Shanling TINO - Where Ancient Art Meets Audio
Disclaimer
- The reviewed IEM is a sponsored unit by Shanling. Nevertheless, all opinions remain original ideas, there was zero influence from any 3rd party or external opinions throughout the review.
- No EQ or filter presets were used during the entire sound evaluation.
- Sound evaluation are kept neutral and does not include 3rd party accessories (ie; eartips, cable, reversible mods)
IntroductionShanling, known for their DAPs, CD players and portable DAC/AMP is no stranger when it comes to hi-res audio equipment. With an experience of over more than 30+ years from the year the establishment were founded back in 1988, their expertise are portrayed through some of the most aesthetically unique looking and high performance equipments for audiophiles such as the Shanling M8T, the successor to the original M8, the legendary CD-T300 tube output CD player and much more. That said, Shanling isn't just a brand that produces uber high-end equipment, as they also have more affordable offerings such as the Shanling M0 ultra-compact audio player, Shanling H0 and H2 which are their budget portable DAC/AMP and including IEMs. Shanling pretty much excels in most of their product segments but if you ask me personally, I can put my trust on them when it comes to DAPs.
Nevertheless, in recent weeks Shanling has sent me one of their newest products for review. What we have here is the latest Shanling TINO. This IEM currently retails at an affordable $79.00, which features dual dynamic drivers configuration. A 10 mm dynamic driver that's responsible for the low-end frequencies and another but smaller 8 mm dynamic driver to deliver the midrange and treble. This IEM also features a modular cable which potential buyers could purchase the TINO with a single-ended 3.5mm plug as default. But, they can also be given an option to purchase the modular plugs separately for an additional cost such as a 4.4mm balanced and a USB DAC through Shanling’s own website. Having said that, they were generous enough to provide all of the modular plugs to test at my own leisure for this review. Not to forget, plenty of appreciation to @Shanling for sponsoring a unit to make this review possible. With that being said, let us dive straight into the review of the Shanling TINO!
Unboxing Experience
“Sophisticatedly.. Simple”, would best describe the overall experience as I unbox the Shanling TINO. There's nothing extravagant about the included items or complex mechanisms, however the way that Shanling presents the TINO made it appear like a premium looking pair of IEMs. So, on the outer layer there was not much to see other than a picture of the IEM itself with a Shanling branding and the name of the IEM on the front. On the top, there's a Hi-Res Audio certificate logo as this IEM supposedly could present frequencies higher than 20kHz. Meanwhile, at the back you'll find basic specifications about Shanling TINO, including the details about Shanling and so on, pretty simple and basic presentation.
While most budget IEMs usually come with packaging that just pops out like a gift box, the Shanling TINO on the other hand is presented inside a flip box with a Shanling branding on top which gives this IEM a touch of premium experience and sophistication. Inside, users will be greeted with the IEM itself resting in between a foam cutout with the TINO is already attached to the cable. As we unbox further, users will find a cylindrical aluminum case which contains the ear tips inside and at the bottom of the box, you'll find a manual guide alongside a warranty card. Interestingly, one of the included set of eartips seem to be a clone version of the Sony EP-EX11 with subtle alterations such as the matte silicone texture, slightly larger bore and much stiffer stem.
Specifications
- Driver: 10mm PU-suspended edge, liquid crystal polymer (LCP) diaphragm dynamic driver + 8mm diamond-like carbon (DLC) diaphragm dynamic driver.
- Impedance: 16 Ohms
- Sensitivity: 113±3dB
- Frequency Response: 18Hz-40kHz
- Cable: 1.3 meter, modular cable 3.5mm (default). (4.4mm and Type-C USB DAC sold separately)
- Nozzle diameter: 6mm
- Weight: 4.6g
USB DAC Plug:
- Sampling Rate: 32bit/384kHz
- Noise: 122dB
- Dynamic Range: 100dB
- Separation: 100dB
Build and Comfort
To make the TINO appear as one of a kind, Shanling has applied a traditional Chinese foil-burning technique for the faceplate which resembles a warm, deep amber colour combined with the gold trimming that radiates gorgeously when shone under the lights. There is little information about this ancient art, however based on the details I could gather from the internet it is said that this ancient art predates the Tang dynasty era and reached its peak during the Ming and Qing dynasties. Back to the main topic, due to the foils being handcrafted it does mean that every TINO looks no two the same to each other. Similarly with the likes of DUNU Davinci, DUNU SA3 which was inspired by Hokusai's paintings, etc. Even on my pair, the left side is completely different from the right side.
Moving onto the build itself, TINO features a dual dynamic driver layout as the main 10 mm dynamic driver with the diaphragm material being a PU-suspended edge and LCP for the dome to produce the low-end. Meanwhile, an 8 mm dynamic driver with a DLC diaphragm is responsible for delivering the midrange and treble frequencies. When inspecting closer into the IEMs, it appears that the smaller 8 mm dynamic driver is located in front of the nozzle and also it appears there are no acoustic tubes being used inside this IEM.
Weighing at just 4.6 grams per side, the TINO feels featherlight when placed onto the palm of my hand. Only when hooked with its cable did I realize that the whole thing was weighty. TINO features a build that is made entirely using 3D printed resin material followed by a UV curing process to achieve a precise and refined finishing quality. From a comfort perspective however, the Shanling TINO was a comfortable pair of IEMs and due to the lightweight shell I could barely tell that I was wearing one. In terms of ear tips compatibility, the nozzle size on TINO is measured at 6mm hence ear tips that are smaller than 4-4.5mm might be difficult to attach such as the provided stock ear tips which requires an extra care when trying to put them on. Additionally, there are pressure vents on each side, located at the back of the IEM just below the connector sockets to prevent pressure build-up.
CableShanling TINO are provided with a dual braid cable which very much reminds me of the Hisenior White Whale cable that was included inside the Mega5-EST 7th Anniversary Edition. Hence, you can expect a very similar premium appearance although the cable memory was slightly stiff, so you'll need to wrap it properly to avoid it from tangling or out of shape. From the specifications of the materials, the cable features an 18 cores of high-purity OFC (Oxygen-Free Copper) wire and measured at 1.3 meters. The outer layer of the cable is protected with a thick layer of insulation which makes the cable feel quite heavy.
By the appearance it looks simply gorgeous and compliments the whole aesthetic well, though I wonder perhaps a copper wire would fit nicer. The connectors for the modular plugs are surprisingly made out of hard plastic which I initially thought was aluminum due to its lightweight feeling, meanwhile the rest of the components are made with metal. The TINO comes with a 3.5mm single-ended as default, you can purchase the modular plugs separately at an additional cost for the 4.4mm balanced and the USB DAC. Shanling didn't provide any specific DAC chip used inside the USB but they do provide details such as its decoding capability which can play hi-res files up to 32bit/384kHz.
Test Equipment
- Local Hi-Res files > Astell&Kern SE100 M.Chat (Linear Phase Fast Roll-off Filter)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V + DSEE Ultimate (ON), Dolby Atmos (OFF)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Questyle M18i
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Kiwi Ears Allegro Mini
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > MUSEHIFI M3 II
Power RequirementsCompared to other dual dynamic driver IEMs that I have tried throughout my reviewing experience, the Shanling TINO can be said is one of the most efficient IEMs I have tested. That said, when plugged into sources with higher noise floors such as the Kiwi Ears Allegro Pro which I have previously reviewed, the Shanling TINO remains silent. I plugged the Shanling TINO through numerous sources such as my reference DAP, the Astell&Kern SE100 through balanced output and was able to reach a sufficient volume of between 29-34/150.
Meanwhile, on much smaller and portable devices such as the Questyle M18i, I only needed to crank up the volume to between 6-8/60 coming out from the 4.4 balanced output on low gain to reach my comfortable listening volume. However, I do notice that on a weaker source the bass on the TINO sounded slightly softer and less impactful when compared to plugging it into a more capable source.
Sound EvaluationThe Shanling TINO has undergone burn-in phase for at least 48 hours prior to sound evaluation. Throughout the analysis, I paired up the TINO with a neutral source, the A&K SE100 on Linear Phase Fast Roll-off Filter chosen given that it’s the most natural sounding filter compared to default. Triple-flange ear tips and 4.4mm balanced are set as defult throughout the sound evaluation. Bonus test tracks used can be found down at the end of this review.
Diagram 1.0: Frequency response of the Shanling TINO on 3.5mm and USB. Courtesy of ToneDeafMonk.
Shanling TINO in my opinion is a warm, balanced sounding pair of IEMs with smooth highs and possesses a spacious soundstage. First time putting them on, this IEM delivers a U-shape tuning that focuses more towards sub-bass and upper-mids, complimented with the airy treble and spacious soundstage which is likely due to the elevations in the higher treble. Furthermore, the midrange on the TINO was fairly neutral with a slight warm timbre thus, you can expect a slightly richer tonality in stringed instruments such as acoustic guitar, etc. Meanwhile, midrange presence was quite forward due to the emphasized ear gain, it can be quite intense for my personal taste but it's totally fine when played at lower volumes.
This IEM shares a similar tuning with another IEM which was the hype or meta a few years ago, the Truthear Zero: Red which I have reviewed in the past. Both sounded very much similar with subtle nuances mainly within the bass frequencies, lower mid and upper-mids. Unfortunately I could not compare both head-to-head since the Zero: Red was a loaned unit hence I had to hand it back, however I do still own the Blue variant which in my opinion was a more unique sounding IEM. To add onto that, I will also compare the TINO when connected through the provided USB DAC in the comparison segment below.
Low Frequency (Bass)Bass on the Shanling TINO was rapid, engaging and capable of reaching deep into the lowest of frequency as the tuning focuses on sub-bass performance. Sub-bass is delivered clean with good clarity without any muddiness, however rumbles and textures felt rather light which focuses more on a cleaner and detailed sub-bass rendering which may not satisfy those who prefer a much visceral, thicker sub-bass rumble. Mid-bass punches felt polite yet fast which resembled a soft, rapid “boom” when tested through my usual track such as Hunter - Björk and Hollow (16-bit Remix) - Björk. Although the mid-bass was lacking in terms of quantity for that hefty, thick punch. The 10 mm dynamic driver, still capable of delivering good depth, balanced bass presence and natural sounding bass. For example, rendering the tone of kick drums felt natural, full and airy. That said due to the leaner mid-bass, bass transients are slightly much shorter, decays much faster when compared to a Harman-esque based tuning.
Middle Frequency (Mid)Midrange on the TINO delivered via the smaller 8 mm dynamic driver has good clarity, and in terms of sound it was fairly neutral although there is a slight elevation within the lower-mids which gives the midrange a slight colouration, enhanced body and lushness. That said, vocals and stringed instruments remained majorly neutral. Upper-mids sounded butter smooth and forward but at the same time slightly hazy in my opinion, there's a faint breathy tone especially when it comes to female vocals. Something worth noting, due to the emphasized ear gain, those who are sensitive to the upper-mids region might perceive the TINO as too intense or unnatural and although some ear tips do help to lessen the intensity it's definitely something to keep in mind.
High Frequency (Treble)Treble is more on the relaxed side, laid-back which can be seen even through the graph. I could not pick up any sibilant nor harshness coming from the 8 mm dynamic driver. That said, treble presence might feel lacking for some people since it is more into the mellow, inoffensive sort of tuning. However, it does still have a great sense of airiness due to the extension past 10kHz. There was enough crispness and brilliance to deliver sufficient presence without overpowering the lower frequencies and at the same time allowing the midrange to shine.
TechnicalityFrom a technical standpoint, Shanling TINO excels in portraying a spacious soundstage that stretches slightly outside of my head. It has a fairly balanced oval-ish shape, whereby there is slightly more width than depth within the soundstage. Combined with the airiness from the higher treble, it creates a pleasant ambience which does not feel boxy or flat, resonances produced from the dynamic drivers dispersed naturally. Spatial imaging was sharp, although not pinpoint sharp but the TINO could still render accurate movements even when there are different elements playing at the same time.
Detail retrieval and resolution were average at best, pretty standard for most affordable IEMs. For high level details, the TINO does the job absolutely fine however when it comes to rendering low level details, it tends to get slightly blurry and barely noticeable. Layering and separation were also average, I could hear a good sense of placement and depth between elements albeit only limited. So for something that has a lot of elements such as classicals, etc, the Shanling TINO could get quite congested.
Lastly for the dynamic range test for the Shanling TINO is rated at average. Utilizing the Ultimate Headphone Test - ABYSS Headphone dynamic range test as a reference. In short, a sample sound of a drum and a bell are played simultaneously as much as 7 counts, but only the sound of the bells will become quieter. Hence, from a scale of 7 counts, TINO was able to produce an audible 5 out of 7 counts.
Comparison(s)
- Shanling TINO (USB DAC)
Switching to the USB DAC, there was not much of a difference in terms of sound quality across the whole spectrum. However, I did notice some subtle differences when listening with the USB DAC, compared to 3.5/4.4mm input connections such as a change from a forward midrange presentation to a slightly recessed, V-shape sort of sound signature. Other than that, soundstaging also became slightly less spacious and less airy.
- Truthear Zero: Blue
While both of these IEMs feature dual dynamic drivers, TINO sounded much similar to the Zero: Blue’s other sibling, the Zero: Red. Nevertheless, the most noticeable difference in terms of tuning and sound quality was in terms of bass response. Mid-bass sounded much thicker, punches harder with better depth with the Zero: Blue. Sub-bass are fairly similar on both IEMs. However, due to the greater emphasis on TINO, it does allow the IEM to produce a much deeper and textured rumble compared to the Zero: Blue.
