a phone they don’t sound bad, due to their sensitivity. But get them a proper DAP or desktop, and they will surprise you. Bigger soundstage, more authentic instruments and better PRaT. Not only that but the desktop is the most natural way they sound. Interesting my TA does not offer EQ.......but really I don’t necessarily need any!



Is the EarSonics ONYX only for Rock and Metal Genres:
Absolutely not! While it does excel at Rock and Metal, the ONYX is much more well rounded than that. In fact if EDM was the only genre listened to, you would be right at home. Due to the same attributes that make it a winner for Rock and Metal, those same qualities carry directly over to EDM. In fact it may do EDM even better than Rock and Metal? Big synth washes and emotional breakdowns make the ONYX special. But it’s probably the over-all pace that makes it work, that and tone character? Nothing overlaps or is buried. Umwelt just happens (coincidentally) to be a French musician and one of the greatest Techno Artists. His work “Days Of Dissent” was used excessively to understand the limits and capabilities of the ONYX!

What about OSTs?
It’s not really a surprise that all of Hans Zimmer sounds incredible. John Williams is another composer that comes off clear, exciting and natural. Why? Due to the grand soundstage, true to life pace and instrument texture. OSTs are great! The ONYX seems to simply convey what’s in the recording. It’s just that if there is nothing stopping it, from unveiling what is there, if a heavy bass is lurking, that’s what you hear! That means if it’s a heavy Dub style, you get that.



The EarSonics Company:
EarSonics was founded in 2004 by Franck Lopez, a musician and sound engineer who wanted more than he could find from off-the-shelf monitors. Eventually EarSonics split into two sides, offerings professionals high quality stage monitors, and our side, the audiophile side. Today EarSonics now offers a full line of CIEM as well as Universal IEMs. David Guetta, Elvis Costello and Johny Holiday use EarSonics monitors, to name a few. They supply nearly 90% of the industry in France.

• CUSTOM AUDIOPHILE
• CUSTOM PRO
• UNIVERSAL AUDIOPHILE
• UNIVERSAL PRO

EarSonics SAS
ZAE Via Domitia,
171 Avenue Des Gardians
34160 CASTRIES (FRANCE)
Phone:+33 (0) 467 72 22 12


EarSonics makes/has made The SM2 iFl, The Velvet, The Velvet 2 HR Edition, The S-EM6, The EM32, The ES-3, The ES-2, The ES-5, The Aero, The EM3-Pro and the EM64, just to name a few.

Besides new models introduced like the Acrylic Purple Pro, we are just starting to see EarSonics branch off into solid metal universals like the Grace Platinum, Grace and Corsa.....most interesting (for us here) are the recently introduced Blade and Stark EarSonics Hybrids.

https://www.head-fi.org/showcase/earsonics-blade.24175/
https://www.head-fi.org/showcase/earsonics-stark.24174/

As it seems that in many ways the Blade & Stark is our nearest kin.

The EarSonics Hybrid Monitors; The Stark and Blade have proportionally increased in smoothness with extended burn-in. The Stark and Blade have 8mm DD drivers. The Blade is the lower priced version with 3 drivers, the Stark has 5 drivers, respectively.



Take note that for 50% of the review process I didn’t know what the ONYX was. EarSonics sent out review units not disclosing the cost or driver methodology. We were not allowed to share any impressions or anything until the release date on February 8th.

This, it turns out, was a great way to get started. Many times knowing how something makes music will give us expectation bias, actually changing the landscape. Here we had to estimate things. I started to try to guess the technology, then after e-mailing EarSonics and getting no answers, I simply forgot about the hows and whys and let the music take over. I will say that I was pretty confident of DD. Also after a week I was able by happenstance, to create driver flex. Yep, (only one time ever) my first week and only in the right ear. That pretty much answered part of my questions. Obviously bass like this doesn’t come from BAs.


Friday February 4th, 2022:
The Specifications have arrived from EarSonics: THE CAT IS OUT OF THE BAG! $561.00


This is a four driver hybrid design. One bass DD, 2 BA medium frequency drivers and single treble BA.

I sincerely wish to thank Jean Pierre Pinaud for his handy work!



Take note, this is exactly how they are packaged. The IEMs are placed lower into the foam to protect them. The cable is attached and coiled into the carrying case which is partially zipped.

In The Box:
The ONYX
UnHR 4C cable 4 core (2 pin 0.78mm) (silver) 3.5mm
2 pairs of memory foam tips of different sizes
2 pairs of mono flange silicone tips of different sizes
2 pairs of bi-flange silicone tips of different sizes
1 cleaning tool
1 Carry case
Manual
Builder ID card

Specifications:
Metal black mat shell
Sensitivity : 122dB/mW
Frequency response : 10Hz-20kHz
DCR: 16.5 ohms
Drivers (QUAD)
1X dynamic bass
2X balanced medium
1X balanced treble



IEM Tips:
I ended with many various tips which seemed to work. The included foam tips fit well. Though I stayed using some white no-name tips in daily use. I ended placing them somewhat in the middle length of the nozzle and allowed them to “find” the spot where they could perform an air-tight fit. Also the tips stayed on upon removing the IEMs from my ear. The white tips where not seated at the total back of nozzle in daily use. Thus the nozzle opening was not pushed to the complete end of ear-tip on regular use. Surprisingly the original Sony Hybrid large tips worked very well also. Normally the diameter of the Hybrid tips nozzle opening will restrict treble and create a more bass heavy response. Though with the ONYX, this was not the case. Sony Triple Comfort tips did not work (neither gray or old school black). The clear silicone IER-Z1R Hybrid tips didn’t work-out that great either.

The nozzle (diameter) circumference is on the smaller side. This will mean that your choice of tips will always need to be smaller nozzle circumference. Even though the nozzle does not have an end-lip, narrow circumference tips should stay on. Like the original Sony Hybrids, regular size tips will work, but due to their inner nozzle circumference, are not optimal and will not necessarily stay on after removing the IEMs from your ear.

Cables:
The included UnHR 4C cable worked well for much of my use. Though I ended with the 4.4mm HanSound Zen 4 wire in daily use. Even using the included UnHR 4C cable did show an improvement in quality in desktop use, but 4.4mm was simply better.

Fitment:
This is maybe the most important part of the review, as if you don’t have fit, you can’t hear the IEMs correctly. The metal bodies of the IEM are large, though they are wonderful to wear. They are not cold, but have a great feeling in the ear. The ergonomic build really comes through in daily use. I found the ONYX to stay in place and not ever even change frequency response when I placed my finger on the outside when they were mounted in place in my ear. This finger test means that the response is consistent and you have achieved optimal placement for tone.

Comparisons:

This shows a subjectively chosen list of IEMs I own or have heard in an order of less bass to more bass. Only the amount of bass is listed. Things like bass detail and technicalities are not listed in order. This is useful only as a guide to understand bass quantity. The only two on this list I don’t have near by for reference are the 64Audio N8 and the qdc Anole VX; the rest are accessible on-hand through ownership. The IEMs below the surface of the water exhibit a deeper bass response than neutral.

Comparison To The Sony IER-Z1R:
The EarSonics ONYX is about 6dB more efficient than the IER-Z1R. The ONYX is kinda like IER-Z1R in tone. While the IER-Z1R offers a slight smoothness over the ONYX, the ONYX offers vibrant imaging, separation and detail. That detail, imaging and separation is in the midrange and the bass areas, especially.

This is tough:
THE ONYX IS BETTER THAN THE IER-Z1R. So.............that’s a pretty big statement I know? But it is what it is. I had previously guessed this but it took side by side tests to totally confirm it as a reality. I don’t have a way to electronically verify the volume difference or equalize volumes, but I feel fairly confident in these statements. In many ways it’s rather amusing how similar they are!

So if you already have the IER-Z1R, would it be advantageous to get the ONYX? You don’t need two IEMs with very close to the same tune? But fit is something totally different between the two. So for those who for whatever reason didn’t get the IER-Z1R to fit but loved the sound, get the ONYX.

But if you have money to burn and really want a variation of the IER-Z1R (more on that in a minute), by all means go ahead and get it.

With the ONYX being roughly 6dB more efficient than the IER-Z1R, it theoretically gives you the ability of playing with more virtual damping factor? That said, if your DAP is on the border with power for the IER-Z1R, the ONYX is a better choice.

To tell you the truth, it’s really hard to compare two IEMs which when volume is adjusted are almost equal. Though I think the IER-Z1R is slightly less stark. The ONYX seems to exhibit a slightly brighter midrange and slightly better vibrancy across the playback spectrum. I can’t totally tell you if one is superior or not, as that MAY be subjective? If this vibrancy is wanted or not would be the choice of the individual. But…….I like the ONYX more!

It really boils down to specific tone. Meaning even though they have similar characteristics; the ONYX colors the instruments a different color. I know this is a strange statement but....

What is unique about the ONYX is guitars (as only one example) they have a slightly darker aspect across the board. So you are probably thinking that since the tone is different than the IER-Z1R that it must be off, but it’s not. That is the magic actually. Everything sounds totally correct, but there is a completely different feeling at times to the instruments. In a way they are more detailed and have a unique tone that sounds right? Also there is a slightly different soundstage if you try and compare both. It’s amazing as you wonder how two IEMs can be the same and different yet both also be correct? But they are! And it’s not exactly like someone changed a slider on a mixing board during the mixdown. These differences are deeper than that and are an intrinsic way the whole instrument sounds. It has you saying “I have never heard the instruments sound like that?” Yet it is not wrong at all. So it almost takes you to the point of questioning everything. What I’m saying is these tones are like hearing the instruments (in a way) for the first time.

I’m also still waiting for this phenomenon to get old, but I don’t think it will.

I have never heard a response character like this? Yes, in many ways it’s like the Sony IER-Z1R, but also something very fresh and unique. It’s that uniqueness that has you coming back over and over again. You are simply reconfirming what you heard the day before, because you almost can’t believe it was real! I guess in basic terms you would call this tone special. Still it goes against many ideas of audiophile playback being one single way? What happens is you hear it, and do a double take. As normally something that’s a departure from the norm is not acceptable, but in this case it is.

How can the IER-Z1R and ONYX both have the correct tone response?
The original musical event was lost in time. It’s gone, we don’t have it any longer. There in-fact is no way to recreate it. We can’t recreate it as it was not there (recorded) in the first place. It’s not some narrow restricted set of frequencies which will then recreate it, as there is nothing to exactly recreate from the file. Instead there are interpretations of what it could be. Those interpretations can actually be many things. The only thing that’s important…………..is if you can partake in the illusion. If there is communication of the emotional elements of the musical event, then the IEM serves it’s purpose.

The tonal response terms of even, complete and correct are in truth very abstract ideas to reach IEM success. Terms like accurate and true to life, actually have way more leeway than you might expect.







Undoubtedly……..if the IER-Z1R is a Akira Kurosawa movie, the ONYX has to be the Luc Besson movie!

The other descriptor that is fitting is lushness. Yep, in case you wanted one more word to help understand what is going on, that sums it all up! Now the interesting part of “lushness” is typically we trend to think of less resolution or cloudiness, maybe? No, that’s not exactly what’s happening here. It’s more liken to a pleasure of the senses thing? Think French cooking like Pâtisserie. The ONYX is a dessert.

64Audio N8 Universal:
I have to admit I don’t own the N8, and the unit (I heard) was a universal demo to be used to order customs from. I also have been informed that the CIEM N8 have even more bass. So this direct comparison is only from memory. While the overall instrument balance was similar I don’t remember the soundstage being as big as the ONYX? Also the bass and drums didn’t offer our extreme detail as the ONXY seems to convey on a regular basis. I really liked the N8 but felt the bass was somewhat crude, even though plentiful? Still it was a very “analog” sounding IEM. Take my comparison with a grain of salt, and rest assured the two will be compared side by side often by others.

qdc Anole VX Universal:
Another I don’t own, but I have a very clear memory of what it is in-fact! The two are pretty much complete opposites. Really this is a great one to explain what the EarSonics ONYX is....by contrast.

Some may if fact find the treble too hot on the qdc, a character trait which is not present with the ONYX. The qdc Anole VX is kind of clinically doing everything right, yet doesn’t exude any single aspect with flamboyant confidence? Where the ONYX has a healthy dose of panache! The BA set-up has all the bases covered as far as midrange and treble. Though you know with-out guessing the ONYX bass is more detailed and emotional. The Anole VX brings a lot to the table, and our VX tune is maybe more mainstream than our ONYX, though I’m not so sure? Both are so very different they are not really comparable?

Sony XBA-Z5:
In so many ways the Z5 is beat at its own game! Bigger bass, bigger soundstage, bigger imaging...........bigger everything. I can’t help but still hear a relationship between these two. They approach music from the same ideas. Still.......I guess this (of anything) shows the 2014 XBA-Z5 as dated and owning ineptitude on all fronts. It’s probably because at it’s soul the ONYX is attempting to better exactly what the XBA-Z5 does. Only here is progress in areas not even dreamed about. The ONYX effortlessly showing big drums and bass as detailed and refined subjects of substance and emotion. It wipes the floor with the Z5. Doing everything it does many times better. Besides that, the ONYX imaging is icing on the cake! Even the ONYX midrange showing beautiful and showcased vocals, the one attribute the XBA-Z5 struggled with. And if you tried to work with the XBA-Z5 and lift-up the mids, you didn’t like what you found waiting! Here with the ONYX......adding very small amounts of EQ goes to find alignment in the midrange if needed.

XBA-N3:
Really I look at the XBA-N3 as the little brother of the XBA-Z5. It’s the same comparison. The ONYX wipes the floor with the XBA-N3.

Bass Is Subjective:
First off how many reviewers have judged an IEM as inept due to bass character? Really this subject is difficult as it’s hard to be totally objective at times. In reality every reviewer is only trying to be objective, we are ALWAYS referring to something in the past to gain perspectives as to what we are currently listening to. But we see it all the time; reviews which end up critical of an IEM due to a failure in some bass quantity/quality. Probably in a perfect world the bass would end up like real life? It wouldn’t color any instruments and would stay behind the scenes until called for.

When introduced this bass would emulate life. This bass would have all those things you have come to really enjoy about live music. It would have tone, timbre and separation from nearby frequencies. The texture in effect is just that, an added dimension which goes further to delineate the bass from other nearby frequencies. So it of course is not the quantity but the quality of bass. But let’s go one step further. What would happen if there was a slight increase in quantity as well as quality? What if the ability went to the next level? What if the bass was not only more real but was real due to texture, timbre, relief and delineation? That’s what we have with the ONYX, a new and previously unknown bass experience! This style of playback would at first appear impossible, but EarSonics has made it possible.

What the ONYX ultimately teaches us is variation. There would be different amounts and character in bass tones, but until you hear it, you have no idea how infinite it is. Now we can approach bass leads and hear the emphasis and filagree placed-in as an extra detail. Whole bass lines are now emphasized and separated from what was once simply just a bass tone and buried in the mix. There has always been bass leads but often they have taken 2nd place to the regular guitar leads and vocal elements. Now the bass doesn’t have to only support the rhythm section; a strong reproduction ability will actually unearth whole new levels of creativity, never before heard, except in live replay.

Room Response:
There is something called room response. Or better yet, room response simulation. Normally stereo speakers will have a slight low-end bump due to room response. This is the result of sound energy bouncing around inside the speaker cabinet walls. The energy gets sent off the rear and sidewalls of the speaker and results in bouncing off the rear & side listening room walls, directed back towards the listener. The energy is combined with whatever regular response comes off the front of the cabinet. Such a phenomenon is also always present in night-clubs and live performances when music is played. Typically this style of sound is what separates headphone tone from live music.

Being able to recreate the room reverberations is critical in getting a believable tone from a IEM. The only issue starts with the listener, as he or she is now asked to believe. It’s critical to acceptance of an IEM tone if this set of frequencies is not noticeable. Typically our brains filter much of this out in a live setting. We hear it but consider it non-important. Probably much of brain burn-in is connected to learning to ignore this phenomenon in IEMs, especially with the ONYX. It’s one of the first things you notice upon hearing the ONYX, yet slowly diminishes until you’re fully acclimated.

Typically room response simulation doesn’t effect fidelity unless it creeps into the pace and rhythm area. This is often a double edge sword as it’s needed for body, but can seem to infringe on the space between notes. Not only note fall-off, but the critical attack impulse. Many striving to seek balance in this area are the Sony XBA-Z5, XBA-N3 and the IER-Z1R.................and of course our EarSonics ONYX here.

So even though these are slightly bass head IEMs, there is nothing boomy or smeared. The notes have body.....but nothing is blended. Everything is separate and has its own tone, timbre and texture. This is why the bass is so real. Also there is an interlocking affair with the drums. This is how pace is created. Because all that was just described about the bass is also going on with the drums.



Drums:
I can’t help but realize these were made by a man who plays bass……….but fully aware of the dependence upon drum timing. Why else would we hear the drums in perfect clarity? The drums are for lack of a better word simply real.



Swagger:
The ability of music to somehow find its core groove. This results from capturing and replaying the subtle nuances that make timing and pace special.


Hans Zimmer
The Dark Knight Rises: OST 192 kHz-24 bit

There are very few perfect things in audio. Sure, there are perfect experiences. Jimi Hendrix was talking about an experience too, but I don’t think it was audio.

With this style of soundtrack, Hans Zimmer has done what everyone who makes OSTs attempts to do; connect the images with emotion. To carry the emotion of the story to the next level. But somehow after seeing the movie, the soundtrack now by itself is stronger? And stronger again hearing it with audiophile clarity, especially matched with the ONYX. It is almost that you don’t need the movie anymore. Thus music in the OST genre being taken to the next level. Maybe this is always the case with soundtracks? Still this one seems much more emotional?

This is Batman’s IEM! And......with this soundtrack it’s absolutely perfect. Perfect in every way, shape and form. First off, look at the IEM. Does it look like Batman’s only IEM? Of course it does. This IS the Batman IEM!

Sonically we have just entered the whole realm of the Dark Knight! There is a breadth and scope here that only this IEM can provide. Song 2...”On Thin Ice” slowly graduates to a climax, yet before it does it offers a sadness of emotion fully outlined by the strings. At the end of “On Thin Ice” starting at the 2:17 minute mark is the strings. This dovetails into “Gotham’s Reckoning” a song filled with drama. Our bass is exemplified right from the start of it. It’s tactical and real, you can reach out and touch it! Besides the spoken chorus, a wonderful almost whispered affair.......things get going at the 2:35 minute mark. The drums are emanate and clear. And again another seamless transition into “Mind If Cut In?” The piano theme is weighty and echos.....but then at the 2:06 minute mark the bass drops! Glorious and full, 3D and omnipresent. This is life and we are alive! We are in the moment, nothing else matters.

What? “Underground Army” is here. Interesting as this song offers a “rhythme” that has angularity. A syncopation that’s shifting and obtuse? Just the fact that it is slow to understand makes it all the better once it falls in place. Finally counterbalanced with “Born In Darkness” we have some light? As apparently contradictory as that sounds...........everything has a place and is displayed just as it was created to sound! The EarSonics is in its element. Nothing is left out, yet what is added holds the moods and emotion of the event. At the 2:44 minute mark “The Fire Rises” there is nothing more than violins being plucked, yet they are not violins as we know them to be.....no.....they are sound elements, abstract and formless. There is a slight distortion as the recording can’t capture all the elements with faithful intensity, so it simply does what it can. “Nothing Out There” at 42 seconds brings in abstract sounds......almost like crows. They fly across our audible landscape to be scooped up by the reoccurring piano once more. And again the strings.....the strings showing us the way. Really this soundtrack is held together with strings, even though they are not always present. “Fear Will Find You” starts out and shows it’s not all bass tone, but I have a feeling it’s setting us up for more? Then the second half comes through. “Why Do We Fall? Finally reintroduces our theme.........but with added energy. A more mature evolution just like I suspect the ONXY is parlaying over it’s younger brothers, the EarSonics Stark and EarSonics Blade, even though I’ve never heard them. I can guess?


Dead Can Dance
Into The Labyrinth (Remastered)
“Yulunga” (Spirit Dance) 88.2 kHz-24 bit

Lisa Gerrard’s vocals are all you could ever ask for. One thing special here is the side to side panned rattles. You can only imagine the complete obsession with tone that beholds DCD fans. Most DCD fans are very well versed on the music. And the ONYX takes them where they want to go. The reverberations are spot-on with Lisa Gerrard’s voice. The fact that everything is correct. The ebb and flow of the album takes place with-in the intended boundaries. Really.......I have never heard the bass in this played exactly this way. It’s primal and authentic. The 2.07 minute mark drop can be bewildering for beginners! The showstopper and instantly accessible quality of this song make “Spirit Dance” the perfect demo.....into the world of the ONYX.


Mick Gordon
Doom Soundtrack (2016)
“At Doom’s Gate” 48 kHz-24 bit (USB keycard)

This has often been the ultimate test of an IEM due to the high tech recording and relentless musical style. “At Doom’s Gate” shows some of best the ONYX has on offer. We are greeted by heavily layered music which the ONYX takes apart with ease. Probably the best part is the visceral attack and soundstage, showing every ounce of authority present. This takes the cake as I’ve never heard this song replayed quite this way! There are all kinds of elements here that most IEMs seem to have difficulty in separating? Here we find the ONYX tour de force!


Black Sabbath-Black Sabbath 1970 (Remastered)
2002 Victor (JPN) VICP-61710 44.1 kHz-16bit

This comes to life with the ONYX. One key factor here is replay timbre; the ability to hear a difference between the tone of the guitar and bass playing the same notes. Add to that the great live drum sound.

First off, many are critical of this first album being recorded with a substandard quality? It’s not true. The band are totally familiar with this material. They played these same songs over and over again in a live club setting before finally making into the studio. Maybe what is simplistic is basic tracking, where elements are not ornate or polished? Still now with the ONYX the reality of playback takes place. Instruments don’t have to have anything extra because now we are witnessing the sound as closer and of its true nature. What I love is how the guitar has this unique tone. And truly if you listen you can tell where they did multitrack to bring a fullness to the sound. Geezer Butler’s bass is insane. Behind The Wall Of Sleep is mind bending! You can hear every little embellished bass emphasis. Everything! The fact that the guitar and bass are separated and the bass is in the middle. I’m speechless really?

Ozzy is front and center clear as day! Any questions about vocal replay can be put to rest. The special tone of the guitar as it reaches the climax of this song! It’s darker a little but actually normal, just the continuously new way the ONYX does guitar. It has a thicker and deeper tone, but it’s normal, just new? And all the room reverb, it’s not distracting but adds to the recreation of the “live” sound. And I’ll end this and say that it’s probably that fact that this playback is all so close and a factual.

We are drawn into a kind of one to one with the playback. It’s real, and near. It’s big, bigger than you can imagine! Perfectly separated into all of the key elements. And those elements have life! It’s not a 1969-1970 recording anymore, it’s being played for the first time right now!


The Cure
Faith (Remastered)
“All Cats Are Gray” 44.1 kHz-16 bit

Finally we end with some “comfort music”. The important part of this is again electric-bass tone, but also how everything else is put on-top. I’ve been listening to this since its release in April of 1981. The electronic drums are clear as day. There is a recording artifact at the 9 second mark; it’s maybe a microphone-cord or dirty knob-twist. The 1/6th of a second “buzz” is shown in perfect resolution. The best thing here is the balance.....the balance of every part of the song. Nothing is out of place. The cymbal splash at 2:10 minute mark means on the very next cymbal splash Robert Smith starts singing. These cymbals are higher pitch than natural and electronically processed as they are supposed to be. The main theme is the keyboards, coming-off understated yet present throughout the entire song. The songs mood is from the keyboards primarily. While the keyboards are two, each occupies its own area of the head-stage, with the left dominant and louder and the right of a higher pitch. It’s really the same synthesizer preset for both, yet the variations are golden. The second and maybe most important feature is the continuous electric-bass line. The bass is the songs foundation yet with subtle emphasis changes. The ONYX has the ability the show just how different that emphasis is. Smiths voice is almost lackadaisical, but if you listen very carefully it’s not. There is a slight room reverberated echo to his singing, and the fact that the second verse is sung way more direct. Also it’s quite interesting that his voice is multitracked too. A progression into silence as the piano plays....and the song ends..........

Disclaimer:
The Secret:
If you have made it this far in the review, I congratulate you. But also I will bestow the single secret to understanding the ONYX.

Sound signature success (with the midrange) only happens at certain volumes. Is this a deterrent to the IEM? Yes and no.

The issue is the midrange will only surface at a certain volume. That means these are not low volume listening IEMs. The ONYX is a medium and higher volume listening IEM. Unless of course if you enjoy the character of the ONYX at low volumes, then OK? Frequency graphs may only give us clues to the complete perceived tonality.

The Four Curves:

1. The ONYX true sound signature. (what they emit in reality)
2. The ONYX personal to you sound signature. (depending on ear anatomy and hearing physiology) This is what you hear.
3. The ONYX tested frequency response graph. (the machine)
4. The ONYX specific sound character in response to volume used. (Depending on volume level chosen, a different midrange response)

So you can see there are actually four individual frequency responses, though only one is measurable. The wild-card here is replay volume used.

Frequency Graph Representations may pose a challenge to truly understanding the ONXY midrange.

I’ve come across this before with one other IEM, and three full-size headphones. This is nothing new, but in a way rare; confusing to those who don’t find the tonal response to match the group understanding. In simple terms it just means you will need a certain volume to get into the midrange. Too low and everything will sound foggy and dark. At optimal volume the ONYX will come alive.

And Finally:
The 6dB difference in efficiency between the IER-Z1R and the ONYX is a conservative estimate only. This means that it could in reality be a 8dB or 9dB difference. That in reality the ONYX is maybe 9dB more efficient than the IER-Z1R?


Regular Disclaimer:
This is a single reviewers experience, your results may vary.

After-impressions:
Normally an IEM has first-impressions. In this case really after-impressions are much more pertinent. Normally though-out the photography sessions I’m very careful not to scratch or break the IEMs I’m working with. Amazingly after a while I came to realize just how tough the ONYX was built. After maybe 7 cable changes I came to find the 2-pin very robust. I also started to realize just how bulletproof the actual IEMs themselves are, never showing any scratches, paint-chipping........or discoloration in the handling process. They are some of the most robust products I’ve come across.....ever.

After full burn-in and realization that volume truly delegates the tone, I found myself continuing to find old music to become new. There was always albums that I suspected had bass lines but I could never hear them in such delineation or clarity! All and all I’m still being surprised at the ONYX and wonder if it’s still getting better and better? The ONYX is a special product that breaks preconceived notions of what is possible with an IEM in 2022!

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm/3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm/3.5mm
Sony XBA-Z5 Universal IEM 4.4mm Kimber Cable
Sony XBA-N3 Universal IEM 4.4mm Stock Cable
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
EarSonics ONYX Universal IEM
UnHR 4C cable (4 core)(2 pin 0.78mm)(silver) 3.5mm
HanSound Zen 4 wire 4.4mm cable
Sony IER-Z1R Universal IEM 4.4mm stock cable
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Apple iPhone

The TINHIFI ELF


Another new release, another IEM to quantify? But wait where have I seen this before? Oh, it’s a copy of the TANGZU Princess Chang Le IEM I reviewed back in late July of 2023. So much of a copy that it has an open back same as the Princess, the attached cable nonsense. Oh, and the price…..yep they are priced in direct competition. As imitators go, TINHIFI has approximated the way the Princess IEM works……..I literally can almost visualize the office talk.

$15.00
https://www.linsoul.com/products/tangzu-princess-chang-le?variant=43945950707929

“We are losing market share!”
“That TANGZU company is beating us at our own game."
“What do we do?”
“Put that coffee down………seriously what plan of attack do you suggest?”
"Copy it?"
“Yes, that’s a good idea, copy that thing.” “Only we don’t have a single full range driver that small?”
“That’s OK, just make something, anything!”

Hence the ELF was born. Yet they offered even more choices.

“A DAC chip cable, a removable cable or a microphone. Heck, lets even offer a different color of the exact same IEM in blue, then offer that with different cables……..the nonsense will be almost endless…………..”

So to tell you the truth, I’m not 100% certain I can list all the permutations of the ELF design…….and does it really matter in the end? No. It really doesn’t matter, though it would matter if the ELF was something that was lovable, or likable. But as far as sound goes the ELF is something straight out of 2014. Yep, a retro sounding IEM. Now if you want to go back in time, to a way more less crowded environment, to a time with less technology and less competition, then that’s fine……..just don’t bring me along, as you are on your own.

“So let’s see, we can’t name it a Princess, but what else would work? An ELF, yep, that’s perfect as the folks who never saw how small the TANGZU Princess is will still think the ELF is small.”



Fit:
The ElF model I have (with cables attached) fits fine, but other reviewers are complaining about not finding fit. So what is confusing is keeping track of which models may fit, and what cables would maybe work. That’s what happens when a multitude of models are blasted-out…..that it’s hard to keep track of them all……..if we didn’t have enough regular single edition models put out already by respected manufactures….to keep track of. Then that leads to the questions about if they actually sound different, the USB Type-C edition, the cable permanent edition, the removable cable edition, the different blue editions.


Did you guess this could get any worse?

TANGZU Princess Chang Le IEM

What about the ear-tips? TANGZU also gives out a free set of super-cool Tang Sancai Tips free with your Princess order.



$12.00
https://www.linsoul.com/products/tangzu-tang-sancai?variant=43929461522649

$15.00
https://www.linsoul.com/products/tangzu-princess-chang-le?variant=43945950707929

OK, I’ll stop, sure it’s easy to trash an IEM……and I don’t mean to hurt the little ELF, except I just wanted you to know about possible choices just in case you were halfway landed on getting the ELF, and chose to reference Head-Fi to see what’s up.

Sound:
The Princess v the ELF:

Disclamer:
I used the Sony WM1Z with the regular wide-bore tips I always use. Somehow I was able to get great (wide-bore) fit with both models? I lied, that after a while going through different songs and different switch-outs of the two IEMs in question, I found a new pair of slightly longer ear-tips, that seemed to enhance fitment with both IEMs.

Click-itty clack……click-itty clack…..oh that’s the drums? OK, enough fun and games here. Yes, the TANGZU Princess wins out, but in truth the ELF isn’t really that bad once you really sit down and do side-by-sides. The difference you ask?

Conclusion:
The Princess is still super hard to drive, except when you get her the power she asks for she responds simply smoother, that and there is an un-canny cohesiveness to her. Where the ELF has this spike in the upper midrange that adds a cheapness to an already cheap sound, making it that much cheaper sounding. Sure these are both ultra-budget IEMs, but still they exist and are offered for sale to be experienced for what they are worth in the end. Sure the ELF is way better than those airplane free-Bs, except those IEMs are……..free. Next!

$13.99 to $17.99
https://www.linsoul.com/products/tinhifi-c0-1

Disclaimer:
I want to thank Kareena at Linsoul for the love and the ELF universal IEM review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Samsung phone 3.5mm
HiBy R3II DAP 3.5mm

Packaging:

Different than most IEMs that come my way, I asked for the TRN ST5. It grabbed my imagination due to (maybe) being a lower cost BAX. This is how it’s suppose to work, a company makes a flagship TOTL IEM, then takes those ideas and carries them over to lesser priced models. If it all works out you get a taste of the flagship at a value.

When I heard the 1DD/1BA/2 EST TRN BAX, I always wondered what the arraignment would be like if they replaced the expensive Sonion ESTs with BAs for midrange and treble. So here we have it, a $59.80 IEM reminiscent of the $312.88 TRN BAX. And it worked out, while very much resembling the BAX sound, the ST5 bass is actually better bass defined, but the BAX EST treble and Knowles midrange produce better sophistication. If you haven’t heard about the BAX it was TRN’s most expensive IEM to date. A natural evolution of progress to get a bigger and better sound by adding together premium parts. Add an exotic open-back shell and a somewhat giant form factor, the BAX is the stuff of dreams. Some say it sounds bombastic like live music, it’s vivid and forward in a way............to gain a reputation for intense playback! But to me it was an unexpected surprise, one that I will never quite get over, so to have TRN do trickledown engineering and make a baby BAX, I just had to give it a listen!

