Introduction – Read Heath Audio (or RHA for short) are soon to release their latest and greatest earphone, the T10i. Much like the rest of RHA’s products, the T10i’s were designed to offer premium portable listening for consumers and audio enthusiasts. Their new models features an all new handmade dynamic driver (model 770.1 compared to the previous 560.1 model in the MA750i) and interchangeable custom tuning filters not found in any other mid-tier IEM except the $300 Astrotec AX-60. Such a system is typically only found in top-tier universals costing nearly five times that of the T10i putting them in the likes of the Shure SE846 and AKG K3003i with that feature alone. It would be easy, then, to think RHA have tuned the T10i’s for a typical “audiophile” sound signature, but that wouldn’t entirely be true as you’ll discover later. The T10i’s look very promising, then, but the question is, are they any good? Read on and find out.
Disclaimer – These are demo units provided to me for the purpose of this review. I am not paid by or affiliated with RHA in any way. Big thanks to Iain Smith and the entire RHA Team for letting me be one of only three people to review your product before its release, I am deeply humbled by the opportunity. All images belong to me.
Specifications:
- Dynamic Driver (model 770.1)
- Frequency range: 16-22000Hz
- Impedance: 16 ohm
- Sensitivity: 100db
- Rated/ Max power: 1/5mW
- Weight: 41g
- Cable: Multicore OFC, iOS compatible remote, 1.35 meters/4.4 ft.
- Warranty: 3 years
Packaging & Accessories – In these past few years RHA have been busy working up the best solution for their higher-end IEMs (i.e. the MA750i and T10i) since both share the same assortment of high quality accessories. Inside are 10 pairs of ear tips in 3 varieties: 6 pairs “dual density” tips (S/M/L x2), 2 pairs double-flange tips (S/M), and 2 pairs of memory foam tips (universal) all held together in a solid stainless steel tray. Also included are a shirt clip, a heavy stainless steel tuning filter holder with indicators, and a soft leather carrying case with two straps inside that holds the tip tray securely in place.
All of this is packaged within a relatively small box that’s covered in information about the earphone in both English and French and four other languages on the back. Opening the magnetized front flap displays the earphones, its cable, ear tips, tuning filters, and even more information underneath. As a whole, the packaging and accessories RHA have included is quite impressive. I can confidently announce that all the R&D RHA put into the T10i has definitely paid off.
Build & Design – The stainless steel housings for the T10i were made using a metal injection molding (MIM) process that requires the housings be heated at 1300°C for “up to ten hours to ensure the steel is the correct shape and density”. The result is of this complex process is a housing that is stiff enough to withstand years of heavy use yet comfortable enough for long hours of wear. The design of the T10i’s, from the housings down to the 3.5mm jack, is durable and luxurious at the same time. Little details like the writing on the Y-split and 3.5mm jack are reminders of the attention the detail RHA put into the design and it ensures exceptional quality. The long, springy strain relief on the jack feels solid and bendable if a little long. The cable itself is very soft, never retains kinks and is just as well built as the earphones themselves. Overall, the firm, tank-like feel of the housings and their sleek, elegant design make the T10i’s a joy to use and admire. (You also wouldn’t bother being too careful with that 3 year warranty either).
Comfort & Fit – With their over-ear design and Westone-like body, the T10i’s are incredibly comfortable to wear. The housings are a little on the large side in terms of width but won’t become a problem for most wearers. And though they are weighty, due to stainless steel comprising the entire housing, they never become fatiguing even for long periods of use. This combined with their narrow nozzles and large selection of ear tips means they should be easy for people with small ear canals. The ear-hooks are a little difficult to use, however, as they tend to do the opposite of what was originally intended. Because they retain their shape so well they also fall out of place when sitting down or when they haven’t been adjusted exactly for your ears. This means removing or storing them away will sometimes require you to adjust them all over again, which might become a problem for some.
That is not to say they’re uncomfortable, because they’re not. This has been the only earphone I can comfortably wear to sleep. And despite the relatively large size and density of the housings they virtually disappear in the ear. With smooth, rounded edges they are always easy to insert and remove as well. However, the cable cinch is another issue with this particular model (i.e. the “i” model) as it only rises up to the point of the iOS remote and is just a little too low for me and doesn’t provide enough tension for a very secure hold. That said, the T10i has proven to be the most comfortable earphone I’ve used to date and is likely to afford anyone else the same ease of use.