Same goes with the midrange, fairly similar on both IEMs but it was more tolerable on the Zero: Blue without sacrificing forwardness, naturalness and clarity considering it has a slightly lesser ear gain. Treble sounded much more crisp with better presence in the Zero: Blue. Though I understand some might prefer the much relaxed, smoother sounding TINO. However, if you're looking towards that lively, engaging characteristics Zero: Blue would serve better for that purpose. Technical wise, the Zero: Blue were less efficient hence it requires a more powerful source compared to TINO. Soundstaging sounded much more close yet balanced, there's better detail retrieval and resolution on the Zero: Blue. Dynamic range was also slightly better on the Zero: Blue hence, endnotes on instruments or bass lines lingers slightly longer.
Eartip Combination(s)
- E Pro EP00
Good pairing with TINO, doesn't change the boomy impact from the bass slams. However, it is slightly thicker and hefty without coming across as muddy. Lower-mids were a tad warmer with the upper-mid sounded much more tolerable. That said, it does sacrifice the already smooth treble as it becomes slightly dull in my opinion. The EP00 is well known for its capability to preserve or enhance airiness and this combination with TINO is no different, the treble although slightly dull was still airy as with any other ear tips.
- Pentaconn Coreir Alloy
Solid pairing with TINO, adds slightly more body, reshaping it to resemble much of a thick “thud” sound and weight into the mid-bass as well as midrange. Treble also sounded a tad much airier and resonances dispersed much more naturally. Quite pricey as a whole pack of two would cost you a fraction of the cost of this IEM.
Purchasing Links and Where to Get?Shanling Official Website (non-affiliated);
https://store.shanling.com/TINO-pd544920858.html
ConclusionWith a unique, one of a kind faceplate that features the rare art of Chinese foil-burning painting that awes the eye with its strikingly deep, warm amber colour. Shanling TINO impresses listeners through its warm, smooth low-end and midrange complimented with the relaxing, airy treble and a spaciously natural soundstage. Though it might be lacking in delivering WOW factor, the Shanling TINO is still a very competent performer under $100. Perfectly suited for those who are looking for a unique looking pair of IEMs, with a priority of a relaxed sound signature without sacrificing airiness and spaciousness which they could enjoy even for a prolonged period of time or even for someone who are looking for a safe sounding IEM with strong vocal presence in the midrange. With so many IEMs nowadays sharing a more or less similar sound signature except for the looks, the decision is all for you to decide. With that, marks the end of my review for the Shanling TINO and hope to see you all in my next review!
Additional Test TracksCan You Stand The Rain - Boyz II Men44.1kHz
Money For Nothing (Explicit) - Dire Straits44.1kHz
A Poem Titled You – TAEYEON 44.1kHz
Anesthetize (Live) – Porcupine Tree DSD256
Vermilion - Slipknot44.1kHz
Kanade - SUKIMASWITCH 44.1kHz
La vaguelette (Original Game Soundtrack) - HOYO-MiX44.1kHz
Rhythm - Jamey Haddad, Lenny White; Mark Sherman44.1kHz
Kimigatame (When Suara Meets DSD 11.2Mhz) - SuaraDSD11.2MHz
Just Coolin’ – Art Blakey 192kHz
Automatic - Hikaru Utada 44.1kHz
In My Room - Hikaru Utada44.1kHz
Colors (Live in Studio) - Black Pumas192kHz
Timbres – Yosi Horikawa 44.1kHz
Misguided Ghosts - Paramore 44.1kHz
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n0varay
New Head-Fier
Pros: > Comfortable ergonomics and lightweight.
> Larger, better carrying case.
> Affordable for the performance.
> Well-balanced tuning similar to KE4 but with slightly enhanced treble.
> Forward upper-mids with great clarity in the lower-mid and midrange.
> Spacious and airy soundstaging.
> Good detail retrieval.
Cons: < Fairly thin cable.
< Inclusions such as ear tips could be improved.
< Slight melding in the bass (could be improved with better ear tips).
< Decent resolution.
< Decent separation and layering.
Kiwi Ears Airoso - Kiwi Ears KE4, Now with Sparkles!
Disclaimer
- The reviewed IEM is a sponsored unit by Kiwi Ears, plenty thanks to @EvelynZ for making this review possible. Nevertheless, all opinions remain original ideas, there was zero influence from any 3rd party or external opinions throughout the review.
- No EQ or filter presets were used during the entire sound evaluation.
- Sound evaluation are kept neutral and does not include 3rd party accessories (ie; eartips, cable, reversible mods)
IntroductionKiwi Ears in recent times has released numerous brand new IEMs and including their own headphone series which I have yet to personally try. Although I'm more into IEMs, I can't deny that I'm not interested in trying their headphones, especially the Atheia which was their first full size planar magnetic headphones. That said, recently after the review of my Orchestra Lite. Kiwi Ears asked me whether I am interested in trying their brand new hybrid IEM, which so far if my memory serves me right the only current hybrid IEMs Kiwi Ears have were the highly-regarded Meta tuned Kiwi Ears KE4, that I covered a few months back. In my opinion, it was an excellent pair of IEMs although it was lacking in terms of technicalities and driver capabilities, especially the dynamic driver to deliver satisfying, high quality bass performance.
Regardless, we're here not to talk about the KE4 anymore. With me in this review is the brand new Kiwi Ears Airoso, which means airy/windy/blowy in Spanish. The Airoso features a brand new 5 driver hybrid configuration that utilizes a single dynamic driver with LCP + PU diaphragm and four balanced armature units, which are not specified from which brands. The Airoso is available for purchase for $129 at Linsoul Audio or via Kiwi Ears official website which you can read the technical details further via clicking the hyperlink. With all that is done, let's jump into the review of the Kiwi Ears Airoso!
Unboxing Experience
Kiwi Ears are known for their straightforward and minimal approach in terms of their packaging and the Airoso was no different as well. Starting from the outer cover of the box, we have the illustration of the IEMs itself and I love the graphic design on the box. It's clean, minimal yet playful combined with the fonts Kiwi Ears have used, in a way that they arranged the “Airoso” letterings that resembles airflow. On the side of the box, are located the basic specifications about the IEM. Meanwhile, at the back there's also an illustration but a smaller version of the front, alongside the details of the company. Simple, basic stuff, straight to the point done tastefully right from Kiwi Ears.
As we unbox further, Kiwi Ears have done slight alterations in terms of their product presentation inside the hard box for the Airoso. Usually, with most Kiwi Ears IEMs you'll see lots of it came with cardboard panels you'll have to pull out each one out of the box. This time, they have gone for a much simpler, and straightforward presentation. A small rectangular foam cutout to secure the IEMs and a cardboard flap to cover the rest of the package, reminds me of Simgot IEMs sort of presentation, the EA500-series to be exact.
So, inside the box you'll be greeted with the Airoso itself and as we unbox further, there's a hard case which features a newer design which is slightly taller allowing for larger storage capacity compared to the previous case. Users will find the stock cable inside the case, including accessories such as ear tips which come in three different colours but similar/exactly the same kind. So I was wondering, perhaps Kiwi Ears might have done better by inserting two options instead of three, as in one pack of generic silicones and the other one is their Kiwi Ears Flex ear tips.
Specifications
- Driver: 1 LCP + PU diaphragm dynamic driver, 2 balanced armatures (high), 2 balanced armatures (ultra-high)
- Impedance: 18 Ohms
- Sensitivity: 110dB/SPL
- Frequency Response: 20Hz-20kHz
- Cable: 4 core copper cable with 3.5mm to 2-pin (0.78mm)
- Nozzle diameter: 6mm
- Weight: 12g
Build and ComfortAfter trying numerous in-ear monitors from Kiwi Ears, it can be said that most of their IEMs are comfortable, lightweight and yet feels rigid to withstand daily usage. Not including the Orchestra Lite I've recently reviewed though, due to an issue in regards to the lack of vent holes which causes internal pressure build-up. Fortunately, that was not the case I had with the Airoso, I find the IEM to be very comfortable due to its lightweight design, with the appropriate nozzle length and angle despite the nozzle width was slightly on the larger side measured at 6mm so those with smaller ears might have to take note. Although, the Kiwi Ears Airoso does not have an ergonomic ear hook design that grabs onto your conchae likewise with the KE4. It does not influence the overall wearing experience in a bad way, as it still fits nicely and firmly in your ears.
Similarly with most of their IEMs, the Airoso is made from resin similar to the one on the KE4 with a tiny pressure release vent placed just right before the nozzle. Meanwhile, the faceplate is made with metal that was meticulously done using a CNC machine which has an automotive, industrial inspired design as far as how it looks to me. The filleted edges of the faceplate still feels quite edgy, but thankfully not sharp or coarse by any means, there's also a tiny cutout right next to the “Kiwi Ears” branding that works as an additional pressure release vent. Due to that, I could not hear any crinkling sound coming from the internals or any trouble to pull out the IEM easily with the new vent design. Overall, the build quality on this IEM is excellent in my opinion, it feels rigid with not a single loose part and won't feel like it'll break anytime soon.
CableKiwi Ears have decided to downgrade the cable for the Airoso, compared to its more premium siblings such as the KE4 or even the brand new Aether. In fact, it is exactly the same cable that came with the Kiwi Ears Cadenza. I'm not particularly disappointed with it, perhaps it is one way Kiwi Ears could maximize the potential performance that can be invested into the Airoso without spending too much.
Nevertheless, the cable included for the Airoso was a basic 4 core wire that I assume is a typical OFC (oxygen-free copper) cable, insulated with a polyurethane (PU) material to protect the wires from elements. Overall, it is a decent cable, lightweight, flexible which makes it easy to wrap for storage and fairly resistant to tangling. Unfortunately, the cable for the Airoso does only come in a 3.5mm single-ended option but you can always swap it with a 3rd party cable, if you wish to have better aesthetics and ease of usage.
Test Equipment
- Local Hi-Res files > Astell&Kern SE100 M.Chat (Linear Phase Fast Roll-off Filter)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V + DSEE Ultimate (ON), Dolby Atmos (OFF)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Questyle M18i
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Kiwi Ears Allegro Mini
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > MUSEHIFI M3 II
Power RequirementsRated at an impedance of only 18 Ohms and combined with the 110 dB/SPL, the Kiwi Ears Airoso were an efficient pair of in-ear monitors that can be easily powered through small devices and scales well with more powerful devices such as portable DAC/AMPs. Additionally, due to the high sensitivity the Airoso could transmit white noise or hissing sound into the background, which could be emitted from sources that have high noise levels such as the Kiwi Ears Allegro Pro which I have reviewed quite recently.
Apart from that, end-users should not be worried about the required output power to run the Airoso. I've tested it through the Kiwi Ears Allegro Mini and VE Odo and needed only between 5-7/30 volume adjustments on my Sony Xperia 1 V to reach the comfortable loudness for my personal preference. On more powerful devices such as the Questyle M18i, it took me 8-10/60 on low gain settings, single-ended. Meanwhile, driven through my Astell&Kern SE100, it took me to raise the volume up to 35-40/150 to achieve my desired loudness.
Sound EvaluationThe Kiwi Ears Airoso has undergone burn-in phase for at least 48 hours prior to sound evaluation. Throughout the analysis, I paired up the Airoso with a neutral source, the A&K SE100 on Linear Phase Fast Roll-off Filter chosen given that it’s the most natural sounding filter compared to default. Triple-flange eartips are used as default eartips throughout the sound evaluation. Bonus test tracks used can be found down at the end of this review.
Diagram 1.0: Frequency response of the Kiwi Ears Airoso. Courtesy of Paul Wasabi.
Diagram 1.1: Frequency response comparisons of the Kiwi Ears Airoso and KE4. Courtesy of Paul Wasabi.
The Kiwi Ears Airoso is an exciting, well-balanced sounding IEM with an overall warm, bodied bass that gradually slopes into the lower midrange which gives a slight colouration into the midrange. Higher frequencies starting from the upper-mid region all the way towards the higher treble were lively, with very good presence in my opinion without coming across that I would consider it as harsh or coarse to my surprise. Despite having said that, there are noticeable irregularities that's translated via peaks and dips between the 5kHz and up to 10kHz. Kiwi Ears did mention the existence of what they refer as “precision crossovers” being implemented inside the Airoso, to control the drivers to individually reproduce a specific spectrum of frequencies.
Moreover, the slightly elevated upper-mid frequency allows the Airoso very much reminds me of the more premium Kiwi Ears KE4, albeit the Airoso appears to be slightly more highlighted. This may be due to the brighter timbre of this IEM. Additionally, due to the emphasized peak at an approximate 13k-14kHz. It made the Airoso sound pleasantly airy and open, which made the soundstage on this IEM sounded quite surprisingly very spacious.
Low Frequency (Bass)Low frequencies on the Kiwi Ears Airoso can be described as warm, exciting and now strikes slightly harder than the much premium KE4. Although the Airoso is still something I would not consider as a bass head worthy pair of IEMs, it might still be an appealing option for those who appreciate high quality bass or if you prefer a slightly Harman-esque tuned bass in a Meta tuning. Sub-bass on the Airoso can be described as rumbly, fairly textured with good definition, which I consider as an upgrade from the Kiwi Ears KE4 which I find too light, and blunt for my personal preference. As per usual, I tested the Airoso with my standard bass track, Hollow (16-bit Remix) - Björk and the Airoso were surprisingly has good depth being able to reach below 60Hz, while presenting the low-bass rumbles cleanly with a groovy rumbling effect that was nicely textured.