Sound/build summery:
This section goes over sound quality and build in regards to value. Such concepts are really very easy to describe and become useful to a reader short on time or interest. This encapsulation of the review highlights pertinent concepts which makes understanding (of the TRN ST5) easy.
While well-balanced and generally warm, the pinna gain is figured just slightly south of natural. This fact generates two responses, due to an early gain it de-emphasises the true (correct) lesser energy gain. That, and unnecessarily promotes a forwardness which at times becomes slightly aggressive. While beyond those shortcomings the form-factor and build are incredible. This style of response regardless (of previously mentioned drawbacks) is a pure joy to use. With the selection of 4 BAs, we are greeted with a style of BA timbre. Such tone abnormalities are noticed more by some, less by others, as these concepts are not black-and-white, but more of a neighborhood in tone. Such areas respond differently depending on source, file quality and desired volume used. Would I recommend the TRN ST5? Maybe, as it depends to your individual midrange/treble sensitivity and BA timbre expectations. Finally the bass is just barley sufficient due to the style of midrange and treble focus. If the forwardness was less, the actual bass response would end up sufficient. While it does have an ample amount of mid-bass and upper bass, the lower sub-bass is not in emphasis.

Surprisingly the TRN BAX is a four driver affair and the TRN ST5 is five drivers.



Who is TRN?
Amazingly TRN currently make 10 cables, 4 BT modules and 29 earphones as of today. This is not a list of their history, but currently what is in production. Better have a seat and grab a snack..........

TRN AM1
TRN BA8
TRN BA15
TRN BAX
TRN BT1
TRN CS2
TRN CS3
TRN EMA
TRN EMX
TRN H2
TRN Kirin
TRN MT1
TRN MT1 Pro
TRN M10
TRN ST2
TRN ST5
TRN STM
TRN TA1
TRN TA1 Max
TRN TA2
TRN T300
TRN V10
TRN V20
TRN V30
TRN V90
TRN V90S
TRN VX
TRN VX Pro
TRN X7
TRN BT20 modules
TRN BT20S Pro modules
TRN BT30 modules
TRN BT3S modules
TRN A1-TC cable
TRN A2 cable
TRN A3 cable
TRN T2 cable
TRN T2 Pro cable
TRN T3 Pro cable
TRN T4 cable
TRN T8 cable
TRN TN cable
TRN TX cable

TRN:
Dongguan Zuodu Acoustics Technology Co., Ltd.
The TRN brand belongs to Dongguan Zuodu Acoustic Technology Co., Ltd. A high-tech enterprise engaged in Hi-Fi (High Fidelity) headsets, sports Bluetooth earphones, TWS Bluetooth earphones, and related fields. Now it integrates self-owned brand products, ODM and OEM. Each TRN product has earphone enthusiasts involved in the development process to ensure that it has the best performance and durability.

With TRN owning such broad resources in research and development, manufacturing and logistics, you can only imagine the environment is set-up for progress and improvement. As of late it seems they have gone from strength to greater strength, finally grabbing the respect they rightfully deserve! While I have only had the opportunity to cover three IEMs made by the company..........they are part of this new wave in design and sound quality. TRN is on the upswing, and God only knows what progress the future brings. At the present time I will compare the three TRN headphones I have.

TRN ST5, TRN BAX and TRN TA1 Max Comparisons:

The BAX graphic response




The TRN BAX vs the TRN ST5:
I think this needs to be addressed, as some may wonder if the BAX is really all that? With the TRN ST5 around, how much of the glory will it take away from the BAX? Let me say I spent the better part of an entire day with these two IEMs. At the end of it all there is still a huge difference in what the BAX does. The EST drivers and possibly the single Knowles Balanced Armature work wonders. A bigger soundstage filled with what I would call “breath"............consisting of micro-dynamics in tone. There were even BAX volume differences (with-in notes) which went to further delineate elements of the treble and midrange. Such basics as imaging with the Bax were found to be much farther out in the soundstage filled-in and real. The Bax and this entire tune this.... “new house sound” is slightly controversial. It is aggressive and vivid to a point of alienating a few experts. Some folks enjoy what’s going on and others still question TRN’s ability. This house tune is like any tune, being subjectively liked or disliked depending on who you are. With the above stated, the bass was slightly more focused with the TRN ST5. Laughably, that's not hard to do, as many may know bass definition is not one of the strongpoints of the BAX. It’s not a (BAX) deal breaker for me, but BAX bass kind-of just sits there and has smooth (undefined) edges to the response. A softer (defuse) roundness, though take note, that description has nothing to do with quantity of bass, because that’s still there. The BAX goes and offers more extension into higher places of pitch and imaging, while still offering the refinement of ESTs, the ST5 can't begin to touch…..end of story. The BAX is also one of the lowest cost, if not the least expensive 2X Sonion ESTs on the market. The BAX 29689 Knowles Balanced Armature is no slouch either. In hindsight after all these months the BAX is still special and incredibly hard to beat. While the BAX bass definition is not the IEM's strong point, the rest still makes it an incredible value.

https://www.head-fi.org/showcase/trn-bax.25781/reviews#review-28294



The TRN ST5 vs the TRN TA1 Max:
Interestingly enough the two are priced almost the same. The Max at $47.00 and the ST5 at $59.80. The TA1 Max comes with a case, the ST5 not. The ST5 cable is a noticeable improvement over the simple cable the Max comes with. While again all three of these IEMs share the TRN house sound, the TRN TA1 Max is slightly simpler in detail. It is just hard to compete with the bigger soundstage and finer nuances brought about by (the ST5’s) 4 BAs. Funny too when changing IEMs a bunch of times, the ST5 form factor seemed to be maybe the best. Not as small as the TA1 Max, which in-turn gave you a comfortable feedback as to ST5 positioning? Where the TA1 Max shell was undefined in the placement and could twirl……….the ST5 went into place like it was made to be there? Surprisingly in hand the TA1 Max and ST5 felt the same weight, though by looking you would guess the TA1 Max to be lower weight? As far as sound goes the TA1 Max is amazing for what it is. The TA1 Max is many people's favorite in its price bracket. Still the ST5 is a continuation of TRN taking things to the next level. Where midrange and treble elements are brought just slightly more forward with the ST5, at the risk of sounding forward. The ST5 offers an expansion and brings about better separation, where life sits closer to home with the TA1 Max. With the TA1 Max being of a simpler process, with 1BA and 1DD............you would think that would bring about better cohesive quality, but simpler is not better in this case. If slightly more airy detail was what you where after, it’s found with the ST5! Some have questioned if the same DD was used for both, and it’s true that they share many of the same attributes, but the enhanced midrange and treble embellishments seem to push mental focus away from ST5 bass concentration. All three IEMs in this test were very close to the same sensitivity with the TA1 Max being the most efficient, all three were very much sharing the same tune, but the driver differences (intrinsically) brought about sonic changes. As good as the TA1 Max is, the ST5 is slightly better at detail, regardless of the slight price differences. When you add the cable and switchable tips…well.......the cable is really special with the ST5. My issue though many are still going to prefer the TRN TA1 Max as the better tune. Simpler yes, but offering a more organic response, both in low-end and in treble. It's almost like the TA1 Max goes about it's day the better rounded performer, not having the clarity of the TRN ST5, but being a better IEM due to that lack of clarity. If you read my TA1 Max review, you can continue to understand where I'm coming from.

https://www.head-fi.org/showcase/trn-ta1-max-universal-in-ear-monitor.25854/reviews#review-28523

Conclusion of side-by-side tests:
If you already have the TA1 Max, the (detail) sound benefits are there with the ST5, though marginal…..and not as much of a difference as I thought going by memory. It’s always this way, the new IEM equals better sound, until you do serious back-to back tests and truth starts to form. What will make the ST5 a value is if the person really wants the style of midrange and treble it provides? While the TA1 Max doesn't look as fancy in contrast to the ST5, you can't see them when they are in your ears.

Though bringing all three together again truly reinforced the abilities of the BAX. The (strange) vague sloppy bass matched with the bass bounce at hand almost reminded me of the DUNU VULKAN? I don’t mean to get sidetracked……….if anything TRN is sticking with their (new) house sound. They perfected it with the BAX, but the BAX is big and doesn’t quite have the natural fit of the ST5. And the TRN ST5 doesn't have the natural tone of the TRN TA1 Max! While all three sound close to the same, the TA1 Max has a slight analogue feel simply due to the harmonic complexity left out. Where the ST5 was intense and vivid out of the box, 100 hours of burn-in seemed to flesh-out and texture the bass, but the top-end and midrange stayed almost the same? I went into this test thinking I would find one that would offer a drastically different sound, when really they are tuned closely the same. Any differences between the three happen due to just being the results of what happens when you put 4 BAs in place. The two 50060 midrange balanced armature drivers and two 30095 high-frequency balanced armature drivers are separated in frequency with a three way crossover, sending the lows to the 10mm beryllium-coated Dynamic.

Sound:

The TRN ST5 graphic response

Treble:
Probably of any area in the response the treble gets concern. Being the overall response personality is on the bright side, you have to wonder if the TRN ST5 would be everyones cup of tea? After trying a number of sources I landed on the TA desktop as being the darkest. The Sony 1Z had too bright a top end, and really the midcentric Sony WM1A was fine, having a slightly rolled-off treble in relation to the midrange. The included cable and tips were always used, as in practice, there really wasn’t much resources left to attenuate the force! These are almost treble head style, and 100 hours of burn-in had an effect, it just seemed to broaden the bass response in size, but the treble wasn’t smoothed out exactly. If you were wondering what brighter and highly technical monster was out there for $59.80 this is it. Also I found at the last minute in this review, that the Shanling UA3 was the Dongle made in heaven for the TRN ST5, more on that at the end of review!

KZ ZS10 PRO X $39.00
https://www.linsoul.com/collections/all/products/kz-zs10-pro-x?variant=43295301566681

Though keep in mind, word on the street says the KZ KZ ZS10 PRO X is slightly smoother and has the wanted treble/midrange attenuation preferred by some. Also at only $39.00, it has the value beat as well. Still I have yet to hear the KZ ZS10 PRO X, with my sample arriving any day. While there will be no direct comparison in this review, the KZ ZS10 PRO X will have a direct battle between the TRN ST5 in the following KZ ZS10 PRO X review posted on Head-Fi.

With that out of the way, there will maybe be many that prefer the TRN ST5 sound. It’s highly detailed and a fantastic bargain for what it is. Though such environment in treble means volume levels need to be adjusted down just slightly, in my uses. If you had your fill of single full-range DD response and were looking to hear separation and delineation of upper elements in focus, here it is! These are a sophisticated and dexterous affair leaving nothing out. Yet included is a slight treble steely timbre that just goes with the bright-lights and neon signs blazing in this part of town. It’s a double-edge style of affair, as many are going to be tearing-up, not due to pain, but due to a lifting of a vail. Such a spectacle has it’s merits, though I guess only for a select few, and not your everyday guy on the street. There is a balance here, it’s just the TRN ST5 is treble focused in its true nature. Such stance means we are gifted with giant broad cymbal crashes and delight at the full-on texture of everything. With such a bright light shining down a microscopic vision starts to emerge as to placement of all constituents. It is in this world that even the midrange (vocals) and bass “pace” gets secondary focus.

Bass:
The bass relays an average (for price ratio) detail. While not focusing on extreme levels of sub-bass, the mid bass and upper bass are well represented.

Compared to BAX bass:
While I eluded to the Bass being defused in my BAX review in the proceeding months after the review my ideas about the BAX bass became slightly more solidified. Don’t get me wrong, I love the BAX, and recommend it fully, it’s just bass definition is not one of its strong points. Here (with the ST5) the bass while present, still takes a backseat to the mids and treble. And truly, I wonder what would have taken place with added bass, would it have made a difference? Other IEMs will challenge the Bass/Treble balance by having more of a Bass tilt, yet in the end, the ST5 just is what it is. Such fantastic Bass textures are fully heard, they are just not the focus presented. Keep in mind too (in relation to the grand scheme of things) I lean more towards darker/bass fuller signatures.

Midrange:
Wonderfull vocal ability is found. But take note of the pre 2K energy, this goes to style the midrange tone, along with the drop in the 3K area affords the midrange heard. With such values vocals are well placed, though not as forward as you would expect with this style of tune. While yes, the vocals do sit in relief in the mix, they are just slightly blunted in all they could ultimately be.



The TRN ST5:

• Five-driver Hybrid configuration
• Beryllium-coated 10mm dual-magnet Dynamic driver
• Four high-performance balanced armature drivers
• Aviation-grade magnesium-alloy ear shells
• Three-way frequency crossover
• Precisely designed acoustic structure with pressure release valve
• High-purity 8-core silver-plated OFC cable with swappable termination
• Detachable plugs (3.5mm, 2.5mm, 4.4mm)

Specifications:

• Impedance: 22Ω.
• Frequency response range: 20Hz-20kHz.
• Sensitivity: 114dB.
• Connector type: 2-pin
• Termination: 2.5mm+3.5mm+4.4mm

Afterthought/last minute source joining:
Special synergy seemed to take place with the Shanling UA3 Dongle. Here the slightly laidback attitude of the UA3 meshed lovely with all elements of the ST5. Such favors took place due to the complete yet polished treble combined with the full/warmer bass response. Truly this was a last minute surprise that made me realize that at times the attempt by sources to get full-detail can be surpassed by simply musicality and balances. Where a laidback source can be fully utilized to add balance to a slightly forward IEM. Honestly this combo accomplishes the sound design aspect-goals of TRN when making the ST5, while at the same time providing just enough detail and pace for musicality to occur. Such well roundedness acted to create an environment of increased usability into listening to all genres and music file qualities. Such dynamics in sound response can't be guessed, but only come about through application. No one could have guessed how good the Shanling UA3 would be, surly just by looking at it you would not have guessed. But that's synergy, it's in a way random and 1/2 way foreseeable. The ultimate test is arrived at through listening for long periods where the elements of bass and treble seem to fall away, and all you're left with is musical interaction.

$109.00, only here the combination is magic!
https://www.linsoul.com/products/shanling-ua3

Conclusion:
The shape and design of the TRN ST5 becomes one of my favorite aspects of almost any release this year! Middle size, perfect nozzle length and gold metal lips seem hold tips on wonderfully. The smooth magnesium-alloy ear shells are ergonomically shaped and become a joy to use. TRN really outdid themselves with the included extras, providing a truly nice cable and interchangeable plug system. While not providing any style of case, they put the money into build quality, sound, included cable and a wide assortment of ear-tips you can actually use. This is strict competition to the KZ ZS10 PRO X! Both Chinese IEM builders swing with maximum resources to include a 5 driver Hybrid IEM at an unheard of value-price. Truly it’s amazing when you think this level of sound used to cost a thousand back in 2013! Realize that TRN is ramping-up the quality control and build design...........previously unable to use such exquisite materials in practice. It is through economy of scale that such realities exist, building the ST5 in mass quantities means that (almost) everyone wins. They win (more) if they blend with the sound signature at hand. Such a tune offers incredible detail at the cost of being just slightly treble forward, and the reduced bass emphasis goes to focus the treble that much more. Is the TRN ST5 for everyone, probably not, though for those that embrace this style of response the ST5 will become a prized possession, even if it didn’t cost an arm and a leg. Such abilities were only a dream a few short years ago, and amazingly a reality in this day and age.


Get them here $59.80
https://www.linsoul.com/products/trn-st5
Free shipping and one year warranty when you order from Linsoul

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C


Disclaimer:
These thoughts and ideas are of one individual, your results may vary.

Disclaimer:
I would like to thank Kareena Tang from Linsoul for the opportunity to review the TRN ST5 IEM.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle 4.4mm

The first thing you realize is there is a new level of information, and in fact that information “world” has stratifications and delineated forms of life. This life has been there all along yet never revealed or visited. These details are in the form of reverbs and cymbal tails...among other life forms. Such existences illuminated and spread across the horizon for inspection. These would be considered bright headphones, yet the LAND challenges everything you have grown to understand about the abilities and characteristics of bright. Because there are two styles of bright. One would be staring directly into the sun, and the other a million point light sources reflecting the sun off of water. The LAND is the second example. Such a tune reintroduces you to all your music. But not looking into the sun, but rather millions of reflections. Such found reflective elements go ahead to introduce timbre, tone and full-on shapes. This of course is not without expense or trade. You can’t have midnight light and lunchtime light simultaneously. Though you can embrace sun-set light as the example of such compromise. As such the character is the LAND, a fabulous example of a sparkling sunset, hence the faceplate.

This single IEM may be my retirement monitor? When I heard about it I knew I’d love it. Of course we all believe possible delusions of IEM grandeur, most of us ARE searching for the promised LAND. I learned a few years ago that I don’t have a preferred FR target curve.

Why would you limit yourself to a single FR response curve? We are experiencing music that music was mixed in mix-down studios at loss for standardization. So…….it’s anyones guess if playback is correct or not. Yet the LAND does something else……because of the EST drivers, in addition to BA drivers and the tonal-tilt, it becomes holographic. This stage seems bigger than the Sony IER-Z1R, it’s touted as bigger than anything offered by TSMR, and frankly the biggest soundstage I have ever witnessed.

Just wait a moment and let that sink in.

Yep, it’s all that…..the stage has a forward and back, a side-to-side and top and bottom. It couldn’t do what I’m about to explain to you with out doing all four metrics concurrently. The LAND immersions you....................such realities present themselves as fact.

Who is Tansio Mirai (TSMR)?
Tansio Mirai is a Chinese manufacturer who currently makes a number of specialized IEMs. TSMR or TANSIO MIRAI was registered as an IEM maker in China by the Beijing Tang Song Bouyan Technology Company in 2016.

The TSMR name is actually a play on words originating from the English language translation of “Tang Song era”. The Tang Dynasty and The Song Dynasty was an era of immense social change, scientific, agricultural and artistic progress. The Chinese invented gunpowder during that time as well as the printing press and the magnetic compass. The first paper money was invented in Song Dynasty in China during the 11th century. The name TMSR is in remembrance of such eras, ultimately bringing such values and dynamics into the future.

TANSIO MIRAI production as of today 10/25/2022
TANSIO MIRAI ZODIAC - 12 BA Flagship $1349.00
TANSIO MIRAI TSMR 8 SPACE - 8 BA $729.00
TANSIO MIRAI TSMR 6 - 6 BA $529.00
TANSIO MIRAI TSMR 5 - 5 BA $419.00
TANSIO MIRAI TSMR 4 PRO - 4 BA $319.00
TANSIO MIRAI TSMR 3 PRO - 3 BA $219.00
TANSIO MIRAI TSMR 2 - 2 BA $169.00
TANSIO MIRAI TSMR 10 - 10 BA Flagship $1029.00
TANSIO MIRAI Spark - 4 EST 7 BA Flagship $1499.00
TANSIO MIRAI Land - 2 EST + 3 BA + 1 Dynamic Driver $599.00
TANSIO MIRAI Akiba - 7BA + 4 EST Hybrid $1550.00
TANSIO MIRAI Sands - 1DD + 3 BA Hybrid $319.00

Navigating the LAND:
The only way we will be able to navigate this narrative is through songs. No simple descriptions or random concepts will work. So let’s start.


The Cure
Faith
“Primary”
44.1 kHz - 16 bit



My first favorite Cure song. Such vibe was the 1980s in vibrancy and up-beat pace. A study in studio trickery. Was all this detail truly necessary to put into an album? Well it’s there for us to partake of, so let’s jump-in and start swimming! At 4 seconds in we hear a crash cymbal double accent. But this is new, all these years (of hearing it) and the accent is now separated from the regular track of the cymbals……..it is also given the extra dose of reverb (for only that accent moment)…..yet it holds a space all its own. Of course this was always there, but never shown for what it was/is. Speakers in a room never quite did what I’m hearing? Because speakers are upfront and we have gone swimming in the sonic aquarium of the LAND replay. It’s around us, but only obedient to the songs potential, I would guess this is accurate, as a first……I’m without reference.

“Primary” is the lead single off Faith and the second charting in the UK. The song is unusual in that both Simon Gallup and Robert Smith play bass, with the effects pedals on Smith's giving the leads a unique sound. There are no guitars (other than bass) or keyboards played in the song.

So while the bass is everything here as far as string instrument examples, the (bass) signal processing showcases sonic embellishments and new found treasures. This is a tandem of musicians, with one centered and one to the right. They are able to get a full-sound due to the tone processing, and you tell me if anything more is needed. At 24 seconds in the phase shift is an instrument all unto itself. What more do you want from the LAND when effects character starts to showcase creativity beyond the instruments, as a gateway into this full-on new world?

Already we are clued-in that something is different here…..and the fact I can put this into words makes me grateful!

The innocence of sleeping children
Dressed in white and slowly dreaming
Stops all time
I slow my steps and start to blur
So many years have filled my heart
I never though I'd say those words
Further we go
And older we grow
The more we know
The less we show
The very first time I saw your face
I thought of a song and quickly changed the tune
The very first time I touched your skin
I thought of a story and rushed to reach the end too soon
Oh remember
Please don't change
And so the fall came thirteen years
A shiny ring and how I could forget your name
The air no longer in my throat
Another perfect lie is choked
But it always feels the same
So they close together
Dressed in red and yellow
Innocent forever
Sleeping children in their blue soft rooms
Still dream

The vocals here start at 35 seconds. This is the perfect example of Robert Smith in his prime, with a new six string bass to boot. As such we are taught..........taught the endless possibilities of creation with simple rock templates and structures. Taught first the simplicity of an art piece. Such complexity or actually lack of complexity would go to stylize the early 1980s, showing the world that a new breed of performer had arrived and this striped-down attitude was now needed to clean house from all the eccentric over-indulgences of the 1970s. What we find is this production suits the LAND fine. We can simply place each element into the soundstage and enjoy tonal balance. In fact the simplicity shows each reverb for the full character it contains. Each additive has a new shape, and we can choose our volume levels. In fact the whole song is a simplistic exercise in adding and taking away……waiting for the opportunistic moment to come-in and go-out. At 58 seconds the chorus starts………

And older we grow
The more we know
The less we show

When heard (the prior) starts to take on a (possible) prophetic wisdom. We realize there is also a back-up heard as a subtle synth, yet so sparse but crucial to the song. Way off to the right…..it is miles away from the rest of the instrumentation. This is where (maybe) the LAND name came from…..the sheer size of it all. The same instrumentation from the start is always with us…..reminding us of this simple/genius at work.

“Other Voices”
This next song has bass effects all in a row! The first show of such creations is at the 20 second mark. And while other IEMs would go ahead and introduce this bass deeper, there is a level of detail and instinctual satisfaction that sedates……….leaving us with-out a want.

Whisper your name
In an empty room
You brush past my skin
As soft as fur
Taking hold
I taste your scent
Distant noises
Other voices
Pounding in my broken head
Commit the sin, commit yourself
And all the other voices said
Change your mind you're always wrong
Come around at Christmas
I really have to see you
Smile at me slyly
Another festive compromise
But I live with desertion
And eight million people
Distant noises
Of other voices
Pulsing in my swinging arms
Caress the sound, so many dead
And all the other voices sing
Change your mind, you're always wrong

And just like the previous song, this is the first time I've heard it this way, though somehow totally correct? Ahh an IEM that makes a song sound correct and new? A song I have studied for 40 years? It’s simple really, if we introduce the elements at a spread out placement, we will be able to identify more (in-depth) character and textures. It’s the reason the statues have space to walk around at the museum. Seeing the statues from a-far brings a new and dramatic visual experience.

“All Cats are Gray”

I never thought that I would find myself
In bed amongst the stones
The columns are all men begging to crush me
No shapes sail on the dark deep lakes
And no flags wave me home
… In the caves, all cats are grey
In the caves, the texture coats my skin
In the death cell, a single note rings on and on and on…….

Here we are profoundly amused at simple drum tracking. And while again there is a simplicity here, the LAND goes a head and makes speedy transients and pans. Such percussion somehow sounds more real. All these years I thought it was a sampler or drum machine……but now the opposite of guessing what clarity would show? The tone is as I remember it, no messing with that…..in fact it’s just right, not showing any BA timbre or sheen. But of course it’s a step-up in tone-profile and partly (the bass part) questionable as to quanity? Yet I’m in, all in to where this is taking me. The bass notes show more variation in emphasis……..which again is the opposite of what common sense says less bass is capable of providing? Seeing it as a new world for the first time.


Ear-tips:
Finally a switch to medium UC (Ultra Clear) ear-tips made by Softears, I reached a state where maybe in some ways the soundstage was ultimately too expanded............as such due to my constant use of low-profile “donut” wide-bore tips. Now I was taking a step-down in size from (L to M) to accommodate the “High Liquid Permeability” Liquid Silicone Softears ear-tip. Due to construction as well as the LAND’s ultra-wide nozzle diameter, I reached a balance in size. Though it should be noted, I was ultimately getting an even deeper fit, making the distance shorter from the nozzle-end to the eardrum. Such a deep fit accentuated the bass combined with the medium orifice (ear-tip) nozzle diameter.

Now the ultimate bass test:

DCD
Anastasis
"All In Good Time"
44.1 kHz - 24 bit

Fit and comfort is now 10/10. There was some strange crinkling sound of the tips forming inside my ear, like rubbing a balloon, yet that’s gone away. The amazing thing is how the LAND is somehow held in place by the ear-tips. The PAC480 cable also has relaxed ear-hooks which generate a high level of ergonomic reliability.

The bass starts at 00.00 and is it a treat. Somehow coming in with even more texture and pure detail. This possibly is the texture covered-up by regular thicker Dynamic Driver slowness? Here the bass is both indicative of the synth source, yet holds textures anew!

Keep in mind I’m also getting synergy by catering to the LAND’s weaknesses. By using the PAC480 cable, Softears ear-tips, the Sony Walkman WM1Z and the dip-switches on the LAND 1 down, 2 up and 3 down......the stock setting. Such attention has proven to result in the ultimate IEM experience! The bass has a breath that almost precedes it, this may be in fact be perception of details inside the transient response. Such attack of notes becomes truly welcome and shows both note fall-off and decay to be correctly accentuated. This bass has full round notes and fascinating volume differences in emphasis. The bass truly comes off as natural, but missing slight authority due to FR emphasis. I have no complaints, only realization momentarily of the fact. It’s kind of like wondering and discovering, then confirming the bass quality (amount) then moving-on undisturbed. This style of bass seems to generate added detail across the board due to bass perspective forming analogue pulses............synthesized.

Vocals:
At 28 seconds the vocals start. Such separation from the mix is enjoyable. This separation gives life and dimensionality to everything in the song display. It's a blank canvas, with the bass and synth washes becoming the backdrop for vocals. Brendan Perry’s Voice has never sounded better. Better because it’s now shown for every detail and fluctuation contained. He has about six characteristics to his vocal replay, which are the detail of the embellishment painted across the canvas. To hear all this is to hear the song anew, even though I play it (lately) every day. The sound (after-effects) processing has been used in good-taste to give a separate feeling to the vocals.

There is no-covering up of talent here, only accentuating the mood of the experience due to his voice. Along with the vocal-echoes there is a form of either multitracking or vocal processing to make Brendan’s voice a chorus of Brendans. It is the rhythm of such echoes, along with synth washes and bass, which adds to the song’s pace as no other form of rhythm has been introduced.

All your ships
Have left their moorings
Cast adrift
On the Sargasso Sea
Waiting for the wind
To set your sails free
When you reach
The end of your rainbow
Chasing shadows
And down on your luck
Look for the sign
Look for a sign
As you rise to the very top
Of your mountain
Just remember those
Poor lost souls
On their way down
You taught me patience
Was a virtue
I took my time
Let Nature take her cause
All was revealed
All in good time
Turn back your clocks
Open up your memories
Beneath the veil
Where time stands still
You showed me a sign
You showed me the sign

The rainbow word has an exquisitely sung tremolo, and the LAND lets us hear such in effortless form. These are vocal specialist IEMs, and just like the TSMR Sands I recently reviewed, you know they were tuned by the same person. The PAC480 cable, the Walkman…..all cater to the LAND and Sands IEMs identically. Such a simplistic song has left room for details to be found. The effects which seem to hold the same amount of creative input as the actual notes and vocal adds. The LAND’s soundstage and tonal focus accentuate such sonic life-forms and bring them into motion traveling across this sound-field. This softness through detail makes the whole event take-on an expensive indulgence. Like your teeth biting through expensive chocolate, you simply hold on to the moment.

TSMR Sands Universal IEM vs TSMR LAND Universal IEM

For the sake of simplicity the exact same equipment parameters were used as in the sound demo above. Here the LAND is slightly bigger in ear, but despite the size difference, both fit great, with that slight extra low weight feeling a the Sands gets you.

These two IEMs were probably made by the same design team and tuned by the same designer/designers.

TSMR Sands:
1 dynamic driver + 3 balanced armature

1) 10mm custom dynamic driver for low frequency
2) 2 Sonion balanced armature for middle frequency
3) 1 Knowles balanced armature for high frequency
4) 3-way crossover, 3-channel design


TSMR LAND:
1 dynamic driver, 3 balanced armature and 2 ESTs

1) 10mm custom dynamic low frequency driver
2) 2 balanced armature intermediate frequency driver
3) 1 balanced armature high frequency driver
4) 2 electrostatic high frequency driver
5) 4-way crossover 4 channel design

Due to the polish and detail enhancement and the added sound tube and drivers bring, the LAND offers close to the same tune, though the bass is slightly forward with the Sands. Such differences could be from trying to drive all the drivers in the LAND with the same volume? Yet noticeable is the way wider soundstage and itemization of sound elements included. While I love the Sands, for you Sands owners (already) who were wondering...............there is no reason to ever revisit it, after you have experienced the LAND.

In this PM quote Dsnuts goes on to educate me on the Sands tune:

“Sands have a treble shelf from 7Khz to 9Khz the most sensitive portion for trebles. A shelf. Most IEMS have a mild spike in the region for treble presence, mostly focused at 8 to 9 Khz. A shelf that covers that entire range is uncommon. This is the reason why every single treble note will be heard easily.
One of the headfiers that bought those early was initially disappointed with them and then I talked him into trying out some different cables and then he started to enjoy them. Turned that person into a cable believer. Lol.”

Such is the tune we are dealing with. While I reached success with the PAC480 cable and Walkman, many may have to provide some footwork before entering the charms of the TSMR LAND/Sands. And even then, possibly the sound signature is not for everyone. In comparison of the Land/Sands there is no better place to side-by-side the additional qualities the LAND brings to the table. There is a primal quality to how the Sands displays the notes, yet those notes are (in-comparison) are fully drawn-out and sculpted with the LAND. The result is actual timbre improvement due to improved sound color; in fact this case is the very definition of timbre. Literally a more realistic LAND replay due to the higher level of timbre definition, relating to distinction of heard instruments and voices due to better tone timbre! Experienced folks could guess this as a natural occurrence due to comparison of two IEMs of the same tune but different driver count! Here of course we are dealing with the intrinsic qualities of added drivers expressing the same general FR. It’s just the general character of ESTs showing, and probably the best example of EST win in my experience! Though it’s interesting that the two LAND/Sands bass drivers are creating the same tone, though you can tell they didn’t use the same DD model number. That’s right, the detail included with the LAND's 10mm is a whole different ball of wax. Seemingly stepping back to throw out a whole different level of detail, while representing the very same musical note. Such bass notes are in essence the very definition of refinement, yet only with side-by-side tests do you totally witness such improvements. So to summarize the comparison, same FR, different technicalities.

Build:
The LAND comes with the feature of different dip-switches. Normally I’m never game for such tom-foolery, except the bass switch on the DUNU SA6. But the LAND changes are more involved than a simple bass switch. Note this whole review was done in 020 (balanced) just because that’s how I roll. I have always felt this “defacto” setting was the tune the IEM was built around. The medical grade resin shells feel comfortable in contact with your ears. And the 0.78 2 pin connects work flawlessly. But to state my favorite feature. It’s that the LAND never ever moves out of place once it’s been set into ear-fitment. This shape success may not fit everyone, but it works for me?




Tuning mode instructions

0 means push down, 1/2/3 means push up
Mode 1:
100: Bass enhancement mode
120: Mixed tuning
Mode 2:
020:All balanced mode
103: Mixed tuning
Mode 3:
003: high frequency enhancement mode
023: Mixed tuning
123: Mixed tuning (lowest impedance)

Remember this test involved extreme bias due to happiness in the 020” balanced mode. Your excursions into sound profile changes could easily result in finding gold and staying with the new “un-balanced” setting.