Isolation & Microphonics – The T10i’s provide surprisingly good isolation despite having a large vent for the dynamic driver. Users shouldn’t expect high levels of attenuation, just enough to keep background noises where they should be - in the background. Outdoor environments never become distracting and generally remain quiet when listening to music. I did notice, however, that low frequency noises like thumps, bangs, and even cars on the street were fairly noticeable. This may be an issue for those who want absolute silence but those looking for a safe commute should have no worries.
As far as cable noise in concerned, the T10i’s have as little cable noise as one could desire, that is, very little. The cable avoids sounding rough when rubbed and bouncy when moving or walking. This, along with their useful isolation adds to the desired portability RHA had in mind for the T10i’s.
Equipment & Background – For the sound portion of this review I will be using an Audinst HUD-MX1 amp/DAC combo as my primary “reference” source, a Topping NX-1 portable amplifier, and a Sansa Fuze as a portable source. All my impressions are done indoors with an over-ear headphone for added isolation resulting in almost silent listening with no audible distractions. My library consists of FLAC and high bit-rate MP3 files. The T10i’s have also received over 200hrs of burn-in before review.
The following impressions were done using the neutral/“reference” filter. Comparisons with the bass and treble filters will be directly below.
Bass – One word that can easily describe the T10i’s bass is POWER. The T10i utilizes a generally bass heavy, L-shaped sound signature overall and it becomes obvious upon first listen. It’s a heavy, full bass that acts as the primary driving force behind its sound and can dominate over the remaining midrange and treble. And while it never actually bleeds into the mids, it makes its presence known more than anything else. However, that is not to say the bass is low quality because it’s not. Lows are well-rounded with more mid-bass than sub-bass, impact is punchy and hard-hitting, decay is strong and reverberant, extension is limitless, and yet the T10i never sounds sloppy or excessively rich. There is a touch of boom at times but it depends entirely on genre and the bass heaviness of a song. This is likely due to the mid-bass lift that keeps lows from sounding consistent from top-to-bottom. But the impact it generates does balance well with the slow decay that follows powerful bass notes. The lows of the T10i are a crucial part of its signature since they’ll be the reason some users will be turned-off by their sheer weight and fullness while others will be drawn to them for their fun, engaging nature. (Some people might even become full-on bass-heads after they hear ‘em too).
Midrange – The mids, unlike the bass, are much more relaxed and slightly recessed when compared directly next to each other. As I said before, there is no bass bleed into the midrange but the lower-mids do exhibit a thickness that follows the upper-bass quite well. Unlike some earphones that are slightly thin in this area (especially many neutral sets) the T10i’s mids are warm and smooth throughout. They don’t display any sign of harshness or edginess and stay relatively consistent and laid-back overall. Upper-mids are a little bit forward, however, which is a welcome coloration for such a warm signature. This (mild) boost in the upper-mids works hand-in-hand with the thicker lower-midrange making the T10i suitable for vocalists of all sorts. However, it should be said that female vocals are lacking in clarity (partly due to laid-back treble) and male vocals are lacking in detail (partly due to slightly chesty lower-mids). This isn’t a negative as much as it is a result of the general character of the T10i’s themselves, but it’s worth mentioning as some will appreciate (or at least accept) this coloration more than others. For what it is, the midrange is a very impressive part of the T10i’s frequency range as it is very engaging despite the bass being the main attention grabber.
Treble – The T10i’s treble shares a lot with the midrange, in that it shares more of the relaxed qualities that make the mids so easygoing. While it isn’t as present as frequencies below it (especially the bass), treble is equally rewarding in its ability to swathe the listener in smoothness. But because of this, the T10i loses out in detail and extension making it slightly dull at times. Sparkle and decay are not its strong suit, either, and this is especially apparent with rock and metal genres where cymbals are in need of a little more life. The upside to this is that highs never become splashy or harsh (ditto the mids). This may be taken as a negative for treble lovers, whom I do not recommend the T10i, but it will be satisfying enough for those who typically prefer softer, less dynamic treble and those who are overly sensitive to it. Now, it’s easy to get the impression that the highs on the T10i are boring or mediocre but that isn’t the case. Instead, they’re perfectly balanced with the midrange and simply present themselves in a more delicate than manner than most IEMs, especially V-shaped IEMs. So while they certainly won’t suit a classical/orchestral music lover they should be more than satisfying for anyone else.