I'm not entirely sure whether Kiwi Ears used a brand new dynamic driver for the Airoso or might just be due to the tuning as one could refer to via the diagram above that shows the Airoso does have a slight elevation on sub-bass and into lower midrange. Though the mid-bass slams still have that pillowy effect, it does hit noticeably solid and harder now, with more authority compared to the ones that are in the KE4. I would describe it more towards a thick, quite hefty “thud”, followed by a longer transient which enhanced the bass to sound more dynamic and immersive allowing bass notes to linger slightly longer. That said, I could not hear any difference in terms of speed and delivery, especially when played through tracks such as Hunter - Björk as the Airoso could timely render each bass slams. Although due to the slightly longer transient, it does cause some melding.
Middle Frequency (Mid)Midrange on the Airoso offers a neutral sound signature with a slightly warm timbre. As I could hear the tonality in vocals and some stringed instruments such as acoustic guitars had a slightly added colouration. Apart from that the midrange is also combined with a smooth upper-mid, yet it offers very good clarity which enhances vocal articulations without coming across as intense.
To my surprise, the Airoso were capable of rendering textures in vocals such as late Layne Staley's iconic grunge vocals in Down In A Hole (Unplugged) - AiC. Though it was not insanely detailed as higher-end IEMs could offer, to me it was still an impressive feat in my opinion. Additionally, although on paper the Airoso might seem a bit Harman-ish in the mids, I do not find these to be recessed at all but rather forward with a fairly strong presence. Hence, vocals were nicely highlighted and separated from other elements within the mids.
High Frequency (Treble)Treble on the Airoso as expected from the name, was airy which provides a pleasant ambience in the soundstage. Furthermore, the Airoso is slightly on the brighter, livelier side yet at the same time smooth and suitable even for long hours of listening despite the peaks and dips on the treble. Sound of hi-hats and crashes sounded crisp, detailed and impressively natural without coming across as sibilant, equally the same with vocals. The pronunciation of “s” and “t”, for example in the track Underwater Love - Soulperfreesia sounded slightly on the sharper but not in a bad way and free from sibilant, which most likely due to the dip at 5kHz.
TechnicalityIn the technical department, one of the strongest points of the Kiwi Ears Airoso was its capability to render a large, spacious soundstaging primarily in terms of width size which was wider compared to its depth, which for me felt quite mushed together. It feels pleasant, nicely airy while resonance and reverberations dissipate naturally due to the pressure vent that is located on the faceplate. Spatial imaging on the other hand was decent, slightly poorer compared to the KE4 which I rated average in my KE4 review if I'm being totally honest.
Detail retrieval on the Airoso was also quite impressive in my opinion, it could render high level details and low level details without any problems. However, when it comes to resolution the Airoso fell quite short as subtle nuances sounded blurrish, blunt and lacking in definition. Separation and layering on the Airoso were average in my book, the IEM does work well with genres or songs with limited elements since the Airoso tends to get congested and meld.
Lastly for the dynamic range test for the Kiwi Ears Airoso is rated at average. Utilizing the Ultimate Headphone Test - ABYSS Headphone dynamic range test as a reference. In short, a sample sound of a drum and a bell are played simultaneously as much as 7 counts, but only the sound of the bells will become quieter. Hence, from a scale of 7 counts, Airoso was able to produce an audible 5 out of 7 counts.
Comparison(s)
Kiwi Ears KE4
Comparatively, both of these IEMs are quite similar sounding but with a noticeable difference. If I could explain it in short, if you think that the KE4 was a bit too boring or safe, perhaps maybe a bit lacking in the treble region in your opinion. Then, the Airoso is essentially a much more exciting, livelier version of the KE4. I've said it in my previous review, that theKE4 could need a slightly brighter treble, just by a couple 2-3dB to make it slightly more engaging and the Airoso is essentially that.
For more in-depth details, bass on both IEMs are equally snappy and responsive. However, the KE4 sounded much softer and wooly in delivering bass punches and slams which was my main complaint. That said, the KE4 has faster decay which causes bass transients to be slightly shorter compared to the Airoso. That said, the isobaric dynamic drivers inside the KE4 provided an immersive bass experience. Midrange timbre was a tad warmer and richer on the KE4 but at the same time slightly muddy due to the elevation in the lower-mids. Vocal presentation on the KE4 sounded slightly recessed compared to the Airoso. Moving towards the treble was the most noticeable difference between the two. As KE4 was more suitable for those to prefer smoother, inoffensive treble that is suitable for long hours of listening but it can be a tad splashy.
Technically, the KE4 is slightly superior in terms of resolution however, falls slightly short to the Airoso due to the accentuated treble. Soundstage also sounded a lot more intimate and spatial imaging was slightly more precise on the KE4. That said, both IEMs have average dynamic range which I ran through the test and it scored a 5 out of 7 bell counts.
Eartip Combination(s)
Pentaconn Coreir Alloy
The Coreir brings a little bit more clarity in the midrange and slightly leaner lower-mids due to the wide bore design of the Coreir which lessens the bass quantity by a slight amount and fixes the melding aforementioned. However, bass slams feel a tad more rounded and defined rather than a flat “thud” sound. Treble was not quite affected as far as this pairing goes, though I did notice the soundstaging became slightly less airy. Nevertheless, the size and width of the soundstage remains pretty much the same in my opinion (YMMV).
E Pro EP01
A decent pairing in my opinion, the Airoso sounded almost identical to the KE4 when paired with the EP01. Albeit, there are subtle differences such as a heftier, boomier bass slam. Midrange is a tad warmer to the original stock yet without reducing the clarity in the lower-mids. Soundstage on these turned into an oval sort of shape, though it does not affect the airiness in any sort. However, the treble became somewhat similar to what I experienced with the KE4, which was a tad splashy but the Airoso since it alread has a brighter treble to begin with I could still hear very good presence in that mentioned region.
Purchasing Links and Where to Get?Kiwi Ears Official Website (non-affiliated):
https://kiwiears.com/products/kiwi-ears-airoso
ConclusionKiwi Ears has outdone themselves with the brand new Kiwi Ears Airoso and I can't say that I'm not impressed considering that they can achieve a similar result on their KE4 BUT better and cheaper with the Airoso. I also love the fact that Kiwi Ears have changed the hard case to a slightly taller one that allows for larger storage space, which was also one of my complaints and among other reviewers too. However, I do wish Kiwi Ears would place better inclusions next time such as better ear tips since they have the Kiwi Ears Flex which in my opinion are a great pair of eartips for adding bass quantity and quality without sacrificing treble presence and extension when compared with other bass enhancing ear tips.
Having said that, the Kiwi Ears Airoso is an excellent alternative especially if you wish the KE4 has a slightly more enhanced treble, larger and airier soundstaging combined with a cleaner midrange. Which in my opinion, has a better lower-mid clarity compared to the KE4 that can get quite muddy with certain ear tips. Combine this all at $70 much cheaper than the KE4, and perhaps the extra balance you could get the Kiwi Ears Flex ear tips to go with it. Well, that marks up the end to my review of the Kiwi Ears Airoso and hope to see you all in the next one!
Additional Test TracksCan You Stand The Rain - Boyz II Men 44.1kHz
Money For Nothing (Explicit) - Dire Straits44.1kHz
A Poem Titled You – TAEYEON 44.1kHz
Anesthetize (Live) – Porcupine Tree DSD256
Vermilion - Slipknot 44.1kHz
Kanade - SUKIMASWITCH 44.1kHz
La vaguelette (Original Game Soundtrack) - HOYO-MiX 44.1kHz
Rhythm - Jamey Haddad, Lenny White; Mark Sherman 44.1kHz
Kimigatame (When Suara Meets DSD 11.2Mhz) - Suara DSD11.2MHz
Just Coolin’ – Art Blakey 192kHz
Automatic - Hikaru Utada 44.1kHz
In My Room - Hikaru Utada 44.1kHz
Colors (Live in Studio) - Black Pumas 192kHz
Timbres – Yosi Horikawa 44.1kHz
Misguided Ghosts - Paramore 44.1kHz
Attachments
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n0varay
New Head-Fier
Pros: > Twice the power to its predecessor model.
> Affordable.
> Ultra-compact design.
> Features an updated design and all-metal enclosure.
> Neutral, clean sounding with slightly greater resolution than previous model.
> Livelier treble with better presence.
> Timbre is slightly on the brighter side (if you like it bright).
> Does not heat up compared to the previous model.
Cons: < Can be noisy, emitting loud hissing noise with sensitive IEMs.
< Due to the brighter timbre, it may not be suitable to pair with bright or upper-mid focused IEMs.
< Midrange can be a tad dry.
Kiwi Ears Allegro Pro - The Pocket Powerhouse Saga Continues!
Disclaimer
- The reviewed IEM is a sponsored unit by Kiwi Ears in exchange for a review. Nevertheless, all opinions remain original ideas of my own, there was zero influence from any 3rd party or external opinions throughout the review.
- No EQ or filter presets were used during the entire sound evaluation.
- Sound evaluation are kept neutral and does not include 3rd party accessories (ie; filters, eartips, cable, irreversible/reversible mods)
IntroductionWhile other brands are building more ridiculously powerful and heavy dongles, which some nowadays capable of reaching beyond 500mW in a standard dongle size. There are also brands who went back to its roots of a dongle, prioritizing the essentials such as portability rather than its luxuries. Thus, when we're talking about the ultra-compact dongle segment, Kiwi Ears, Audirect and ddHiFi always come to mind. Which brings me to today's review, we'll be talking about Kiwi Ears and in recent weeks they have announced the new upgrade to the Kiwi Ears Allegro Mini, their first ultra-compact dongle DAC/AMP which till today I still regularly use as my reference DAC.
This time, I'll be reviewing the Kiwi Ears Allegro Pro which still features the ultra-compact design. But now, it has been updated with the addition of two new amplifier modules providing amplification for the Allegro Pro. That is the ES9603 from ESS Technology. For your information, the ES9603 amp has been featured in some dongles before such as the HiBy FC5 and the more uncommon YongSe BS-1. Apart from that, Kiwi Ears have also implemented digital filters which users can toggle via a button. Hence, I would love to take this opportunity to send my regards to @EvelynZ , the marketing representative from Kiwi Ears, for offering me an opportunity to review the Allegro Pro.
Packaging and AccessoriesKiwi Ears has given the Allegro Pro a whole new package and presentation compared to the it's predecessor, the Kiwi Ears Allegro Mini which came barebones in a white printed cardboard box. The graphics looked a lot more flashier and combined with the blueish colour which instantly grabs my attention. To make it more appealing, Kiwi Ears decided to place the outstretched spiky elements taken from their brand logo which I think was a clever move.
In front of the box, we have the illustration of the dongle itself alongside some marketing points and the Kiwi Ears branding. Similarly on the right side of the box displays the functionality of the Allegro Pro, meanwhile on the left side is located the specifications of the dongle. At the back side of the box, are printed the details about the company and there's also a technical drawing/package drawing of the Allegro Pro.
Similarly to the Allegro Mini, the Pro version does not come with any accessories and only the dongle DAC/AMP itself sits snug inside the foam cutout. So far, I don't find anything lacking about the presentation considering the price.
Design and ErgonomicsKeeping the same design principle as the previous model, the Allegro Pro still features the ultra-compact design which quickly grows into me. The Allegro Pro now is entirely made using metal compared to the Allegro Mini which uses plastic for the 4.4mm and 3.5mm jack housing, I don't find it to be lousy or will break anytime soon but the all metal build does certainly appear to be much better in terms of durability and aesthetic value as well.
Photo above shows the size comparison of the Kiwi Ears Allegro Mini (top) and the Allegro Pro (bottom).
Comparatively side by side, the Allegro Pro is slightly longer than the Allegro which might be due to the new components inside of the dongle and a tad heavier too but only by a minimal difference. On the face of the dongle, Kiwi Ears has redesigned the notch which made pulling the dongle after use to be much easier compared to the older version. Though I personally don't have much complaint on the Allegro Mini, nevertheless it was a nice upgraded feature on the Allegro Pro.
Photo above shows the side-by-side size comparison of the Kiwi Ears Allegro Pro (left) and the Allegro Mini (right).
On the bottom of the dongle, there is a small button which allows you to scroll between the digital filters. According to Kiwi Ears, there are three colours representing different digital filter options which we'll talk more about in the features and sound impression. Other than that, the button feels solid when pressed and does not feel mushy or stuck. Compared to the other dongles in the market, I love the shape of the Kiwi Ears Allegro series since it is just a solid piece of rectangular metal dongle which allows me to turn it into a 90° phone stand. I jest, although I myself regularly do it, it's not recommended or you might bend your charging port.
Disclaimer
- The reviewed IEM is a sponsored unit by Shanling. Nevertheless, all opinions remain original ideas, there was zero influence from any 3rd party or external opinions throughout the review.
- No EQ or filter presets were used during the entire sound evaluation.
- Sound evaluation are kept neutral and does not include 3rd party accessories (ie; eartips, cable, reversible mods)
IntroductionShanling, known for their DAPs, CD players and portable DAC/AMP is no stranger when it comes to hi-res audio equipment. With an experience of over more than 30+ years from the year the establishment were founded back in 1988, their expertise are portrayed through some of the most aesthetically unique looking and high performance equipments for audiophiles such as the Shanling M8T, the successor to the original M8, the legendary CD-T300 tube output CD player and much more. That said, Shanling isn't just a brand that produces uber high-end equipment, as they also have more affordable offerings such as the Shanling M0 ultra-compact audio player, Shanling H0 and H2 which are their budget portable DAC/AMP and including IEMs. Shanling pretty much excels in most of their product segments but if you ask me personally, I can put my trust on them when it comes to DAPs.