Seven variations, yet only six as a departure from stock.

100: Bass
Yep more bass, actually this is a lot of bass?
120: Mixed
020: Balanced
103: Mixed
003: High frequency
This seemed to make the soundstage even bigger! Yet the vocals lost physicality and started to edge on sibilance, not sibilance but going that direction. But really not bad, not exactly good either? I’m surprised, as I thought I’d be a fan (only) of the 100 Bass?
023: Mixed
123: low impedance mixed
Maybe more vivid, still I miss home……….with 020.

All and all this dip-switch stuff is pretty easy to do. I used the wax-removal brush wire loop end. The switches make a noticeable click into place with out a doubt of positioning. And while balanced mode is where I am, I do have a curiosity to fulfill going into bass mode after the review is finished. Remember these switches are simply an addition to the whole set-up. Being Cables, DAP, Ear-tips, EQ (I don’t do) and actually the variations of sound files arranged for playback, if you really want to get down to it!


Now that we have that out of the way lets concentrate on sound values:

Treble:
With most IEMs concentrating on the boost at 8Khz to 9Khz, here we have a 7Khz to 9Khz shelf. Such aspects go to delineate a whole level of forwardness in treble. This has been thoroughly addressed as an entity and dealt with by both Dsnuts and I though the PAC Cable change out. Such a polish and smoothing out, is simply the way to go for most listeners. With the included Sands cable and the included LAND cable being lesser examples of the cable art in this particular case. We are gifted with substantial harmonic complexity and clarity. But you may be thinking I just meant treble clarity, yes? Well it’s a balance of everything, so pace clarity is also component too...................which obviously centers on bass speed and midrange focus. This is not complicated stuff, as it is simply trying the various tone changing abilities you have at hand until a balance is arrived at. Such a balance is totally subjective. The creative arraignment here offers a new window into music you listen to all the time. Normally such (borderline higher) tone can be limiting in both listening time and volume used, due to treble intensity. Though here the goal is to find entertainment, constant entertainment, with-out focus on replay, but to transcend the methodology and get lost in the music. Though often I will chose a small percent of lesser volume to reconfirm the relaxation of the tone. The LAND (laughably) will never be the one you turn-up to find the midrange. And just like all really good IEMs, there will be a place in your listening moments when that audio illusion takes over and makes the entire replay almost sound like midrange! That’s when you know you have reached the PROMISED LAND. And……….even when you have arrived at such a local, file quality is still mandatory to success. Why? Due to the critical resolve we have achieved. The files now are under a microscope and seen for ultimately what they are. This sword is two sided, as thin low-res files will often become unenjoyable, yet at the same time, full-featured files will open-up to show you more than you ever dreamed possible. That’s the magic of the LAND. I can pretty much guarantee you there are attributes to your music you haven’t found yet. Remember the (previous) talk of looking into the sun vs seeing a sunset? When you have dialed the LAND in you will be experiencing the sunset with your best of files. Just sparkles of light……and a romantic sunset tone, full of detail yet digestible.



Midrange:
GIANT TEXTURES:
I’m not even going to call it the midrange, no…………..I’ve chosen to view it as textures only. Remember rewinding (a file) back to hear a favorite part of a song, a part which the music conveyed a sound that was startling? Why does this happen? It’s like viewing into slightly a different world, the next step into sound playback which takes place when everything comes together.



Hans Zimmer & Junkie XL
Batman v Superman OST
“New Rules”
96 kHz - 24 bit

Here we are exploring the LAND midrange with file content. You see, most of my words about this particular IEM only relate to specific song files. There is a reality present which can only be seen when a song file is directly connected to an IEM. And this track does it for the LAND. Reason being is that it’s a full-featured TOTL playback scenario! The fact that the song is well produced, and offers a dynamic contrast that the LAND eats-up. First off, I don’t seem to notice a metallic timbre, but it must be present? The addition of EST drivers reduces this effect by a large amount, or at least helps cover it up, up-top? But the endearing factor is how far the drums seem to exist? The sheer size of this playback is like full-size head-phones almost. When folks are explaining soundstage (with various different IEMs) I can’t help but think, the LAND offers up a new baseline to which all IEMs will be compared to. In my history this is by far the biggest soundstage. Bigger than anything I’ve ever heard or owned. Why am I speaking of soundstage in the midrange section? Because of the fact they are endlessly intertwined. Often add midrange ability and you add soundstage ability.

The next level that’s going on here has to do with increased levels of soundstage detail outside of what is normally found. As an example, the 3 minute 11 second air sound hits right before the songs climax. “New Rules" shows us sonic fireworks in playback. Such song is really more emphasized in low-end and treble sounds, but offers beautiful midrange none the less. A vocal song was not needed here as we already went over how great of a vocal IEM we have here. Just super-fast transient ability and noticeability of transients due to the FR focus! This is the very definition of fast replay, there is no low-end playing catch-up to our signature........thus the lows go right along with the program. To call this a technical beast, is an understatement. Actually there is no comparison in my experience, though remember this whole detail focus is partially due to cleaning-up the low-end involvement so it can be witnessed. Thus you trim the bass and make the treble provocative through ESTs! The two intermediate BAs in addition to the 3rd high BA, under the ESTs give substantial body weight to the mids as well as pin-point imaging and tonal accuracy.

Bass:
A DD first for TSMR, that’s right, the first ever TSMR utilized dynamic woofer….then the Sands came out and added a DD woofer model. Before such inventions TSMR had only bass BA IEMs. The fascinating realization was the comparison of the Sands bass to the LAND bass. Where the Sands promoted a simpler bass texture, it was slightly more forward in nature. It was less detailed, yet almost seemed to add a slight bit of extra bounce. Where the underage Sands was unrefined slightly in the bass department, the sophisticated older/pricier LAND shows experience and character not even attempted with the Sands. Such bass plays detailed and well imaged inside the stage. Such character is also benefiting from being full toned. Meaning even though some may say the bass is reserved, it still holds a full amount of frequency display, creating a realness where ever it goes. Turning to my EDM I was surprised to find that due to full-frequency and DD, the LAND remained exciting and robust. It’s just that many genres use pure bass emotion as their focus, often drowning-out the character of other frequencies to introduce such a stance. And here the LAND will then try and make sense of such off-kilter music and sophisticate it too much. So it makes your EDM files into what I guess would be called a refined and spacial sidestep, often filled with wonderment as to the treble and midrange imaging.



Flowjob EP
"Fall From Space"
44.1 kHz - 16 bit

Here we are truly amazed at the treble imaging. Though maybe in two places it showed to be almost too much. Electronic cymbals are often boosted even higher than normal to balance the lows. And while the bass is there, it’s obvious the BOOM-BOOM-BOOM is not a genre this IEM fully excels at. It’s more of a boom-boom-boom, yet totally entertaining and listenable none-the-less!





The box opening experience:
While minimal stuff is included, I’m guessing most will find this ample. Though the case is a little difficult to place IEMs into after putting these giant cables on. Included are 9 pairs of ear-tips, a switch-tool X2 as well as a cleaning brush. The silver-plated OFC cable will maybe be quickly replaced to go balanced, yet if someone wanted to use the LAND with the included cable (and phone) it’s super easy to drive.

• Driver 2EST + 3BA + 1 Dynamic driver
• Impedance 15Ω@1kHz
• Input sensitivity 110dBL/mW
• Passive noise reduction 26dB
• Frequency response range 10-70KHz
• Connector 2Pin 0.78mm
• Plug 3.5mm

Conclusion:
Holding a special place in my heart, the LAND goes to show new uncharted places to visit. Greeted by vivid textures and an other-worldly soundstage, such technicalities make for an exciting phenomena. Big and often spacial reverb imaging goes the extra mile to guarantee you’ve never been to this town before. And while this IEM would be considered bright by most definitions of the word, it’s much more than that simple descriptor. Fine-tuning the LAND, just like the later released Sands, created a balance, a balance that brought a connection and involvement rarely discovered. For it is upon such experiences that fun and awe are found, that we become a traveler right at home, in our own house. To reach these horizons in replay we would have never guessed. While $599 USD is a lot of cash, the six-drivers playing create what could be interpreted as a deal. While on the larger size, the LAND has size in all the best places, and while I am only curious about the tuning switches, there may be a few owners who adore them.

Though beware:
Such detail and resolution levels offer zero forgiveness for bad files. Yet, if that’s the worst of problems, I can deal with it. And while the bass is incredible, there is still the placement of balance in relation to the mids and highs that may leave EDM searching for more? Yet big/heavy OSTs like TRON Legacy by Daft Punk end being one of my favorite experiences on the LAND. The LAND brings the bass emotion and feeling due to a DD. The LAND brings the timbre for the strings and clarity for the synths…….really I am 100% satisfied with playback……………..but more than that...........I’m speechless? There is a level to describing the playback I am not able to convey. So I’ll leave it at that………..I will leave you to the PROMISED LAND.

$599.00 USD
https://penonaudio.com/tansio-mirai-land.html

$49.50
The PAC480 cable. “Your’e going to need this.”
https://penonaudio.com/pac480-iem-cable.html
https://www.head-fi.org/showcase/penon-pac480-iem-cable.25228/reviews#review-28808

Disclaimer:
I want to thank Penon Audio for the love and for the LAND review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm/3.5

PENON RENATA (Beta) CABLE
Redcarmoose Labs November 25th, 2023

Disclamer:
This model of the RENATA (Beta) had a different sound than the finalized version. Penon decided to change the product tone and introduce the Penon RENATA with a slightly different forward tonal stance, in-turn adding regular midrange clarity. Hence the actual cable described here will never be widely produced for consumers. While the new (final form) RENATA could still be considered warm, it is in general more well-rounded finding home with most IEMs, oppose to this (in this review here) darker treble and subdued midrange energy model.

Probably the very best way to approach this is with a story. Yes, it’s true that all cable interactions are stories, except this particular cable, the Penon RENATA is vastly different from any cable I have come across. Different only because when I first got it I didn’t value what it did. I thought it was weird because it tilted my favorite IEMs into a wrong position. The RENATA made certain frequencies dull and lifeless, boosted others. I was perplexed…….then I started to get a clue as to what its uses were……..yep. The Penon RENATA does things different, and actually doesn’t go with all IEMs like the Penon ASOS cable I just reviewed. It’s almost the opposite of the ASOS cable.

As far as cables go (to over-generalize) we can place them into two categories. One being clarity (ASOS) so the cable simply gets out of the way and lets the personality of the source and IEM shine through. Two being color. Yep, some cables have use into aligning a sound different, almost vibrantly into a specific direction. Now vibrant may or may not be the very best word to use, except let me explain. Even with the 1st category (regular clarity cables) they can use a slight midrange or treble lift to bring things into greater focus. Even the bass can be slightly enhanced by itemization, a sculpturing of sorts. And while there is many different qualities of such taking place with different cables………this clarity group is wanted and needed as an alternative from the cable they gave you with your IEM. Group one simply makes the IEM you purchased better. Why? Because they couldn’t provide a more expensive cable with your purchase due to it thowing the over-all price out of whack, and because cables do less for the overall sound than the IEM. So manufactures know this, and get you most of the build effort inside the IEM, not the provided cable.

Except what on the other hand if your IEM was too intense, too bright or too forward? And even the manufactures supplied cable still didn’t work to make the new IEM you have listenable for long periods of time. Sure everyone has their own personal threshold into the perception of this energy. Some like excessive brightness, yet that’s not the norm. And typically with these types of IEMs we don’t know what to do. Number one we like them due to the ability to enhance detail. But as far as long listening runs there is a point to where we feel it’s just too much. Sure EQ can help, different ear-tips can totally go along to decrease our nozzle opening, to decrease the tone frequency…………but what if you want the widest soundstage? And what if you don’t want to use EQ? There is the solution of using different sources too, as at times we have a wide range of tones available at our disposal. But let’s just say even though all those methods do work, there is an easier way to reach success. There really is.

RENATA:
Renata is a feminine Latin name meaning “reborn.” It is derived from the Latin Renatus, meaning “born again,” which comes from the word natus, translating to “born.” Renata is a popular name in Italian, Portuguese and Spanish, with Renée being the fashionable French version of the name.



PENON RENATA CABLE
At first before I found my way with this cable I thought it was strange. As if you attempt to join the RENATA with balanced IEMs that don’t need correction you will hear things sounding almost off balance. The color will be apparent and you will wonder why anyone would make or use such a cable. Here at Redcarmoose Labs the respect meter goes down as there doesn’t seem to be an application for such a product. Even with first realizing the cable is a type of smoother……………..it still doesn’t smooth everything out in an even and correct manner? So imagine with me that even coloring sound needs to be somewhat even and correct………….a correct change. But then I started to come to terms with what the RENATA did well. Yep, I actually owned a number of IEMs that were in need of what alterations the RENATA did. Not only were they in need of exactly what the RENATA was up to, they were the very best sounding after the RENATA treatment.....the very best they could be! At least to me they were the best? So the character of the RENATA had a use, but more than that, there was no cable on earth (or at least one that I tried) that did what the RENATA did.

The RENATA is a singularly different cable than any cable ever made. Wow, that’s a big statement. Let me clarify.

First off probably the closest to what it does can be found with the ISN CS02. Yet the CS02 comes with a permanent plug surfaced with Rhodium. Now I have no idea what a regular plug would do with the ISN CS02, because I don’t have a separate permanent plug cable made with the regular style plug. Yet, what I can do is put on a Rhodium Plug onto the RENATA. Thus my attempt to make the RENATA more like the ISN CS02. Yet that flopped……….where the Rhodium Plug does make the CS02 great, it added a little too much intensity to the RENATA. Basically that is kinda what Rhodium does, there is an increase in treble energy and a forwardness or sorts, actually in many ways it’s clearer than a regular plug, but at some expense at times. But the real reason the RENATA is different is in sound, the resulting sound with taking a few IEMs and making them be the very best they have ever been.



Did you read the Latin description of the name RENATA? Guess what, Penon told me about the name two days after I already discovered what the RENATA did. So that in itself was mind blowing. I’m going to go over a few IEMs in use with the RENATA and simply try to explain what’s happening. You don’t need to research them, except in my reviews I will talk about the IEMs character drawbacks. Typically what this group has in common in brightness. So even if you don’t have any IEM in the test group, but do own a forward or bright treble or midrange IEM that delineates lesser listening times, then the RENATA may be the avenue to try. I mean that is what it is about, to have an older IEM become reborn!

Tests:
First off I could probably find more examples of success, yet it would be redundant. I literally received the RENATA a few days ago and it reduces my time (to write) to test every bright or forward IEM in my collection. Plus while fun, the results are the same and we would basically be going over the same ground over and over, which would be a little boring. Except for the “what if”.

What if:
What if is a term which in many ways encapsulates the discovery and mystery of IEM testing. What if means that often cable tests can be predicted, but other times surprising. Surprising just because often IEMs and cable unions don’t always play-out as guessed. Still there is a wide ranging group here to test, and they each offer different price ranges and popularities. There are truly different frequency responses, as how could there not be? But beyond what we can learn from graphs into viewing the FR response, there are unique abilities due to the various drivers displaying their own unique sound sculpturing. Yep, different balances of bass, different resonances, etc, etc.

The test subjects:
The TSMR Sands: 3BA x 1DD-$319.00

The TRN BAX: 1BA x 1DD x 2EST-$312.88

The MEAOES Eagle: 2BA x 2DD-$149.90

The SIMGOT EA1000: 1DD-$219.99

The Geek Wold GK100: 2BA x 2 Piezo Highs x 2 Piezo Ultra Highs x 8mm DD middle x 8mm DD lows x 8mm DD ultra lows-$200.00

The KZ AS24: 12BA-$112.00 (switchless model)




The TSMR Sands:
As always, I’m rooting for the underdog. You know a great IEM, yet not perfect, except shining as far as price-to-performance goes. Why else would I surround myself with so many budget IEMs? Truth to be told I am always looking for that bargain, an IEM that leaves you satisfied regardless of cost. But I have to say the Sands was and is different. Joining the mid frequency duties are 2 Sonion BAs. It was at the end of May, 2022 that I reviewed the Sands, and I have to say I was spellbound by what how the implementation was done of these two magic BAs. Maybe it was that they were “nude” in a way, having to procure so much of the sonic statement? One Knowles tweeter, one DD……..yet the midrange is what made the Sands, at least it is what you remember after the dust settles?

Today I’m using the Sony WM1A with MrWalkman’s firmware and my regular wide-bore silicone tips on everything, all of the test IEMs here today. And while the midrange is again the first and foremost the notable “thing” I can’t help but be persuaded by the increase in bass authority. The RENATA is expanding and separating the stage elements into both smooth and itemized elements of entertainment. I mean I choose this one as the first to write about just because cable changes have been a big part of the Sands life, ever since introduction, people have been concerned with getting the most out of the Sands via a new cable. Yet, here we are at home, as it seems like this combo was meant to be together, that the Sands and the RENATA were made for each other. Don’t get me wrong, that treble is still there, yet softened and digestible……seemingly smothered in golden light? Attacks are instant, transients fast and encapsulating imaging into a reality into which we view the stage positioning. And while of course the Sands isn’t everything, it is the best it has ever been here today. The ear-hooks too, go ahead and add positioning.



The TRN BAX:
A little harder to drive than the Sands…….here we are witnessing size, size and a different style of forward intensity. Normally I don’t bring-up gossip but since my BAX review I could not help to read the trash-talking. The first thing you learn is never become upset if someone doesn’t like the IEM you like. Only these folks on Facebook have never heard the BAX, they are only going by some graph. Yet as gossip goes, it is a wave of taking, with one and then another gaining force, simply by agreeing. LOL

I’m sorry, the BAX is absolutely one of my all time favorite listens. And again it’s not everything, and doing side-by-sides with the IER-Z1R did put it in its place. Only I’m a sucker for big-big stages, then if you itemize those elements into positioning into the stage, then dislocate the DD bass maker into it’s own HYBRID world, I’m completely satisfied. Yet some have found the intensity to be slightly overboard with what the BAX does. The new BAX Pro has an extra BA driver and tuning switches, so maybe that will attract more folks to this Hybrid paradise? But to me I’m in love and you know how love is blind……well the BAX doesn’t need a thing. Sure it’s intense, but the good kind of intense, the kind I can get lost in all day long. This style of forwardness brings with it clarity, yet the RENATA enhances such handiwork. Yep, the BAX is also now the best it has ever been. Sorry if you don’t believe me, but it is true. A slight separation, a smoothing of the edges and a new stage, a bigger stage than I ever guessed was possible. There is even better timbre maybe, as that is what can happen when you dial things down a tad, same as the Sands, offering a slightly more realistic take on daily file playback. Oh, and the ear-hooks……total win-win.

I know this sounds crazy, but with the slight trimming of intensity, the over-all cohesiveness also was increased as everything just flowed together more evenly. More of all-is-one, except this is a Hybrid and still has that marvelous separation, like home theater does.



The MEAOES Eagle:
OK, the Eagle could in-fact be the poster child for the RENATA cause. A perfect example of turning an IEM that after a while you may be on the fence as to possibly selling due to brightness? Yet saving the day, the RENATA is in place finding new found perfection. Well, not perfection, but close to it. In truth I forgot the retail price of the Eagle, yet it sounds like money now? Also the MEAOES Eagle was kind-of a surprise in that I don’t ever remember it sounding anything like this. Just super big expansions of detail and floating harmonics, all very natural and not steely or too bright? Also the two DDs are simply kicking it, bringing a welcome groove to whatever music is your choice. Yet it is probably timbre that is the most inviting here, as this typically is the style of IEM that can be controversial, being it is accepted by a few, and shun by others that don’t understand what the Eagle is trying to accomplish. Yet here is the cohesiveness, the completeness of tone, and an overall demeanor which gives it both a charming character, and an accessible one. It’s like that grouchy neighbor that was always complaining about this or that across the street, then you have him over for drinks and end up hugging……….well not hugging but you get my drift. LOL

Total acceptability here. Truth to be told I don’t know what price they are going to ask for the Penon RENATA, yet if by chance you end up buying it, it’s not too late to learn of the MEAOES Eagle. No doubt that it’s different, but so wonderfully different now, you know how it goes, a difference that becomes of an enchanting character, and one of singular value.....when you hear how the bass has a clarity and pace……..you won’t care that you only spent $149.90 because often this isn’t about how much you spend but the value of the synergy you have found. The bottom line is if you can enjoy your listening sessions, and while, yes the Eagle is still on the brighter side of the street, the DD balances that out just right. But most importantly it sounds natural and correct……..so much so that its tone is what I remember now with the RENATA, and keep coming back for more. Amazing! Some of the best sound per dollar out there. Don’t disrespect the Eagle……..don’t!



The SIMGOT EA1000:
So word on the street is this is the hottest thing since the last hottest thing. And while the EA1000 has its slight issues, most will agree that it is a lot of sound for the money. SIMGOT is going crazy introducing a full-line of budget IEM offerings, yet they may have hit the ultimate Pay-Dirt here? Did I say Pay-Dirt, that means finding gold, and I think they may have done it? I just wrote a long drooling review, a poem to the IEM GODs who bestowed this marvel upon us. That while great, the issues here have to do with what inherent issues single DDs have anyway.

The EA1000 was one of the very first IEMs I tried with the RENATA. Why? It was near by, and the sound was also near to heart. I had just done a review, but more than that, I wanted to find out where the RENATA would take the SIMGOT EA1000. There is another reason too, I had just tried a few “normal” IEMs and the RENATA was not always correct with them. What I mean was the Penon Volt and Penon 10th Anniversary didn’t become enhanced by the RENATA charms? They were too balanced and already did the magic that they do, and didn’t ask to be pushed into the direction the RENATA goes.

First off I mean, I’m not a fan of changing filters, and if an IEM is on the slightly bright side I can normally just deal with it, maybe my listening level may go down 5%…..or something? The way you know Schiit-hit-the-fan is I will recoil from my wide-bore tips and suggest some narrow bore tips to enhance bass and midrange authority while diminishing treble frequencies. But no, none of those shenanigans are needed with the EA1000, at least for me they regularly are not. Still there was room for improvement with what the SIMGOT EA1000 does and did. First off there is a pleasant overall warmth that is taking place, warmer than any other cable I tried. A warm blanket, yet due to the character going on with the EA1000 such warmth never seems to diminish the details. But there is a better stance of details as the stage is bigger, that and what could be perceived as closer realizations of elements oppose to Hybrids, the EA1000 now enjoys an immense bigger stage. Not the biggest ever, but a totally welcome improvement. What can add to those perceived improvements is separation, separation can at times be more important than stage. And that is what we have, a blacker background, littered with bigger imaging, and such imaging is in every direction……wider, taller, lower and deeper front to back. Next off the bass is both warmer and slightly deeper, bigger at least. And while bass it seems is not the stand-out value of the EA1000, it is totally intoxicating to me? And I don’t know why that is so? Maybe the fact that everything is so integral? Where the upper treble and pinna gain areas get a softening, where they don’t arrive as forward as say the Kiwi ears Melody, they are smoother now and still in perfect placement, as far as I’m concerned? Still if any drawback could be found with the RENATA and the EA1000 it would probably be how vibrant the vocals end-up? Just saying………..Yet remember I’ve just got done hearing 3 Hybrids, and just by the Hybrid nature vocals can be heard into more of a brighter toned color. But more than just tonal, they can be slightly more separated and dislodged into the mix spatially.



The GEEK WOLD GK100:
This makes the Eagle sound slightly less filled-in by comparison. Yep, all lot of fill-in due to a Smörgåsbord of drivers. All those GK100 drivers! Heck, there is everything but the kitchen-sink going-off in there. Yet it is all now smoother, and I like that? The RENATA is again making a love affair happen? Vocals are incredible, going from the SIMGOT EA1000 to this? I mean I call it just like I hear it, and while this is a test of a cable, you can’t help but compare IEMs you just heard. Yet this still isn’t a vocal centric IEM. Meaning vocals are better than the EA1000, yet still not maybe totally upfront? Probably GEEK WOLD accomplished that with the new GK200 which has just come out? Yet the RENATA improves the vocals here. I mean I’m sure I don’t sound believable with this review? Sure, I understand, yet it is what it is, the RENATA makes the GK100 the very best it has ever been. Again we are starting to grasp an ongoing theme of attributes. Bigger stage, rounded deeper, more authentic bass, more separated bass, more separated everything! HA

A smoother more natural rendition where instruments take on a more real timbre into their realization of occurrence. Literally there is nothing not to like here. In fact this may be the actual Poster Child of the ultimate RENATA cause…….why? Because it’s all here, all you could ever ask for from the GK100. If I was at a show (an IEM meet-up) and there was a table with the GK100 laying there…..I would blind fold a listener and simply ask how much he or she thought the sound value of the GK100 was with the RENATA in action………….it will in no way be a $200.00 IEM, no way. Yet it is these vocals that are special now, just the way they hold so much detail of expression? Just the way they are centered into a full-on stage with everything else going on around them….priceless?



The KZ AS24:
This is the full-on WHAT-IF style of hope. What if pigs could fly, what if the moon was really made of Swiss cheese? What-if…..the KZ AS24 could be turned into a masterpiece of an IEM, with just some added note-weight? In truth I wish I would have ordered the switch version as mine has no switches. Reviewers seemed to have luck adding a style of authority to the AS24 by changing switches. And while the RENATA does bring some warmth and spaciousness into play, the IEM itself still remains containing what it has. Meaning whatever magic was bestowed upon the above IEMs seemed to be a full miss-out here? Sure part of this could be me? Sure, I’ve only spent two days with the RENATA/AS24 combo……but I don’t think things will change? While yes, the stage is big, maybe I’ve simply been listening to too many Planar IEMs or DDs….or Hybrids, as the midrange here sounds a little dry, dry and lifeless? Sorry?

Ergonomics:
The interesting part of this review is yes, the cable is big, but not wild in how it acts. It actually goes where it is directed, so much so that I forgot to even write a part about it in this review. That is exactly how it is, you don't fret over what is not a problem, then someone commented as to size, and I was like...oh ya, people are going to see the pictures and be concerned with that. It's actually a little big, yet the ear-hooks do wonders, plus really it goes where you tell it, and I didn't notice microphonics happening, so in many ways it has the same magic as the ISN CS02 cable.




Conclusion:
I don’t know how the Penon RENATA was made, nor do I even know the determined price, yet all that stuff will be disclosed at a future date. That stuff is secondary to what benefits take place to a few IEMs in use. While this whole reborn thing was surprising, as I didn’t have a clue to what the name meant when I started this review. And truly names only have so much value, yet ultimately more when they explain what you have in your hands……right?

Look, this review has been a little long-winded, but more than that, this review has been filled with truths that border on the unbelievable. Which is fine. Remember in history most things that were different were not taken as fact when they first arrived. People didn’t believe the car existed when first told about it. They thought the car was a mechanical bull when they first saw it, little did they know it was something you could actually ride inside of!

And if anything, you can buy the RENATA as it will work with the brighter and more forward IEMs in your collection. It will give you longer listening times, and as a side benefit make the sound more cohesive and real. Timbre will somehow be affected with Hybrids.........resulting to transform the sound into more naturalness, when mellowed-down. The RENATA effect is real and one-of-a-kind over here at Redcarmoose Labs. And while the RENATA doesn’t make everything it touches better, a colored cable is like that, it picks and chooses who it wants to play friendly with.

All I can say is due to its uniqueness and politeness of character, the RENATA will stay in use with me......maybe daily, becoming a very special cable. Penon has a cable that does things no other cable in the world can do, and that quality makes it valuable, and even rare. You can partake of this phenomena once you get it into your sweaty audiophile hands too!

https://penonaudio.com

Disclaimer:
I want to thank Penon Audio for the love and for the RENATA (Beta) Cable review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB

Sound Rhyme SR5 "The Underdog"
Redcarmoose Labs March 17th, 2024

Who is Sound Rhyme? Well they are a fairly new manufacture, at least a new one that has come to light in the last few months. You know, the latest big IEM thing..........with many local members getting into the brand and discovering products from the line.

Sound Rhyme as of March 17th offers:
$749.00 Sound Rhyme DTE900 4EST+ 4BA + 1DD Hybrid
$369.00 Sound Rhyme SR7 1DD+6BA Hybrid
$749.00 Sound Rhyme SR8 14BA
$59.00 Sound Rhyme SR1 Bass 9.2mm (single full-range DD)
$459.00 Sound Rhyme DTE500 2EST+ 2BA + 1 Dynamic Driver Hybrid
$149.00 Sound Rhyme SR5 4BA + 1 Dynamic Driver Hybrid
$1,799.00 Sound Rhyme Prado EST 4EST+12BA Hybrid

Sound Rhyme:
So you know the deal, a new manufacturer comes along and gains a following, yet all this just happened, and is happening as we speak. Sound Rhyme is the brand of the moment!

@AmericanSpirit
He started a Head-Fi Sound Rhyme thread back in early February of 2023 beginning with (the one IEM we are reviewing today)……the $149.00 4BA/1DD SR5. He called it an “undiscovered hidden gem”….this business moves fast, as now you can choose from seven Sound Rhyme IEMs. Anyway, this is the second Sound Rhyme I have been introduced to, and I have to say the company is doing a number of things right. AmericanSpirit also introduced the SR5 to the Head-Fi community in this single post.

Feb 19, 2023 at 7:18 AM
Post #72,814 of 97,191

Sound Rhyme SR5 4BA + 1 Dynamic Driver Hybrid
Specification

• Model: SR5
• Driver: 10mm composite diaphragm dynamic + 2 Knowles balanced armature 29689 + Knowles composite dual balanced armature 31736
• Impedance: 26Ω
• Frequency response: 20Hz-20kHz
• Connector: 2pin 0.78mm
• Plug: 3.5mm/4.4mm straight plug
• Cable: silver-plated mixed cable

It’s important to note just how fast Head-Fi moves as this single introduction to Sound Rhyme as a company took place with that single Discovery Thread post back in the middle of February 2023. As such AmericanSpirit was onto something.

To quote AmericanSpirit…….
“TLDR; “Hit!”, Highly Recommendable as extremely high cost performing warm-neutral with U-hint. Has extremely wide range from sub-sub-bass to TOTL styled finesse articulation for 8-9khz, 15khz, and 20khz detail highlight, the reverb generation.

Usually vocalist-IEM doesn’t have diffusion field but this SR5 does have both, vocal richness as well as wide diffusions.”

In retrospect:
Maybe this was the perfect way to introduce the IEM brand…........with this single example?

The SR5:
10mm high polymer DD
Knowles ED29689 x2 (Mid)
Knowles 31736 composite tweeter x2 (Mid- High)
4 way crossover

The SR5:
What we have in many ways can be viewed as the underdog. Meaning sure I’ve only heard one other Sound Rhyme, the SR7. And while to be truthful I actually love the SR7 more. Meaning its playback is bigger and more technical, covering more ground yet of course costing more at $369.00. Plus the SR7 has switches. Later I will do side-by-sides with the SR5 and SR7…..but let's just say the sonic value of diminishing returns are wildly apparent upgrading to the SR7……..no you don’t go up (a huge percentage) in sound value with way over 2X the price.

And really that is the entire point of this review, that the underdog SR5 is quite the performer, that it has a balance in playback, a character of being a vocal IEM yet with the added class upgrade of a bigger more expensive IEM in regards to technicalities.

Package:

Packaging photos Penon Audio

The case:
Normally I don’t talk too much about the added extras. I mean sure they are important here, except just looking at this screw down case……….in no way would you guess it came with an IEM costing just $149.00?

Sure common sense would suggest that you take out the 2 pieces of foam inside the screw down case and use it with the included cable as a water tight and bullet-proof transport device. But take note that this works like a charm as we still gain the benefits of the lower foam insert permanently glued onto the bottom and under the lid!

In such a set-up we can enjoy a water tight, no-rattle..........super compact traveling case.

It you don’t want to go through the trouble of unscrewing the case lid each time, Sound Rhyme has included a second leather magnetically closed case for alternative use.

Adding a cleaning cloth to the inside of the case:
As such an extra cleaning cloth goes one-step-farther to guarantee safe transport against a single inner bevel (which could be harmful in scratching the IEMs) right at the lip. Of course if you feel like changing cables each time, the IEMs can be transported as they came with the screw down case foam inside, leaving room for the IEMs alone.