Presentation – This is definitely a strength of the T10i’s for a couple of reasons. Imaging, for a start, is very well executed and makes for easy localization of sounds within music that never get too out of place. This is helped, in part, by the soundstage capabilities of the T10i. While not extraordinarily large, the soundstage is well rounded and consistent in both width and depth. Spatial cues are not thrown far outside the head but are kept relatively proportioned to depth and a good distance away from the listener, but again, not too far either. The result is an average sized soundstage with good imaging and decent layering to boot.
As I mentioned earlier, however, detail and clarity are not particularly special areas of the T10i’s presentation. When coming from clearer, more linear IEMs the T10i can sound congested and a little uncontrolled at times. This isn’t much of a surprise considering this is a bass heavy headphone but the thickness of the mids and limited extension of the treble masks detail and dulls transparency. Therefore, those looking for a revealing headphone should definitely look elsewhere, but that’s to be expected with this particular sound signature.
Bass & Treble Filters – This is a crucial area for the T10i’s because it’s a major selling point for the earphone and a statement for the brand. What I hear with the bass and treble filters compared to the reference filter is quite different than I first imagined - not bad, just unexpected. The frequency graph for the T10i is (conveniently) on the inside of the box and states that the filters only increase bass and treble frequencies by 3dBs each, starting below 200Hz for bass and above 1kHz for treble. My impressions proved that this is partially correct but doesn’t tell the whole story.
With the grey bass filter on it’s difficult to tell the difference between them and the reference filters as they sound fairly indistinguishable at first. However, when listening more intently it becomes obvious that the bass has even more weight, thickness, and fullness than before, especially in the sub-bass region where decay and extension are limitless. The reference filter, on the other hand, focuses more on mid-bass than anything else and feels punchier as a result. That’s not to say that it’s as powerful as the bass filter, however, because it’s not. Instead, the bass filter simply outputs as much bass as the T10i can hurl at you without any EQ. But at the same time it loses out in detail and control which are handled better with the reference filter.
The yellow treble filter is completely different in terms of changing and adjusting the T10i’s sound. Instead of reducing detail (like the bass filter does) the treble filter adds extension, clarity, and sparkle up top as well as adding more presence overall. Cymbals become more lively, female vocals are clearer (something the bass and reference filters were lacking), and highs are more pleasant as a result. And this happens without sacrificing too much the smooth nature of the highs as well. Even down below, bass is just a touch cleaner and more controlled than the reference. This configuration is the most rewarding of all the filters as it brings out the best of the T10i’s as a whole, not just a mere 3dBs of treble presence.
Despite their names (and corresponding purpose) the filter setup of the T10i’s perform slightly different than RHA may have intended but it definitely works. Put simply, the reference filter achieves a sound closer to the bass filter but with less bass bloat and more control while the treble filter is the clearest, most balanced, and the most engaging from top-to-bottom. And since it’s possible to view the internals of the filters under bright light, there is proof as to why this is the case. Inside the two reference and bass filters is a soft dampening material that is present mostly in the bass filter, a little less in the reference, and missing completely in the treble filter. This explains why the first two are so similar and the last is so different, or at least, this is my theory. But despite these details, the T10i’s do have enough flexibility to please any user who desires to adjust the behavior (not the signature) of their earphone while not sacrificing quality. This is a testament to RHA’s efforts and development and a very good first attempt at such a design.
Sensitivity & Source Performance – RHA market the T10i’s as portable friendly and they’re right. Any source can power it well, be it a phone (don’t forget the remote), a dedicated amplifier, or DAP. There is little variation in sound quality between sources as well, which demonstrates their usability and general user friendliness. While the 16 Ohm impedance helps with sensitivity it doesn’t prevent hiss with noisier sources so be wary of high-output devices.
Value – RHA have made an earphone like nothing else in the mid-tier category with their concept and design. The T10i is a very appealing earphone with beautiful housings, custom tuning filters, and good sound quality but isn’t without it faults. The ear hooks can become frustrating at times and its bass tilted signature will limit its audience. However, it makes up for this with outstanding build quality, an incredible 3 year warranty, a comfortable and luxurious design, an imperfect but still very useful tuning system, and a smooth sound that can put you to sleep or make you jam out to anything. All of this in a well thought out, beautiful package makes the RHA T10i’s a great competitor in today’s rough market and for that they get my full recommendation.