Nevertheless, in recent weeks Shanling has sent me one of their newest products for review. What we have here is the latest Shanling TINO. This IEM currently retails at an affordable $79.00, which features dual dynamic drivers configuration. A 10 mm dynamic driver that's responsible for the low-end frequencies and another but smaller 8 mm dynamic driver to deliver the midrange and treble. This IEM also features a modular cable which potential buyers could purchase the TINO with a single-ended 3.5mm plug as default. But, they can also be given an option to purchase the modular plugs separately for an additional cost such as a 4.4mm balanced and a USB DAC through Shanling’s own website. Having said that, they were generous enough to provide all of the modular plugs to test at my own leisure for this review. Not to forget, plenty of appreciation to @Shanling for sponsoring a unit to make this review possible. With that being said, let us dive straight into the review of the Shanling TINO!
Unboxing Experience
“Sophisticatedly.. Simple”, would best describe the overall experience as I unbox the Shanling TINO. There's nothing extravagant about the included items or complex mechanisms, however the way that Shanling presents the TINO made it appear like a premium looking pair of IEMs. So, on the outer layer there was not much to see other than a picture of the IEM itself with a Shanling branding and the name of the IEM on the front. On the top, there's a Hi-Res Audio certificate logo as this IEM supposedly could present frequencies higher than 20kHz. Meanwhile, at the back you'll find basic specifications about Shanling TINO, including the details about Shanling and so on, pretty simple and basic presentation.
While most budget IEMs usually come with packaging that just pops out like a gift box, the Shanling TINO on the other hand is presented inside a flip box with a Shanling branding on top which gives this IEM a touch of premium experience and sophistication. Inside, users will be greeted with the IEM itself resting in between a foam cutout with the TINO is already attached to the cable. As we unbox further, users will find a cylindrical aluminum case which contains the ear tips inside and at the bottom of the box, you'll find a manual guide alongside a warranty card. Interestingly, one of the included set of eartips seem to be a clone version of the Sony EP-EX11 with subtle alterations such as the matte silicone texture, slightly larger bore and much stiffer stem.
Specifications
- Driver: 10mm PU-suspended edge, liquid crystal polymer (LCP) diaphragm dynamic driver + 8mm diamond-like carbon (DLC) diaphragm dynamic driver.
- Impedance: 16 Ohms
- Sensitivity: 113±3dB
- Frequency Response: 18Hz-40kHz
- Cable: 1.3 meter, modular cable 3.5mm (default). (4.4mm and Type-C USB DAC sold separately)
- Nozzle diameter: 6mm
- Weight: 4.6g
USB DAC Plug:
- Sampling Rate: 32bit/384kHz
- Noise: 122dB
- Dynamic Range: 100dB
- Separation: 100dB
Build and Comfort
To make the TINO appear as one of a kind, Shanling has applied a traditional Chinese foil-burning technique for the faceplate which resembles a warm, deep amber colour combined with the gold trimming that radiates gorgeously when shone under the lights. There is little information about this ancient art, however based on the details I could gather from the internet it is said that this ancient art predates the Tang dynasty era and reached its peak during the Ming and Qing dynasties. Back to the main topic, due to the foils being handcrafted it does mean that every TINO looks no two the same to each other. Similarly with the likes of DUNU Davinci, DUNU SA3 which was inspired by Hokusai's paintings, etc. Even on my pair, the left side is completely different from the right side.
Moving onto the build itself, TINO features a dual dynamic driver layout as the main 10 mm dynamic driver with the diaphragm material being a PU-suspended edge and LCP for the dome to produce the low-end. Meanwhile, an 8 mm dynamic driver with a DLC diaphragm is responsible for delivering the midrange and treble frequencies. When inspecting closer into the IEMs, it appears that the smaller 8 mm dynamic driver is located in front of the nozzle and also it appears there are no acoustic tubes being used inside this IEM.
Weighing at just 4.6 grams per side, the TINO feels featherlight when placed onto the palm of my hand. Only when hooked with its cable did I realize that the whole thing was weighty. TINO features a build that is made entirely using 3D printed resin material followed by a UV curing process to achieve a precise and refined finishing quality. From a comfort perspective however, the Shanling TINO was a comfortable pair of IEMs and due to the lightweight shell I could barely tell that I was wearing one. In terms of ear tips compatibility, the nozzle size on TINO is measured at 6mm hence ear tips that are smaller than 4-4.5mm might be difficult to attach such as the provided stock ear tips which requires an extra care when trying to put them on. Additionally, there are pressure vents on each side, located at the back of the IEM just below the connector sockets to prevent pressure build-up.
CableShanling TINO are provided with a dual braid cable which very much reminds me of the Hisenior White Whale cable that was included inside the Mega5-EST 7th Anniversary Edition. Hence, you can expect a very similar premium appearance although the cable memory was slightly stiff, so you'll need to wrap it properly to avoid it from tangling or out of shape. From the specifications of the materials, the cable features an 18 cores of high-purity OFC (Oxygen-Free Copper) wire and measured at 1.3 meters. The outer layer of the cable is protected with a thick layer of insulation which makes the cable feel quite heavy.
By the appearance it looks simply gorgeous and compliments the whole aesthetic well, though I wonder perhaps a copper wire would fit nicer. The connectors for the modular plugs are surprisingly made out of hard plastic which I initially thought was aluminum due to its lightweight feeling, meanwhile the rest of the components are made with metal. The TINO comes with a 3.5mm single-ended as default, you can purchase the modular plugs separately at an additional cost for the 4.4mm balanced and the USB DAC. Shanling didn't provide any specific DAC chip used inside the USB but they do provide details such as its decoding capability which can play hi-res files up to 32bit/384kHz.
Test Equipment
- Local Hi-Res files > Astell&Kern SE100 M.Chat (Linear Phase Fast Roll-off Filter)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V + DSEE Ultimate (ON), Dolby Atmos (OFF)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Questyle M18i
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Kiwi Ears Allegro Mini
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > MUSEHIFI M3 II
Power RequirementsCompared to other dual dynamic driver IEMs that I have tried throughout my reviewing experience, the Shanling TINO can be said is one of the most efficient IEMs I have tested. That said, when plugged into sources with higher noise floors such as the Kiwi Ears Allegro Pro which I have previously reviewed, the Shanling TINO remains silent. I plugged the Shanling TINO through numerous sources such as my reference DAP, the Astell&Kern SE100 through balanced output and was able to reach a sufficient volume of between 29-34/150.
Meanwhile, on much smaller and portable devices such as the Questyle M18i, I only needed to crank up the volume to between 6-8/60 coming out from the 4.4 balanced output on low gain to reach my comfortable listening volume. However, I do notice that on a weaker source the bass on the TINO sounded slightly softer and less impactful when compared to plugging it into a more capable source.
Sound EvaluationThe Shanling TINO has undergone burn-in phase for at least 48 hours prior to sound evaluation. Throughout the analysis, I paired up the TINO with a neutral source, the A&K SE100 on Linear Phase Fast Roll-off Filter chosen given that it’s the most natural sounding filter compared to default. Triple-flange ear tips and 4.4mm balanced are set as defult throughout the sound evaluation. Bonus test tracks used can be found down at the end of this review.
Diagram 1.0: Frequency response of the Shanling TINO on 3.5mm and USB. Courtesy of ToneDeafMonk.
Shanling TINO in my opinion is a warm, balanced sounding pair of IEMs with smooth highs and possesses a spacious soundstage. First time putting them on, this IEM delivers a U-shape tuning that focuses more towards sub-bass and upper-mids, complimented with the airy treble and spacious soundstage which is likely due to the elevations in the higher treble. Furthermore, the midrange on the TINO was fairly neutral with a slight warm timbre thus, you can expect a slightly richer tonality in stringed instruments such as acoustic guitar, etc. Meanwhile, midrange presence was quite forward due to the emphasized ear gain, it can be quite intense for my personal taste but it's totally fine when played at lower volumes.
This IEM shares a similar tuning with another IEM which was the hype or meta a few years ago, the Truthear Zero: Red which I have reviewed in the past. Both sounded very much similar with subtle nuances mainly within the bass frequencies, lower mid and upper-mids. Unfortunately I could not compare both head-to-head since the Zero: Red was a loaned unit hence I had to hand it back, however I do still own the Blue variant which in my opinion was a more unique sounding IEM. To add onto that, I will also compare the TINO when connected through the provided USB DAC in the comparison segment below.
Low Frequency (Bass)Bass on the Shanling TINO was rapid, engaging and capable of reaching deep into the lowest of frequency as the tuning focuses on sub-bass performance. Sub-bass is delivered clean with good clarity without any muddiness, however rumbles and textures felt rather light which focuses more on a cleaner and detailed sub-bass rendering which may not satisfy those who prefer a much visceral, thicker sub-bass rumble. Mid-bass punches felt polite yet fast which resembled a soft, rapid “boom” when tested through my usual track such as Hunter - Björk and Hollow (16-bit Remix) - Björk. Although the mid-bass was lacking in terms of quantity for that hefty, thick punch. The 10 mm dynamic driver, still capable of delivering good depth, balanced bass presence and natural sounding bass. For example, rendering the tone of kick drums felt natural, full and airy. That said due to the leaner mid-bass, bass transients are slightly much shorter, decays much faster when compared to a Harman-esque based tuning.
Middle Frequency (Mid)Midrange on the TINO delivered via the smaller 8 mm dynamic driver has good clarity, and in terms of sound it was fairly neutral although there is a slight elevation within the lower-mids which gives the midrange a slight colouration, enhanced body and lushness. That said, vocals and stringed instruments remained majorly neutral. Upper-mids sounded butter smooth and forward but at the same time slightly hazy in my opinion, there's a faint breathy tone especially when it comes to female vocals. Something worth noting, due to the emphasized ear gain, those who are sensitive to the upper-mids region might perceive the TINO as too intense or unnatural and although some ear tips do help to lessen the intensity it's definitely something to keep in mind.
High Frequency (Treble)Treble is more on the relaxed side, laid-back which can be seen even through the graph. I could not pick up any sibilant nor harshness coming from the 8 mm dynamic driver. That said, treble presence might feel lacking for some people since it is more into the mellow, inoffensive sort of tuning. However, it does still have a great sense of airiness due to the extension past 10kHz. There was enough crispness and brilliance to deliver sufficient presence without overpowering the lower frequencies and at the same time allowing the midrange to shine.
TechnicalityFrom a technical standpoint, Shanling TINO excels in portraying a spacious soundstage that stretches slightly outside of my head. It has a fairly balanced oval-ish shape, whereby there is slightly more width than depth within the soundstage. Combined with the airiness from the higher treble, it creates a pleasant ambience which does not feel boxy or flat, resonances produced from the dynamic drivers dispersed naturally. Spatial imaging was sharp, although not pinpoint sharp but the TINO could still render accurate movements even when there are different elements playing at the same time.
Detail retrieval and resolution were average at best, pretty standard for most affordable IEMs. For high level details, the TINO does the job absolutely fine however when it comes to rendering low level details, it tends to get slightly blurry and barely noticeable. Layering and separation were also average, I could hear a good sense of placement and depth between elements albeit only limited. So for something that has a lot of elements such as classicals, etc, the Shanling TINO could get quite congested.
Lastly for the dynamic range test for the Shanling TINO is rated at average. Utilizing the Ultimate Headphone Test - ABYSS Headphone dynamic range test as a reference. In short, a sample sound of a drum and a bell are played simultaneously as much as 7 counts, but only the sound of the bells will become quieter. Hence, from a scale of 7 counts, TINO was able to produce an audible 5 out of 7 counts.
Comparison(s)
- Shanling TINO (USB DAC)
Switching to the USB DAC, there was not much of a difference in terms of sound quality across the whole spectrum. However, I did notice some subtle differences when listening with the USB DAC, compared to 3.5/4.4mm input connections such as a change from a forward midrange presentation to a slightly recessed, V-shape sort of sound signature. Other than that, soundstaging also became slightly less spacious and less airy.
- Truthear Zero: Blue
While both of these IEMs feature dual dynamic drivers, TINO sounded much similar to the Zero: Blue’s other sibling, the Zero: Red. Nevertheless, the most noticeable difference in terms of tuning and sound quality was in terms of bass response. Mid-bass sounded much thicker, punches harder with better depth with the Zero: Blue. Sub-bass are fairly similar on both IEMs. However, due to the greater emphasis on TINO, it does allow the IEM to produce a much deeper and textured rumble compared to the Zero: Blue.
Same goes with the midrange, fairly similar on both IEMs but it was more tolerable on the Zero: Blue without sacrificing forwardness, naturalness and clarity considering it has a slightly lesser ear gain. Treble sounded much more crisp with better presence in the Zero: Blue. Though I understand some might prefer the much relaxed, smoother sounding TINO. However, if you're looking towards that lively, engaging characteristics Zero: Blue would serve better for that purpose. Technical wise, the Zero: Blue were less efficient hence it requires a more powerful source compared to TINO. Soundstaging sounded much more close yet balanced, there's better detail retrieval and resolution on the Zero: Blue. Dynamic range was also slightly better on the Zero: Blue hence, endnotes on instruments or bass lines lingers slightly longer.
Eartip Combination(s)
- E Pro EP00
Good pairing with TINO, doesn't change the boomy impact from the bass slams. However, it is slightly thicker and hefty without coming across as muddy. Lower-mids were a tad warmer with the upper-mid sounded much more tolerable. That said, it does sacrifice the already smooth treble as it becomes slightly dull in my opinion. The EP00 is well known for its capability to preserve or enhance airiness and this combination with TINO is no different, the treble although slightly dull was still airy as with any other ear tips.