Faceplate:
As such the stock faceplate is cool in an understated way. If you by chance shine a UV light onto it you will witness a green afterglow that lasts almost 1 second. This style of faceplate has been used by qdc, and EPZ among others. If by chance you want more faceplate choices an extra $45.00 gets you a huge choice of four pages of alternative faceplate ideas.



The Cable:
Normally I don't give the included cables too much emphasis, except here is the exception to the rule. As it turns out the cable is the exact same cable that comes with the SR7. A silver plated copper affair that has great feel in the hands. The ear-hooks are of average pressure and in can come in your choice of 3.5mm or 4.4mm.





Build:
Finding itself rather small compared to the the HiSenior Okavango 6 BA + 1DD, and even smaller in comparison to the Sound Rhyme SR7 6 BA + 1 DD Universal IEM......we are gifted with perfect fitment. The metal nozzle end holds ear-tips on perfectly without movement. Take note of the careful semi-custom shape which allows the IEM to form that much closer to your ears. Really as of a few years ago they have dialed this fitment thing to exact standards, allowing basically this exact style of shape to be almost commonly found, especially since we are not trying to put too many parts inside the SR5.

You will note a single air-vent off the side.

The SR5 parts inside:
High frequency: Knowles 31736 composite dual balanced armature.
Medium frequency: 2 Knowles 29689 balanced armature, improve voice resolution, medium frequency density balance.
Low frequency: use of 10mm composite diaphragm dynamic driver with an impedance 16Ω. Uses a Polymer PU composite diaphragm. And a N52 NdFeB shell, gold-plated magnet.

Response to staging:
Here is the deal. When testing often an attribute of an IEM comes to light which is not totally normal. Meaning I test IEMs every week, actually a couple times a week. But once in a while an ability will surprise me......so much so that I have to ask myself.........in the moment.........does every IEM do this? The ability to relay soundstage correctly is an inherent ability of the SR5. Now I'm not just talking right to left. No, I was able to choose sources which pumped the staging ability into forward and back, top to bottom. It was the SR5's ability to exactly transfer stage size into audible levels of character. As such we can discover what ability your sources have to keep the stage medium, or to go hog wild in stage displacement.


Back-to-backs:

Left to right:
$369.00 Sound Rhyme SR7 6 BA + 1 DD Universal IEM
$149.00 Sound Rhyme SR5 4 BA + 1 DD Universal IEM
$299.00 The HiSenior Okavango 6 BA + 1DD Universal IEM
$239.00 The HiSenior Mega5P 4 BA + 1 DD Universal IEM



The SR7 phenomena:
$369.00 Sound Rhyme SR7 6 BA + 1 DD Universal IEM
One of the later discovered traits of the SR7 was that just by its nature it seemed to add a style of robust authority to whatever DAP I tried it with. Meaning the SR7 would add playback girth and density to whatever was upstream. Use the SR7 with a phone or even an entry level DAP like the HiBy R3 II and find a welcome home owning an ongoing fireplace which seemed to add coziness and even love……….If I can stretch these ideas? This home had the furnishings and full-on comfort of much more expensive IEMs, and as such could be welcomed with open arms.

As such we were immersed in such SR7 character traits which upon first learning became a riddle, a riddle of warmth in question being slightly too much………then later decided upon being exactly right. Yep, the SR7 is like that, especially if you live with it on a daily basis, rotating through as many IEMs as I do. What this means in the end is there is a sizable stage and that stage is filled with lush excesses, though topped off with details, only not all the details……..yet 100% musicality. So that’s the SR7.

Where the SR5 comes off easily more accessible. It is the more strait-laced friend that does not take chances, nor challenge fate with chances with too many ideas of warm wildness. Yep, the SR5 is out to prove that it knows the ropes inside of playback and could in fact be chosen over the more expensive SR7 simply by being more up-front and normal. This normality is simply an attribute I place on sound replay after side-by-sides. This business of comparing IEMs side-by-side is really not that difficult or confusing, especially with two IEMs like the SR7 and SR5 to compare. Where sure there are only 2BAs between the two to make differences……..yet that would be misleading to most. Except of course the differences between the two IEMs is way more than that…….as they are tuned differently and have very different destination ideas from the start. Where sure the SR7 has the tuning switches which offers more ways to go, but I have landed on both switches up getting the biggest stage. And while attempting to create a closer brotherhood by dialing the SR7 switches to the vocal setting or pop music setting further substantiated the fact that one IEM is a cat, and one IEM is a fish. That in-fact going back and forth between the SR7 with switches, and the SR5……one starts to almost hear the SR5 as more filled-in. Yep, even with less drivers, the airiness obtained inside the midrange and treble went to solidify the fact that the SR5 is not messing around here. Even the bass between the two SR7 and SR5 was very close to the same. I mean that is basically what everyone is saying about the SR5…….that its basic demeanor is nice bass, elevated upper midrange/trebles which promotes vocals and a Hybrid separation with added airiness that you never get tired of................or is never too much. You see, this was a hard pill to swallow for this reviewer, only because I love the SR7. Sure I know it is not perfect, but the SR7 baths in personality. It is this personality that becomes endearing. Where we can kind-of make the SR7 become like the SR5…….it never truly is, even with switches changed. The bass always stayed the same but after each flick of a switch the midrange and treble were altered to be closer to the SR5, except at times there was more contrast in the treble and at other times it actually seemed less filled in from midrange/treble character. There are more BAs for the playback, and switches to work wonders, this can’t be a correct summarization? But it is, and that’s the magic the SR5 brings to the table. A switchless model that is dialed in just right, being able and capable to playback many genres and many DAP upstream characters, all with-in acceptable levels. Where is the SR5 missing stuff? Well………it is the harmonics inside those correct tones which (as an example) get found and broadcast by the SR7 better. Fuller, of more detail, and of more realistic tone. There is simply more information combining to create a slightly softer but more filled out stance tonally in the end. And it is partially that stance that goes along to provide the SR7’s total personality, regardless of switch positioning.

None of this should undermine the exotic (rare) yet truthful and mainstream playback performed by the SR5…....as it is doing a lot with a little. Getting just the right amount of bass to go that step forward to make you realize that you are listening to a Hybrid in action. Boom!

The bass playback is wonderfully separated into the stage, a place all its own, yet owning a smooth and pleasant tone holding details and correct pace. The bass has the frequency range, only it is naturally fast and doesn’t interfere with the midrange. As such the midrange and treble also go the extra mile to guarantee you that Hybrid separation sensation into the stage. There is this character the BAs do that is the very reason why we purchase Hybrids in the first place. Yet the treble and midrange (while holding contrast) are still very blended with the total character of playback, showing an upper-end sophistication far above the SR5’s humble price point. The SR5 has a style where you start to guess the vocals both male and female are better than the SR7, that while sure the stage is larger with what the SR7 does (especially on the stage switch settings). But the SR5 is going forward to proclaim a cleaner and less nonsense form of IEM playback, it is simply not messing around here. I hate to say it but the vocals really are special here and would be perceived as better in most cases, than the SR7. Only while vocals are sitting slightly back farther the SR7 is offering a more filled-in and finer detail of sound design…….....only showing-up less vivid than the SR5?




$299.00 The HiSenior Okavango 6 BA + 1DD Universal IEM
Probably what shows up first is how good but still different the Okavango is. Really surprisingly the bass is heavier (than the SR5) and that is almost the last thing I was expecting? There are more BAs here, and in small ways you can extract such clues. There is finite small extra extensions of treble drum elements out into the stage, only somehow I’m finding the SR5 both slightly less detailed due to less drivers actualized, but the Okavango tuning here is a tad less forward in the upper midrange/treble, that like the SR7 we are simply getting a slightly toned down level of replay in the upper midrange and treble with more bass. Now you would think that would get the Okavango into dark water……..when nothing could be farther from the truth.

Dark water for the Okavango?
That this is all very small differences enabling both IEMs to ride out almost (in-a-way) the same basic tune profile. It is just that the Okavango somehow comes off a more filled out example in stage, with a more robust bass but a softer treble, yet only ever so soft in comparison to the SR5. I mean sure you can hear the extra money and where it went with the Okavango, only this slight brightness could almost be looked at as more resolving as far as the SR5 goes. There is a slight element of more smoothness with the Okavango, but after spending as much time as I have with the SR5……..at this point that Okavango smoothness is hard to grasp onto……it would take a few hours to maybe say it was correct. Where yes, more energy into stage realization becomes the SR5’s theme and road to success.



$239.00 The HiSenior Mega5P 4 BA + 1 DD Universal IEM
Just so you know the Mega5P is the closest to our SR5 in size. And while close to the same price with the Mega5P being more money………the sound in many ways has the SR5 gaining ground, as I gave it a half star more in review score.

This Mega5P smoothness this could be a bad thing or a good thing……….but it's a tad warmer/smoother. Yep not holding that forward SR5 energy into both the upper midrange or treble. The next thing is the Mega5P bass is probably at the same level as the SR5, but comes off not as controlled or as precise. Not that it is bad in any way, just that is what it is, slower and not as clean of attack or let-go. When you combine that with the tailored back midrange and treble energy……..the vividness and separation get lessened. I say all this and it may give you the idea that the Mega5P has something wrong with it, and it doesn’t, it’s just one is vanilla ice-cream and the other is vanilla with sparkles on-top.

Do you know which one has the sparkles?

But besides that, the part here that I don’t want to get misinterpreted is the fact that the Mega5P is of a more cohesive demeanor, that it is almost less having the Hybrid effect. And of course when the treble details emerge out of this sleepier night, those gorgeous Mega5P treble details are still separated and dislocated into view, they just are not as contrasty or vivid………..and if you are susceptible to such extra heat, the Mega5P may be more your cup of tea.




Musical experiences:
Here is the thing, I simply choose my music tests by intuition. Same as the IEMs used for side-by-sides. Sure I think about the IEMs to compare in a logical fashion, only at times I don't exactly know (or I am not conscious) of the total reasons for an IEM comparisons or musical genre choice test subjects? More often than not this results in a great learning thing. Sure the side-by-sides were/are of more expensive IEMs in comparison, yet those exact IEMs turned-out to be the perfect examples of IEMs to use as they delineated (by example) both the strong points and the weak points of the SR5......plus they were close enough to enlighten (us to) the true character of the SR5.

While in the forums the SR5 gets chosen a lot for Orchestral Music, this review can't be written to leave that out.

Reason being is the SR5's true cleanliness of stature and profound airiness. This air should be noted as probably the single thing that separates the SR5 from its contemporaries. Being normally you have to pay a little more, or a lot more for these treble details. Yet they have been done in a sophisticated way where they just push the frequencies to that zone without going farther. In fact when I study my musical choices below I have found some great examples of both opportunity to express what the SR5 does well, and have examples of slight challenges for this little guy. Yet the very last song Episode has an introduction of the brightest treble in my musical collection. Not only that........ but the song is played back with one of the brightest sources I own, or should I say one of the most V sources I own. Typically this would be a recipe for disaster as we are combining a bright song file with a bright source, then combining that with wide-bore ear-tips........providing the clearest replay with the biggest stage.

Ear-tips:
Still the wide-bore ear-tips get us the fastest bass. The results were reassuring in that (for me anyway) the SR5 performed at the detailed max. What that means is the SR5 had the ability to both show an involved and intricate treble ability......full of cymbals and very separated treble effects.....yet it walks that line of not being too fiery or unpleasant. As such as a listener I have my own treble threshold just like everyone else, yet still I think it is average, as I can at times find IEMs to be too glaring or too pushed out into a forward upper midrange. That’s also realizing that as listeners we will often reduce playback volume at times (just slightly) to compensate for treble energy. In comparison to the SR5 there are examples of the IEM art that allow for vast increases in volume to hear the music, yet the personality of the SR5 we are never finding the need to push the volume for clarity, as clarity is always found at many different volume levels.

Clarity at multiple volume levels:
As such you can still add volume to a treble pushed song and enjoy a balance while still activating the spacial clues and imaging that simply goes along with such (increased) levels of playback. Once more the air here is our friend, and one of the special additives which is typically not found at this price level. Sure there are more IEMs at this price point that do this kind of bass, yet here the details and cleanness of the bass texture goes forward as another introduction to further the overall value in the end.

E-Mantra
Expedition Frozen Taiga
When Darkness Comes
44.1 kHz- 24 bit
Here I’m utilizing the Sony WM1A with MrWalkaman’s Firmware, the SR5 of course hooked to the Penon ASOS Plus cable. 80% of the time I use my regular clear wide-bore silicone ear-tips. Here is the thing……..I use this source most all the time. Meaning pretty much all the other Dongles and DAPs don’t get used as much. This creates a relationship with tone that is almost misleading. Why? Well you are so used to the DAP that you may even overlook an IEM character in places. Where there are many ways we are nourishing the midrange attitudes of the SR5 and allowing the bass to become slightly more controlled, offering up an even faster approximation of low-end.

Also the WM1A stage is crazy wide anyways then amplified by the aftermarket software into a kind of palace of sonics.

Due to trying to gain a better well rounded idea as to playback, this set-up will be my first and last time to put such DAP into use. Here we are both bathing in slightly chillier water than what is to follow source/tonal wise. The bass with its extra low-weight gives the feeling of carefully walking that magic line……..being just right, but at the same time we don’t want any less. With this style of music being dependent on bass quality for emphasis of the message it parlays………still all is well. As such the tone is once again a clue as to the balance we have found. Why? Not like this song would ever have any stridence of off-recording tone to it……….except there are bigger fish to fry……we simply never want to get bored. Yep, boredom is a quality of playback that has maybe something to do with what you are used to……..as far as sonic stimulus? I have tried to understand the smallest aspects of how and why boredom can happen? But to study a piece of music………..new, slightly new additives are used to combat this (at times) uncontrollable off-effect. It can be the very reason you push fast forward to the next song……..looking, searching for satisfaction. It may be resulting from the music, it may be resulting from the quality of tone playback……..it could be a combination of both?

Yet just like a well vacuumed house, you know it, you can feel it.........and bask in the knowledge that (this) is the best you can do. You have worked and now is time to relax, to get recharged.

Satisfaction:
You see the opposite of the word boredom could be satisfaction. You are satisfied and are not hungry for any more than what is on your plate at the time. This is the set-up at the moment. Simply the song, the cable, the DAP and the IEM. Why…….? Truly I don’t know. I can put some guesses to work here, but I don’t have all the answers. There is a dose of even and complete playback. There is an amount of correctness……..there is the approximation of tones to where the message was transferred to the listener with the desired amount of stimulus, yet nothing is wrong or out of place. Many “experts” might say no, you can’t have that, because the WM1A is not bass heavy enough to proclaim success with this style of bass heavy music? Well……the proof is in the reception and the validation of completeness here. But with the SR5 (maybe nowhere yet in my testing) am I finding the stage so special……..the fact that the music information is not only thick but wide right to left, it is going down and up……….there is nothing more to ask for. And because the SR5 is slightly more clean than your run-of-the-mill bass provider, it is intrinsically faster. Stuff is getting out-of-the-way right before the next transient takes place. It’s that with a mellow song like this.........there starts to become a timeless feeling, a feeling of euphoria……….and more euphoria. I have to move on to more music tests, yet this playback has me smitten here…………and like that perfect place, I don’t want to move on, I don’t want to move forward in this review…………but more (music) ideas are to be found and maybe more realizations as to the SR5 quality lay uncovered?

Still this is kinda the apex of the review……..as at times you simply through experience of listening, or by just chance, you have fully sold your (reviewer) self on the IEM in question.

This may be by chance fully mentally acclimated into the sonic character, that or you just found an album you like and relate to? We all do this, sometimes more often, sometimes less often but it is the magic we are all searching for……..it is simply musical involvement. Forgetting the little things in life, and grabbing hold and living in the moment.



E-Mantra
Neverending Story
Neverending Story
44.1 kHz - 16 bit
Here we are using the HiBy R3 II and a file player (TypeC USB 3.1) to the GO bar as the source hooked up to the Penon ASOS Plus cable with my regular wide-bore ear-tips. This is grand in that really one of the fortes here is how well the SR5 introduces purely electronic soundscapes. This style of chill-out smoothness takes a totally adequate position into staging, and imaging parleys…….even though this doesn’t go the very widest in my source collection. Still the images are brisk and warm, clear and showing a kind of unarguable coherency? The bass in this set-up is not too much at all, but holds that charm when everything is just right. Probably best of all the SR5 does reverberations and holds note weight here………I mean if that is missing from IEM replay the score may drop by two stars here at Redcarmoose Labs? You see everything can be correct, but if note-weight and reverberations are not there 90% of the time we are in trouble.

And the wild thing is normally note-weight and reverberations go hand in hand……..as you normally don’t get one without the other.



Deep Forrest
Deep Forrest
Sweet Lullaby
44.1 kHz - 16 bit
Here we are challenging playback with a different set-up. A stage not as big as the next device to be used, the Sony WM1Z………..yet this set-up holds its own fabulous benefits. Here we are using the HiBy R3 II as only a file server to the ifi GO bar as the Dongle. Due to the HiBy doing USB 3.1 we are able to access 100% of the power potential of the GO bar. Still with the ASOS Plus we are accessing a smooth yet relatively brisk sonic attitude. Here the GO bar actually comes off slightly more rolled-off than the Sony WM1Z……..though this is truly special. And not just special, it is somehow very coherent….maybe due to the Dongle, or just synergy? Such spacial juxtapositions go to showcase a nice but not gigantic stage……….you see the SR5 is going to go along with whatever signal you feed it. Show the SR5 a giant stage like the WM1Z does and reap the rewards, but showcase a cohesive and purely still exciting and natural GO bar style of playback and that is what you get. Rolling through about 5 other recordings……..the proof is in the testing. So it is not the song here, but the playback stream. The SR5 produces the stage it is given to play with.

Theater of Tragedy
Assembly (Remastered)
Episode
44.1 kHz - 24 bit
I didn’t go into this (too much) yet, but now it is as good a time as any. Due to the resolve we are able to fully understand the demeanor of our source. Here for this song I used the Penon ASOS Plus cable and the WM1Z DAP. Resulting in a kind of treble test, but the ASOS Plus offers a wide stage and a smoothness of sorts, not the smoothness of a pure Copper cable, but a nice middle ground where we are getting the wide-band effervescence of the silver (additive) and the staging...............but joined with a totally correct smoothness which just works-out in the end. The song Episode turns out to be the brightest song I know of. And while bright it is because of the extra adds of treble and upper midrange elements are used to propel a kind of sonic thrill to the song. Big imaging and itemization of every little thing in the upper ranges. Yet here you would think we would get too much emphasis with the 1Z doing its thing. Yep the 1Z can be spicy being it has more treble emphasis than the mid-centric WM1A, adding a fishbowl effect of treble imaging spacial in size, and spread out forward and back, right and left outside of your head.

I mean this was slightly different than what I have been listening to with the SR5………but so good I had to pull the SR5 out of my ears to make sure there was no testing confusion going on. Yep, it was just that good, reason being (maybe ) natural staging, correct instrument tone and fun inner textures. Everything worked here…….and better than worked.......it was one of the single best examples of music today. This goes one step further to justify that the overall treble and upper midrange tonal choices (with the SR5) are both correct and forgiving.

Conclusion:
So there you have it, my take on the SR5. And it can be your choice too if you think getting a low-cost IEM with a big attitude is what you are after? Sure there are bigger stages for the finding, except maybe not at $149.00…….you see that’s what Hybrids do best. They go about their own fashion ideas of stage size........normally the biggest in IEM land. 2nd to that are the contrasts.........yep there for the finding are tone differences found between the bass and the top-end here. Mainly that single treble detail and sculpturing is what set the SR5 apart from similarly priced offerings. What is on offer is a mild U shape affair with clarity in both the vocal department and bass playbacks…….a structuring of these imaging elements........that through contrasts make-up the overall character. Even if you have purchased above the SR5 price point before, or if this is the most expensive IEM you have taken a chance on, I can promise you the SR5 is very even, complete and correct, yet still holding those charms that makes you want to listen to it all the time.

$149.00
https://penonaudio.com/sound-rhyme-sr5.html

Disclaimer:
I want to thank Penon/ISN Audio for the love and for the Sound Rhyme SR5 Universal IEM review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Samsung Phone 3.5mm
ifi GO bar Dongle
HiBy R3 II DAP

The Totem Adapter Cable
Such a cable can be made in basically any configuration you want. Meaning if you desire to get the 2.5mm balanced connection on your IEM cable to fit a 4.4mm balanced amplifier 4.4mm port, there you go. Any configuration can be ordered………

4.4mm Balanced Male to 4.4mm Balanced Female
2.5mm Balanced Male to 2.5mm Balanced Female
3.5mm Audio Male to 3.5mm Audio Female
3.5mm Audio Male to 2.5mm Balanced Female
4.4mm Balanced Male to 2.5mm Balanced Female

So in this usage there is a basic functional purpose to add a union through different plugs. But what about the top choice? Why would anyone take and added a 16cm addition of cable to join two pieces of essentially the same cable? And that is really what this entire review is about. While maybe going out on a limb here, to try and explain (in detail) the effects encountered, I will probably write my most ridiculous review? And while the cable believers will go on to read with an open mind, seemingly continuing to reinforce their already firm commitment to cable audio changes there will, and there will always be the cable non-believers. This review was a choice on my part. The Totem Adapter was simply included with the Totem cable review package. A $79.90 dollar “extra” which can be used along with the regular $699.00 Totem Cable, or better yet used as a way to first play with Totem technology, at slightly more than a tenth of the cost. In fact you may only want to use the adapter by itself and combined it with a brighter cable? The Totem Adapter (add-on) adds girth, authority and soundstage……….to simply name a few of its attributes, when mixed with a brighter silver/copper Hybrid cable.

As reiterated earlier this whole Totem Adapter review was my choice to do. The Totem Adapter could have been a short add-on to the original Totem cable review. Still my guess is some Head-Fi members would see $699.00 for a cable and stop reading there. Where $79.90 would be much more obtainable. And even more obtainable if you actually had a 2.5mm terminated IEM cable that you wanted to add to the balanced 4.4mm amplifier output. Still you could find an adapter much cheaper than $79.90! So what do you get for your money?

1) Palladium
2) Gold
3) Copper
4) Silver

When in formation in a co-axial placement the elements go-ahead to alter the tone of the passing signal. And while 2 shares at 334 cores per share, equals the standard Totem Cable, the 16cm goes ahead and just slightly affects the tone. Truly, I’m not sure if this cable was first made as only an adapter cable to join different plugs………because the real way to test its effects is relatively easy. That’s right, you use your regular IEM with the regular cable, then in a single moment you switch-in the adapter to hear the resulting difference with the add. Coming in with a coaxial structure the Totem sports two thick cores each containing 334 shares each/per-core. Consisting of Litz 6 Silver plated single crystal copper, palladium plated pure silver and pure gold plated crystal copper. Silver for stage and transparency, copper for warmth and body, and gold for depth and richer tone. Palladium added for imaging and detail.

The surprising part is that while changing the soundstage and imaging, there may be a few times when the Totem effect is more wanted, and other times lesser wanted. What I mean by this is regularly Silver as a cable add increases soundstage and transparency, and copper adds depth and body, but what about a Hybrid cable?

1) Silver
2) Cooper
3) Silver/Copper Hybrid



Not always is a pure silver cable needed. As it turns out, often with just pure silver the results can be too thin. While the soundstage is seemingly increased, there is a lack of body and authority in pure silver use. Remember too, this is an IEM by IEM effect. Meaning some super dark IEMs are going to benefit from a (closer to) pure silver cable. And while pure copper will add robust darker tone, once in a while you need a slight bit of sparkle. Often these traits come about after hours of listening. Meaning upon switching cables, you may think all is well, then after two hours your mind will adapt to the new simulation and you will slowly start to figure out what’s-up. Then and only then you will come to realize the copper was just a touch too smooth, thus needing a mixture of silver and copper to reach your sonic goals. Such Hybrid cables use various amounts of each metal to dial in their personal characteristics. Though it’s a balance meaning, more and more silver added and you still have a hybrid cable on the bright side. And example of a slightly darker (more copper used) hybrid is the OS133 cable.

https://www.head-fi.org/showcase/penon-os133-iem-cables.25829/reviews#review-28806

https://www.head-fi.org/showcase/penon-audio-os133-adapter-module.26090/reviews#review-29322

There is also an OS133 Adapter Module which adds the warmth to an existing signal. Yep, just like the Totem Adapter, you can slip-in just a smidge of warmth into use with an existing set-up.

Though the main character of the Totem is neither bright nor warm. As is you study the build, it’s a combination of everything. Yep, just like you would guess a Smörgåsbord of metals which imply a certain character to the signal. Now this is not with-out its own character though. In fact after more and more testing I have come to even more in-depth understanding of the Totem Adapter. After weeks of continued use, I came to a closer relationship with what end results can be achieved. And while yes, the Totem enhances everything it touches, there are characteristics which turn-out to be personal to the Totem Cable and Totem Adapter. Let’s start out with describing that due to its personality it does slightly better with all balanced armature IEMs. Still that does not totally effect how you can use the Totem. Meaning, often I really like the effect it produces when joined with a Hybrid IEM. So absolutely try the Totem with a DD/BA or DD/BA/EST IEM. As it turns out some characteristics are foreseeable and some are almost random results. But to distill this train of thought, typically DDs get a slight reduction often in authority when used with the Totem. This can absolutely come into a benefit if you are actually seeking better pace and DD attenuation in replay. What a more full midrange in your Hybrid IEM? Add the Totem and get both a soundstage increase, and a midrange and treble focus. Yep…….it seems the energy may be more inline with the needs of the ESTs and BA drivers?

While DDs are still really cool sounding with the Totem, it’s not always drawing the heavy bass performance from DD installations. Due to an increase in itemization and separation through Totem use, the characteristic bass tone may seems almost just as dramatic, still slightly recessed? Yet often with “furry” bass replay, this “clean-up” is what’s wanted and desired. Still there is an unarguable change of bass frequency characteristics and emphasis present with Totem use.



Note:
Totem cable now comes with a stylish new modular plug system and dark blue weave jacket!

The HOOK-X and Totem:
Depending on what you want, you may be surprised at the results. The Totem Adapter Cable was incredibly resolving with the HOOK-X. Yep, planar IEMs are also a different story with the Totem cable, though it’s probably not a recommended combination. Gone is much of the normal bass presence with some planar IEMs! Even then tremendous speed takes place with-in the HOOK-X playback, a style of clean-up not maybe wanted? It wasn’t bad, but the Totem is not maybe made for planar IEMs. With that said, it is fun and adventurous to truly find out what’s up. This was one test where the Adapter Cable was very much like a filter in use. Totally noticeable! If anything the HOOK-X will be a sound you never thought possible from the HOOK-X…….tighter bass, tighter lower midrange and a fast tight top-end, awash diminished imaging. This may be fun for an evening or two, but the Totem seems to remove a little of what fuzziness the HOOK-X is kinda known for?

https://www.head-fi.org/showcase/raptgo-hook-x.25798/reviews#review-28375

https://www.head-fi.org/showcase/isn-est50.25254/reviews#review-28717

In fact just using the HOOK-X with included cable and Totem Adapter was a totally noticeable change. Meaning really here it’s not for the better, seemingly reducing bass but also riding the HOOK-X of much of its soul. But if someone was a strong disbeliever of cable changes and just wanted to hear a difference when the Adapter was put in place, the stock HOOK-X was that experiment. Where the full-on Totem Cable and Totem Adapter was noticeable, just the Totem Adapter if put in-front of the stock HOOK-X cable set-up was profoundly noticeable, and not in a good way!



The ISN EST50, ISN SC4 Cable and Totem Adapter Cable:
One of the single greatest finds in cable pairing. Here normally the the included ISN S8 gets EST50 Universal IEM an ample amount of warmth, yet pace could be better. Meaning the Totem adapter and ISN SC4 cable is the cats meow. First off, it’s fine with the regular ISN SC4 cable, and it’s totally great with the Totem cable. But if you had the EST50 and the SC4……..and you wanted to add a nice foundation of warmth and three-dimensional space, add the Totem Adapter. Not only that........but after separation occurs, the combination of Totem Adapter and ISN SC4 cable gets an incredible pace going. The ISN SC4 cleans-up the lower-mids….and makes the overall bass cleaner. After that you have a brighter window into the midrange and treble. The Totem then takes that treble and expands it out, making better EST imaging and way-up high-end details. Truly one, if not the best combo in this test is this particular combination.

Next up………

The Penon Globe, ISN SC4 cable and Totem Adapter Cable:
Truth to be told ever since Dsnuts suggested the SC4 and Totem Adapter with the ISN EST50 I have been enjoying it. Yet no one told me about the Globe?

https://penonaudio.com/penon-globe-orb-cable.html

The $18.90 dollar Penon Globe cable can be purchased on its own and comes with any connection you choose. Yet I have to say, the ISN SC4 cable with the Totem Adapter is by far better.

https://penonaudio.com/isn-audio-sc4.html
https://penonaudio.com/penon-totem-adapter-cable.html


Totem Adapter $79.90
ISN SC4 cable $99.90
Total: $179.80

Of course $179.80 is a far cry from $18.90. But it sounds like it too! Literally no one told me the Penon Globe could sound this good? I had no idea? I hate to sound like this, but it sounds like a whole different IEM. Yep, the Globe at $339.00 has no business sounding this good!

https://penonaudio.com/penon-globe.html

Reason being is that the bass response to totally curtailed. It’s faster, it’s in the pocket and it’s got rhythm. When such tone effect is brought about a couple of other things occur. Here we are dealing with total balance so a back played bass means the treble comes forward as well as the midrange. People that know the Globe know it’s already emphasizing the midrange, yet here there is a next level. Such changes occur due to separation, imaging itemization and expansion of treble elements. There is even a clarity through timbre which becomes accessed through a simply more realistic treble. Yet this may be too bright for some, meaning this is a different way than the Globe was intended to sound from the factory. Where the included cable, while being less forward with midrange and treble elements, offered a more well rounded sound, and possibly a safer to the masses tone, which would bring about a wider reception? Where here I’m almost going out on a limp to enjoy a clearer and faster Globe, maybe a little of what makes the Globe the Globe has been removed in the process? Now we must also never forget of the “new” IEM phenomenon. Such Sonic inquests bring joy just because they are new. Yep, newness is exciting and with this ramped-up treble and midrange, the Globe gets possibly out-of-its comfort zone. Yet the personality is refreshing, and detail at the sake of thinness (in-a-way) is the logical outcome. While this is definitely fun, I’m not sure if long term results would be what is wanted or needed? I ended up using this set-up for a few days in search of such value. And while probably the most exciting thing is the difference from normal Globe/ORB cable playback, with increased detail and pace……….there is no denying many may still long for that deep bass that makes the Globe the Globe in the end.



The Fan 2:
Here I did a few experiments which totally prove Penon know what they are doing when combining cables with their retail IEMs. First off, Penon has a reputation on the line and 98% of the time combine a great cable metallurgy with the IEM as retail unit. I mean why wouldn’t they, why wouldn’t any manufacture combine the cable to optimize their IEM. So just like you and me they try stuff out. Obviously the Globe/SC4/Totem Adapter combination was too pricy of an option to optimize the Globe in use. So they used a moderate priced cable which did some of the effects of the Globe/SC4/Totem Adapter Cable. The $179.80 cable add wasn’t practical for the $339.00 Penon Globe, even though it sounded incredible.

So in testing…….

What would happen if we put the Globe's stock $18.90 dollar cable on the Fan 2 with the Totem Adapter cable?