I hope this review will be useful to those who read it. Please leave any suggestions or advice you may have in the comments below. Everyone’s input will help me improve my reviews and make it easier to adapt my reviews for as wide an audience as possible. Thanks for reading and happy listening!
Disclaimer – These are demo units provided to me for the purpose of this review. I am not paid by or affiliated with RHA in any way. Big thanks to Iain Smith and the entire RHA Team for letting me be one of only three people to review your product before its release, I am deeply humbled by the opportunity. All images belong to me.
 |  |
Specifications:
- Dynamic Driver (model 770.1)
- Frequency range: 16-22000Hz
- Impedance: 16 ohm
- Sensitivity: 100db
- Rated/ Max power: 1/5mW
- Weight: 41g
- Cable: Multicore OFC, iOS compatible remote, 1.35 meters/4.4 ft.
- Warranty: 3 years
Packaging & Accessories – In these past few years RHA have been busy working up the best solution for their higher-end IEMs (i.e. the MA750i and T10i) since both share the same assortment of high quality accessories. Inside are 10 pairs of ear tips in 3 varieties: 6 pairs “dual density” tips (S/M/L x2), 2 pairs double-flange tips (S/M), and 2 pairs of memory foam tips (universal) all held together in a solid stainless steel tray. Also included are a shirt clip, a heavy stainless steel tuning filter holder with indicators, and a soft leather carrying case with two straps inside that holds the tip tray securely in place.
 |  |  |
All of this is packaged within a relatively small box that’s covered in information about the earphone in both English and French and four other languages on the back. Opening the magnetized front flap displays the earphones, its cable, ear tips, tuning filters, and even more information underneath. As a whole, the packaging and accessories RHA have included is quite impressive. I can confidently announce that all the R&D RHA put into the T10i has definitely paid off.
 |  |  |
Build & Design – The stainless steel housings for the T10i were made using a metal injection molding (MIM) process that requires the housings be heated at 1300°C for “up to ten hours to ensure the steel is the correct shape and density”. The result is of this complex process is a housing that is stiff enough to withstand years of heavy use yet comfortable enough for long hours of wear. The design of the T10i’s, from the housings down to the 3.5mm jack, is durable and luxurious at the same time. Little details like the writing on the Y-split and 3.5mm jack are reminders of the attention the detail RHA put into the design and it ensures exceptional quality. The long, springy strain relief on the jack feels solid and bendable if a little long. The cable itself is very soft, never retains kinks and is just as well built as the earphones themselves. Overall, the firm, tank-like feel of the housings and their sleek, elegant design make the T10i’s a joy to use and admire. (You also wouldn’t bother being too careful with that 3 year warranty either).
 |  |  |
Comfort & Fit – With their over-ear design and Westone-like body, the T10i’s are incredibly comfortable to wear. The housings are a little on the large side in terms of width but won’t become a problem for most wearers. And though they are weighty, due to stainless steel comprising the entire housing, they never become fatiguing even for long periods of use. This combined with their narrow nozzles and large selection of ear tips means they should be easy for people with small ear canals. The ear-hooks are a little difficult to use, however, as they tend to do the opposite of what was originally intended. Because they retain their shape so well they also fall out of place when sitting down or when they haven’t been adjusted exactly for your ears. This means removing or storing them away will sometimes require you to adjust them all over again, which might become a problem for some.
That is not to say they’re uncomfortable, because they’re not. This has been the only earphone I can comfortably wear to sleep. And despite the relatively large size and density of the housings they virtually disappear in the ear. With smooth, rounded edges they are always easy to insert and remove as well. However, the cable cinch is another issue with this particular model (i.e. the “i” model) as it only rises up to the point of the iOS remote and is just a little too low for me and doesn’t provide enough tension for a very secure hold. That said, the T10i has proven to be the most comfortable earphone I’ve used to date and is likely to afford anyone else the same ease of use.
Isolation & Microphonics – The T10i’s provide surprisingly good isolation despite having a large vent for the dynamic driver. Users shouldn’t expect high levels of attenuation, just enough to keep background noises where they should be - in the background. Outdoor environments never become distracting and generally remain quiet when listening to music. I did notice, however, that low frequency noises like thumps, bangs, and even cars on the street were fairly noticeable. This may be an issue for those who want absolute silence but those looking for a safe commute should have no worries.