- Pentaconn Coreir Alloy
Solid pairing with TINO, adds slightly more body, reshaping it to resemble much of a thick “thud” sound and weight into the mid-bass as well as midrange. Treble also sounded a tad much airier and resonances dispersed much more naturally. Quite pricey as a whole pack of two would cost you a fraction of the cost of this IEM.
Purchasing Links and Where to Get?Shanling Official Website (non-affiliated);
https://store.shanling.com/TINO-pd544920858.html
ConclusionWith a unique, one of a kind faceplate that features the rare art of Chinese foil-burning painting that awes the eye with its strikingly deep, warm amber colour. Shanling TINO impresses listeners through its warm, smooth low-end and midrange complimented with the relaxing, airy treble and a spaciously natural soundstage. Though it might be lacking in delivering WOW factor, the Shanling TINO is still a very competent performer under $100. Perfectly suited for those who are looking for a unique looking pair of IEMs, with a priority of a relaxed sound signature without sacrificing airiness and spaciousness which they could enjoy even for a prolonged period of time or even for someone who are looking for a safe sounding IEM with strong vocal presence in the midrange. With so many IEMs nowadays sharing a more or less similar sound signature except for the looks, the decision is all for you to decide. With that, marks the end of my review for the Shanling TINO and hope to see you all in my next review!
Additional Test TracksCan You Stand The Rain - Boyz II Men44.1kHz
Money For Nothing (Explicit) - Dire Straits44.1kHz
A Poem Titled You – TAEYEON 44.1kHz
Anesthetize (Live) – Porcupine Tree DSD256
Vermilion - Slipknot44.1kHz
Kanade - SUKIMASWITCH 44.1kHz
La vaguelette (Original Game Soundtrack) - HOYO-MiX44.1kHz
Rhythm - Jamey Haddad, Lenny White; Mark Sherman44.1kHz
Kimigatame (When Suara Meets DSD 11.2Mhz) - SuaraDSD11.2MHz
Just Coolin’ – Art Blakey 192kHz
Automatic - Hikaru Utada 44.1kHz
In My Room - Hikaru Utada44.1kHz
Colors (Live in Studio) - Black Pumas192kHz
Timbres – Yosi Horikawa 44.1kHz
Misguided Ghosts - Paramore 44.1kHz
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n0varay
New Head-Fier
Pros: > Comfortable ergonomics and lightweight.
> Larger, better carrying case.
> Affordable for the performance.
> Well-balanced tuning similar to KE4 but with slightly enhanced treble.
> Forward upper-mids with great clarity in the lower-mid and midrange.
> Spacious and airy soundstaging.
> Good detail retrieval.
Cons: < Fairly thin cable.
< Inclusions such as ear tips could be improved.
< Slight melding in the bass (could be improved with better ear tips).
< Decent resolution.
< Decent separation and layering.
Kiwi Ears Airoso - Kiwi Ears KE4, Now with Sparkles!
Disclaimer
- The reviewed IEM is a sponsored unit by Kiwi Ears, plenty thanks to @EvelynZ for making this review possible. Nevertheless, all opinions remain original ideas, there was zero influence from any 3rd party or external opinions throughout the review.
- No EQ or filter presets were used during the entire sound evaluation.
- Sound evaluation are kept neutral and does not include 3rd party accessories (ie; eartips, cable, reversible mods)
IntroductionKiwi Ears in recent times has released numerous brand new IEMs and including their own headphone series which I have yet to personally try. Although I'm more into IEMs, I can't deny that I'm not interested in trying their headphones, especially the Atheia which was their first full size planar magnetic headphones. That said, recently after the review of my Orchestra Lite. Kiwi Ears asked me whether I am interested in trying their brand new hybrid IEM, which so far if my memory serves me right the only current hybrid IEMs Kiwi Ears have were the highly-regarded Meta tuned Kiwi Ears KE4, that I covered a few months back. In my opinion, it was an excellent pair of IEMs although it was lacking in terms of technicalities and driver capabilities, especially the dynamic driver to deliver satisfying, high quality bass performance.
Regardless, we're here not to talk about the KE4 anymore. With me in this review is the brand new Kiwi Ears Airoso, which means airy/windy/blowy in Spanish. The Airoso features a brand new 5 driver hybrid configuration that utilizes a single dynamic driver with LCP + PU diaphragm and four balanced armature units, which are not specified from which brands. The Airoso is available for purchase for $129 at Linsoul Audio or via Kiwi Ears official website which you can read the technical details further via clicking the hyperlink. With all that is done, let's jump into the review of the Kiwi Ears Airoso!
Unboxing Experience
Kiwi Ears are known for their straightforward and minimal approach in terms of their packaging and the Airoso was no different as well. Starting from the outer cover of the box, we have the illustration of the IEMs itself and I love the graphic design on the box. It's clean, minimal yet playful combined with the fonts Kiwi Ears have used, in a way that they arranged the “Airoso” letterings that resembles airflow. On the side of the box, are located the basic specifications about the IEM. Meanwhile, at the back there's also an illustration but a smaller version of the front, alongside the details of the company. Simple, basic stuff, straight to the point done tastefully right from Kiwi Ears.
As we unbox further, Kiwi Ears have done slight alterations in terms of their product presentation inside the hard box for the Airoso. Usually, with most Kiwi Ears IEMs you'll see lots of it came with cardboard panels you'll have to pull out each one out of the box. This time, they have gone for a much simpler, and straightforward presentation. A small rectangular foam cutout to secure the IEMs and a cardboard flap to cover the rest of the package, reminds me of Simgot IEMs sort of presentation, the EA500-series to be exact.
So, inside the box you'll be greeted with the Airoso itself and as we unbox further, there's a hard case which features a newer design which is slightly taller allowing for larger storage capacity compared to the previous case. Users will find the stock cable inside the case, including accessories such as ear tips which come in three different colours but similar/exactly the same kind. So I was wondering, perhaps Kiwi Ears might have done better by inserting two options instead of three, as in one pack of generic silicones and the other one is their Kiwi Ears Flex ear tips.
Specifications
- Driver: 1 LCP + PU diaphragm dynamic driver, 2 balanced armatures (high), 2 balanced armatures (ultra-high)
- Impedance: 18 Ohms
- Sensitivity: 110dB/SPL
- Frequency Response: 20Hz-20kHz
- Cable: 4 core copper cable with 3.5mm to 2-pin (0.78mm)
- Nozzle diameter: 6mm
- Weight: 12g
Build and ComfortAfter trying numerous in-ear monitors from Kiwi Ears, it can be said that most of their IEMs are comfortable, lightweight and yet feels rigid to withstand daily usage. Not including the Orchestra Lite I've recently reviewed though, due to an issue in regards to the lack of vent holes which causes internal pressure build-up. Fortunately, that was not the case I had with the Airoso, I find the IEM to be very comfortable due to its lightweight design, with the appropriate nozzle length and angle despite the nozzle width was slightly on the larger side measured at 6mm so those with smaller ears might have to take note. Although, the Kiwi Ears Airoso does not have an ergonomic ear hook design that grabs onto your conchae likewise with the KE4. It does not influence the overall wearing experience in a bad way, as it still fits nicely and firmly in your ears.
Similarly with most of their IEMs, the Airoso is made from resin similar to the one on the KE4 with a tiny pressure release vent placed just right before the nozzle. Meanwhile, the faceplate is made with metal that was meticulously done using a CNC machine which has an automotive, industrial inspired design as far as how it looks to me. The filleted edges of the faceplate still feels quite edgy, but thankfully not sharp or coarse by any means, there's also a tiny cutout right next to the “Kiwi Ears” branding that works as an additional pressure release vent. Due to that, I could not hear any crinkling sound coming from the internals or any trouble to pull out the IEM easily with the new vent design. Overall, the build quality on this IEM is excellent in my opinion, it feels rigid with not a single loose part and won't feel like it'll break anytime soon.
CableKiwi Ears have decided to downgrade the cable for the Airoso, compared to its more premium siblings such as the KE4 or even the brand new Aether. In fact, it is exactly the same cable that came with the Kiwi Ears Cadenza. I'm not particularly disappointed with it, perhaps it is one way Kiwi Ears could maximize the potential performance that can be invested into the Airoso without spending too much.
Nevertheless, the cable included for the Airoso was a basic 4 core wire that I assume is a typical OFC (oxygen-free copper) cable, insulated with a polyurethane (PU) material to protect the wires from elements. Overall, it is a decent cable, lightweight, flexible which makes it easy to wrap for storage and fairly resistant to tangling. Unfortunately, the cable for the Airoso does only come in a 3.5mm single-ended option but you can always swap it with a 3rd party cable, if you wish to have better aesthetics and ease of usage.
Test Equipment
- Local Hi-Res files > Astell&Kern SE100 M.Chat (Linear Phase Fast Roll-off Filter)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V + DSEE Ultimate (ON), Dolby Atmos (OFF)
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Questyle M18i
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > Kiwi Ears Allegro Mini
- Tidal (Master) + Local Hi-Res files via UAPP > Sony Xperia 1 V > MUSEHIFI M3 II
Power RequirementsRated at an impedance of only 18 Ohms and combined with the 110 dB/SPL, the Kiwi Ears Airoso were an efficient pair of in-ear monitors that can be easily powered through small devices and scales well with more powerful devices such as portable DAC/AMPs. Additionally, due to the high sensitivity the Airoso could transmit white noise or hissing sound into the background, which could be emitted from sources that have high noise levels such as the Kiwi Ears Allegro Pro which I have reviewed quite recently.
Apart from that, end-users should not be worried about the required output power to run the Airoso. I've tested it through the Kiwi Ears Allegro Mini and VE Odo and needed only between 5-7/30 volume adjustments on my Sony Xperia 1 V to reach the comfortable loudness for my personal preference. On more powerful devices such as the Questyle M18i, it took me 8-10/60 on low gain settings, single-ended. Meanwhile, driven through my Astell&Kern SE100, it took me to raise the volume up to 35-40/150 to achieve my desired loudness.
Sound EvaluationThe Kiwi Ears Airoso has undergone burn-in phase for at least 48 hours prior to sound evaluation. Throughout the analysis, I paired up the Airoso with a neutral source, the A&K SE100 on Linear Phase Fast Roll-off Filter chosen given that it’s the most natural sounding filter compared to default. Triple-flange eartips are used as default eartips throughout the sound evaluation. Bonus test tracks used can be found down at the end of this review.
Diagram 1.0: Frequency response of the Kiwi Ears Airoso. Courtesy of Paul Wasabi.
Diagram 1.1: Frequency response comparisons of the Kiwi Ears Airoso and KE4. Courtesy of Paul Wasabi.
The Kiwi Ears Airoso is an exciting, well-balanced sounding IEM with an overall warm, bodied bass that gradually slopes into the lower midrange which gives a slight colouration into the midrange. Higher frequencies starting from the upper-mid region all the way towards the higher treble were lively, with very good presence in my opinion without coming across that I would consider it as harsh or coarse to my surprise. Despite having said that, there are noticeable irregularities that's translated via peaks and dips between the 5kHz and up to 10kHz. Kiwi Ears did mention the existence of what they refer as “precision crossovers” being implemented inside the Airoso, to control the drivers to individually reproduce a specific spectrum of frequencies.
Moreover, the slightly elevated upper-mid frequency allows the Airoso very much reminds me of the more premium Kiwi Ears KE4, albeit the Airoso appears to be slightly more highlighted. This may be due to the brighter timbre of this IEM. Additionally, due to the emphasized peak at an approximate 13k-14kHz. It made the Airoso sound pleasantly airy and open, which made the soundstage on this IEM sounded quite surprisingly very spacious.
Low Frequency (Bass)Low frequencies on the Kiwi Ears Airoso can be described as warm, exciting and now strikes slightly harder than the much premium KE4. Although the Airoso is still something I would not consider as a bass head worthy pair of IEMs, it might still be an appealing option for those who appreciate high quality bass or if you prefer a slightly Harman-esque tuned bass in a Meta tuning. Sub-bass on the Airoso can be described as rumbly, fairly textured with good definition, which I consider as an upgrade from the Kiwi Ears KE4 which I find too light, and blunt for my personal preference. As per usual, I tested the Airoso with my standard bass track, Hollow (16-bit Remix) - Björk and the Airoso were surprisingly has good depth being able to reach below 60Hz, while presenting the low-bass rumbles cleanly with a groovy rumbling effect that was nicely textured.
I'm not entirely sure whether Kiwi Ears used a brand new dynamic driver for the Airoso or might just be due to the tuning as one could refer to via the diagram above that shows the Airoso does have a slight elevation on sub-bass and into lower midrange. Though the mid-bass slams still have that pillowy effect, it does hit noticeably solid and harder now, with more authority compared to the ones that are in the KE4. I would describe it more towards a thick, quite hefty “thud”, followed by a longer transient which enhanced the bass to sound more dynamic and immersive allowing bass notes to linger slightly longer. That said, I could not hear any difference in terms of speed and delivery, especially when played through tracks such as Hunter - Björk as the Airoso could timely render each bass slams. Although due to the slightly longer transient, it does cause some melding.
Middle Frequency (Mid)Midrange on the Airoso offers a neutral sound signature with a slightly warm timbre. As I could hear the tonality in vocals and some stringed instruments such as acoustic guitars had a slightly added colouration. Apart from that the midrange is also combined with a smooth upper-mid, yet it offers very good clarity which enhances vocal articulations without coming across as intense.
To my surprise, the Airoso were capable of rendering textures in vocals such as late Layne Staley's iconic grunge vocals in Down In A Hole (Unplugged) - AiC. Though it was not insanely detailed as higher-end IEMs could offer, to me it was still an impressive feat in my opinion. Additionally, although on paper the Airoso might seem a bit Harman-ish in the mids, I do not find these to be recessed at all but rather forward with a fairly strong presence. Hence, vocals were nicely highlighted and separated from other elements within the mids.