Would this confirm that Penon aren’t messing around when choosing cables for their new IEMs? The Penon Fan 2 is a departure from the stock/past Penon sound, so much so that for me I not only needed a warm cable but also needed a warm source to begin to perceive splendor. And splendor I did perceive giving the Fan 2 a full-on 5 star review!

https://www.head-fi.org/showcase/penon-fan2.26145/reviews#review-29596

And while the Fan 2 comes stock with the warmer OS133 cable, what would happen if we experimented with the Globe cable?

https://www.head-fi.org/showcase/penon-os133-iem-cables.25829/reviews#review-28806

That’s right, even though the OS133 is a hybrid cable, it leans more to the copper side in construction. Such cable is perfect for the money for the Fan 2. Yet more can be found when using the Totem Cable/Totem Adapter Cable/Totem Cable and Totem Adapter Cable. In my use the Totem complete system was a roaring success in use with the Fan 2. What happened was it (combined with the WM1Z) maximized the bass and deep energy potential inherent to the Fan 2. But then I got the idea to try a pure copper cable, also a pure copper cable and Totem Adapter. It seems the copper cable worked well, but you already realize that Penon also already tried this. They must have due to choosing a pure copper cable to come with the ISN 30 sister release with the Fan 2. And sure enough, the pure copper design did not offer the soundstage expansion of the OS133. Even the Adapter Cable added to the pure copper didn’t get as great of soundstage as the OS133 to my ears.



So in a way it’s simple, Penon is always maximizing their IEMs, still relative to cost. So what would happen if we used the low cost Globe IEM cable in addition to the Fan 2? Can you guess what would happen?

Yep…..too bright.


The Globe cable is a Hybrid mixture of silver and copper.
https://penonaudio.com/penon-globe-orb-cable.html

Penon Globe ORB 4 Shares OCC Silver-plated HiFi Audiophile IEMs Cable

Description
OCC silver-plated cable
2Pin 0.78mm/MMCX connector
Length: 1.2m
Plug: gold-plated

So the mixture of Fan 2 and Penon Globe/Orb cable was too intense. It was activating upper-end frequency to the point that even with the Totem Adapter in place, it was a strong no-go.

Much of cable tone play is serendipity, but probably the majority of unions are not random. There are very strict and repeatable changes which take place from altering the included cable in an IEM/DAP playback. While subjectivity takes place here, there are still well known blanket parameters which need to be addressed........One) to fulfill the user groups similar tastes and 2) cater to individual perceptions. When I posted my Totem Cable review on November 27, 2022 I had not tried the Totem with a planar IEMs. It wasn’t something that I felt was needed to be complete in my review. Yet now using the Totem Adapter I have had more time and subsequently more experience with the Totem Cable and Totem Adapter Cable. There is always going to be the fact that the Totem Cable design works slightly better with full balanced armature designs. Still combine the 2X 6MM DDs of the Fan 2 with the Totem Cable, you would go further thinking that the Totem Cable IS the best combination for that IEM. So does it have something to do with the drivability of the DD, if it works or not? This review is not complete, in-fact cable testing is an almost endless endeavor with all the possible combinations available. Yet hopefully here we started to gain an understanding of cable uses and personalities. The Penon Totem Cable Adapter is more than a $79.90 paper weight!

The Adapter 4.4mm X 4.4mm weights 26 grams on its own!



Full Totem Cable Above
Same 2 shares, 334 cores per share in use as cable or adapter cable

Note:
The ISN H40 (Penon Sub-Brand) with Sony WM1Z and Totem Cable Adapter for the unexpected win! The combination of ISN H40 PENON OS133 MMCX/Penon Totem Adapter!

Conclusion:
But of course if you were in need of a paperweight, the Totem Adapter comes in handy! Throwing $79.90 out the car window would be a pretty silly move, and there is still a chance you may not hear any change. Yet I challenge anyone to not notice the diminishment of tone while combining the Totem Adapter with the HOOK-X! Possibly it’s easer to learn of the negative results of cables as they are more drastic (at times) than the positives in playback? With that said and understood the the Totem is fully a way to maximize some combinations. The Globe with ISN SC4 and Totem Cable Adapter was the very best paced, best toned and clearest midrange I’ve ever heard the Globe sound. Now being the regular Globe always has a maximized midrange from the factory…….that's really saying something. That’s right, the soundstage was even bigger, the pace more articulate and faster, yet the bounce it seems become even more musical? Truly I hope for everyone gets a chance to experience the Globe taken to its final destination.

The time usability window of cables:
Cables in general are way more useful in a way than new IEMs or new DAPs. The reason for this success is the fact that the Totem Adapter can optimize future IEM purchases you haven’t yet made. The Totem Cable Adapter can also maximize older IEMs and release their full potentiality as playback devices. Take the $195.00 ISN H40 for example……reasoning would tell you that its 3 x Balanced Armature + 1 x 9.2mm Diameter Dynamic Driver is not high on the list for Totem Cable Adapter optimizations? But in reality, combined with the $39.60 OS133 Hybrid cable, the H40 also becomes a much better performer with the Totem Adapter in the end!

https://www.head-fi.org/showcase/isn-h40.24083/reviews#review-28747

Yet there was still room for improvement. A perfect example of choosing an IEM you would never guess would respond to the Totem Cable Adapter, when in use the Adapter is the ultimate choice……..and this isn’t even a question of taste. The Totem Adapter goes ahead and sculptures the bass tone, seemingly gaining texture and definition, thus the mids are more forward, and the treble found in a wider more valuable soundstage. So…….the usability of the Totem Adapter proves its worth once more, seemingly owning endless traits to bestow upon unsuspecting IEMs and cable combinations. If you have a few IEMs you're not using due to the bass too boomy, or soundstage too narrow, the Totem Adapter may be just the ticket for success? Or even off into the future, a new IEM purchase may actually be optimized by this little 16cm piece of wire. We all know success is often found in very small changes of tone, be it the DAP, the IEM or the cable, minute changes can make way for broad emotional results in playback. With the Totem Adapter Cable I found just that, ways to filter the sound and bring about changes in musicality and musical involvement. Such changes are perceivable and of value to those who search for them, a simple way to easily get more from the IEMs you already own, or new IEMs you haven’t yet purchased.

$79.90
https://penonaudio.com/penon-totem-adapter-cable.html
Add $10.00 for express shipping if you prefer when ordering.

Penon Totem Adapter Cable

Description
2 shares, 334 cores per share
Single crystal copper silver-plated Litz type6 & Palladium-plated pure silver & Single crystal copper plated with pure gold
Outer diameter:2.5mm
Carbon fiber plug shell
Gold-plated plug
Cable length: about 16cm

Available type :
4.4mm Balanced Male to 2.5mm Balanced Female
4.4mm Balanced Male to 4.4mm Balanced Female
2.5mm Balanced Male to 2.5mm Balanced Female
3.5mm Audio Male to 3.5mm Audio Female
3.5mm Audio Male to 2.5mm Balanced Female


Disclaimer:
I want to thank Penon Audio for the love and for the Totem Adapter Cable review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Disclaimer:
I have spent almost a full month with the Totem Adapter Cable.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm and 3.5mm

GEEK WOLD GK10s
Redcarmoose Labs January 22nd, 2024



Dsnuts
Way back in mid-july of 2021 Dsnuts introduced the original GEEK WOLD GK10 to the world. At the very end of his review, after praising the GK10 to the sky he made a simple suggestion. He suggested that GEEK WOLD put the new MK2 model in a different shell, a more expensive shell. He knew that folks would pay for this new shell. I know why he asked for this………..because he used them at work his co-workers might wonder why Dsnuts has heart shaped IEMs in his ears. He definitely loved the sound of the original GK10, so as audiophiles we will do pretty much anything for good sound……even wearing heart shaped IEMs around. And you know what? Yep, the shells have never been changed. They are still heart shaped , and a little funky as a result. Not having ever heard MK1 this new MK2 is priced close to the same, where the original was $45.00 and this MK2 is $49.90. But to back-track here there is a good reason why Dsnuts was so enthusiastic! You see we as listeners often find IEMs which are not price accessible for everyone. Those pricey IEMs may sound great, but not everyone can afford them. Then something like the GK10 comes along and bucks the system. Yep, GEEK WOLD makes their money on sales volume, simply because there are more households set-up to purchase an under $50.00 IEM. Now the questions are still, “Am I wasting my money because I already have a few $50.00 IEMs?” I can promise you this GK10s sound nothing like any $50 IEMs you have heard before. Why? Because in this little heart shaped IEM has a whole trunk full of stuff!

Inside the GK10s:
1) 7mm Graphene Plated DD for midrange
1) 8mm Titanium Coated Dome DD for bass
1) BA for treble
2) And finally two piezoelectric ceramic tweeters doing the ultra highs.

And guess what? What? It actually sounds like all these things (parts) are in there. In fact upon release Dsnuts said that there was nothing under $100.00 that could touch it. And if you blend with the exact tone the GK10s is putting out, it could even hold more personal value.

Old Model: GK10
Driver configuration:
1 balanced armature for high frequency
2 piezoelectric ceramic for ultra-high frequency
7mm graphene diaphragm dynamic for middle frequency
8mm dome titanium diaphragm dynamic for bass
Panel: stable wood
Shell material: ABS+PC
Impedance: 8Ω
Sensitivity: 106dB
Frequency response range: 20-30kHz
Cable material: 6-strand silver-plated
Connector: 2pin 0.78mm
Cable length: 1.2m

New Model Geek Wold GK10s 1BA + 2 Piezoelectric + 2 Dynamic Driver Hybrid 2Pin 0.78mm HiFi In-ear Earphone
Specification
5 Driver Hybrid Hi-Fi In-ear Earphone
Model:GK10S
Driver:1 Balanced armature + 2 Piezoelectric ceramics +2 Dynamic Driver
Frequency:20Hz-40kHz
Impedance:100
Sensitivity:106dB
Cable length:1.2M

Package
GK10s
Cable
6 pairs of silicone ear-tips

$49.90 free shipping
https://penonaudio.com/Geek-Wold-GK10s

GK20 $99.00
https://www.head-fi.org/showcase/geek-wold-gk20.26850/reviews#review-32580

GK100 $200.00
https://www.head-fi.org/showcase/geek-wold-gk100.26460/reviews#review-31384




The GEEK WOLD GK10s:
So what I can see is this new GK10s model has 10kHz more in frequency range and a different impedance. I have never heard the original non-s model, except first impressions were very different than what I have found after a week of GK10s burn-in. I mean at times first impressions can be exactly right, then at other times first impressions can be slightly different. Though a while back in original GK10 days there was only a GK3 model released in late July of 2018 to compare the sound to. Now we have a few GEEK WOLD models to access their ideas of sonically correct. Now I have never heard the GK3, or this new $350.00 GK200 TOTL flagship, but I have reviewed the GK20 and GK100. What I’m suggesting is that the whole line of GEEK WOLD do actually have a sound........a sound signature, and the three I have heard do share similarities, so much that you would believe they came from the same manufacturer. Yet my first GK10s impression had the vocals not so forward, yet they are wonderfully in place now. So a suggestion that the GK10s may actually change after a week of continuous play?

And I hate to say this, but the GK10s vocals now are even better than the GK100. Where the GK100 is offering a bigger stage and more advanced technicalities, the recent GK20 simply showed a more harmonically enriched vocal presence, and we find the same magic going on now with the GK10s, only to a lesser extent.

The sound:
What we are introduced to now is a broad and separated stage. One that in-fact goes to itemize each and every instrument. That would sound like something every IEM does, except in this case there are 5 drivers and three individual hybrid methodology examples of the art. 2DDs, 1BA and 2 Piezoelectric drivers. Each driver has a job to do and bestows its own sonic characteristic into the song playback. What I’m saying is you can tell the 8mm DD is putting out bass as it is on its own, then the 7mm DD puts out a midrange yet because it is a DD there is none of that BA timbre. Yet part of the personality here is the Piezoelectric tone. Where what separates the GK10s from most IEMs at this price point is a thoroughly involved treble. I have always said that both the GK20 and GK100 are also to blame for bringing a sophisticated treble, way different than the price-point would have you guess. I don’t want to say the 2 Piezoelectric drivers have an off-timbre, but you can tell this is not a style of driver that you are normally using. Now what happens is after hours and hours (of use) you start to become climatized to the Piezo style and tone. It really is not buzzy at all, but fortifies the enhancement into how you hear the separation way off to the sides of this stage. Meaning there is a very individual tone the GK10 has that makes itself its own value, even if you already had the GK20 and GK100. So it is related to the others, but gloriously refreshing and new.

Refreshing because this is doing an almost $200.00 IEM style of technicalities. Correct tone and big reverberation fall-offs. The stage goes wide, but also includes a substantial forward and back, and up and down. Yet somehow this collection of drivers sound all-together, all as one? There is actual detail to be encountered which fully scales above and beyond what you would guess (would come out of) of a sub-$50 IEM?


Treble:
Ultra-treble:
Where this IEM excels is at treble details. I haven’t heard that many Piezo super-tweeters except I do know you can get a fizzy almost static like sound from them. Here we don’t get that at all……and I am guessing this is one example of how to do Piezo right? Still I can’t deny there is a sound to it, an airy and (not-thin) but going that direction. You know you are hearing a different technology here. Though as the hours pass you come to terms with the tone, and it becomes your friend. Same as when you meet a new person and find a few characteristics striking, but then find those same features charming in the end.

Treble:
Where there are no recessive/drawback traits here in the regular treble, it seems to blend and dovetail with the Piezo drivers? Round wholesome timbre! Where amazingly enough, I am hearing correct timbre where maybe it is because they are only using one BA? Such magic tricks allow tuners to blend and mask to arrive at a closer to perfection overall tone.

Midrange:
Vocals! Yet I have no clue as to why upon first listen the vocals were not this good………………because they are great, and could very well be the single reason you’re looking at the GK10s in the first place? Probably the midrange DD had to burn-in? It is that they have generation into their own stage. So the vocals are both tonally and physically in the zone to promote noticeability. There is a playfulness which comes from every part of this laid-backness having room……..the room to breath, to hold breath-details and that is where the GK10s gets points, it hasn’t forgotten the vocals! Here we have a dedicated 7mm DD, and while gaining ground to promote such mid-frequencies, nothing is too overpowered? What the end-results are come through warmth but not too heavy. You hear it as a polish, way more smoothness that you would guess for the price of admission?

Bass:
Where here of course there are other IEMs which promote a more impactful and visceral bass replay, yet where we are going in GK10s town shows a level of sophistication and poise. They were going for a subtle finesse, and that is what we have. It is in-fact this balance that becomes the key here. Where no it is not the most detailed, but there is a charming laid-backness that is hard to argue with. A little slower than the rest of the drivers, yet that is the 8mm charm here. A charm in DD reverberations and echoes. Sure it is disjointed and offers a dislocation, yet that dislocated place is fully rewarding, in a slightly soft but romantic way. This may be why hybrids are my favorite method to build IEMs?

Oh I almost forgot?
Also they have introduced a GK80 too (at some point), yep another heart shaped IEM (hehe) which I haven’t heard.


To try and arrange the sound in order of GK10s, GK20 and GK100……….

The GK20s hold a more complex vocal stance, more than the GK10s or GK100. With that said there are remarkable treble itemizations and creations that make owning the $200.00 GK100 special. So the GK100 has the very best treble detail, where the bass is also better with the GK100……….rounder and more detailed (and separated) than the GK20 or GK10s. Where the GK20 comes ahead is with airy-natural vocals, where the GK10s still has slightly more forward vocals than the GK100, GK100 vocals are in one word dry, and to add another two-words simply there?

What is surprising about the GK10s is they do great vocals?

Package:

Build:
An all plastic build, with resin faceplates. They weigh some of the lowest weight I have heard in a while at only 3 grams a piece in weight? Combine that weight with a small form factor and we have a total recipe for success comfort wise. Nice correct length nozzles mean I can use my favorite ear-tips, not needed tip-length to make-up for any loss in the nozzle distance. The 2Pins are easily accessible and the whole shape goes one step further to simply add ergonomics? Simply one of the best out-and-about IEMs, for just cruising the town walking.



Cable:
While I did try different cables, 90% of this review was done with the included cable. Great ergonomics and build, really low microphonics as we'll as looking nicer than 90% of cables that come with $50.00 IEMs.

Phone use.
Hilariously you can hear treble (tiny) (small itemization) treble involvement out dispersed into the stage with a phone.....in its own little small placement. It is of a little less note-weight than a full-fledged audiophile DAP, but it is noticeable none-the-less. Then in contrast, the pair of DDs do their job too, just to make sure nothing is too brittle of forward and digital sounding from a phone. Of course we don’t have the separation and note-weight to the midrange, or even the stage-size occurring for that matter, but in simple phone use....this works.




Cable rolls:
If you ever wonder what Redcarmoose thinks about in bed, it’s cable rolls. Yep, the question is what if………..and after a while I kept thinking about note-weight and how to improve the already great GEEK WOLD GK10s. Then it hit me like a ton-of-bricks. What would happen if I joined the GK10s with the ISN GC4 cable? Now most emotionally stable folks would never think of putting a $179.00 USD dollar cable to a $49.90 IEM? But curiosity got the best of me….....it really did. What would happen to that Piezoelectric treble, what would happen to the single treble BA timbre, what would happen to that slightly lazy bass?


So I did it. And remember this is no ordinary $49.90 IEM off the street, no it has abilities to go way farther. I mean I’m not sure if Dsnuts is ever going to review the GK10s, heck he introduced the original GK10 to the world. But in all truth.........the world has become a new and different place for IEMs in this day and age. It is hard to fathom but 100s and 100s of IEMs have come and gone since Dsnuts did his review back in mid-july of 2021. And I have to say normally with the included cable the GW10s is still as competitive as ever, except with this ISN GC4 we are in another world. Stage…………stage is thick and way out further than even thought possible? It is probably one of those things where you have to hear it (to believe) and the only way to truly understand what I’m talking about. Then note-weight, yep this added thickness the GK10s was yearning for……I now have to try this with the GK20 and GK100.

https://www.head-fi.org/showcase/isn-gc4.24454/reviews#review-30860
https://penonaudio.com/isn-audio-gc4.html



Results:
Remember that bass, well it is (now) firm and controlled, who would have thought? I’m a cable believer and I would have never guessed in a million years these effects? The bass is positioned with way more focus and intent? The midrange is now even closer to real-life with better timbre, and wide-open positioning. Remember the Piezo tone, that is also downplayed, almost to a place that has been replaced by total realism……..reality. If I took this set-up to a show I’m 100% certain no-one would guess this is an under $50 IEM………no one. The biggest deal is the size of notes and that each and every note seems to hold its correct place in the stage…..wild? Just bigger, smoother and the instruments are more 3D, plus this GK10s has a huge soundstage now? Way, way different from 11 days ago when I pulled it out of the box. And such a surprise as many IEMs just don’t own the intrinsic ability to gain sound quality, they just don’t. Vocals are big, personable and clear……..clear as day?




Conclusion:
While I received the GEEK WOLD IEMs in anti-climactic order….....still they are all very much going to the same part of town in playback. While still the GK100 is probably the best, and the GK20 is better at vocals, falling behind the GK100 in technicalities. The difference here is this IEM that is called the GK10s and at 1/4 the price of the GK100, it still gets us 80% of the drama of the GK100. It is the perfect example of diminishing returns……………..especially once you get into it. Now I understand why Dsnuts was head-over-heels in love with the original GK10! I didn’t read more than the first two paragraphs and the ending of his review because it may have skewed my thoughts, but I can read the whole review now that this review is completed. I know one thing………he thought the GK10 was special, and I have to agree. If you wanted to get into the GEEK WOLD sound there is no better place to start than right here. Especially if you purchase up the line in the future..........there is nothing lackadaisical going on here. With the GK10s bringing all the sonic enthusiasm and determination to the listening table…………truly an IEM for the masses. Smooth, balanced yet separated and holding realism far above their humble asking price.

$49.90 free shipping
https://penonaudio.com/Geek-Wold-GK10s

Disclaimer:
I want to thank Penon Audio for their love and the GEEK WOLD GK10s review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
HiBy R3 II DAP in 4.4mm balanced
Samsung Phone 3.5mm output

What is this iconic blue box? What’s inside for us? Why it’s the newest creation from ISN. This is their 6th IEM invention since ISN’s inception a few years ago. While they started as only a cable manufacture, they have proven their know-how by releasing a slew of innovative IEMs. Each IEM with a cable add only a cable maker who happens to also be an IEM maker could produce. Won't you join me in another REDCARMOOSE LABs excursion, an investigation into the unknown world of the recent ISN H30 Hybrid IEM creation!

Really there is no confusion to where ISN is going with this release. They...........ISN and their related company Penon Audio, are on a car ride to neutral-vile. Yep, both companies recently came-up with neutral tunes more than they ever have. Penon with the Fan 2, Serial and the Vortex, and ISN with the H30. What it does is give them a path towards creativity, a useful creativity, and it strengthens their line up too. The line-up strength comes from offering a new FR, a new IEM experience, as well as filling out the existing production-line. Meaning it makes older tunes like the H40, D10, EST50 and H50 more valuable. They are more valuable due to offering a past magic, which fulfills present-day consumer needs. Each IEM is special representing another take on what that (subjectively) ideal frequency response would be. Yet this new H30 also gives ISN a chance to spread their wings and not make anything even close to resembling what they have made in the past. Often companies will repackage and reintroduce a product just for the sake of marketing it as new. Not ISN, they have more dignity than that, plus it’s fun to come-up with new ideas as to what a popular IEM might sound like. With every new introduction there is a small element of risk involved, yet if you don’t take chances, you don’t know where you can go! Remember Penon and ISN are in the car together here, and just like you and I, they are discovering what new possibilities could take place!

So far I have reviewed the H40, the D10 and EST50 and the H50. Each was a chapter in an imaginary book….this travelogue so to speak. And because I’m a jaded old reviewer, every IEM that crosses my desk gets first judged with suspicion and a crooked attitude. Yes, I have almost never joyously embraced an IEM on first sight………..as they have to prove their worth, or inadequacy. Enough talk about me, let’s go through a quick history of ISN, shall we.


https://www.head-fi.org/showcase/isn-d10.24286/reviews#review-29043
https://www.head-fi.org/showcase/isn-h50.25550/reviews#review-28946
https://www.head-fi.org/showcase/isn-h40.24083/reviews#review-28747
https://www.head-fi.org/showcase/isn-est50.25254/reviews#review-28717
https://www.head-fi.org/showcase/isn-h30.26130/reviews#review-29450

The only ISN I haven’t heard is the D02
https://penonaudio.com/isn-audio-d02.html

So even-though they make 6 different (highly individual) sounding IEMs, they really got their start as a cable company.

The ISN Company:
ISN current cable offerings:
Silver-Plated IEM Cables: S4, S8, AG8, S16 and one Type-C Silver Plated USB Cable
Copper IEM Cables: C4, CU4, C16
Mixed Cables IEM Cables: Solar, G4, GS4, SC4, H8, H16
Gold-Plated IEM Cables: GC4, GD4
Pure-Silver IEM Cables: AG8

ISN Ear-buds:
Rambo
Rambo 2

ISN IEMs:
H50 10mm Composite DD (bass) 2 BA (mids) 2 BA (highs) $295.00
H40 9.2 DD (bass) 1 custom BA (mids) 1 composite 2BA (highs) $195.00
D02 10mm DD $79.00
D10 9mm DD $169.00
EST50 1 Knowles BA (highs), 1 Sonion BA (mids), 10mm DD (bass), 2 Sonion ESTs (ultra-highs) $459.00
H30 9.2 Frosted Beryllium DD, 1 Sonion BA for middle frequency, 1 Knowles BA for high frequency $129.00





And the great part is once you've got aquatinted with an ISN sound, you can migrate to a slightly different flavor. Each IEM creation is incredibly different from one another (while still the same) almost like they had other sonic investigations to learn about, and have explored new lands with each and every introduction. Never back-tracking, always moving forward and each example, another piece of the sonic puzzle. Even though I don’t know about the D02, I can guess they are almost offering somewhat complementary IEMs. Meaning I’m always asked which I like best, and I have serious trouble choosing my favorite example. Maybe the reason for this is there isn't a perfect IEM, only perfect moments listening to them? The H50 as an example is their 2nd newest invention prior to the H30. The H50 became my favorite for months…due to its FR and technicalities being profoundly special. It is both authoritative and fast, still optimizing the potentials of all 5 drivers. Then I put the D10 on a shelf, I didn’t have any respect for the D10 ideas, or sound profile. At $169.00 the D10 seemed to maybe be a fill-in product. Yet my ideas soon changed with experience. After two weeks of ownership I gained an understanding of the D10’s talents. In hindsight the issues were with me, not the D10. It turns out the D10 was special in two specific areas of replay……its specialty is deep dramatic bass…..some of the best bass I have ever heard, and a surprising midrange with imaging and pizzazz! There is way more to talk about with the D10 and H50……but this is the H30 review! The very first ISN IEMs I was lucky enough to experience was the H40 and EST50. The H40 was the very first ISN IEM made. It was and is successful based on simple merits of sound size per dollar spent. The four drivers a side started the ISN fire. In fact that success put ISN on the map as a quality producer of IEMs. Not only was their first IEM a success, its many a persons favorite IEM ever, regardless of price. The H40 is a full-featured competent performer, still a big seller today!

Can you imagine the predicament ISN was in. They then wanted to introduce a TOTL Flagship performer, and introduce something new, yet they wanted to stick to the sound they were famous for. That’s right the EST50 was a H40 on steroids. They took the basic sound of the H40 and expanded it out in all directions. But because the H40 has a forward demeanor, not in FR, but in image placement, they had to then set the soundstage and imaging slightly back, so this new detail could be introduced as a spacial representation of replay. That’s right they took the H40s compressed imaging, kept the FR the same, but added and entire 3D world. Such imaging/movement and placement is direct result of 5 drivers, two of which are EST (high) treble makers. And to this day it has not been topped. I use it with a multitude of ISN cables to learn more about the innate possibilities of its tone. But more than that, the actual placement of instruments and volume expression of those instruments………….resulting in character. The texture of the instruments as well as a slight tone change can be found each with a different amplifier or cable change, in regards to the EST50 experience. That said, the EST is not one thing, not exactly one tone, but more of an IEM canvas in which you are able to control and change.

What does all the above have to do with the H30? Well for starters all the ISN IEMs are somewhat related. Meaning there is a house sound, yet in many ways the H30 is a new departure for ISN. Still the construction and look is 100% ISN. All the IEMs have a way about them...........that you just know they were designed and build by the same company. Also in case this is your first ISN rodeo, there is always a knowing that in the background there are more IEM choices. And again….none of them are simply right or wrong, but are different ways to reintroduce yourself to your music library. Depending on the musical genre, it’s arguable if one ISN product is better than another? Maybe they are, maybe not. So you can see how and why I don’t necessarily have a favorite ISN IEM. They are all my favorites……………..

The H30 is a new chapter for ISN, and being so its sonically different from anything they have ever made. The H30 exhibits the most neutral response to date. Does that mean we have a neutral IEM, no not at all. ISN would probably never make a neutral IEM. It’s just that when you scale-off the super high frequency treble, cut the sub-bass then embellish the midrange, this is what’s left over. Heck it’s almost like a Penon IEM being it’s so midrange active, where ISN has normally concentrated on putting all their eggs in the bass basket. The other question is how does this newborn fair against its older siblings, does it bring honor to the family name? And being the odd-ball-out, does being innately different have an effect on the H30's perception? Remember this is the farthest (I feel) ISN has gone from their H40 house sound. Yet they left that house sound really, starting with the H50. In fact the H50 is hands down many an IEM listeners favorite IEM in the whole world! But it’s $295.00 in comparison to the ISN H30 at $129.00. So the H50 is remarkably well-rounded, and it sounds great from even a phone. But to try and explain how good I think the H50 is, when it arrived it didn’t need burn-in and almost blew the $459.00 EST50 out of the water! It did this through pace primarily. It has an unmistakable bounce that is the effect of the DD driver. Yet the H30 isn’t quite as well rounded, nor is fully endowed in the bass department. Don’t get me wrong, in no way does it sound anemic, but the bass has been carefully designated as reserved to a point.


Build:
Such form factor here is not by a chance. Still.......how many IEMs are released that make you wonder about the design? What were they thinking.............to make these random extreme examples you're suppose to join into your ears? Some IEMs are exactly random it seems in design. I get that they are trying to make the look stick-out from the pack! I realize they have to produce something memorable.......that's fine. But to make some of the shapes that they attempt are full-on strange. Don't you agree? These round or square shapes are actually pollution in peoples ears, yet they continue to put-up with the shape regardless of comfort due to wanting the sound. Yet most of us know, that better comfort creates lasting listening enjoyment and prolonged use. Not only that, but a better fitting IEM actually sounds better. This is created by noise occlusion and fitting deeper inside your ear, blocking outside noise from getting in. Also better fit creates a style of air-tight seal which actually expands the soundstage and deepens the bass, while adding the perception of resolution. This isn't a joke to be taken lightly or something to experiment with. It has to do with the relationship with a personal product which almost transcends consumerism. These sound making devices are becoming in essence a part of us. They are entering out ear canal and joining up to our neurological system through form and function. ISN has thought about the above and does't challenge the norm, making an IEM build which replicates the IEMs that have been successful in the past.....classic. The only thing they did to grasp notoriety is change the color of the faceplate. Though the next thing they subtly did was change the nozzle to a chrome creation. Such a change is small but takes the shape of something that actually enhances fit and placement. Not to mention holds ear-tips on with vicarious force, which in turn increases ergonomics in daily use. The ISN H30 is 3D printed with medical grade resin and finished by hand. You can experience the individual builders talent simply holding them in your hand. Such a form as the H30 offers a smooth feel, due to the crafmanship in creation. The faceplates are truly a work of art, in that they only top-off the outside end with a splash of color, except upon further investigation become endlessly detailed to the point of microscopic. There are actually many variations of MMCX connectors, with some fragile, and some robust. As it turns out a few made MMCX versions look well made, but in use give the methodology a bad name. These are truly substantial feeling and almost don't turn with the perfect amount of play formed upon joining.

Upon closer inspection the medical grade resin is almost offering complete opacity. Yet upon examination with a high power investigative light, in resin is like an almost black car window! You can actually view the 2 balanced armatures and single dynamic driver inside. The IEM side reveals a single vent, actually fairly robust in size, acting as an air-intake-out-take mechanism. Upon turning the IEM over the single indenifier "H30" is found. No other markings are offered except the name brand moniker emblazoned across the faceplate...........seemingly floating, encapsulated in time.

The nozzle developments really deserve focus here being actuality in two tone. There is a special goldish tone to the screen, and a specific detail to how it's placed, far outweighing the asking price. This inset screen offers a multitude of small circles which are specifically designed to focus the sound in relation to FR.



While some may see the profile shape of the H30 as being revolutionary, it's not, ISN would never boast such practice. If you study the ISN D10 shape carefully, the two IEMs share a common theme. Though to be fully transparent here, the H30 has a small nozzle lip longer than the extension previously found on the length of the D10. This results in a 1/4 centimeter of extra distance traveled into your ear canal. Of course ear-tip choice takes that distance and goes one step further, making it longer or way longer depending on your choice of ear-tip. The great news is the simple functionality of the nozzles, being truly another small example of how ISN cares.

and.........

Finally the cable:
As seen in the picture, an aluminum plug is only the start of the increase in quality found. While the basic 8 core OCC copper cable seems generic, it is in-fact specifically chosen for both the bass enhancement and a top-end correction. Remember ISN is first and foremost a cable builder. ISN only makes 6 different IEMs, but they offer 17 different cables.............what do you think that means? That's right, they make more cables that most IEM builders.........and more cables than some cable builders.

Some ISN cables are truly amazing, as amazing as their IEMs.........or more so!




Complete real metal hardware, including cable splitter, chin-slider and plug holders.

Such a cable simply adds to the whole experience, being well managed and offering an easy going sound. Even the MMCX connectors are well built from aluminum extrusions offering R and L markings of color. All three plugs offer a style of clear cable strain-relief, which will come in handy in that rare chance of an unexpected tug-a-lug!

Back at ISN Laboratories, they did the footwork already dialing in the specific IEM/cable tone. This H30/cable marriage seems to be the right tone? Such specifics are found to be already taken into account........already seemingly finding cable synergy, so you don't have to. Premium copper was chosen for a treble, midrange attenuation also an increase of bass character warmth! Often members are "playing" with Hybrid cables to try and milk-out an added level of resolution and contrast seemingly buried in the response. Though not here, as the H30 is optimized for a specific tonal response, with-out the energy of silver ever needed. Seasoned members will already understand how ISN has found the Goldilocks cable add. Any extra effort in experiments could possibly end with increased resolution, though probably at the expense of ISN H30 well-roundedness.