As far as cable noise in concerned, the T10i’s have as little cable noise as one could desire, that is, very little. The cable avoids sounding rough when rubbed and bouncy when moving or walking. This, along with their useful isolation adds to the desired portability RHA had in mind for the T10i’s.
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Sound----------
Equipment & Background – For the sound portion of this review I will be using an Audinst HUD-MX1 amp/DAC combo as my primary “reference” source, a Topping NX-1 portable amplifier, and a Sansa Fuze as a portable source. All my impressions are done indoors with an over-ear headphone for added isolation resulting in almost silent listening with no audible distractions. My library consists of FLAC and high bit-rate MP3 files. The T10i’s have also received over 200hrs of burn-in before review.
The following impressions were done using the neutral/“reference” filter. Comparisons with the bass and treble filters will be directly below.
Bass – One word that can easily describe the T10i’s bass is POWER. The T10i utilizes a generally bass heavy, L-shaped sound signature overall and it becomes obvious upon first listen. It’s a heavy, full bass that acts as the primary driving force behind its sound and can dominate over the remaining midrange and treble. And while it never actually bleeds into the mids, it makes its presence known more than anything else. However, that is not to say the bass is low quality because it’s not. Lows are well-rounded with more mid-bass than sub-bass, impact is punchy and hard-hitting, decay is strong and reverberant, extension is limitless, and yet the T10i never sounds sloppy or excessively rich. There is a touch of boom at times but it depends entirely on genre and the bass heaviness of a song. This is likely due to the mid-bass lift that keeps lows from sounding consistent from top-to-bottom. But the impact it generates does balance well with the slow decay that follows powerful bass notes. The lows of the T10i are a crucial part of its signature since they’ll be the reason some users will be turned-off by their sheer weight and fullness while others will be drawn to them for their fun, engaging nature. (Some people might even become full-on bass-heads after they hear ‘em too).
Midrange – The mids, unlike the bass, are much more relaxed and slightly recessed when compared directly next to each other. As I said before, there is no bass bleed into the midrange but the lower-mids do exhibit a thickness that follows the upper-bass quite well. Unlike some earphones that are slightly thin in this area (especially many neutral sets) the T10i’s mids are warm and smooth throughout. They don’t display any sign of harshness or edginess and stay relatively consistent and laid-back overall. Upper-mids are a little bit forward, however, which is a welcome coloration for such a warm signature. This (mild) boost in the upper-mids works hand-in-hand with the thicker lower-midrange making the T10i suitable for vocalists of all sorts. However, it should be said that female vocals are lacking in clarity (partly due to laid-back treble) and male vocals are lacking in detail (partly due to slightly chesty lower-mids). This isn’t a negative as much as it is a result of the general character of the T10i’s themselves, but it’s worth mentioning as some will appreciate (or at least accept) this coloration more than others. For what it is, the midrange is a very impressive part of the T10i’s frequency range as it is very engaging despite the bass being the main attention grabber.
Treble – The T10i’s treble shares a lot with the midrange, in that it shares more of the relaxed qualities that make the mids so easygoing. While it isn’t as present as frequencies below it (especially the bass), treble is equally rewarding in its ability to swathe the listener in smoothness. But because of this, the T10i loses out in detail and extension making it slightly dull at times. Sparkle and decay are not its strong suit, either, and this is especially apparent with rock and metal genres where cymbals are in need of a little more life. The upside to this is that highs never become splashy or harsh (ditto the mids). This may be taken as a negative for treble lovers, whom I do not recommend the T10i, but it will be satisfying enough for those who typically prefer softer, less dynamic treble and those who are overly sensitive to it. Now, it’s easy to get the impression that the highs on the T10i are boring or mediocre but that isn’t the case. Instead, they’re perfectly balanced with the midrange and simply present themselves in a more delicate than manner than most IEMs, especially V-shaped IEMs. So while they certainly won’t suit a classical/orchestral music lover they should be more than satisfying for anyone else.
Presentation – This is definitely a strength of the T10i’s for a couple of reasons. Imaging, for a start, is very well executed and makes for easy localization of sounds within music that never get too out of place. This is helped, in part, by the soundstage capabilities of the T10i. While not extraordinarily large, the soundstage is well rounded and consistent in both width and depth. Spatial cues are not thrown far outside the head but are kept relatively proportioned to depth and a good distance away from the listener, but again, not too far either. The result is an average sized soundstage with good imaging and decent layering to boot.