High Frequency (Treble)Treble on the Airoso as expected from the name, was airy which provides a pleasant ambience in the soundstage. Furthermore, the Airoso is slightly on the brighter, livelier side yet at the same time smooth and suitable even for long hours of listening despite the peaks and dips on the treble. Sound of hi-hats and crashes sounded crisp, detailed and impressively natural without coming across as sibilant, equally the same with vocals. The pronunciation of “s” and “t”, for example in the track Underwater Love - Soulperfreesia sounded slightly on the sharper but not in a bad way and free from sibilant, which most likely due to the dip at 5kHz.
TechnicalityIn the technical department, one of the strongest points of the Kiwi Ears Airoso was its capability to render a large, spacious soundstaging primarily in terms of width size which was wider compared to its depth, which for me felt quite mushed together. It feels pleasant, nicely airy while resonance and reverberations dissipate naturally due to the pressure vent that is located on the faceplate. Spatial imaging on the other hand was decent, slightly poorer compared to the KE4 which I rated average in my KE4 review if I'm being totally honest.
Detail retrieval on the Airoso was also quite impressive in my opinion, it could render high level details and low level details without any problems. However, when it comes to resolution the Airoso fell quite short as subtle nuances sounded blurrish, blunt and lacking in definition. Separation and layering on the Airoso were average in my book, the IEM does work well with genres or songs with limited elements since the Airoso tends to get congested and meld.
Lastly for the dynamic range test for the Kiwi Ears Airoso is rated at average. Utilizing the Ultimate Headphone Test - ABYSS Headphone dynamic range test as a reference. In short, a sample sound of a drum and a bell are played simultaneously as much as 7 counts, but only the sound of the bells will become quieter. Hence, from a scale of 7 counts, Airoso was able to produce an audible 5 out of 7 counts.
Comparison(s)
Kiwi Ears KE4
Comparatively, both of these IEMs are quite similar sounding but with a noticeable difference. If I could explain it in short, if you think that the KE4 was a bit too boring or safe, perhaps maybe a bit lacking in the treble region in your opinion. Then, the Airoso is essentially a much more exciting, livelier version of the KE4. I've said it in my previous review, that theKE4 could need a slightly brighter treble, just by a couple 2-3dB to make it slightly more engaging and the Airoso is essentially that.
For more in-depth details, bass on both IEMs are equally snappy and responsive. However, the KE4 sounded much softer and wooly in delivering bass punches and slams which was my main complaint. That said, the KE4 has faster decay which causes bass transients to be slightly shorter compared to the Airoso. That said, the isobaric dynamic drivers inside the KE4 provided an immersive bass experience. Midrange timbre was a tad warmer and richer on the KE4 but at the same time slightly muddy due to the elevation in the lower-mids. Vocal presentation on the KE4 sounded slightly recessed compared to the Airoso. Moving towards the treble was the most noticeable difference between the two. As KE4 was more suitable for those to prefer smoother, inoffensive treble that is suitable for long hours of listening but it can be a tad splashy.
Technically, the KE4 is slightly superior in terms of resolution however, falls slightly short to the Airoso due to the accentuated treble. Soundstage also sounded a lot more intimate and spatial imaging was slightly more precise on the KE4. That said, both IEMs have average dynamic range which I ran through the test and it scored a 5 out of 7 bell counts.
Eartip Combination(s)
Pentaconn Coreir Alloy
The Coreir brings a little bit more clarity in the midrange and slightly leaner lower-mids due to the wide bore design of the Coreir which lessens the bass quantity by a slight amount and fixes the melding aforementioned. However, bass slams feel a tad more rounded and defined rather than a flat “thud” sound. Treble was not quite affected as far as this pairing goes, though I did notice the soundstaging became slightly less airy. Nevertheless, the size and width of the soundstage remains pretty much the same in my opinion (YMMV).
E Pro EP01
A decent pairing in my opinion, the Airoso sounded almost identical to the KE4 when paired with the EP01. Albeit, there are subtle differences such as a heftier, boomier bass slam. Midrange is a tad warmer to the original stock yet without reducing the clarity in the lower-mids. Soundstage on these turned into an oval sort of shape, though it does not affect the airiness in any sort. However, the treble became somewhat similar to what I experienced with the KE4, which was a tad splashy but the Airoso since it alread has a brighter treble to begin with I could still hear very good presence in that mentioned region.
Purchasing Links and Where to Get?Kiwi Ears Official Website (non-affiliated):
https://kiwiears.com/products/kiwi-ears-airoso
ConclusionKiwi Ears has outdone themselves with the brand new Kiwi Ears Airoso and I can't say that I'm not impressed considering that they can achieve a similar result on their KE4 BUT better and cheaper with the Airoso. I also love the fact that Kiwi Ears have changed the hard case to a slightly taller one that allows for larger storage space, which was also one of my complaints and among other reviewers too. However, I do wish Kiwi Ears would place better inclusions next time such as better ear tips since they have the Kiwi Ears Flex which in my opinion are a great pair of eartips for adding bass quantity and quality without sacrificing treble presence and extension when compared with other bass enhancing ear tips.
Having said that, the Kiwi Ears Airoso is an excellent alternative especially if you wish the KE4 has a slightly more enhanced treble, larger and airier soundstaging combined with a cleaner midrange. Which in my opinion, has a better lower-mid clarity compared to the KE4 that can get quite muddy with certain ear tips. Combine this all at $70 much cheaper than the KE4, and perhaps the extra balance you could get the Kiwi Ears Flex ear tips to go with it. Well, that marks up the end to my review of the Kiwi Ears Airoso and hope to see you all in the next one!
Additional Test TracksCan You Stand The Rain - Boyz II Men 44.1kHz
Money For Nothing (Explicit) - Dire Straits44.1kHz
A Poem Titled You – TAEYEON 44.1kHz
Anesthetize (Live) – Porcupine Tree DSD256
Vermilion - Slipknot 44.1kHz
Kanade - SUKIMASWITCH 44.1kHz
La vaguelette (Original Game Soundtrack) - HOYO-MiX 44.1kHz
Rhythm - Jamey Haddad, Lenny White; Mark Sherman 44.1kHz
Kimigatame (When Suara Meets DSD 11.2Mhz) - Suara DSD11.2MHz
Just Coolin’ – Art Blakey 192kHz
Automatic - Hikaru Utada 44.1kHz
In My Room - Hikaru Utada 44.1kHz
Colors (Live in Studio) - Black Pumas 192kHz
Timbres – Yosi Horikawa 44.1kHz
Misguided Ghosts - Paramore 44.1kHz
Attachments
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n0varay
New Head-Fier
Pros: > Twice the power to its predecessor model.
> Affordable.
> Ultra-compact design.
> Features an updated design and all-metal enclosure.
> Neutral, clean sounding with slightly greater resolution than previous model.
> Livelier treble with better presence.
> Timbre is slightly on the brighter side (if you like it bright).
> Does not heat up compared to the previous model.
Cons: < Can be noisy, emitting loud hissing noise with sensitive IEMs.
< Due to the brighter timbre, it may not be suitable to pair with bright or upper-mid focused IEMs.
< Midrange can be a tad dry.
Kiwi Ears Allegro Pro - The Pocket Powerhouse Saga Continues!
Disclaimer
- The reviewed IEM is a sponsored unit by Kiwi Ears in exchange for a review. Nevertheless, all opinions remain original ideas of my own, there was zero influence from any 3rd party or external opinions throughout the review.
- No EQ or filter presets were used during the entire sound evaluation.
- Sound evaluation are kept neutral and does not include 3rd party accessories (ie; filters, eartips, cable, irreversible/reversible mods)
IntroductionWhile other brands are building more ridiculously powerful and heavy dongles, which some nowadays capable of reaching beyond 500mW in a standard dongle size. There are also brands who went back to its roots of a dongle, prioritizing the essentials such as portability rather than its luxuries. Thus, when we're talking about the ultra-compact dongle segment, Kiwi Ears, Audirect and ddHiFi always come to mind. Which brings me to today's review, we'll be talking about Kiwi Ears and in recent weeks they have announced the new upgrade to the Kiwi Ears Allegro Mini, their first ultra-compact dongle DAC/AMP which till today I still regularly use as my reference DAC.
This time, I'll be reviewing the Kiwi Ears Allegro Pro which still features the ultra-compact design. But now, it has been updated with the addition of two new amplifier modules providing amplification for the Allegro Pro. That is the ES9603 from ESS Technology. For your information, the ES9603 amp has been featured in some dongles before such as the HiBy FC5 and the more uncommon YongSe BS-1. Apart from that, Kiwi Ears have also implemented digital filters which users can toggle via a button. Hence, I would love to take this opportunity to send my regards to @EvelynZ , the marketing representative from Kiwi Ears, for offering me an opportunity to review the Allegro Pro.
Packaging and AccessoriesKiwi Ears has given the Allegro Pro a whole new package and presentation compared to the it's predecessor, the Kiwi Ears Allegro Mini which came barebones in a white printed cardboard box. The graphics looked a lot more flashier and combined with the blueish colour which instantly grabs my attention. To make it more appealing, Kiwi Ears decided to place the outstretched spiky elements taken from their brand logo which I think was a clever move.
In front of the box, we have the illustration of the dongle itself alongside some marketing points and the Kiwi Ears branding. Similarly on the right side of the box displays the functionality of the Allegro Pro, meanwhile on the left side is located the specifications of the dongle. At the back side of the box, are printed the details about the company and there's also a technical drawing/package drawing of the Allegro Pro.
Similarly to the Allegro Mini, the Pro version does not come with any accessories and only the dongle DAC/AMP itself sits snug inside the foam cutout. So far, I don't find anything lacking about the presentation considering the price.
Design and ErgonomicsKeeping the same design principle as the previous model, the Allegro Pro still features the ultra-compact design which quickly grows into me. The Allegro Pro now is entirely made using metal compared to the Allegro Mini which uses plastic for the 4.4mm and 3.5mm jack housing, I don't find it to be lousy or will break anytime soon but the all metal build does certainly appear to be much better in terms of durability and aesthetic value as well.
Photo above shows the size comparison of the Kiwi Ears Allegro Mini (top) and the Allegro Pro (bottom).
Comparatively side by side, the Allegro Pro is slightly longer than the Allegro which might be due to the new components inside of the dongle and a tad heavier too but only by a minimal difference. On the face of the dongle, Kiwi Ears has redesigned the notch which made pulling the dongle after use to be much easier compared to the older version. Though I personally don't have much complaint on the Allegro Mini, nevertheless it was a nice upgraded feature on the Allegro Pro.
Photo above shows the side-by-side size comparison of the Kiwi Ears Allegro Pro (left) and the Allegro Mini (right).
On the bottom of the dongle, there is a small button which allows you to scroll between the digital filters. According to Kiwi Ears, there are three colours representing different digital filter options which we'll talk more about in the features and sound impression. Other than that, the button feels solid when pressed and does not feel mushy or stuck. Compared to the other dongles in the market, I love the shape of the Kiwi Ears Allegro series since it is just a solid piece of rectangular metal dongle which allows me to turn it into a 90° phone stand. I jest, although I myself regularly do it, it's not recommended or you might bend your charging port.
IntroductionShanling, known for their DAPs, CD players and portable DAC/AMP is no stranger when it comes to hi-res audio equipment. With an experience of over more than 30+ years from the year the establishment were founded back in 1988, their expertise are portrayed through some of the most aesthetically unique looking and high performance equipments for audiophiles such as the Shanling M8T, the successor to the original M8, the legendary CD-T300 tube output CD player and much more. That said, Shanling isn't just a brand that produces uber high-end equipment, as they also have more affordable offerings such as the Shanling M0 ultra-compact audio player, Shanling H0 and H2 which are their budget portable DAC/AMP and including IEMs. Shanling pretty much excels in most of their product segments but if you ask me personally, I can put my trust on them when it comes to DAPs.
Nevertheless, in recent weeks Shanling has sent me one of their newest products for review. What we have here is the latest Shanling TINO. This IEM currently retails at an affordable $79.00, which features dual dynamic drivers configuration. A 10 mm dynamic driver that's responsible for the low-end frequencies and another but smaller 8 mm dynamic driver to deliver the midrange and treble. This IEM also features a modular cable which potential buyers could purchase the TINO with a single-ended 3.5mm plug as default. But, they can also be given an option to purchase the modular plugs separately for an additional cost such as a 4.4mm balanced and a USB DAC through Shanling’s own website. Having said that, they were generous enough to provide all of the modular plugs to test at my own leisure for this review. Not to forget, plenty of appreciation to @Shanling for sponsoring a unit to make this review possible. With that being said, let us dive straight into the review of the Shanling TINO!
Unboxing Experience
“Sophisticatedly.. Simple”, would best describe the overall experience as I unbox the Shanling TINO. There's nothing extravagant about the included items or complex mechanisms, however the way that Shanling presents the TINO made it appear like a premium looking pair of IEMs. So, on the outer layer there was not much to see other than a picture of the IEM itself with a Shanling branding and the name of the IEM on the front. On the top, there's a Hi-Res Audio certificate logo as this IEM supposedly could present frequencies higher than 20kHz. Meanwhile, at the back you'll find basic specifications about Shanling TINO, including the details about Shanling and so on, pretty simple and basic presentation.