Bass:
What I do to check bass authority is get out the Dongle/Samsung phone, the Shanling UA3 and some narrow bore long length tips. I then refer to my 96 kHz - 24 bit copy of Hans Zimmer’s OST for the Batman vs Superman movie.

Song in particular is “New Rules”!

So what is occurring is a style of truth. I can be sure that the bass isn’t lacking in the song or the amplifier/DAC chip. So we are face to face with the IEM. Such a senario was profound in learning about the Penon VORTEX, a few reviews back. In a way the Vortex is the H30 done with a DD, and the H30 a Hybrid. Now they aren’t exactly the same due to driver methodology. But the VORTEX is also Penon’s new IEM that just so happens to be Penon’s most neutral creation along with the Penon Serial. The point is the H30 has its attributes and deficits. Bass being reserved, makes the H30 slightly more genre specific than the other ISN IEMs I’ve heard. Is that a bad thing? Well it depends on your genres of choice. One feature of the H30 are the nozzle length. Such excursions are to implement the actual IEM end-nozzle at a very specific place inside your ear canal. This blocks out side noise better but also pretty much guarantees you a firm bass air-tight-fit.

What this does at the end of the day is milks the most bass possible from the H30 set-up. The bass in-turn is a fast (slightly back-set) event which is sufficient but not bass focused. I will repeat....this is not bass focused. Though bass noticeability occurs when face-to-face with bass focused music. Yet as a well-rounder the H30 kinda is, it is and it isn’t, as we will soon learn it does a few music genres spectacularly and better than most $129 IEMs, day in and day out. It’s just if your musical preference is The TRON Legacy OST by Daft Punk, there may be a more complete replay out there. It’s just that replay wouldn’t have all the other values the H30 also brings to the table.



But Adagio for TRON is amazing none the less. The timbre, the stage, the transient response, killer. First off the violin starts this up, and is found the epitome of natural, floating in the stage, boosted by the cello and then accompanied by the synth keys at around 1 minute 11 seconds. The woody back reverb at 1 minute 35 seconds and ambiance is emotional, and really I can listen to this all day.

Midrange:
I will quickly level with you here. The H30 is all about the midrange, too me. That in and of itself doesn't take away from the treble or bass. But if you were at a Head-Fi meet-up and going through IEMs in a fast paced listening session, peoples faces would light-up and they would take the H30 out of their ears to expound on the mids! It's just that the mids..................that's where the glory is, where the H30 bird takes flight and soars. This does not mean you have to be a midrange-head to fall in love with the H30. It's just some IEMs have their "soul" located in the lower thrusters, and the H30 makes music by coercing the mids out to play...........and play they do. As there is a bounce in rock songs that is fully connected to this midrange magic. Truly I can't put my finger on what it is, but that doesn't matter. It doesn't matter what causes it, as long as it's there. I only report findings, not always the cause of findings. The single Sonion does the work, and this (name branded) sound offers a surprising realism, opposed to those off-brand-gimmicks. The resulting mid-emphasis ends perfectly placed to enhance the details found with-in. Seemingly bringing vocals both male and female into the light, separated from the background energies. While the stage in medium-big, I can't help but think the imaging is responsible for this illusion? That's the 1,2 whammy of technicalities and midrange add that floats this boat....and that's where your money is going when you buy it.

Treble:
While I hear the midrange to be pushing this signature forward, there is still the overall dominance of the trebles. Yet such tone and timbre are the responsibility of the single Knowles BA. Again this specific choice, how it's implemented, arrives and cures many a treble woe, regarding correctness of tone. The main treble focus is at the 8 to 9Khz region, which can event in an issue for those sensitive. There is no denying this signature gets its energy from such places. Still for me it's smooth sailing and not near the issue I have had in the past with too energetic of a treble. In fact to sum up the character of both the treble and midrange, the best feature comes from an overall warmth that still permeates such areas, allowing a slight forgiveness despite the over-all tone focus.


Conclusion:
Above all let’s get one thing straight…OK? ISN as a cable builder and IEM builder, know what they are doing. After all my ISNs I have gained the ultimate respect for the brand. I don’t know if they offer a sound response that I just simply have connection with, or they are just good at what they do? Probably the later? This is by far the least colored IEM yet developed by ISN Design Laboratories. Yet does the lack of color make it boring or have less personality? No! What’s taking place is you’re matching up your personal IEM dollar expenditure budget to the IEM’s particular response curve and technicalities. Simple really. Though what’s complicated is discovering an IEM’s exact fit and form, with-out trying it. What IS complicated is knowing the exact sound response characteristics which match your hearing, as well as favorite music genres. Then the next level is knowing how any little eccentricities in playback will affect your over-all happiness. Guess what………I can help you with with understanding fit with-out trying them. I can explain the sound characteristics and genres of music the H30 is best with. Also those eccentricities? Well they often are individualistic to the listener, still I can cover them too. But most of all I can share my experience with the H30. This has been a small story and a few days of my life. This is simply a diary of my time with the H30, and a documentary of my success and failures. This is only one persons perspective as to the true nature of the H30’s reality. With that said there may be a range of options in the end, but you don’t know your options until the H30 is in your ears and reproducing your favorite or second favorite genre of music. This we know as fact. Yet with all that, this purchase is still an easy one. Why? Because the ground-work has already been done. 1) ISN doesn’t make mistakes, at least so far they don’t. What I’m saying is often I get IEMs which are simply attempts at IEMs. They are these seemingly finished products which the other-guys designed and built and threw on the market. They were hoping to hit the target with a blind, un-thought-out build. This goes on everyday in the IEM world……….an IEM comes out and you wonder what they were thinking. Such travesties of chance some companies are about, but not ISN. They aren’t that big to garner such freedoms of wildness. No…….this is a small company which one-by-one offers simple and correct examples of the IEM art. The shells are not stamped out of CNC metal, nor the design a subtle reproduction of the product before it. Each product ISN makes is a carefully thought out example as an art piece. Can’t you tell by just looking at them? There are often IEMs which I turn down and never talk about, no one knows they even exist in my collection. Then there are the ‘OK” examples. Those are the few that have both good and bad aspects. And finally there are the special ones. These ones have soul and character, you know getting to know them that they were carefully thought out and correctly built/orchestrated. They have to be! This is not a game of chance, but a mixture of science and art. A specific target in FR response with a commencement into a reality. Such actions are the very foundation to ISNs success.

Brand: ISN Audio
$129.00

Available Options
Cable Version
3.5mm Audio, 2.5mm Balanced or 4.4mm Balanced

Shipping Method
Registered AirmailExpress Service (+$15.00)

https://penonaudio.com/isn-audio-h30.html (You can purchase here!)

ISN Audio H30 2 Balanced Armature +1 Dynamic Driver Hybrid MMCX HiFi Audiophile In-Ear Monitor IEMs
Description
Brand: ISN Audio
Model: H30
Stabilized wood blue-violet panel
3D printing resin, medical grade resin cavity, light and beautiful, comfortable to wear
2 Balanced Armature + 1 Dynamic driver hybrid
1 9.2mm beryllium frosted diaphragm dynamic driver for low frequency
1 Sonion BA for middle frequency
1 Knowles BA for high frequency
Impedance: 18ohm
Sensitivity: 112dB
Frequency response: 20-20kHz
Connector: MMCX
Plug: Gold-plated
Cable length: 1.2M
Package
ISN H30 earphone

Disclaimer:
I want to thank Penon Audio for the love and for the ISN H30 review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm

Brass rings hold mahogany end-caps in action


TINHIFI T4 PLUS
10mm Magnetic CNT Driver In Ear Monitor

• CNT Diaphragm&Imported CCAW Ultralight Voice Coil
• Accurate and Crystal-Clean
• Remarkable Appearance, 4g Lightweight
• Detachable Silver-copper Mixed Cable

Get them here $119.00
https://www.linsoul.com/products/tinhifi-t4-plus

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena of Linsoul for the love and the TinHiFi T4 PLUS Universal IEM review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm and 3.5mm
Samsung Android Smartphone 3.5mm output

History:
There was a day when TinHiFi was truly groundbreaking in out-put. On February 4th, 2019 Z-Reviews did a YouTube video calling the T2 the greatest thing since sliced bread. At the time I had personally already went through my Chinese budget buying phase and was concentrating on more expensive gear. But looking back I wish I could have been a-part of this budget (flavor-of-the-month) phenomena. You can’t just get a pair of T2s now and call it a day, no the past is gone forever. While there are classics in the IEM realm, companies like TinHiFi keep making new stuff and often it is better than what came before, new driver technology ect, ect. Meaning new stuff comes out and is compared to other new stuff and so on and so on. I just received the TinHiFi C3, T4 Plus, the TinHiFi T2 DLC and the C2 Mechanical Warrior. To me all four sound relatively the same. As maybe they should, all being designed by the same company. The first of this “T” family I received back in October of 2022. And the only reason I’m including it here today is it was the first one I received with this “barrel” shape. In the past I have also had examples of the TinHiFi TWS unit, the TinHiFi Tin Buds 3….also the TinHiFi T5.

https://www.head-fi.org/showcase/tinhifi-tin-buds-3-tws-iems.25964/reviews#review-28909
https://www.head-fi.org/showcase/tin-hifi-t5.25136/reviews#review-25821
https://www.head-fi.org/showcase/tinhifi-c2.26227/reviews#review-29951

The TinHiFi TWS Tin Buds 3 was truly different as it was wireless, but there was more to it? I must have been the way they did bass quality? In fact I let two friends try the Tin Buds 3 and they both commented on the bass; it was the first thing they talked about? I should mention that TinHiFi also produced the wonderful “Giant Panda” P1 Max Planar IEM. This was my second planar ever last year, and truly a cool invention, at the price they go on-sale for now, they continue to be a sonic bargain!
https://www.head-fi.org/showcase/ti...sal-in-ear-monitor.25818/reviews#review-28407





The T2 DLC and T4 PLUS:
Do these two IEMs look the same to you? I’m simply looking at them, they offer this barrel shaped design, the T2 DLC and this new T4 PLUS have a lot in common. They still basically have the same sound when I started to try them back-to-back. Still………what it looks like to me is they took the regular ideas of the T2 DLC and tried to expand them into a slightly different sound. They added a fancy new copper/silver cable, they added a wood resonator as seen in the pictures. Where the T2 DLC is $59.00, the T4 PLUS is $119.00! So double the price. Now there is all kinds of marketing talk about this new driver the T4 PLUS has, and while I don’t question there are different parts in the T4 PLUS, I’m basically more interested in sound. Truly if you take time to read my T2 DLC review I only gave it 3.5 stars out of a possible 5 stars.

https://www.head-fi.org/showcase/tinhifi-t2-dlc.26064/reviews#review-29412

Why?
Basically the T2 DLC sound (while correct in many ways) is uninspiring and slightly boring. TinHiFi has carefully constructed a tune which follows a very careful line……almost too careful, it just doesn’t take any chances! Such a tune could be considered polite and considerate not to ruffle any feathers but in the end the T2 DLC had no pizzaz, no charm, no sexiness. The life of an IEM “plain-jane” so to speak. Simply being too careful yet also not showing much life as to what was inspiring or what inspired the music in the first place. Could it be harmonic resonances missing? Some reviews said the T2 DLC was too dampened, to held down? I’m not the only reviewer that rated it less than great. As reviewers we walk that line between subjective preference and absolute objectivity. When in reality there is no such thing as an objective review, this business is all subjectivity, still we group in packs and look for common truths in playback which results in some of the opinions as to IEM performance described at Head-Fi. It is when a few reviews start to parallel the same concepts, then we know that we are onto something, that others are experiencing these qualities too. Of course this can go either way, and be qualities that are super good, OK……….or just getting by. They can be bad, super-bad, or indifferent…..and of course this is a generalization, but at times often it’s only one or two components of playback which cause the elements in question. Yet, nothing is perfect, there are IEMs which offer more even, complete and correct playback than others. Within such realms there are also personal sound preferences that state a more warm laid-back sound is preferred or a staunch analytical response is preferred. Neither is wrong or right, it’s just preference. And still with-in those preferences there is still a darker IEM that’s even, complete and correct and a brighter-clearer more even-steven analytical one that is correct, complete and even.



The wood:
I truly would want to see someone disassemble the T4 PLUS to find out at what point does this wood-cap interact with the dynamic driver reverberations/resonances? I’m not in the mood to take my pair apart, but I did take apart one of my Elixir IEMs, just to see in fact if the back faceplate was really open to accepting resonance vibrations. This is not theory, but absolute fact that you can create a resonance chamber inside the IEM to help amplify the tone. Before electricity that was one way they made musical instruments louder. Thus the acoustic guitar string is an energy source with some vibrating, then those same vibrations are amplified and toned by the acoustic resonator which is the body of the guitar. The Cello, the Bass, the Mandolin etc, etc do the same form of amplification and there are numinous variations of such tone due to wood choice, construction etc, etc. But here we are concerned with the new caps, as they appear to be mahogany wood, yet what is important is if the wood is left bare on the inside, to accept the vibrational qualities and respond accordingly. Much of this is still joined with psychology as if you are told the wood character will be dark, you will almost hear dark, same as with new instruments………..in the first year often after you made a purchase the instrument the will sound “off”…..somehow the guitar will sound different from when you bought it in the shop, something changed and it most likely is the your personal tone ideas. The new Allure IEM is a different color remake of the Elixir IEM, and comes in at just $99.00.

https://www.head-fi.org/showcase/ki...iver-universal-iem.26246/reviews#review-29836

In fact a new member just got them and was PMing me to tell me how he heard the resonances and how they were cool. Basically everything a driver is placed into creates these resonances. If it’s aluminum it’s often bright, brass duller, and all wood….even warmer. Obviously that’s not the whole story, but TinHiFi is attempting a style of harmonic enrichment by adding these wood caps.

So what did I find?
Obviously these differences arrive by trying two IEMs back to back, so maybe not just the wood is doing the magic here? Literally TinHiFi has a list of driver attributes and differences which go along to complete the sound…….

The CCAW Voice Coil
The 10mm CNT Dynamic Driver
Next generation carbon nanotube diaphragm
The N54 magnet
This is the 3rd generation composite diaphragm

But to rewind a little this is a direct comparison between the T2 LCD and the Space Station TinHiFi T4 PLUS. Yep, it’s affectionately called the Space Station.

In testing:
Well it all started with side-by-sides with the same (new Orange) ear-tips as well as the included silver/copper T4 PLUS cable. I found a 40 second piece of music and just kept changing cables an IEMs back and forth until I started to feel I had a handle on the real-life differences here. And to put it simply, there are differences between the two IEMs. But where I started to perceive changes took place inside the soundstage imaging and the note fall-off and note weight. Of course there was added bass but somehow that was not the total area of focus? Now keep in mind these differences are small but I continued with a couple cables to see if I could expand the soundstage even more. After the included cable, I went to my standby the ISN G4……….extra weight was added, and soundstage expanded…….but I needed more, a quick change to the ISN SC4 did the trick, yep……even though the bass was still there…………the ISN SC4 brought up the soundstage and imaging into a clear style of resolution and imaging. The ISN SC4 is one of my very brightest cables and it’s not that the TinHiFi T4 PLUS needs any exact tone change, in fact it’s stubborn to a point to change tone, but what happened was simply soundstage expansion (the Space Station part?) and an added naturalness of elements over the TinHiFi T2 DLC. This driver truly does have extra potential or maybe it is the wood caps, but there was a nice difference. So much difference that I can move my review score up one 1/2 star to give the TinHiFi T4 PLUS a total of 4 stars…….yep, just like that.

4 Stars

Why?

The T4 PLUS experience:
The two IEMs still sound like they are from the same factory, and if you even read my prior review of the TinHiFi C2 Mechanical Warrior, still I had only passing examples of the TinHiFi 4 PLUS replay, and had not really tried to do a full-on review of the T4 PLUS. And while the T4 is not totally a great deal, I do understand why they made it, and I do notice the effort put forth. It’s just that this imaging, musical element fall-off, the note weight is nice! This isn’t exactly my sound signature or even a variation of my sound signature, yet due to the spacial properties it’s interesting and offers a value if this is what you’re looking for. I figure they got feed-back on the past IEMs and tried to make sound improvements where applicable? People probably commented how the prior TinHiFi T2 DLC was too closed-in and didn’t offer the needed soundstage expansion to get interaction and involvement? The cable add is perfect, while yes, I took TinHiFi’s silver cable ideas and took it up another notch (with the ISN C4 cable) still the included cable looks nice, handles nice and adds the imaging and separation needed. There was a lot of trials and cable rolling back-and-forth than I haven’t gone into in the above two paragraphs, just because it’s not needed for the understanding of the results. But basically it’s rolling the TinHiFi T2 DLC into every configuration as the new T4 PLUS and rotating different DAPs signals to find out if they also effect the tone or soundstage. In the end, in fact, I found I enjoyed either the WM1A or the WM1Z. The T4 PLUS showed the change in DAPs, showing the more mid-centric character of the 1A, and showing the treble and bass boosts in the WM1Z.

THE T4 PLUS Experience continues:
In much of the same way this interaction replicates reality………as we want (reproduced) instruments to offer a fuller more realistic style of imaging. Bigger is better, even if it’s a little bit. Such performance was double checked often rolling back to the TinHiFi T2 DLC and while using the same cables, same ear-tips and same DAP. The T2 DLC tone was more forced and generally less separated. The forced sound was maybe the instruments coming together and occupying the same soundstage area, only to be set free with the T4 PLUS…….slightly traveling out into the stage and gaining a hint of realism. While there are others that replay this style of playback, I’m not sure if any offer this same form-factor or fit exactly? This fit thing was really part of the very first uniqueness that folks were buying into back when the T2 landed and created a fuss in 2019. And thoroughly my curiosity is sparked as to how the original T2 would compete against this new T4 PLUS? Though included here are graphs comparing the original T2 and the T2 DLC, it seems they are completely different animals, even though looking quite similar on the outside?

The brown anodization:
Here the brown anodization and wood end-caps give a feeling of warmth and style. The added cable gives another level of added spacial complexity to the sound and adds to the provided aesthetics, being they totally match! The new brown anodization has also been carried over to the new TinHiFi C3 cable, but the actual wires themselves are much different. So in many ways this offers the total upgrade package, being all the ear-tips you get, the included orange and yellow foams (which I ended-up using) as well as the gorgeous magnetic case included.





The complete package:
As consumers we are particular as to the accessories included. They must meet our needs as far as usability to start, the practicalness in application, as well as aesthetics. This entire set seems to go together, and blend as one unit. The way the included tips match the IEMs, the way the cable matches, also the way the case matches……………not sure what else I would want? With this release TinHiFi again departed from the “book-box” design presentation of previous releases, and chose a square box to include all this fun. They then went with the times and drew a crazy cartoon of an IEM “Space Station” on the cover. Maybe to go with the times they could have included a cartoon female on the the box, thankfully we get a space station, which I feel is a clue as to their soundstage goals. Introducing a new sound to into market………….the space station theme was more pertinent to their goals than a waifu maybe?

The cable:

How often have you found an included cable that lays like this?





Treble:
Finding the right ear-tip may actually been part of the success story here. Meaning bass is both authoritative and fast. But in the end fit seemed to enhance soundstage, which went to include treble imaging. In more ways than one, the TinHiFi treble is both a style of warmth and almost equal to the midrange in focus, and while I’m slightly a bass-head, these offer that quite natural balance of bass, midrange and treble. Though it’s the treble and midrange that you reach for the TinHiFi PLUS to achieve……even though these offer an L shape response, I have other IEMs with more bass! Comparing to the previous T2 DLC (besides bass) we come to the realization that there is far more here than previously thought. Bigger cymbals, farther separated hi-hats and small ornamental emphasis in places, making-its way out into the stage. Better fall-off and decays, plus the added warmth of (maybe) what the wood end-caps do? The best part is everything is digestible and truly exciting to perceive much like autumn leaves falling from a tree. And it’s just that, while the changes here are small, yet they are unarguably real and of value. Such is the transparency found that the higher tones WM1Z with its sparkly higher itemizations are fully noted……..yet not always needed, as the mid centric and mid-forward WM1A still provided the details and illusion of real music playback.



Ear-tips:
Yep, this is the place I stop and eat my words. This is the embarrassing part of the review where I disclose that I don’t know it all. The place I disclose that I am human. These new style of ear-tips are something else. They are a foam center, like you took foam ear-tips and put them into a set of silicone tips. The tips are incredibly special and provide the extra support to hold the T4 PLUS in place. This is an incredibly special (firm) fit, that while the ear-pressure is slightly noticeable, just seems to work better than any ear-tip I tried. If you have ever had trouble with this style of IEM shape, these new bright orange tips are the solution. IMO

Driver 10mm magnetic CNT
Impedance 32Ω±15%
Max Power 5mW
Frequency Response 10-20kHz
Sensitivity 106±dB@1kHz 0.179V
Interface gold-plated 0.78mm 2pin
Single Earbud Weight about 4g
Cable Length about 1.25m
Cable Material 4 strands 270C silver-copper mixed wire PVC



The midrange:
What ever new combination of differences TINHIFI made, they paid-off here. They added a brass ring to hold the resonate wood pieces. Supposedly it creates less harmonic distortion and creates air-flow? Still I could see maybe the “brass picture frame” holding the resonate pieces of wood and letting them vibrate only so much. Much of this tech-talk is moving and if true........maybe works, as I’m hearing these advances. They had to do something with the T2 DLC, I mean I didn’t even really give it a full review. Why? Because I actually didn’t really like it, it didn’t move me? Here no matter how the T4 PLUS graphs out, these are very much about midrange values. That’s right, the all important midrange here. I mean I know what the graph looks like, I posted it here. Still I will argue that while vocals are slightly set back, it’s the midrange note weight that really separates this sound from the T2 DLC. Just the fact that it’s involving and entertaining!

Bass:
The bass is a statement, yet I’ve heard way more bass in some IEMs. What I hear is a nice balance, really these are more V sounding than anything. They are on the boarder of L or V, as that treble has to be there to create balance or we are sunk, and we are not sunk. While offering a firm thump, the transient edge is probably average…..as really the whole signature has a slight lack of attack quality which just trickles down as part of a stifled bass attack. That is just the quality of the town we are visiting here, part of the whole experience!

Soundstage:
The soundstage is the best so far that I have heard from the recent release of TinHiFi IEMs, still that’s not saying that much. It should be better as it costs more, right? There is very little imaging forward and back, yet an OK top to bottom. It’s not what you buy these for, yet 100X better involvement in comparison to the TinHiFi DLC. Why? Because stuff is slightly itemized into the light, and not clumped together. When it comes down to it separation is more important than stage, as if there is separation inside of almost any average stage, musical involvement starts to take place.

Conclusion:
The main test of an IEM is if I will use it after a review is written, simple as that. Is there a quality which goes to add personality that I would like to revisit again………and yes the TinHiFi T4 PLUS is a special set. Let’s face it, the world of IEMs is a very different place than when the T2 had success in February of 2019! Many IEMs have stepped up to the plate and many you simply don’t hear about any longer. Look, you know as well as I do TinHiFi is maybe recycling a great design that is a few years past its prime. The have added extras which are real and actually work wonders, but at the same time, maybe the old T2 shape isn’t your cup of tea? There are ways that TinHiFi has made this design still work, though if it is competitive in todays marketplace, I’m not 100% sure? Still I like it, and the sound is fun, yet still far from perfect, but nice and moving none-the-less. Look at the choices nowadays…..the $100 realm is about as fierce as it has ever been, or more so, with new products being added to the bloodbath every day it seems. Does that mean you get the T4 PLUS for sentimental reasons because you have great memories from 2019? Do the improvements add a style of curiosity to your emotions? They did add a level of curiosity for me, yet (those improvements) are subtle, and they took the right ear-tips to truly get a clue as to what was going on. But once I was in (once the ear-tips were in) I was always in the zone. The TinHiFi T4 PLUS has colors all matching, and can be brought to work inside the prettiest of cases. The magnetic latch is truly cool, as is the brown anodization on both the cable hardware and the actual IEMs themselves. The IEMs offer wooden-end-caps which go to enhance the reverberations and sonic resonances obtained through music playback. These “tones” reflect back an add an organic quality that was missing from much of my TinHiFi experiences. Such body is ultimately the essence of magic in music, the little things that give life to lost sound-waves. They give color and character, even though such additives are thought not to be desired here, they are crucial. For this is what makes the music human and real, the note fall-offs, and the desired note-weights.

I can say that for me fit is perfect and not an issue, as with these new ear-tips, they simply go into place and stay there. Now I’m not sure this will be the case for everyone? And to add to that riddle the T4 PLUS has the ability to sound way better than you can imagine once you find that correct fit. It’s because there is no other structure holding the ear-phone at the correct angle, you are 100% dependent on the ear-tip for fit. In a way this is freedom, and people that already know about the TinHiFi idiosyncrasies already know this. This gets 4 stars because it’s no-way near perfect, yet it’s the best I’ve heard TinHiFi sound out of the 6 I’ve heard, so that must mean something? Yet, there is probably better out there for the money……..and that’s where I stand. If you think they look cool, they do, they actually look way better in person than in the photos here. And in many ways they rock and roll, adding a groove and bounce to your daily life…….

I asked a question when I heard the T2 DLC.......it almost seemed like a stepping-stone to greater goals, and in fact the T4 PLUS maybe is that goal? TinHiFi made it to this new paradigm in sound. If you want to partake….it’s up to you!

Review of the Edifier H840 Full Size Headphone Here.


http://www.head-fi.org/t/796429/edifier-h840#post_12291616

Edifier is a fairly new brand here at Head-Fi. They make a $50-$80 flagship called the H850. After reading reviews I decided that I didn't need another headphone that sounded like the Edifier H850. Basically they recommend the H840 if your looking for a bass centric signature, and man do they deliver. It's actually hard to tell by looking at these headphones that they would sound like they do. They defy gravity puting out the volume of sound they produce in relationship to weight.

They are far from perfect, but ended up being a really fun headphone to use in my home rig. After picking them up I spent about an hour just using them with an iPhone. They are actually made to be a folding portable headphone. Out of the phone I realized I would need to do some EQ to lower the bass. Using EQ is just a thing I never do. Still with portable use, EQ is the only way to tame the bass response. Interestingly when I arrived home a month ago the entertainment really started. Using a home system the H840s scaled to a place few cheap headphones could ever go to. The bass amount was still there but the sound-stage opened up and even the lower mids and bass areas were filled with detail. I had no interest in EQ or ever using them with a phone again. Due to the build quality, I also felt they would last longer indoors. They seem to have spent 98% of the cost on sound and 2% on build.

There is a link to the full review above. Enjoy.



Edit:
More time has passed and mental and physical burn-in have taken place. I have started to like using them with a portable device.

TKZK Ouranos
10mm Carbon Nanotube Dynamic Driver Headphones In-Ear Earphone

Probably the first question that comes to mind is if TKZK is really an off-shoot of TINHIFI or not. Because if it is much of this style of IEM makes perfect sense. Sonically and physically this is TINHIFI spreading their wings and offering something (just slightly) unique. Of the 8 TINHIFI IEMs I’ve received for review over the years, this is (slightly) different. Well, ya dummy it’s made by a different company? It is made by a different company yet they (almost) choose the identical square box? Except this time they angled the lid to throw us off. Still the inclusion of an IEM pouch……haha. Only this time the pouch was a light blue velour and could in fact double as a polishing cloth. The tips, the tips look identical to TINHIFI, then comes the brown anodization on the metal cable material……totally TINHIFI, and the actual (brown) wire? Hmmm, except the sound……..no this is a departure and maybe the exact reason for the rebranding. They went for a slightly fuzzy deep end…….you know the kind that they laugh about in the (sound) engineering lab.

It should be noted that TKZK’s first headphone (the 1DD/1BA TKZK “Wave”) came out in early January of 2022…….and strangely their Twitter page has only stuff about the Wave release and TINHIFI advertisements? Hmm?
https://twitter.com/TKZK_earphone

Maybe they just named the brand TKZK so there is no confusion to this sound being compared to TINHIFI. Now do you know why this makes even more sense? I like the bass difference here, and the build, and the look…….oh? And the fit, the fit is truly incredible. And…….once I switched from my bass-centric WM1Z to the full-on mid-centric Sony WM1A (and different cable) it all came together. Meaning I understood where they were going with the total sound….and truly, it’s great, still only 3.5 stars great. Does the Ouranos bring anything new or different to the table? Why would you even want to acquire it in the first place? Let’s find out, shall we?

Product name: Ouranos
Product Type: In-Ear Wired Headphones
Driver Type: Dynamic
Driver unit: 10MM new generation CNT unit
Frequency response: 10-20KHz
Rated power: 3mw
Sensitivity: 110±3db @1kHz< 0.126v
Impedance: 320±15%
Distortion: 1%@1kHz< 0.126V
Pin: 3.5mm gold-plated pin
Wire length: 1200mm
What is in the box:
Ouranos earphone (left+right)
6 Ear tips, 2 Large, 2 Medium and 2 Small
Cotton storage bag
1.2m silver-plated earphone cable

Summary:
The Ouranos IEM comes out at a time when the market is in-fact flooded with similar IEMs. Yet the sound is not at all boring, no……it’s rather relaxing and smooth, making all your music warm and friendly. The looks are remarkable and will become appreciated the more you study them! Over all the total build is fantastic with metal nozzle-tip and a semi-custom shape, the handmade faceplate shows far above the asking price. Timbre is actually great except there is a slight overall nasal personality blanketing everything. The treble and midrange are uniform, complete and lush. The sub/mid-bass hold a reserved presence, there is a loss of definition and control with the included cable. With an aftermarket (silver/copper) cable the TKZK Ouranos shows definite improvements.

$55.00
https://www.linsoul.com/products/tkzk-ouranos

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena of Linsoul for the love and the TKZK Ouranos review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 3.5mm and 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle DAC/Amplifier 3.5mm and 4.4mm
Samsung Android Smartphone 3.5mm output

The Packaging:
Simple packaging shows the cotton pouch, the set of 6 ear-tips and cable. There is a small warranty card and manual too.




The build:
Coming in at only 4 grams a piece, they are the perfect weight. Closer inspection reveals absolutely zero markings on the semi-custom shape. There are stylized TKZK emblems emblazoned in small gold letters across the faceplate. Noticeable are two vents, one at the base of the nozzle and one (as seen in photos) on the side opposite from the nozzle. The faceplate finish is a first here at Redcarmoose Labs being there is no bevel to the faceplate edge. This creates a looking into water effect when staring down into the faceplate details. Under the submerged nameplate lays a collection of what appears to be blackened wood-fragments and copper-foil. Whatever the stuff is it’s dramatic and goes the extra mile to add drama to ownership. Meaning I’ve never experienced such faceplate handiwork, especially at this cost? The 0.78 2Pin receiver is flush with the side, and the metal nozzle offers both protection for the nozzle-screen as well as hold ear-tips on well. Really the Ouranos has no business being as nice as it is. If you were to casually ask your neighbor how much the Ouranos costs, he would not say under $60.00. The other great part of the build happens to be found in how the screen sits inside the nozzle opening. When in-fact it’s not a screen at all but a chrome shower head affair with holes put inside! All and all you can notice the extreme semi-custom build which moves forward to make the Ouranos one of the most comfortable IEMs I have come across this year, and it’s been a bunch. Of course fitment is a personal thing, yet the science behind this is arrived by the use of an ear-shape data base which goes ahead and shapes the 3D printed resin to allow the form factor to align that much better……..that’s even before the hand-sanding, hand-polishing begins.




Cable:
The external style of PVC jacket allows truly nice maneuverability in daily use. The actual ear-hooks aren’t too aggressive. The silver plated copper seems a correct balance to arrive at a cost balancing package. It’s actually never revealed to be a copper build, but I’m sure it is, that with a micron of two of silver to brighten up replay. And while the included cable is nice feeling (somehow) most of the sloppiness in bass was due to its use.