As I mentioned earlier, however, detail and clarity are not particularly special areas of the T10i’s presentation. When coming from clearer, more linear IEMs the T10i can sound congested and a little uncontrolled at times. This isn’t much of a surprise considering this is a bass heavy headphone but the thickness of the mids and limited extension of the treble masks detail and dulls transparency. Therefore, those looking for a revealing headphone should definitely look elsewhere, but that’s to be expected with this particular sound signature.
Bass & Treble Filters – This is a crucial area for the T10i’s because it’s a major selling point for the earphone and a statement for the brand. What I hear with the bass and treble filters compared to the reference filter is quite different than I first imagined - not bad, just unexpected. The frequency graph for the T10i is (conveniently) on the inside of the box and states that the filters only increase bass and treble frequencies by 3dBs each, starting below 200Hz for bass and above 1kHz for treble. My impressions proved that this is partially correct but doesn’t tell the whole story.
With the grey bass filter on it’s difficult to tell the difference between them and the reference filters as they sound fairly indistinguishable at first. However, when listening more intently it becomes obvious that the bass has even more weight, thickness, and fullness than before, especially in the sub-bass region where decay and extension are limitless. The reference filter, on the other hand, focuses more on mid-bass than anything else and feels punchier as a result. That’s not to say that it’s as powerful as the bass filter, however, because it’s not. Instead, the bass filter simply outputs as much bass as the T10i can hurl at you without any EQ. But at the same time it loses out in detail and control which are handled better with the reference filter.
The yellow treble filter is completely different in terms of changing and adjusting the T10i’s sound. Instead of reducing detail (like the bass filter does) the treble filter adds extension, clarity, and sparkle up top as well as adding more presence overall. Cymbals become more lively, female vocals are clearer (something the bass and reference filters were lacking), and highs are more pleasant as a result. And this happens without sacrificing too much the smooth nature of the highs as well. Even down below, bass is just a touch cleaner and more controlled than the reference. This configuration is the most rewarding of all the filters as it brings out the best of the T10i’s as a whole, not just a mere 3dBs of treble presence.
Despite their names (and corresponding purpose) the filter setup of the T10i’s perform slightly different than RHA may have intended but it definitely works. Put simply, the reference filter achieves a sound closer to the bass filter but with less bass bloat and more control while the treble filter is the clearest, most balanced, and the most engaging from top-to-bottom. And since it’s possible to view the internals of the filters under bright light, there is proof as to why this is the case. Inside the two reference and bass filters is a soft dampening material that is present mostly in the bass filter, a little less in the reference, and missing completely in the treble filter. This explains why the first two are so similar and the last is so different, or at least, this is my theory. But despite these details, the T10i’s do have enough flexibility to please any user who desires to adjust the behavior (not the signature) of their earphone while not sacrificing quality. This is a testament to RHA’s efforts and development and a very good first attempt at such a design.
Sensitivity & Source Performance – RHA market the T10i’s as portable friendly and they’re right. Any source can power it well, be it a phone (don’t forget the remote), a dedicated amplifier, or DAP. There is little variation in sound quality between sources as well, which demonstrates their usability and general user friendliness. While the 16 Ohm impedance helps with sensitivity it doesn’t prevent hiss with noisier sources so be wary of high-output devices.
Value – RHA have made an earphone like nothing else in the mid-tier category with their concept and design. The T10i is a very appealing earphone with beautiful housings, custom tuning filters, and good sound quality but isn’t without it faults. The ear hooks can become frustrating at times and its bass tilted signature will limit its audience. However, it makes up for this with outstanding build quality, an incredible 3 year warranty, a comfortable and luxurious design, an imperfect but still very useful tuning system, and a smooth sound that can put you to sleep or make you jam out to anything. All of this in a well thought out, beautiful package makes the RHA T10i’s a great competitor in today’s rough market and for that they get my full recommendation.
 RHA T10i |
I hope this review will be useful to those who read it. Please leave any suggestions or advice you may have in the comments below. Everyone’s input will help me improve my reviews and make it easier to adapt my reviews for as wide an audience as possible. Thanks for reading and happy listening!
I am very happy to read the comments posted on the basis of comments'm thinking of buying a handset. more what? RHA T10I or Shure SE425 or kef M200?
note: durability, ensuring technical support, sound quality - Which is better?
Thank you for space