While most budget IEMs usually come with packaging that just pops out like a gift box, the Shanling TINO on the other hand is presented inside a flip box with a Shanling branding on top which gives this IEM a touch of premium experience and sophistication. Inside, users will be greeted with the IEM itself resting in between a foam cutout with the TINO is already attached to the cable. As we unbox further, users will find a cylindrical aluminum case which contains the ear tips inside and at the bottom of the box, you'll find a manual guide alongside a warranty card. Interestingly, one of the included set of eartips seem to be a clone version of the Sony EP-EX11 with subtle alterations such as the matte silicone texture, slightly larger bore and much stiffer stem.
Specifications
- Sampling Rate: 32bit/384kHz
- Noise: 122dB
- Dynamic Range: 100dB
- Separation: 100dB
Build and Comfort
To make the TINO appear as one of a kind, Shanling has applied a traditional Chinese foil-burning technique for the faceplate which resembles a warm, deep amber colour combined with the gold trimming that radiates gorgeously when shone under the lights. There is little information about this ancient art, however based on the details I could gather from the internet it is said that this ancient art predates the Tang dynasty era and reached its peak during the Ming and Qing dynasties. Back to the main topic, due to the foils being handcrafted it does mean that every TINO looks no two the same to each other. Similarly with the likes of DUNU Davinci, DUNU SA3 which was inspired by Hokusai's paintings, etc. Even on my pair, the left side is completely different from the right side.
Moving onto the build itself, TINO features a dual dynamic driver layout as the main 10 mm dynamic driver with the diaphragm material being a PU-suspended edge and LCP for the dome to produce the low-end. Meanwhile, an 8 mm dynamic driver with a DLC diaphragm is responsible for delivering the midrange and treble frequencies. When inspecting closer into the IEMs, it appears that the smaller 8 mm dynamic driver is located in front of the nozzle and also it appears there are no acoustic tubes being used inside this IEM.
Weighing at just 4.6 grams per side, the TINO feels featherlight when placed onto the palm of my hand. Only when hooked with its cable did I realize that the whole thing was weighty. TINO features a build that is made entirely using 3D printed resin material followed by a UV curing process to achieve a precise and refined finishing quality. From a comfort perspective however, the Shanling TINO was a comfortable pair of IEMs and due to the lightweight shell I could barely tell that I was wearing one. In terms of ear tips compatibility, the nozzle size on TINO is measured at 6mm hence ear tips that are smaller than 4-4.5mm might be difficult to attach such as the provided stock ear tips which requires an extra care when trying to put them on. Additionally, there are pressure vents on each side, located at the back of the IEM just below the connector sockets to prevent pressure build-up.
CableShanling TINO are provided with a dual braid cable which very much reminds me of the Hisenior White Whale cable that was included inside the Mega5-EST 7th Anniversary Edition. Hence, you can expect a very similar premium appearance although the cable memory was slightly stiff, so you'll need to wrap it properly to avoid it from tangling or out of shape. From the specifications of the materials, the cable features an 18 cores of high-purity OFC (Oxygen-Free Copper) wire and measured at 1.3 meters. The outer layer of the cable is protected with a thick layer of insulation which makes the cable feel quite heavy.
By the appearance it looks simply gorgeous and compliments the whole aesthetic well, though I wonder perhaps a copper wire would fit nicer. The connectors for the modular plugs are surprisingly made out of hard plastic which I initially thought was aluminum due to its lightweight feeling, meanwhile the rest of the components are made with metal. The TINO comes with a 3.5mm single-ended as default, you can purchase the modular plugs separately at an additional cost for the 4.4mm balanced and the USB DAC. Shanling didn't provide any specific DAC chip used inside the USB but they do provide details such as its decoding capability which can play hi-res files up to 32bit/384kHz.
Test Equipment
Power RequirementsCompared to other dual dynamic driver IEMs that I have tried throughout my reviewing experience, the Shanling TINO can be said is one of the most efficient IEMs I have tested. That said, when plugged into sources with higher noise floors such as the Kiwi Ears Allegro Pro which I have previously reviewed, the Shanling TINO remains silent. I plugged the Shanling TINO through numerous sources such as my reference DAP, the Astell&Kern SE100 through balanced output and was able to reach a sufficient volume of between 29-34/150.
Meanwhile, on much smaller and portable devices such as the Questyle M18i, I only needed to crank up the volume to between 6-8/60 coming out from the 4.4 balanced output on low gain to reach my comfortable listening volume. However, I do notice that on a weaker source the bass on the TINO sounded slightly softer and less impactful when compared to plugging it into a more capable source.
Sound EvaluationThe Shanling TINO has undergone burn-in phase for at least 48 hours prior to sound evaluation. Throughout the analysis, I paired up the TINO with a neutral source, the A&K SE100 on Linear Phase Fast Roll-off Filter chosen given that it’s the most natural sounding filter compared to default. Triple-flange ear tips and 4.4mm balanced are set as defult throughout the sound evaluation. Bonus test tracks used can be found down at the end of this review.
Diagram 1.0: Frequency response of the Shanling TINO on 3.5mm and USB. Courtesy of ToneDeafMonk.
Shanling TINO in my opinion is a warm, balanced sounding pair of IEMs with smooth highs and possesses a spacious soundstage. First time putting them on, this IEM delivers a U-shape tuning that focuses more towards sub-bass and upper-mids, complimented with the airy treble and spacious soundstage which is likely due to the elevations in the higher treble. Furthermore, the midrange on the TINO was fairly neutral with a slight warm timbre thus, you can expect a slightly richer tonality in stringed instruments such as acoustic guitar, etc. Meanwhile, midrange presence was quite forward due to the emphasized ear gain, it can be quite intense for my personal taste but it's totally fine when played at lower volumes.
This IEM shares a similar tuning with another IEM which was the hype or meta a few years ago, the Truthear Zero: Red which I have reviewed in the past. Both sounded very much similar with subtle nuances mainly within the bass frequencies, lower mid and upper-mids. Unfortunately I could not compare both head-to-head since the Zero: Red was a loaned unit hence I had to hand it back, however I do still own the Blue variant which in my opinion was a more unique sounding IEM. To add onto that, I will also compare the TINO when connected through the provided USB DAC in the comparison segment below.
Low Frequency (Bass)Bass on the Shanling TINO was rapid, engaging and capable of reaching deep into the lowest of frequency as the tuning focuses on sub-bass performance. Sub-bass is delivered clean with good clarity without any muddiness, however rumbles and textures felt rather light which focuses more on a cleaner and detailed sub-bass rendering which may not satisfy those who prefer a much visceral, thicker sub-bass rumble. Mid-bass punches felt polite yet fast which resembled a soft, rapid “boom” when tested through my usual track such as Hunter - Björk and Hollow (16-bit Remix) - Björk. Although the mid-bass was lacking in terms of quantity for that hefty, thick punch. The 10 mm dynamic driver, still capable of delivering good depth, balanced bass presence and natural sounding bass. For example, rendering the tone of kick drums felt natural, full and airy. That said due to the leaner mid-bass, bass transients are slightly much shorter, decays much faster when compared to a Harman-esque based tuning.
Middle Frequency (Mid)Midrange on the TINO delivered via the smaller 8 mm dynamic driver has good clarity, and in terms of sound it was fairly neutral although there is a slight elevation within the lower-mids which gives the midrange a slight colouration, enhanced body and lushness. That said, vocals and stringed instruments remained majorly neutral. Upper-mids sounded butter smooth and forward but at the same time slightly hazy in my opinion, there's a faint breathy tone especially when it comes to female vocals. Something worth noting, due to the emphasized ear gain, those who are sensitive to the upper-mids region might perceive the TINO as too intense or unnatural and although some ear tips do help to lessen the intensity it's definitely something to keep in mind.
High Frequency (Treble)Treble is more on the relaxed side, laid-back which can be seen even through the graph. I could not pick up any sibilant nor harshness coming from the 8 mm dynamic driver. That said, treble presence might feel lacking for some people since it is more into the mellow, inoffensive sort of tuning. However, it does still have a great sense of airiness due to the extension past 10kHz. There was enough crispness and brilliance to deliver sufficient presence without overpowering the lower frequencies and at the same time allowing the midrange to shine.
TechnicalityFrom a technical standpoint, Shanling TINO excels in portraying a spacious soundstage that stretches slightly outside of my head. It has a fairly balanced oval-ish shape, whereby there is slightly more width than depth within the soundstage. Combined with the airiness from the higher treble, it creates a pleasant ambience which does not feel boxy or flat, resonances produced from the dynamic drivers dispersed naturally. Spatial imaging was sharp, although not pinpoint sharp but the TINO could still render accurate movements even when there are different elements playing at the same time.
Detail retrieval and resolution were average at best, pretty standard for most affordable IEMs. For high level details, the TINO does the job absolutely fine however when it comes to rendering low level details, it tends to get slightly blurry and barely noticeable. Layering and separation were also average, I could hear a good sense of placement and depth between elements albeit only limited. So for something that has a lot of elements such as classicals, etc, the Shanling TINO could get quite congested.
Lastly for the dynamic range test for the Shanling TINO is rated at average. Utilizing the Ultimate Headphone Test - ABYSS Headphone dynamic range test as a reference. In short, a sample sound of a drum and a bell are played simultaneously as much as 7 counts, but only the sound of the bells will become quieter. Hence, from a scale of 7 counts, TINO was able to produce an audible 5 out of 7 counts.
Comparison(s)
Same goes with the midrange, fairly similar on both IEMs but it was more tolerable on the Zero: Blue without sacrificing forwardness, naturalness and clarity considering it has a slightly lesser ear gain. Treble sounded much more crisp with better presence in the Zero: Blue. Though I understand some might prefer the much relaxed, smoother sounding TINO. However, if you're looking towards that lively, engaging characteristics Zero: Blue would serve better for that purpose. Technical wise, the Zero: Blue were less efficient hence it requires a more powerful source compared to TINO. Soundstaging sounded much more close yet balanced, there's better detail retrieval and resolution on the Zero: Blue. Dynamic range was also slightly better on the Zero: Blue hence, endnotes on instruments or bass lines lingers slightly longer.
Eartip Combination(s)
Purchasing Links and Where to Get?Shanling Official Website (non-affiliated);
https://store.shanling.com/TINO-pd544920858.html
ConclusionWith a unique, one of a kind faceplate that features the rare art of Chinese foil-burning painting that awes the eye with its strikingly deep, warm amber colour. Shanling TINO impresses listeners through its warm, smooth low-end and midrange complimented with the relaxing, airy treble and a spaciously natural soundstage. Though it might be lacking in delivering WOW factor, the Shanling TINO is still a very competent performer under $100. Perfectly suited for those who are looking for a unique looking pair of IEMs, with a priority of a relaxed sound signature without sacrificing airiness and spaciousness which they could enjoy even for a prolonged period of time or even for someone who are looking for a safe sounding IEM with strong vocal presence in the midrange. With so many IEMs nowadays sharing a more or less similar sound signature except for the looks, the decision is all for you to decide. With that, marks the end of my review for the Shanling TINO and hope to see you all in my next review!
Additional Test TracksCan You Stand The Rain - Boyz II Men44.1kHz
Money For Nothing (Explicit) - Dire Straits44.1kHz
A Poem Titled You – TAEYEON 44.1kHz
Anesthetize (Live) – Porcupine Tree DSD256
Vermilion - Slipknot44.1kHz
Kanade - SUKIMASWITCH 44.1kHz
La vaguelette (Original Game Soundtrack) - HOYO-MiX44.1kHz
Rhythm - Jamey Haddad, Lenny White; Mark Sherman44.1kHz
Kimigatame (When Suara Meets DSD 11.2Mhz) - SuaraDSD11.2MHz
Just Coolin’ – Art Blakey 192kHz
Automatic - Hikaru Utada 44.1kHz
In My Room - Hikaru Utada44.1kHz
Colors (Live in Studio) - Black Pumas192kHz
Timbres – Yosi Horikawa 44.1kHz
Misguided Ghosts - Paramore 44.1kHz
Last edited:n0varay
New Head-Fier
Pros: > Comfortable ergonomics and lightweight.
> Larger, better carrying case.
> Affordable for the performance.
> Well-balanced tuning similar to KE4 but with slightly enhanced treble.
> Forward upper-mids with great clarity in the lower-mid and midrange.
> Spacious and airy soundstaging.
> Good detail retrieval.Cons: < Fairly thin cable.
< Inclusions such as ear tips could be improved.
< Slight melding in the bass (could be improved with better ear tips).
< Decent resolution.
< Decent separation and layering.
Kiwi Ears Airoso - Kiwi Ears KE4, Now with Sparkles!
Disclaimer
IntroductionKiwi Ears in recent times has released numerous brand new IEMs and including their own headphone series which I have yet to personally try. Although I'm more into IEMs, I can't deny that I'm not interested in trying their headphones, especially the Atheia which was their first full size planar magnetic headphones. That said, recently after the review of my Orchestra Lite. Kiwi Ears asked me whether I am interested in trying their brand new hybrid IEM, which so far if my memory serves me right the only current hybrid IEMs Kiwi Ears have were the highly-regarded Meta tuned Kiwi Ears KE4, that I covered a few months back. In my opinion, it was an excellent pair of IEMs although it was lacking in terms of technicalities and driver capabilities, especially the dynamic driver to deliver satisfying, high quality bass performance.
Regardless, we're here not to talk about the KE4 anymore. With me in this review is the brand new Kiwi Ears Airoso, which means airy/windy/blowy in Spanish. The Airoso features a brand new 5 driver hybrid configuration that utilizes a single dynamic driver with LCP + PU diaphragm and four balanced armature units, which are not specified from which brands. The Airoso is available for purchase for $129 at Linsoul Audio or via Kiwi Ears official website which you can read the technical details further via clicking the hyperlink. With all that is done, let's jump into the review of the Kiwi Ears Airoso!