A change of cable:
Meaning I plopped on a $149.00 cable consisting of part pure silver stands and part copper stands and the bass areas were totally cleaned-up. This leaves possibly manufactures up to a dilemma, do you find a better cable for your retail IEM, are just hope your buyers experiment with cables? While this is not an authoritative low-end IEM anyway, it is dark and smooth, such wiggles in bass due to the included cable show that there is the option to really move the TKZK Ouranos forward into incredible territory. I can’t help but see the invention laboratory where engineers are doing all they can to make the TKZK Ouranos all it can be, then shot down in flames by the marketing department who are trying to meet a price/cost level and skimp on the cable. Only then (as the result of cable choice) to have the main issues the TKZK Ouranos is known for (community wise).....................the actual results of this cable placement.

Sound:
Such (cable) changes are not totally accepted by the masses. And I could go about my day dismissing the fact that anyone would be curious as to sound modification of an IEM with extra cables. I could write the same review you’re always going to read (with-out cable rolls) concerning the overall playback of the TKZK Ouranos IEM, but it wouldn’t be all I know, and the review wouldn’t be complete. In fact often cables don’t do much to enhance or correct a specific sound signature, but in this case cables made a world of difference. Also with lesser cost IEMs typically cable change-outs are never really that drastic. So in testing I went to another bright cable, only this time it was less bright and is probably considered a more generalized cable, where before I was using what would almost be considered a specialist cable; only one that works in special circumstances. And you know what I heard……I heard more of the same tone that was described by the community about the TKZK Ouranos. And in a way that made this review easy because I could still talk about the general qualities of the TKZK Ouranos, yet explain that if they truly want to add to the tonal response that it will always be a tad nasal, except that there are avenues to clean-up the bass, yet deep inside of the bass, it’s still what it is, slightly all-over-the-place.

Bass:
Slightly all-over-the-place. Where in reality playback is typical of full-range DDs, in that the sub-bass and mid-bass are slightly rolled-off anyways. Yet here we are offered a darker IEM regardless of the bass tone. The bass is slightly slow in that it holds very little transient power. A dull front-edge and a dull fall-off. Added to that it’s not totally up-front either. Still regardless of all I’ve written, the TKZK Ouranos is not boring nor is its bass boring. All the tones are correct, there is just a bit of uncontrolled action with the included cable. And while the aftermarket cable did work on the midrange and treble, most of the benefits were in the bass department.

Midrange:
This is where 90% of all the musicality goes down, yep. While vocals are well separated and shown in relief against the back-drop, I’ve obviously heard the vocals better positioned. Yet the magic here is there truly is a separation and excitement with-in the instrumentation of the mids. Fun and fast imaging out to the exterior of the stage. But all and all it’s very average for the price asked.

Treble:
Probably cohesive and contained would be my words, if I only could choose a few? Those words hold both positive and negative connotations here. As that’s how I view the playback, in that it has wonderful cohesive attributes, but at the same time stuff isn’t really projected anywhere and takes place within the confinements allowed. And while rolling back to the original included cable it seems there is added note-weight to be found, and even density to be admired inside of the treble notes..........though at the expense of the nasal tone added back in.




Conclusion:
While fun and colorful, some of the color is just that…….color. Such an artifact seems to paint the entire frequency response. Yet there is still a lot to be admired here………especially if you need a low-cost but great looking all around performer, that fits well. What I’m trying to say is despite the sonic shortcomings, the TKZK Ouranos is set-up for all day listening, even making strident tones found in your music smoothed-out. Lush, warm and inviting are the part of town we are visiting today…………and it’s not boring here in this place. Nope, it is just before you plan on visiting my job is to fill you in on the weather. There is not exactly sun-shine in Ouranos today……that or any day. More of an overcast yet warm environment, with a hazy cloud layer seemingly everywhere and all-the-time. The locals are friendly and have a great attitude, it’s also a place you may want to spend some time in, even overnight? Though I have to warn you tomorrow when you wake, the weather will again be much more of the same……with hardly any change.

This is kinda how a view the TKZK Ouranos, as it’s not a bad place to visit, and not really boring at all, but you know how those towns go, they just are…and quite possibly the next town over will be much of the same…….not a bad place, yet nothing out of the ordinary either. You can change the feel of the bass by adding a different cable and that takes care of a few concerns, yet the rest is still the rest, and while there is nothing really wrong with the playback, there may be a chance to find more excitement elsewhere? But the town is pretty, actually it’s downright gorgeous!

$55.00
https://www.linsoul.com/products/tkzk-ouranos

Some folks just love to hate Apple products, for a list of good reasons at times. Apple goes the extra mile to make much of what they sell proprietary. Try and use an after-market cord and sometimes they work and sometimes they don't. The Apple Company holds their own idea of what they feel the audio market is into. Many at Head-Fi embraced the original IPod as it really offered a standard of audio quality and playback UI in it's day. In recent years many on the forums have noted a truly non-audiophile stance choosing not to play FLAC and offer basically the same sound quality they always have as other manufactures embraced HD audio and continued to improve with portable audio playback on a multitude of levels. So it seems these EarPods offer us a slight improvement in sound over passed offerings, even if they are strictly not an audiophile product on most levels.

And again with the Apple EarPods we have a strange invention which borders on one of a kind. Actually they are one of a kind. Due to the uniqueness some folks like them and some don't. Still being that they end up being the best headphones folks own, you see them being used everywhere. For your general public they end up being good enough for most uses.

I'm guessing these difference in Head-Fi opinions come from getting a fit or not. I personally found a huge difference in sound upon adding foam covers enabling a good tight fit. With the fit came the bass that some folks describe as lacking. It's maybe a design that is just not going to fit every ear. The other issue is keeping them in place, also depending entirely on ear characteristics. Apple goes to describe how they did hundreds and hundreds of ear shape studies finally coming up with a form factor which is not exactly and ear-bud and not an IEM. Interestingly they have been out for awhile and still no one else has even come close to making something like them. It makes you wonder why there is nothing else in the market even coming close to emulating how they seem to work.

The Sound:
They are mid-centric and have a nice sound-stage, though don't have a very detailed lower mid or bass response. What bass there is has a nice placement and seems fast and blended well.
Compared to many IEMs there is just an overall lack in detail. If you also factor in they used to be priced around USD $29.00 which just adds to the less than stellar reputation they have earned at Head-Fi. Still I have used them for a long, long time and found they do have a place in the world.



Good Stuff:
They actually deliver a nice sound-stage for what they are, offering a very middle of the road personality.
Some people just don't like the feeling of IEMs.
Being semi-open they give audio clues to stuff going on around you, making them safe out and about on the street.
They really do all the genres well, being a jack of all trades.
Due to their design, they only fit one way, getting the right Ear-Pod into the correct ear.



The Bad Stuff:
They don't fit everyone's ears. The fact that the fit is crucial to getting the Apple EarPods to sound correct.
They actually bug some folks on the way they fit.
Lack of fit increases the treble and midrange character.
White can show wear.
Even with the best fit and source the bass only goes so low and disappears into nothing. This sub bass has a slight distorted and overly warm undefined character.

In Conclusion:
Most of us who have Apple products have not purchased them with the intention of using the included Apple EarPods. In that regard they are viewed as a free extra, which are mostly given away as gifts. They actually seem to sound better after 50 hours of burn in. Finding foam covers or purchasing aftermarket rubber covers allows a tight fit enabling the Apple EarPods to stay in place and increases the bass response and sound stage. They would not maybe be a product to go and buy for listening purposes, as the market today offers a plethora of better bargain portable listening devices for $20 or less.
 
EarPods now sell for $14.99.

Still getting the fit right and spending time adjusting to the sound signature can result in the Apple EarPods being a nice extra set of headphones, which are built well, last a long time and do a wide range of genres. They are really not as bad as some make them out to be.

"Paradise"
ISN H50 Universal IEM
Welcome my friends to another review. Before us is the latest IEM from ISN. Such a 4 BA/1DD design configuration results in something truly special. Hybrids at times offer more contrast and separation than planar or single DD implementations. I had to pull myself away from taking H50 pictures to make these notes about it. My favorite of the ISN stable. Meaning (to me) it’s better tuned than the H40, and more well rounded than the EST50. It’s not just frequency range.........the technicalities are something too. With the upper-midrange emphasis and upper-treble sparkles there broadcasts a clarity. Combine that with a super fast composite 10mm DD and I only have one word! Accessible! Won’t you join me in a review of the ISN H50............a Mid-Fi masterpiece.

Who is ISN?
The history of a portable audio Juggernaut!
In the beginning ISN made only cables; and even now they keep introducing new cable models. With 17 currently made different cables, it’s no surprise they understand what makes cables different from one another. If you by chance are reading this review as a steadfast cable non-believer, that’s ok. To have a company offer such a wide range of essentially the exact same audio-cable could be judged as ridiculous.

Donuts
Quote:
“Cables are a hot topic especially for enthusiasts. The IEM cable market nowadays has seen so many varieties and styles to choose, when it comes to cables. The big debate is do they actually help shape sonic qualities? On one side of the fence the objectivist enthusiasts do not believe in cables making any difference at all. I understand that notion but on the other hand there are people like myself that write cable reviews and talk about their finer qualities and how they affect sound for your earphones. I suppose my review here will help the folks that do like a good sound shaping cable to help with their IEM sonic profile more so than the science guys. My honest take on that is. Believe your own ears”
End quote:
So simply believe your ears. Truly it should not get in the way of hobby enjoyment, simply do what works for you.

The ISN Company:
ISN current cable offerings:
Silver-Plated IEM Cables: S4, S8, AG8, S16 and one Type-C Silver Plated USB Cable
Copper IEM Cables: C4, CU4, C16
Mixed Cables IEM Cables: Solar, G4, GS4, SC4, H8, H16
Gold-Plated IEM Cables: GC4, GD4
Pure-Silver IEM Cables: AG8

ISN Ear-buds:
Rambo
Rambo 2

ISN IEMs:
H50 10mm Composite DD (bass) 2 BA (mids) 2 BA (highs) $295.00
H40 9.2 DD (bass) 1 custom BA (mids) 1 composite 2BA (highs) $195.00
D02 10mm DD $79.00
D10 9mm DD $169.00
EST50 1 Knowles BA (highs), 1 Sonion BA (mids), 10mm DD (bass), 2 Sonion ESTs (ultra-highs) $459.00

Strangely, even-though making all this complicated stuff, ISN describe themselves only with one sentence.
“We are a wire production and R&D factory.”
That’s how they describe themselves. Yet what becomes obvious is they let the product do the talking. So far I have been lucky enough to review the H40, the EST50 and this is the H50 review. I have the D10 review coming up next. I also have the SC4 cable, the S8 cable in 2 pin and MMCX, plus the S4 cable. The only IEM they make that I haven’t heard is the D02. So I’m am beginning to get a grip of what they are about. So far I would sum it up in only one word………value. That’s really what it is. Though they also make silly expensive cables too. The H50 is a different kind of tune for ISN. After the H40 and subsequent emulation and expansion of the legendary H40 sound with the flagship EST50, they started a new journey. No one except ISN knows the next course of action to take place, but I believe it will be a TOTL flagship with the sound of the H50. I could be wrong, but the H50 is so mature and delightful, I can’t imagine a company not using it as a springboard to the next level. Still it seems pretty hard to beat? Extra EST drivers could be put in to make an EST60, but I question what worth that would truly give? The H50 is an exact tune, which will end-up being incredibly difficult to top. IMO It already has the staging, it has the bass, and with 4 BAs, its got an even, correct and complete frequency response. What more could they possibly do? They obviously could try and and super-size the whole shebang? Make the bass soundstage bigger, make the midrange be bigger somehow? I don’t know, this is science fiction?

S8 Cable:
Features

• High purity makes the cable extremely soft, providing the comfort of wearing,
• Gold-plated plug is more beautiful and durable, using insulation treatment technology.
• Natural and transparent sound, delicate and smooth; lift medium and high frequency, strengthen high frequency extension

Specification

• Model: S8
• Material: Single Crystal Copper Sliver-plated
• Number of cores: 8 shares, single share is 19 cores, a total of 8 × 19.
• Connector: 2pin 0.78mm
• Plug: 3.5mm audio/4.4mm/2.5mm balanced gold-plated plug
• Cable length: 1.2M

https://penonaudio.com/isn-audio-s8.html?page=2


Even-though priced at $32.50, and the second lowest priced cable in the ISN line-up, I still view the S8 cable as the Toyota Camry of cables. Truthfully, I don’t view/judge cables by price, only performance. Coming into the opportunity to review ISN products, I wasn’t sure what to expect from their included cables, even though before making IEMs they existed as only a cable builder? While other cables I used did offer other tonal and positioning discoveries, the major find was simply how good of a cable the ISN S8 ultimately was/is.

ISN started as only a cable manufacture. They then got an idea to become an IEM maker and cable maker. I actually put the S8 through the paces, changing cables and joining it to a couple amps before making a judgment concerning performance. While many members will upgrade their cable in quest of updating the H50 sound. While cable makers will add more silver and new cables construction designs, I am more than happy with exactly what the ISN S8 does. Truly I am not looking to make the H50 any brighter or more detailed. I’m more infatuated with how the S8 handles the lower midrange warmth and positioning. I mean, ISN are the cable experts, they could have included any cable from their arsenal, but they choose the ISN S8 for the specific performance to value ratio it provides. Such ISN S8 cable is also a standard, included with the ISN EST50 and ISN H40 IEMs.



ISN Audio H50 4BA+1 Dynamic Driver Hybrid MMCX HiFi Audiophile IEMS

Description
Brand: ISN Audio
Model: H50
Driver: 4 Balanced Armature + 1 Dynamic driver
2BA for high frequency + 2BA for middle frequency
10MM composite diaphragm Dynamic for low frequency
Impedance: 25ohm
Sensitivity: 108dB
Frequency response: 20-20kHz
3 channels 3-way crossover
Handmade resin shell
Stainless steel nozzle
Connector: MMCX
Cable: 8 Strands 19 Cores OCC Silver-plated
Plug: Gold-plated
Cable length: 1.2M

The box opening experience:

You get the ISN H50 IEMs, the S8 cable, a shirt clip, cleaning brush, six pairs of silicone ear-tips and a gorgeous case.

Build:
The ISN H50 is one gorgeous IEM. Just look at it! Taking the IEM aesthetic to a whole new level, you may actually miss what’s going on due to a subtleness in design? It took me a while to totally figure out what was going on. I actually thought the shell was solid black, then upon further study the insides could be seen, small colored wires and parts taking shape. The faceplate is the same way, at first it looks solid, then you start to be able to see below the layers to form vague outlines of the inner workings. At first the side of the MMCX mechanism, then the faint outline of drivers. Not to mention the gold-foil additives on top, swimming around in the middle, obscuring your view. For an IEM that is so direct and clear sounding, it offers totally the opposite in looks, offering only mystery in build. The ISN H50 is like see-through woman’s cloths, only getting us a taste of the underlying reality. Besides the looks we are met with solid resin semi-custom build making-up a medium size. Such attention to detail guarantees us close fitting with ample outside sound occlusion. The stainless steel nozzle has robust wire mesh screens, slightly recessed into beautiful aggressive tip holders, an improvement over ISN past creations. The MMCX mounts are polished flush to the sides, without even a raise to the feel. Finally the name H-50 with a R or L is imprinted into the back of the shells. Somehow ISN has gone the extra effort to provide both beauty and functionality in use?



Sound:
Sound generalizations:
If your coming from the legendary ISN H40 presentation there is a lot to be excited about. I feel ISN studied the H40 response and had the imagination to progress one step further. Except that one step outcome is a whole different deal. The IEM landscape is always changing and it’s important to introduce new and innovative tuning to keep up with whatever else is being offered by other manufactures. Only ISN outdid themselves here, they truly did. They went and added a subtle boost of midrange to the H40 tune, they also bumped the upper treble a hair. Just those small changes made a hugely different sound experience. Due to the upper midrange and upper treble boost there became a soundstage expansion. Next they included a whole new style of bass DD. Gone is the mid-bass authority of the H40, replaced by a tailored bass response that comes from a new 10mm Composite Diaghram Dynamic Driver. Such sophistication here means there is a separation between the midrange and bass driver. These 3 sound-bands coalesce together in place due to a 3-way crossover network. Thus each is represented in absolute singular clarity. I can’t help but imagine the 2 treble balanced armatures go to balance that beefy low end. This is the contrast I was eluding to earlier. If ISN has the wild idea to add EST drivers to a new flagship IEM, and offer an expansion of this tune, I would be worried the softness of those new ESTs couldn’t compete with the clarity provided by just the way this set-up performs? Those two treble BAs are precious. Meaning this is the ultimate ISN sound. IMO I truly don’t know how it can be improved upon? It’s absolutely beautiful, seamless and complete.

Because the H50 is so well rounded there is no correction to seek. Meaning it works well with every amp and source I have. Though because of the way the treble and bass balance each other I found a style of heaven with the more mid-centric Sony Walkman WM1A. So the 1A will be used for these sound impressions, but really any amps I have will result in pretty much the same overall sound. Crazy as it seems, even tips were not a concern here, meaning, yes, they did something but every style of response was ultimately acceptable. We were never needing a tip to make the sound correct, as there was so much leeway to be found.



Treble:
The two balanced treble armatures and how they are tuned provided a broad expansion of stage. So the imaging and ultimately characterizations of upper elements are found with-in this placement. The thing is, never are they attempting separation or detail with brightness. The treble actually has both detail and separation all with in this slightly warm expanse of replay? Nothing is too crisp or strident. Yet it’s all there, all of it. Gone is any want of higher pitched playback, as it’s just perfect......for me anyway? Obviously this is balanced armatures doing the duty and performance, at the level they were designed to be. Slight artifacts of spacial fall-out show-up just to give you a clue of this contrast going on. It’s so cool how these small details go to a much further extent to show the soundstage……..falling off in that quick decay that only balanced armatures do. Starlight flickering off into the distance as it fades into infinity, just to be brought back to life with the next beat rendition. Timbre and transient attacks are dead-on, and I don’t know how or why that could be? Also there is an interaction, an interaction of treble and bass, as this whole gig is interrelated, interrelated with the treble and bass in union. Maybe it’s just the groove, handled so very well? It’s this subtle extra upper-treble forwardness that seals the deal.

They bass is always leaving the correct room for this perfect soundstage of midrange.

Midrange:
Fast. With two balanced armatures tuned to perfection, we are witnessing a style of subtlety actuated midrange. Such frequencies are ever so slightly tilted to be heard as an upper midrange forwardness. Such delicacies add an ever so slight clarity to vocals and work to push-out the soundstage to it’s ultimate placement. This is really the meat and potatoes of our H50 response character. I can dilute the review with bass poetry, but you know as well as I that in reality, it’s all because of this area that we are here. And……again we are meet with the perfect balance of mids. I don’t have to remind you of all those shouty forward midrange excesses you have had to deal with. You know the ones that are not always intense, but when they are you have to deal with them. They are an annoyance and a burden to deal with. What do you do? Turning down the volume works, a different set of tips often does the trick, or better yet, go find a more subdued source and put water on that fire. Luckily we don’t have any of that stupid nonsense going on. None. That's why I can pull out my midrange-forward DAP and have a party. The Sony 1A is known to offer a brighter midrange than the Walkman WM1Z. That brightness is utilized to offer what could be perceived as a wider soundstage. The other extra accessory is the speedy bass. Way faster than the Walkman WM1Z.

Such balance mean that vocals rise-up to show themselves and add emotional involvement second to none. I don’t know if you have noticed, this is my favorite ISN tune, and not by a little, but by a lot! This is what BA implementation is all about, this sound, this sound right here. While maybe other TOTLs will do a slightly more authoritative response, I don’t know, there is a lot going on here, and in many ways, it’s everything. A W tune with a bass boost, an upper midrange add, the upper treble sparkles................Paradise!

Bass:
This (bass) was the first clue that I was in the presence of greatness. This style of bass is actually different than any I have ever heard. That and there is nothing odd-ball about it. It’s just that it is somehow utilized to placement into an area of the stage that is way out to the right and left. So it’s not just a tone like we typically refer to, but a positioning and a tone. It took me the longest time to get a handle of why it was different, but that’s what it is. That and it’s existing with this abnormal clarity? Such combination of values are rarely if ever found together. We are in witness of speed and texture, this tonal correctness that wins out over so many other bass styles. So let’s add this up, placement into the soundstage, a sub-bass tone mostly (as there is diminished upper bass)…….and speed. That and there is still a level of politeness in-spite-of-it-all? So normally sub-bass has a slowness that exists due to the lack of control. Here there is minimal lower bass fall-out. Its positional, clear and complete bass………which makes it fast. You combine that with the speed of the upper X4 BA composite decays and we have a terribly fast and responsive IEM.



Music:

Delain
Chemical Redemption
44.1 kHz - 24 bit

I have a love hate relationship with this album. Truth be told it’s a very different sounding album. A complex work-up of contrast and sonic tomfoolery. It’s the one of the strangest albums I’ve ever heard. Also many IEMs will have trouble reproducing the qualities held within its 13 songs. Let’s start off with the rhythm guitar here. Tweaked-up and processed to the hilt, it's big sounding, but more that, it’s a buzz-saw.....relentless and savage. It goes to become part of the basic rhythm section along with drums and bass.....all a back drop for the vocal includes by Charlotte Wessels. Sadly it’s the very last album with her up-front, being with the band almost from the beginning in 2005.

This is also such a strict and fully calculated style of music. By the numbers they create anymore, with very little room for personal leads or innovated outbursts. That’s what it’s about, a planned attack, fully programmed and orchestrated, with zero room for error. Somehow the ISN H50 goes along with the regimentation. Not only goes along with it............but excels at such framework. I truly believe this is how the song is supposed to sound? But better than that................we are partaking of multiple overdub vocal placements. Every take is alive in a new area of the stage, yet probably anyone would agree that it's the dialed-in pace that is setting the mood. I found the perfect song to get my point across, the pace ability is the ultimate statement of performance here. That’s right kids, the bounce........the stops and start-ups create this ultimate journey here. The fact is.......that they are playing with us, as the timing changes become the riddle.........such resources are tapped into. The chorus, the breakdowns.....it’s all wonderful. Yet it’s the vocals brought up just slightly by the upper midrange boost that become illuminated on-top of everything! That, and the fact that very few examples in replay do this song justice in pace. This song is super fast, and any not just quick in pace, but in instrumentation. Stuff has a super fast attack and decay. This music was made for balanced armatures.The instantaneous procurement of sonics, the shut off of decay. All with the support of the bass underneath, and texture only the H50 knows how to do.



DUNE OST
Herald Of Change
Hans Zimmer
48 kHz - 24 bit

We are now traveling to the other side of town. While this music uses an orchestra, the sounds are so processed and surreal, they may as well be totally electronic in nature. But it’s maybe Hybrid in that it’s electronic and orchestral in essence. Big drops in bass at 59 seconds. Really reaching out to the furthest of stages. All enveloping and omnipresent this bass tone is, yet textured and of the utmost quality. At 2 minutes 54 seconds we here a choir and a bass hit, at 3 minutes 41 seconds is the first of many of a progressively more textured bass introductions. We can hear inside the bass notes, and are swept away for a moment in time. Here while the attacks are of a more transient edge as opposed to the last songs bounce.....we still note the clarity of attack, just that the decays are longer and of less consequence. The whole album like many of Zimmer’s work revolves around a central theme, only to be reiterated over and over again, until the messages are spoken.

Side by side comparisons:
H40 Universal IEM: 9.2 DD (bass) 1 custom BA (mids) 1 composite 2BA (highs) $195.00
https://www.head-fi.org/showcase/isn-h40.24083/reviews#review-28747
I can't help but think the H50 is named as such as it's a progression of the H40 sound. Costing $100.00 more and offering in many ways the opposite tune. Where the H40 midrange is recessed, the H50 brings it forward, where the H40's treble is reserved in both frequency and detail the H50 brings it up. Not only frequency wise but soundstage wise also, including such details to flourish out and about, playfully invigorated! Where there is an overall forwardness (in presentation not FR) to the H40, the H50 sits only slightly back relishing in 3D realms of alternate reality. Such a place allows the bass to become more sculpted and textured. Treble replay offers formation of imaging of transient response items.......out existing on their own.......on the outskirts of the stage! The H40 vocals are slightly set back in contrast to the exquisite H50 performance!

Over-all detail is different, with the H40 using layers upon layers, the H50 is more direct, using focus and delineation. This really isn't a question of preference, as the H50 is the more technically superior monitor. Though frequency wise the H40 has a magic that is difficult to compete with. My problem arrives judging the H40 objectively, in that it's difficult to be objective with the charms of the H50 being around.

EST50 Universal IEM: 1 Knowles BA (highs), 1 Sonion BA (mids), 10mm DD (bass), 2 Sonion ESTs (ultra-highs) $459.00
https://www.head-fi.org/showcase/isn-est50.25254/reviews#review-28717
While the older and more pricy brother to the H50, The EST50 shows what is possible with more hardware involved. That, and an L shaped tune offer a more robust and dynamic bass experience. While complementary to the H50, just as the Sands is complementary. The EST50 is showing what bass hardware can ultimately do, the Sands showing what treble and brightness can reveal in your music playback. Such contrasts make you wonder how one person could even learn to accept both sides of the extreme as correct, when in reality all three the H50, Sands and EST50 are correct yet broadcasting there own unique flavor, ultimately representative of make-up and tune. All three are Hybrids..........and you already know how I feel about Hybrid sound. Each BA serves to showcase their individual job, and included is a dynamic driver to add decay and low-end. While BAs decay is their weak point, the correct implementation can turn that around into benefits. Add EST drivers on-top, and that's what we get with the EST50. A better finished response, yet of slightly less contrasting elements.

The Tansio Mirai Sands Universal IEM: 1DD (bass) 1BA (mids) 2BA (highs) $319.00
https://www.head-fi.org/showcase/tansio-mirai-sands.25799/reviews#review-28568
In many ways these two offer the same over-all value and build. The Sands 3 BAs and a single DD, the H50 4 BAs and a single DD. They both have semi-custom shell designs with the Sands being slightly smaller and offering tuning switches. Where overall the Sands comes off way brighter and not offering the bass sexiness found with the H50. While the bass is still there and gorgeous as ever inside the Sands, the sub-bass is even more robust and authoritative with the H50. While the upper treble is juiced-up with the Sands, it's been way elevated to become tremendous detail and forwardness, where the H50 comes off more tame and conservative in manner. Where the brightness of the Sands needs taming, the easygoing clarity of the H50 comes off more well rounded and even handed. Both have their charms, though I feel the H50 becomes more accessible to the masses due to offering a more practical tune. Where the Sands is a study in correcting, the H50 delights with its overall acceptability right out of the box.

Conclusion:
The H50 is for those entertaining the thought of jumping into the $295.00 price level for the first time. Or for the listener who has become jaded in the mid-fi territory, seemingly lost to find a true winner. Don’t give-up! Don’t give up because a true multitasking entity is upon you. The ISN H50 fits everyone, offers a well rounded sound signature that plays all file qualities, all genres and works with all sources. Not only does it work, it turns your music into an emotionally involving experience. Such an experience is filled with excitement and fun. If you’re only looking for relaxation, the ISN H50 has your back there too, offering musicality at low volumes as well as forgiveness if you decide to crank-it. In all my reviews, in the many IEMs I’ve investigated, the H50 comes out near the very top.

If you think you have to give-up something in the mid-fi territory, you don’t. You can have it all and not look back. As ISN continues to move forward, adding sophistication to its line, I can’t help but think the H50 will be the stepping stone to the next super TOTL flagship. There is a chance that replacing the treble balanced armatures with electrostatic elements would add a flavor. Of course that would raise the cost of production and create a jump to a greater price-point. The thing is, that’s not needed. Meaning this signature is very close to perfection just the way it is. We already have our TOTL Flagship sound right now………….here. While no IEM is perfect, this is truly all I need in an IEM. It’s not cost that justifies quality. Again, it’s not the cost that justifies quality! The frequency response here is leaving nothing out, there is nothing more to want. The technicalities are staggering for this style of money. Timbre and note texture are on a level far above the mid-fi price category. The soundstage is to die for, adding a dimension to the H50 totally unexpected for $295.00. Every once in a while an incredibly complete and beautiful example of the IEM art crosses my desk. And when it does I first start to make sonic evaluations. With the H50 the bass first attracted me, being it's different yet totally capable and integrated. This bass is both authoritative and in great placement. The bass display grooves and bounces, always within correct distance of the mids. The treble is spicy yet never hot, and the gentle boost on the midrange shows how W signatures work.

$295.00 is a heck of a big pill to swallow, yet this is one IEM you can ride-off into the sunset with. The final purchase in your quest to find satisfaction..............yes, the ISN H50 really is that special!

Get them here:
https://penonaudio.com/isn-audio-h50.html

Disclaimer:
These thoughts and ideas are of one individual, your results may vary.

Disclaimer:
I want to thank Penon Audio for supplying the ISN H50 for review.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle 4.4mm
Apple iPad

Preface:
This review should have written itself. Why? Because really good IEMs (that match your desired frequency response) inspire writing. Think of it as “love poems” to the IEM art; you’re simply making a laundry list of what aspects went down so well. In fact, I’ve been waiting years for China to make this IEM…………….or really anyone to make it for that matter. Reason being.............there is always something. You know how it goes.....there is slightly too short of nozzle, or there is that small treble peak that is mostly hidden, but then appears. Also I’ll make a full-on list of more expensive past IEMs (that I own currently) and compare sound signatures. Heck, I’ve been looking and waiting since 2016 for this to arrive. So now that it’s here let’s celebrate!


Tipsy
Tipsy Life's "slightly drunk lifestyle"
Head-Fi is predominantly a US website. Even with international exposure, its readers are very much Americans. Having a maker with a name “Tipsy” is different to say the least. They have used a display “bottle” to introduce the IEMs. Yet, it’s all in fun. This is a lighthearted and creative marketing concept.

Here today we have the newly introduced TTROMSO IEM

The Name:
The name is simple marketing. In search engines, Tromsø brings up the town in Norway. But putting in TTROMSO will still bring up Tromsø, so they added PineStone Sea.



Tipsy TTROMSO PineStone Sea
Model-Tipsy TTROMSO Pine Stone Sea
Driver-12mm LCP dynamic driver
Frequency range-20Hz-20000Hz
Impedance-240ohm
Sensitivity-109+/-3DB
Connector-0.78mm 2Pin
Plug-3.5mm gold-plated plug
Cable length-1.2m
Cable material-dual core OCC silver-plated high resolution cable


Quoted from Linsoul:
“TTROMSO-Norwegian Aurora Color”
TTROMSO is a small town located in the Northern Europe that inspired Tipsy design team with its tranquil but ingenious aurora. The newly launched model bears a unique name-PINESTONE SEA, that not only is the best interpretation of Tipsy hardware aesthetic concepts but also concludes the development of Tipsy series of products over the year. In this modern world, Tipsy envisions a federation of art and industry to surprise those who love art and music.”
End of quote.

Comes with a 1 year warranty.

Get them here:
Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DE


Color:
PANTONE 18-4250 TCX
Indigo Bunting



The Escapists:
Much is put into the escapist properties of this Universal IEM. Creating the Aurora Borealis Indigo Bunting Color, and naming it TTROMSO is to elude to a faraway place with beautiful night sky. Transporting the listener……..almost, while using the magical qualities obtained with IEM music listening.

Are the concepts above simply marketing tools without out any substance? Let’s find out if the sound quality backs up the look and theme.


Disclaimer:
Kareena Tang from Linsoul sent me the Tipsy IEM in exchange for this review.



True Wireless Stereo TWS.....only there are no wires, so no sound. Silly model, doesn’t she know these are not simply a fashion statement?



Besides the TTROMSO, Tipsy makes 9 other IEMs. There are also CIEM variations of the Tipsy Super 12, Super 5 and Super 9.

Tipsy Super 12 or Tipsy Super 12 CIEM
Tipsy Super 5 or Tipsy Super 5 CIEM
Tipsy Super 9 or Tipsy Super 9 CIEM
Lava V2
Dunmer Pro
Dunmer S
Dunmer
Blue Aurora
TWS/TM-1 (His/Hers)

While not the most inexpensive in the line-up, the TTROMSO sits in the lower echelon of products offered. Newly designed as a value IEM priced at $89.00, it offers an incredible bargain for those simply wanting to start at the introductory edge of IEM audiophile listening, or add an extra complementary sound-signature to an existing collection.

I will use the word TTROMSO and Tipsy interchangeably when describing this IEM; deal with it!

The Sound:
I’m actually going to get to the sound first. Reason being it’s the most pertinent subject in this review. That, and I’m incredibly excited to reveal it to you. What was at first interpreted as good became great.

First off, the TTROMSO PineStone Sea didn’t need any burn-in. Let me point-out this is highly unusual in my experience. It almost has me wonder if it was done at the factory? This single factor was the beginning of many special traits that makes this particular IEM stand out from the pack. Next is the tuning. To tell you the truth, I never expected to get such a dynamite tune. Normally there is something? A slightly hot pinna gain or some strange boost in the treble that makes you search for workarounds. There may be an off timbre in areas, but it’s not a deal breaker for me!

This is one of the best tuned IEMs I’ve come across. And....the fact that it comes in at $89.00 makes it all the more special. Mind you it’s not perfect. The FR is perfect, all it’s missing is a slight defect of technical aspects. But there are dimensions of fun so hypnotizing that you simply don’t care. Maybe that’s the Tipsy character part, you get swept up in the musicality at hand and ditch any scrutiny of technicalities? I mean, that’s what it’s about, right? FR is 80% of the path to win-win?

There is a special level of sophistication here. Though this is an extra-bass IEM. But even if I mention bass, you think of fog, or some kind of havoc which will ruin your day. When in reality it’s not like that, though bass is subjective!

The problem with the bass is it doesn’t have all the definition. But that’s OK because I’m comparing the TTROMSO to way, way more expensive IEMs. So if you were looking for issues maybe you may not get all the bass texture there is. But considering the price of admission…………..well. We are still way on top. But wait I’ve not told you my favorite part of the signature. Normally with subtle V signatures it’s the bass and the treble that gets emphasis.......and we are listening to that kind of tune. The bass and the treble will act to balance each-other out.

Still my favorite part of the TTROMSO is the midrange. What? How can the midrange be your favorite part of a V signature IEM? It’s simply the way they did the mids, that and where they find themselves existing in the soundstage. A perfect tune has you not find fault in any one area, and that my friends is what we have. Simply a fun and musical IEM for the masses.

Tipsy has a boatload of experience. They put all their eggs in one basket here. This was the one IEM, the one tune, that they knew everyone would like! Well, not everyone......there is always that stick-in-the-mud who needs this or that. But you get my drift. The most well rounded, best built and most fun $89.00 IEM they could make. The rest is as they say…………………..history.

Driver Burn-out Is Not Real:
Hilariously, there have been folks who listened past burn-in and wondered into mental adaptations which made them think they were listening to driver burn-out. No, not with the TTROMSO PineStone Sea. But such a phenomenon does occur. The listener mistakenly thinks he is experiencing a “window” of time where, post burn-in the listener is now experiencing burn-out. This is simply mental adaptation which in occurrence happens due to the brain slowly figuring out the whole signature spectrum. Think mental adaptation, then going past to mental boredom. It happens, but it’s rare. The fix is normally to add a smidge of treble with a silver cable, add EQ or change amps.

Why am I even bringing this up? Because with signatures like the TTROMSO there is always that chance. It will come a time when you possibly want just a smidge more treble. And the (easy) remedy is just change to a brighter cable or add EQ a little. The only IEM that I know that did this was the BLON BL-01. But I’ve read about it happening. Does this mean the TTROMSO is tuned to be borderline too dark? Darkness is a matter of taste. Still the TTROMSO walks that line so wonderfully, I wouldn’t worry about it. Still IEMs are very subjective creatures and everyone IS different.

The reason for (the coming) TTROMSO popularity is simple, but at the same time it escapes many a manufacture. The 12mm Dynamic Driver is huge. The venting is incredibly precise. There is a gold vented device on the side made in such a way as to carefully do out/in air-pressure. There is also a very critical vent on the bottom of the IEM which also lets air in/out. If you study inside the TTROMSO you will see part of its construction is solid, and part is chambered. This is the first I’ve seen of this exact style of construction, though there are a few semi-chambered designs.

The reason for the coming popularity is:
The frequency response/tone
The fit and form factor
The style
The cable
The value
The construction


Here are traditional instruments the Tipsy does perfect!

It’s not easy to get this exact tune. If it was, more manufacturers would offer it.

Tone and Timbre:
Tone and Timbre can be perceived as slightly off, which is often the case with IEMs at the price. Though it’s interesting electronic music has no such issues. The reason for this is guitars, bass, drums and the orchestrated instruments have real-life counterparts, so we have a reference in our sonic memory. Typically this style of criticality will be a learned talent, such a phenomenon that often new comers to the hobby will not even notice the issue. I do hear guitars ever so slightly off, but in reality it doesn’t bother me one bit. Remember the actual musical event is gone, all we have is a recording. Typically a recording can be “off” due to a worldwide non-standardized process of studio recording. So to benefit the Tipsy sound, it is sometimes closer to real and sometimes not. But badly recorded music get a full dose of forgiveness with the Tipsy, that’s worth the price of admission alone. DCD Anastasis (2012) is a perfect example of music that sounds wonderful, 100%. Somehow the instruments are not common, or electronically generated. So with music like this the only concern would be the vocals. Such vocals are one of life's gifts, and while they are siting slightly back in the mix, especially for Lisa Gerrard, it really is not cause for alarm.

Guitar:
The guitar replay is special, as not only are they forward and in relief, but they somehow find a focus in the best part of the soundstage. The magic with the TTROMSO is that not only are the guitars clear, they show what goes on with-in that clearness. The replay is dynamic and conveys the emotion and articulated realms only found within (your) music. Take for example Opiate2 by Tool. The song has a style of multiple guitars (gradually introduced) which seem to unfold into more, unexpectedly. This unfolding takes place as each track seems to open within the soundstage; like a flower. You can hear all of the emphasis and ways the guitar becomes subdued and finally restrained. Yet somehow they are using a guitar synthesizer in exactly the same notes of the guitar fully placed way behind in the mix. Due to the organic reverberated aspect of the TTROMSO those guitars seem to be right where they are supposed to be, not only in placement, but overall tone also. Believe it or not this $89.00 IEM is able to discern these elements? And while this song isn’t the most busy, it’s complex in having multiple instruments which find themselves very close together in tone. There is actually way more studio trickery than at first expected. There are areas where the vocals are reverberated back on-top of the vocal performance. As an effect, those multitrack elements are swung out outside of the regular vocals. With the TTROMSO we get to hear such curiosities and experience the wonder of intricacies in the (Tool) performance art.


I tried to cause some trouble for the TTROMSO!

Cutting Crew - (I Just) Died In Your Arms Tonight
Revamped by At the Movies

Contrary to what you would think....my plan backfired on me. I thought At The Movies take on the eighties sound would be too much for the TTROMSO! Truthfully I dislike the Cutting Crew as well as this new artists take on their hit song.

Those big eighties drum sounds, I thought for sure this song would be simply too much, being the TTROMSO might accentuate the reverb?

What? How? Not only did they get the exactly what they needed in playback, a phone....a regular phone sounded fantastic. Even the guitars are perfect. In fact the YouTube video playback was clearer then the MP3 off my DAP. They must be optimized for phone playback (More on that to follow?) Whatever is going on....... it’s one of those times when you come to realize that stuff IS getting better, and not just a little better but drastically way better!

The multi-tracked vocals.........you can hear each person singing individually. The bass is tight and punchy.......getting low but fast and carefully accentuated. The guitar parts, all fully heard, yet gritty and full. Personally I don’t even like the song, but that doesn’t mean it’s not the perfect tool to test what we have in front of us.

Treble:
I found that one thing that was interesting was the treble was never hot, but you could make it hot with too much volume. It was this area of pinna gain where it was simply too bright if the volume was taken to the extreme. So the Tipsy is never strident or harsh at regular volumes. Meaning it was the pinna gain that would have you lower the volume, and nothing else. Probably most would never listen at that specific volume level.....so I don’t really see it as a fault. But the top is so refined and smooth……………..that really (with-in the realm of everyday listening) it stays prim-and-proper.

We are actually gifted with the edge of high-end audio. I can only imagine the youngsters trying these out and getting their first taste of real audio.

Yes, obviously there are more expensive IEMs with better “more defined” treble experience. Still here we are met with an amazing and satisfying level of competence, especially for the price asked.

The Midrange:
Amazingly......thick, meaty....and big! Note weight has nice volume and dignity! At times there would be a slight congestion, and obviously more expensive IEMs show a sense of separation which this humble $89.00 IEM can’t touch. There was a sense of congestion especially with super fast progressive metal, where our TTROMSO was pushed to its technicalities limit, yet always a superstar at doing frequency response. Obviously slower music didn’t ask as much from it, but as far as instrument tone and texture it was fairly accurate and real. I heard a small amount of distortion which is the end result of the TTROMSO simply biting off more than it can chew………………..which is maybe not consistent but none the less a reality which can be found if one attempts to look for trouble! Such examples of sound character seem to be part of the DD experience.

The Bass:
Ahh.....the bass, the bass. Really well done. While a place can be found where of course the TTROMSO drops the ball. Still, it seems to save the show with complete, even and correct frequency response. This style of response gets surprising low, showing you a side of your library you didn’t know you had. Yet it’s not necessarily playing favorites with any one frequency? Meaning the quality of the bass, while maybe more emotional, is found also stretching up to the treble area. Lower piano keys have a weight and timbre that draws you in. Especially with the decay. The decay is where it’s at with the TTROMSO, making up for some lost technicalities!

Much of this hobby of ours is like cooking. There can be regular changes of equipment which bring about an understood and expected/desired set of results. Take for example the Sony WM1Z DAP. With the included TTROMSO 3.5mm cable it was exceptional. Still I wanted to find out if there were any sonic gifts to be found using the 4.4mm optional 1Z amplifier, a plug and cable switch away. The Sony DAP offers two complete separate amps inside.

A switch to the DUNU DUW-03 4.4mm cable and we are greeted with a slightly bigger soundstage. Still the (exact-same) sonic attributes (characteristics) are still there. Time to switch to the more midcentric Sony WM1A! Ahhh.....I think I may have just found the key! The Sony WM1A also offers two complete separate amps inside, again I’m using the 4.4mm balanced.


TTROMSO IEM
Sony WM1A Digital Audio Player
DUNU DUW-03, a 4.4mm balanced cable

Because the Tipsy does contain a high level of amber tones, we have room to explore. Such slight darkness and shadow mean there is an freedom to experiment with different cables. If anything new vistas are illuminated to then be explored. Let’s just call this a new perspective extra-sparkle, like that of hair color, stuff has more detail.

The new introduction of a silver DUNU DUW-03 4.4mm balanced cable brought about new found depth. Such are the choices found with ample amounts of sonic leeway.

You can basically use your own subjective judgement here, as the tone is so smooth anyway............we are never putting out fires or looking for correction, well maybe a slight correction......but I found it! Bass has a whole new level of speed, any slowness (somewhat) was instantly replaced with dexterity! So what’s happening here is a profound reaction to source character!

That my friends is the FR value in a nutshell! And while the Tipsy may not be for everyone, I can’t see any of the general populace taking offense to the tone. If anything (for most buyers) the Tipsy/TTROMSO experience will enlighten aspects of the audiophile hobby in ways unexpected!

Cables and Digital Audio Players:
Typically I’ll use the provided cable when I start. Reason being is I want to experience the whole package, the way the IEM was intended to sound. Still with the included cable the Sony WM1Z digital audio player seems a hair too warm. Also (as mentioned earlier) some believe that different amps and cable composite materials/construction change the sound.

The new choice of the DUNU DUW-03 4.4mm balanced cable utilized a different amplifier in the player. Yet the TTROMSO was still exhibiting the tonal character of the WM1Z. In a nutshell the response was just ever so slightly too dark for my taste. Now what I came to learn later was the TTROMSO was simply doing its job being transparent. The Sony truly is considered a warm and dark digital audio player. So my solution was to switch DAPs. In comes the Sony WM1A. The difference in players can be found with the 1Z offering a deeper bass, warmer response and brighter treble. In contrast (totally) the WM1A is way more midcentric and has an actual reduction of bass and treble. The crazy part is here I’m using a $199 cable with an $89.00 IEM.

A Phone:
The actual way the IEM plays as provided (with stock cable) is wonderful. Any source you use it with will bring about optimal results…….almost. Though I would maybe stay away from slightly darker responses? Much of the true sound character has been designed to wake with simple phone use along with the provided cable. The fit, finish and cable texture provide an 10/10 experience from a phone!



Un-boxing Experience:
This is by far one of the most complete un-boxings of the year for me. It may seem mundane but even the small blue strap with the TTROMSO name was a nice touch. Literally just like the sound-signature, everything is important to Tipsy. When you pull on the strap it lifts the foam holding the IEMs out; like they are in a tray.



The Box:
First off, it should be noted that for someone at an actual store, there are full-specifications on the underside of the box. “Please store owner, can I use your microscope?” There is even THE (sexy as hell) headphone response curve included. The graph is the most beautiful I’ve ever seen!



Also included, the company name and address. They have included a serial number for each unit, itemized in the lower right-hand corner.

Packing list:
Headphones
72-core single crystal copper silver-plated high-purity custom-cable (1.2m)
Earphone storage bag
S/M/L silicone tips
1 set foam tips
Cleaning cloth
Card case (electronic manual-warranty card) (thank-you card)
Aromatherapy tablet

Opening the Box:
You are greeted with a magnetic latch. Interestingly enough the actual cardboard is flush against the box. This will trick even the highest IQ of Head-Fi into attempting to slide the box out!

Upon opening we are met with the company slogan “Tipsy Life”. Looking down we are greeted with a company thank-you card/information package and a beautiful gold designer tissue cover. The tissue cover here is simply like nothing I’ve ever run across, reminding you this is a rare and imported item. The tissue seems to be abstract gold art, a conceptual creation of waves and maybe bubbles? Also just so you know the maker; the word Tipsy is embossed in gold in the off-center area of the tissue. Maybe the tissue is for the tears?

All this and I haven’t even got started:
Below this is a strange package, it has the letter S encased. Supposedly there are 5 different Aromatherapy Tablets. Each letter offers a random scent corresponding to the letters in the name TTROMSO. So you have no idea which single one you will get!

So you’re probably wondering, with all my years of headphone un-boxing, when the time would be when I’ve seen it all? Yep, I’ve seen it all now.

There was also a twist-tie on the holding the cable together. Unfortunately during the box opening I seem to have misplaced it?

Now below all that is a final layer, almost like a false bottom to the box which contains a (embossed) carrying-bag and folded (embossed) cleaning cloth. Inside that bag we find two sets of silicone tips and one set of foam tips. The earphones themselves are also shipped with a set of silicone tips.

The Cleaning Cloth:
Normally such extras fail to impress due to the selected quality being sub-par. With Tipsy on the other hand things just keep getting surprising better and better.

So the cloth is super heavy and giant. It’s folded into 1/4s and comes open with this super heavy feel. Luxurious is the only would I can come with for this? Tipsy is continuing to out-do themselves on every level. The cloth opens to 5”X5” and has the Tipsy name embedded!

Also included is an electronic user manual, and some style of MP3 music your supposed to get on-line? So....you wear the headphones, sniff the sent and listen to the provided tunes!

Comparisons:
The Tipsy was left to burn-in at 59 hours, before testing. The test methodology was to simply sit with all the IEMs in question while listening. Contrary to normal, I used Sony Black Hybrid Tips on every IEM in the collection including the Tipsy.

The Sony XBA-Z5:
The Z5 was notably harder to drive. The surprise was how good it was, noticeably better at revealing the highs. Still the XBA-5 had a brittle nature to the highs which was replaced by smoothness in the Tipsy. This is simply BA character, while offering more pinpoint detail, it comes with a price. I have to also note the ergonomics was superior in every way with the Tipsy. The truly scary revelation comes with bass quality. The Tipsy out does the bass of “the legend”. While the XBA-Z5 offers slightly better bass detail…….I’m totally surprised at what I found. Also amazingly soundstage was almost (except for one thing) completely equal. Though take note the Tipsy offered a slightly more congested midrange, where the BAs of the Sony XBA-Z5 offered a spread-out offering with slightly more detail. So the treble and midrange elements were farther outside with the Z5. As noted the real amazing thing was the bass soundstage. So anyone here that relates with the Z5 knows what that bass soundstage is! This isn’t always a contest if one is better than the other.

The BGVP DM6 Universal IEM:
Again BA qualities, but while the Z5 was a hybrid, the DM6 is 5 BA drivers. There is a notable lower midrange happening with the Tipsy. Also the DM6 was slightly more efficient. And while I have been into the BGVP DM6 for years the guitar was different. Not bad mind you just different. The fun started when I thought I was listening to the BGVP DM6 and found the treble to be slightly steely (like a BA) when in truth it was the Tipsy I was listening to! The female vocals were slightly more forward with the BGVP DM6. The bass was surprisingly good with the DM6, though the Tipsy won due to a thickness present in the bass. What I was surprised at was how close these two were. The obvious main difference was BA timbre with the BGVP DM6. Still the DM6 does a great job of hiding it. One of the main issues was tips don’t stay on the DM6, As you can see, the Tipsy has the most beautiful metal nozzles for perfect tip placement. There is a bonus track on Assembly by Theatre Of Tragedy, in 44.1kHz-24bit. The song a cover of “You Keep Me Hangin’On." I don’t know where this track is from but the truth was finally noticeable. It actually may be the quality of the track, but the BGVP DM6 made the track sound like garbage, just compressed and lacking and any substance or dimension. Clear winner the Tipsy, it’s simply more forgiving, and has a better overall tune.

See Audio Yume Universal IEM:
The bass is way better than the See Audio Yume, as well as the soundstage is much fuller. But in reality they are night and day. They are so different there is no way to compare them. Fit is on par with the Yume, though nozzle is better on Tipsy and it has a better overall tune.

Thieaudio Legacy 4 Universal IEM:
The Legacy 4 has faster bass, tighter bass and more bass definition, though it lacks in soundstage and bass authority in comparison to the Tipsy. Fit is on par with the Legacy 4 though nozzle is better on Tipsy, and it has an overall better tune.

Triptowin TC-01 Universal IEM:
While I haven't heard the last two Triptowin offerings the HBB Olina or Mele. I was the first to review the TC-01. Let me just say the Tipsy has way better mids than the TC-01. I have the Triptowin Lea, but haven't got around to hearing it yet. It should be noted that the TC-01, the Mele, Olina, Lea and Tipsy are all single DD design. The TC-01 also has slightly short length nozzles which can create fit issues. Tipsy fit is 10/10.

The Earsonics ONYX Universal:
Ok, the above tests are questionable due to the Sony XBA-Z5 coming out in 2014, and the BGVP DM6 coming out in 2018. So let’s take a risk here. A TOTL Earsonis ONYX IEM. A four-way one DD combined with a set of two BAs for the midrange and one for treble. All drivers are custom made. It comes in at $561.00 Factory Direct. So this test used the track “Anabasis’ from DCD’s Anastasis in 44.1kHz-24bit. As suspected the Tipsy has more midrange. That really is not surprising knowing the ONYX tune. Though when the bass kicks in there is approximation with the Tipsy of that bass presence, thought not the quality or texture. The fascination came with how close they were in bass quantity? Something I would have never guessed in a million years. The ONYX is known for having borderline bass-head bass. Basically heavy bass with definition to satisfy the masses but also just enough bass for bass-heads. And that my friends, sums it up.

Closing This Up:
Well it’s been quite the experience reviewing the Tipsy. I learned once again that you can’t always judge an IEM by price. My final thoughts are a total recommendation. Still there are an elite few with a fairly large TOTL collection near-by. So the secondary question is.....what does it offer for them..........talk about first world problems!

Probably the Tipsy would be my out and about IEM. Why? First off, it is vented, but the two vents are super small. The fit is really what occludes sound. But your main form of sound-blocking comes from the way the FR works. Such a tune helps stifle the motorcycles and cars. But the other super cool reason to buy it is because they did everything right..........everything. The box it comes with, the nailing of the FR, the way they fit and the included cable.








And while I didn’t do 8 cable change-outs, I was slightly worried about the 2pin in the IEM itself, only doing about 4 cable changes. My concerns could be just paranoia, due to it being plastic. This was an easy run as I wasn’t really curious about trying more cables. The sound conclusion to follow............

The Good:

1. Nice detail and sparkle in the highs
2. An extra wide display of lower treble on the outskirts of soundstage
3. Note graph, super balance between highs and lows
4. Laid back but with authority and charisma
5. Totally correct tone and (almost) timbre (way above price)
6. Correct imaging and relatively fast speed
7. Great separation and placement in soundstage
8. Incredibly musical included with a world-class soundstage
9. The Frequency Response of Dreams
10. The very definition of fun sound-signatures

The Bad:
This is nitpicking at its best.

1. Not the last word in (general) detail though overall fantastic
2. While there is good note weight not truly the best
3. At times the leading edge holds slight distortion
4. Obviously it’s not the end-all, end-all in treble detail.
5. Slightly blended bustling, compacting of elements
6. Does better with slow (not detailed) music
7. Jumbled in fast sections (still price?)
8. Not the last word in bass definition
9. Female vocals ever so slightly set back
10. Not containing a super fast pace structure at times
11. Bass is at times blunted holding less texture and definition

The escapists realm:
The Tipsey TTROMSO follows though establishing a new value paradox in the IEM market today. The $89.00 price-to-performance ratio makes the TTROMSO a no brainer purchase decision. Deeply changing what was once thought of as the budget realm, the TTROMSO is truly all you need to visit the Stars!

Disclaimer:
These are my humble opinions take them with a grain of salt.

The thread for the Tipsy/TTROMSO
https://www.head-fi.org/threads/tipsy-ttromso-pinestone-sea.962618/

TRIPOWIN
In December of 2020 I received an IEM……….it came via airmail in a small unassuming box. I didn’t know how it was made or how it sounded…………..I knew absolutely nothing. No one knew the name TRIPOWIN then, I was one of the vary first to receive such samples, no prior reviews, zero hype. This was the first TRIPOWIN model to come to life……….it was simple, as simple as any IEM could be, yet it had a sound, a glorious sound. The TRIPOWIN TC-10 put some new listeners off with the name and how it was spelled. Such attitudes of jaded speculation come easy when a product has zero history, combined with the fact that the name was in giant letters, showboating a style of livid confidence for all to (not help) but see. But that was then, and this is now. TRIPOWIN has gone on to make a number of successful IEMs and cables.

I kinda can see where this is going. New Chinese audio manufacturers in the future!
Loop-O-Plane
Disk'O
Rock-O-Plane
Roll-O-Plane
Tilt-A-Whirl

What Tripowin has currently in-production:
Tripowin Danube Cable $59.99
Tripowin Perles Cable $59.99
Tripowin X HBB Olina SE IEM $99.00
Tripowin Cencibel IEM $49.00
Tripowin Rhombus $79.00
Tripowin Zoe Cable $19.99
Tripowin Grace Cable $15.00
Tripowin Petrichor Cable $49.00
Tripowin X HBB Olina IEM $99.00
Tripowin Leá IEM $25.99
Tripowin Noire Cable $39.00
Tripowin H1 Full-size $189.00
Tripowin GrandVia Cable $49.00
Tripowin Altea Cable $39.00
Tripowin X HBB Mele IEM $85.98
Tripowin Jelly Cable $35.99
Tripowin TC-01 IEM $49.00
Tripowin Nucool Cable $49.00
Tripowin Zonie Cable $17.99
Tripowin TP10 IEM $59.99

………..and finally the Tripowin C8 Cable $39.99

https://www.head-fi.org/showcase/tripowin-tc-01.24878/reviews#review-25056
https://www.head-fi.org/showcase/tripowin-leá.25709/reviews#review-28220
https://www.head-fi.org/showcase/tr...sal-in-ear-monitor.26098/reviews#review-29342

Cencibel Universal IEM
For $49.00 you get an "OK" IEM. Now remember if this was 8 years back in time, much more would be forgiven due to price vs sound quality. But today there is so much more in the market place! I could bore you will a multitude of side-by-side tests and comparisons, but why? Your time is important and you would rather be reading about something other than a mediocre IEM, right? While there are actually some cool aspects to the Tripowin Cencibel, we always have to ask ourselves if anything is special. Special really for the money, or are there other choices which are a heck of a lot more for the same money or less. $49.00 is a lot of money and while the Tripowin Company has provided some nice extras with the Cencibel, you know as well as I do, that if the sound could be better none of the extras matter that much. Meaning the fit is really nice, The way they are small and just go into your ears. The included ear-tips are wonderful and actually would be something you could really use. The presentation, how it comes in a huge box, which then shows (inside) a fairly large storage case. Inside that case the IEMs are already attached to the cable and behind a strap which protects them form moving. The case even offers a separate area for the ear-tips and a hand strap. The IEMs themselves show well being resin and two piece which have been formed into a single finished IEM. The faceplates are hand pained, all and all it is a beautiful example of a modern day IEM build. The 0.78 two-pin mount is flush to the side of the IEM........and everything works exactly as planned.






The cable provided is the regular Tripowin affair, which works as intended and is fully ergonomic.




Probably my favorite part Cencibel is just how they are made. To me they are beautiful, fit great and feel incredible next to your skin. Such handcrafted work shows attention to detail, plus they are finished to gain a premium look! They have a a correct nozzle length which gives you multitudes of freedom to choose a wide range of ear-tips. In fact I was able to check the sound response though testing 6 different pairs of ear-tips. Each time fit was optimal surprisingly!



Response to source:
After about eight days of burn-in I tried the Cencibel from both a phone and the Sony Walkman WM1A. Surprisingly it was way above average at showing variations of source. This proved to also be the case with file quality, also. Meaning an audiophile level of playback was achieved with modern great sounding "audiophile" quality material. Such progress does not always become the case........so I will give the Cencibel credit for fully jumping up to the plate if given better material or higher quality DAP playback. This actually proved to generate way more questions than it answered. Meaning, am I dealing with a finicky IEM that only gets good when you feed it correctly? I found the mid-centric Sony WM1A to be displayed as mid-centric and clear. Yet there was a loss of synergy due to the Cencibel mid-boost. So I broke-out the Shanling UA3 Dongle and attempted to try and find gold. Where the UA3 attempts to smooth out the response and is in ways laid-back, to bring a level of forgiveness along with a fairly large stage with most IEMs.

Soundstage:
Interestingly enough there just wasn't enough soundstage to make life interesting. Yep, this is an issue once in a while, where other cheaper IEMs seem to do way better with how they just go along and have a natural ability to provide space.
An example would be the 7Hz Salnotes Zero, truly the Zero has a smoother sound, bigger stage and more accessible FR. It's $19.99 too, which really makes your eyes light up! And........when I am talking about the stage, it's not just the spaciousness or lack there of, but how instruments end-up falling right-on-top of each other with the Cencibel. Meaning I have done my footwork to learn all I can about this IEM, in fact putting wide-bore tips doesn't seem to make that big of a change, due to this compression of imaging maybe beginning with the driver. Now don't get me wrong, there are times when this playback starts to be fun, it's just not consistently special at separation or layering. Just like I said in the beginning of this review, if the Cencibel would have come out 8 years ago it would have been competitive.

Now.........this is the part of the review that gets good! This is a classic time, where less money makes way better sound in the end!

Truly, even though my preference for Hybrids is way more, than my preference for single DD full-range playback, I would argue with anyone, that the KZ ZS10 PRO X is miles better!

For a split second you could guess these were put together just because they both arrived at the same time. They are priced near each other and compete for the same dollar. And while that's true, there is something way more important than that! The KZ ZS10 PRO X shows us exactly what's wrong with the Cencibel!


Laughingly I'm going to save you time and reading calories and put it into one single word!

Excitement, more KZ excitement!

The KZ ZS10 PRO X is fun and the Cencibel isn't. Now for those that want to know why, I will go into further detail..........but really no such talk is needed.

https://www.head-fi.org/showcase/the-new-kz-zs10-pro-x-universal-iem.26128/reviews#review-29430

https://www.linsoul.com/products/kz-zs10-pro-x?variant=43295301566681

KZ ZS10 PRO X $39.00 USD
Upgraded 1DD+4BA Hybrid Driver HiFi IEM

• 10mm Dynamic Driver+4 Custom Balanced Armatures
• Classic Alloy Faceplate+Resin Shell
• Enhanced Detachable 0.75mm 2Pin Connector
• Ergonomic Shape, Wide Compatibility

Everything the KZ ZS10 PRO X does is involving, not only that but it's real sounding and competent. While it's true the Cencibel offers a coherency that the KZ ZS10 PRO X lacks......still! Also surprisingly they both go to show how a better 4.4mm balanced amplifier can widen the stage and grab more authority. Both widen out with balanced and wide-bore ear-tips...........yet where they go is by far two different places. The KZ goes from strength to even greater strength, where the Cencibel goes from mediocre to mediocre. It's just.....well..........read my review to get the whole low-down on the KZ, I'm not going to go as detailed and as descriptive to try and explain the KZ here..........


It's just that the lower bass in KZ replay has an exciting dimension and space, it's fun and includes pace and bounce. It's just bigger all the way around. The stage is bigger, the imaging is bigger. The midrange allows for more textures of instruments and realism. Guitars come alive and even harsh distorted guitars in Heavy Metal get itemized and fully accentuated/seperated into the stage. Way far from the bass and drums, allowing for interaction to take place........involvement........because you actually have a window into playback that demands involvement. Where the Cencibel is plain...........and not just due to soundstage......but there is less contrast between elements........those same elements in the KZ are fleshed out and brought to life......where with the Cencibel they lay flat..........lifeless and still. Even when we do all we can to add note weight to the Cencibel through different desktops it rebels. It just doesn't want to be a performer for you. And this talk is not subjective, it's too drastic to be objective! Anyone in their right mind would experience such comparisons and would arrive at the same conclusion, with the same amount of effort spent.

The KZ ZS10 PRO X is $39.00. And in fact it wins out on a bunch of comparisons, so don't feel bad for the Cencibel. The TRN ST5 was more money and bettered by the KZ, the Tripowin Rhombus again is more money, and came out with the Cencibel as a sister product, and that's not as great as the KZ. Even KZ's own $56.00 8BA a side, KZ AS16 PRO is not as good as this ZS10 PRO X. Why............refer to the first word.

Excitement!

Lol, except there are reasons too, like a smooth forgiving treble, the KZ ZS10 PRO X does that is better than the forward TRN ST5. The treble is not really that even with the Cencibel. There are blaring examples of timbre issues with the Cencibel............it just doesn't sound totally realistic! The single full-range 9.8mm (Single-Driver-Graphene) Cencibel DD has BA timbre, a steeliness in accordance with shinning off-timbre! And......there are no BAs to be found......Lol

So?At least you get my point here.

Conclusion:
The Cencibel is an attempt at something that has merit. The Cencibel MK2 should look to dial this driver further into a more musical and rewarding experience. They have the shape and construction down, they just need to work on involvement with musicality. The management who let this one out into the wild maybe didn't realize the issues at hand? There is a section of music which really does sound great, and in ways the Cencibel scales to better places with better gear, yet it only goes so far. And while there really is some playback that's not bad, especially some electronic game soundtracks where the notes are synthetic and the pace is great........still that overall timbre is always there. The detail is great in many areas, though again when it comes time for the peddle to hit the metal, the authority is lacking.........in comparison to equally priced competitors. I'm always looking for a way in, a way to make a review realistic by at least finding what is good about an IEM. And while I was able to get agreeable playback the issues (already talked about) kept the magic from becoming real. The crazy part is even IEMs that have (this same) comparable style of abilities, follow through with emotional bass that saves the day..........where here, we don't even have that!


$49.00 USD
https://www.linsoul.com/products/tripowin-cencibel

TRIPOWIN
Tripowin Cencibel

High-resolution dynamic driver IEM
Singularity in Sound
Balanced Tonal Signature
3D Designed and Constructed
Detachable Cable

Sensitivity(1KHz) 107dBSPL/mW
Audio interface 3.5MM
Frequency range 20Hz-20KHz
Earphone cable length 1.2M
Impedance(1KHz) 30Ω
Driver 9.8MM NCG (nano-carbon graphene) diaphragm


Free shipping and one year warranty when you order from Linsoul
Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Disclaimer:
I want to thank Kareena of Linsoul for the love and the Cencibel Universal IEM review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm and 3.5mm
Samsung Android smartphone 3.5mm