Unboxing Experience
Kiwi Ears are known for their straightforward and minimal approach in terms of their packaging and the Airoso was no different as well. Starting from the outer cover of the box, we have the illustration of the IEMs itself and I love the graphic design on the box. It's clean, minimal yet playful combined with the fonts Kiwi Ears have used, in a way that they arranged the “Airoso” letterings that resembles airflow. On the side of the box, are located the basic specifications about the IEM. Meanwhile, at the back there's also an illustration but a smaller version of the front, alongside the details of the company. Simple, basic stuff, straight to the point done tastefully right from Kiwi Ears.
As we unbox further, Kiwi Ears have done slight alterations in terms of their product presentation inside the hard box for the Airoso. Usually, with most Kiwi Ears IEMs you'll see lots of it came with cardboard panels you'll have to pull out each one out of the box. This time, they have gone for a much simpler, and straightforward presentation. A small rectangular foam cutout to secure the IEMs and a cardboard flap to cover the rest of the package, reminds me of Simgot IEMs sort of presentation, the EA500-series to be exact.
So, inside the box you'll be greeted with the Airoso itself and as we unbox further, there's a hard case which features a newer design which is slightly taller allowing for larger storage capacity compared to the previous case. Users will find the stock cable inside the case, including accessories such as ear tips which come in three different colours but similar/exactly the same kind. So I was wondering, perhaps Kiwi Ears might have done better by inserting two options instead of three, as in one pack of generic silicones and the other one is their Kiwi Ears Flex ear tips.
Specifications
Build and ComfortAfter trying numerous in-ear monitors from Kiwi Ears, it can be said that most of their IEMs are comfortable, lightweight and yet feels rigid to withstand daily usage. Not including the Orchestra Lite I've recently reviewed though, due to an issue in regards to the lack of vent holes which causes internal pressure build-up. Fortunately, that was not the case I had with the Airoso, I find the IEM to be very comfortable due to its lightweight design, with the appropriate nozzle length and angle despite the nozzle width was slightly on the larger side measured at 6mm so those with smaller ears might have to take note. Although, the Kiwi Ears Airoso does not have an ergonomic ear hook design that grabs onto your conchae likewise with the KE4. It does not influence the overall wearing experience in a bad way, as it still fits nicely and firmly in your ears.
Similarly with most of their IEMs, the Airoso is made from resin similar to the one on the KE4 with a tiny pressure release vent placed just right before the nozzle. Meanwhile, the faceplate is made with metal that was meticulously done using a CNC machine which has an automotive, industrial inspired design as far as how it looks to me. The filleted edges of the faceplate still feels quite edgy, but thankfully not sharp or coarse by any means, there's also a tiny cutout right next to the “Kiwi Ears” branding that works as an additional pressure release vent. Due to that, I could not hear any crinkling sound coming from the internals or any trouble to pull out the IEM easily with the new vent design. Overall, the build quality on this IEM is excellent in my opinion, it feels rigid with not a single loose part and won't feel like it'll break anytime soon.
CableKiwi Ears have decided to downgrade the cable for the Airoso, compared to its more premium siblings such as the KE4 or even the brand new Aether. In fact, it is exactly the same cable that came with the Kiwi Ears Cadenza. I'm not particularly disappointed with it, perhaps it is one way Kiwi Ears could maximize the potential performance that can be invested into the Airoso without spending too much.
Nevertheless, the cable included for the Airoso was a basic 4 core wire that I assume is a typical OFC (oxygen-free copper) cable, insulated with a polyurethane (PU) material to protect the wires from elements. Overall, it is a decent cable, lightweight, flexible which makes it easy to wrap for storage and fairly resistant to tangling. Unfortunately, the cable for the Airoso does only come in a 3.5mm single-ended option but you can always swap it with a 3rd party cable, if you wish to have better aesthetics and ease of usage.
Test Equipment
Power RequirementsRated at an impedance of only 18 Ohms and combined with the 110 dB/SPL, the Kiwi Ears Airoso were an efficient pair of in-ear monitors that can be easily powered through small devices and scales well with more powerful devices such as portable DAC/AMPs. Additionally, due to the high sensitivity the Airoso could transmit white noise or hissing sound into the background, which could be emitted from sources that have high noise levels such as the Kiwi Ears Allegro Pro which I have reviewed quite recently.
Apart from that, end-users should not be worried about the required output power to run the Airoso. I've tested it through the Kiwi Ears Allegro Mini and VE Odo and needed only between 5-7/30 volume adjustments on my Sony Xperia 1 V to reach the comfortable loudness for my personal preference. On more powerful devices such as the Questyle M18i, it took me 8-10/60 on low gain settings, single-ended. Meanwhile, driven through my Astell&Kern SE100, it took me to raise the volume up to 35-40/150 to achieve my desired loudness.
Sound EvaluationThe Kiwi Ears Airoso has undergone burn-in phase for at least 48 hours prior to sound evaluation. Throughout the analysis, I paired up the Airoso with a neutral source, the A&K SE100 on Linear Phase Fast Roll-off Filter chosen given that it’s the most natural sounding filter compared to default. Triple-flange eartips are used as default eartips throughout the sound evaluation. Bonus test tracks used can be found down at the end of this review.
Diagram 1.0: Frequency response of the Kiwi Ears Airoso. Courtesy of Paul Wasabi.
Diagram 1.1: Frequency response comparisons of the Kiwi Ears Airoso and KE4. Courtesy of Paul Wasabi.
The Kiwi Ears Airoso is an exciting, well-balanced sounding IEM with an overall warm, bodied bass that gradually slopes into the lower midrange which gives a slight colouration into the midrange. Higher frequencies starting from the upper-mid region all the way towards the higher treble were lively, with very good presence in my opinion without coming across that I would consider it as harsh or coarse to my surprise. Despite having said that, there are noticeable irregularities that's translated via peaks and dips between the 5kHz and up to 10kHz. Kiwi Ears did mention the existence of what they refer as “precision crossovers” being implemented inside the Airoso, to control the drivers to individually reproduce a specific spectrum of frequencies.
Moreover, the slightly elevated upper-mid frequency allows the Airoso very much reminds me of the more premium Kiwi Ears KE4, albeit the Airoso appears to be slightly more highlighted. This may be due to the brighter timbre of this IEM. Additionally, due to the emphasized peak at an approximate 13k-14kHz. It made the Airoso sound pleasantly airy and open, which made the soundstage on this IEM sounded quite surprisingly very spacious.
Low Frequency (Bass)Low frequencies on the Kiwi Ears Airoso can be described as warm, exciting and now strikes slightly harder than the much premium KE4. Although the Airoso is still something I would not consider as a bass head worthy pair of IEMs, it might still be an appealing option for those who appreciate high quality bass or if you prefer a slightly Harman-esque tuned bass in a Meta tuning. Sub-bass on the Airoso can be described as rumbly, fairly textured with good definition, which I consider as an upgrade from the Kiwi Ears KE4 which I find too light, and blunt for my personal preference. As per usual, I tested the Airoso with my standard bass track, Hollow (16-bit Remix) - Björk and the Airoso were surprisingly has good depth being able to reach below 60Hz, while presenting the low-bass rumbles cleanly with a groovy rumbling effect that was nicely textured.
I'm not entirely sure whether Kiwi Ears used a brand new dynamic driver for the Airoso or might just be due to the tuning as one could refer to via the diagram above that shows the Airoso does have a slight elevation on sub-bass and into lower midrange. Though the mid-bass slams still have that pillowy effect, it does hit noticeably solid and harder now, with more authority compared to the ones that are in the KE4. I would describe it more towards a thick, quite hefty “thud”, followed by a longer transient which enhanced the bass to sound more dynamic and immersive allowing bass notes to linger slightly longer. That said, I could not hear any difference in terms of speed and delivery, especially when played through tracks such as Hunter - Björk as the Airoso could timely render each bass slams. Although due to the slightly longer transient, it does cause some melding.
Middle Frequency (Mid)Midrange on the Airoso offers a neutral sound signature with a slightly warm timbre. As I could hear the tonality in vocals and some stringed instruments such as acoustic guitars had a slightly added colouration. Apart from that the midrange is also combined with a smooth upper-mid, yet it offers very good clarity which enhances vocal articulations without coming across as intense.
To my surprise, the Airoso were capable of rendering textures in vocals such as late Layne Staley's iconic grunge vocals in Down In A Hole (Unplugged) - AiC. Though it was not insanely detailed as higher-end IEMs could offer, to me it was still an impressive feat in my opinion. Additionally, although on paper the Airoso might seem a bit Harman-ish in the mids, I do not find these to be recessed at all but rather forward with a fairly strong presence. Hence, vocals were nicely highlighted and separated from other elements within the mids.
High Frequency (Treble)Treble on the Airoso as expected from the name, was airy which provides a pleasant ambience in the soundstage. Furthermore, the Airoso is slightly on the brighter, livelier side yet at the same time smooth and suitable even for long hours of listening despite the peaks and dips on the treble. Sound of hi-hats and crashes sounded crisp, detailed and impressively natural without coming across as sibilant, equally the same with vocals. The pronunciation of “s” and “t”, for example in the track Underwater Love - Soulperfreesia sounded slightly on the sharper but not in a bad way and free from sibilant, which most likely due to the dip at 5kHz.
TechnicalityIn the technical department, one of the strongest points of the Kiwi Ears Airoso was its capability to render a large, spacious soundstaging primarily in terms of width size which was wider compared to its depth, which for me felt quite mushed together. It feels pleasant, nicely airy while resonance and reverberations dissipate naturally due to the pressure vent that is located on the faceplate. Spatial imaging on the other hand was decent, slightly poorer compared to the KE4 which I rated average in my KE4 review if I'm being totally honest.
Detail retrieval on the Airoso was also quite impressive in my opinion, it could render high level details and low level details without any problems. However, when it comes to resolution the Airoso fell quite short as subtle nuances sounded blurrish, blunt and lacking in definition. Separation and layering on the Airoso were average in my book, the IEM does work well with genres or songs with limited elements since the Airoso tends to get congested and meld.
Lastly for the dynamic range test for the Kiwi Ears Airoso is rated at average. Utilizing the Ultimate Headphone Test - ABYSS Headphone dynamic range test as a reference. In short, a sample sound of a drum and a bell are played simultaneously as much as 7 counts, but only the sound of the bells will become quieter. Hence, from a scale of 7 counts, Airoso was able to produce an audible 5 out of 7 counts.
Comparison(s)
Kiwi Ears KE4Comparatively, both of these IEMs are quite similar sounding but with a noticeable difference. If I could explain it in short, if you think that the KE4 was a bit too boring or safe, perhaps maybe a bit lacking in the treble region in your opinion. Then, the Airoso is essentially a much more exciting, livelier version of the KE4. I've said it in my previous review, that theKE4 could need a slightly brighter treble, just by a couple 2-3dB to make it slightly more engaging and the Airoso is essentially that.
For more in-depth details, bass on both IEMs are equally snappy and responsive. However, the KE4 sounded much softer and wooly in delivering bass punches and slams which was my main complaint. That said, the KE4 has faster decay which causes bass transients to be slightly shorter compared to the Airoso. That said, the isobaric dynamic drivers inside the KE4 provided an immersive bass experience. Midrange timbre was a tad warmer and richer on the KE4 but at the same time slightly muddy due to the elevation in the lower-mids. Vocal presentation on the KE4 sounded slightly recessed compared to the Airoso. Moving towards the treble was the most noticeable difference between the two. As KE4 was more suitable for those to prefer smoother, inoffensive treble that is suitable for long hours of listening but it can be a tad splashy.
Technically, the KE4 is slightly superior in terms of resolution however, falls slightly short to the Airoso due to the accentuated treble. Soundstage also sounded a lot more intimate and spatial imaging was slightly more precise on the KE4. That said, both IEMs have average dynamic range which I ran through the test and it scored a 5 out of 7 bell counts.
Eartip Combination(s)
Pentaconn Coreir AlloyThe Coreir brings a little bit more clarity in the midrange and slightly leaner lower-mids due to the wide bore design of the Coreir which lessens the bass quantity by a slight amount and fixes the melding aforementioned. However, bass slams feel a tad more rounded and defined rather than a flat “thud” sound. Treble was not quite affected as far as this pairing goes, though I did notice the soundstaging became slightly less airy. Nevertheless, the size and width of the soundstage remains pretty much the same in my opinion (YMMV).
E Pro EP01A decent pairing in my opinion, the Airoso sounded almost identical to the KE4 when paired with the EP01. Albeit, there are subtle differences such as a heftier, boomier bass slam. Midrange is a tad warmer to the original stock yet without reducing the clarity in the lower-mids. Soundstage on these turned into an oval sort of shape, though it does not affect the airiness in any sort. However, the treble became somewhat similar to what I experienced with the KE4, which was a tad splashy but the Airoso since it alread has a brighter treble to begin with I could still hear very good presence in that mentioned region.
Purchasing Links and Where to Get?Kiwi Ears Official Website (non-affiliated):
https://kiwiears.com/products/kiwi-ears-airoso
ConclusionKiwi Ears has outdone themselves with the brand new Kiwi Ears Airoso and I can't say that I'm not impressed considering that they can achieve a similar result on their KE4 BUT better and cheaper with the Airoso. I also love the fact that Kiwi Ears have changed the hard case to a slightly taller one that allows for larger storage space, which was also one of my complaints and among other reviewers too. However, I do wish Kiwi Ears would place better inclusions next time such as better ear tips since they have the Kiwi Ears Flex which in my opinion are a great pair of eartips for adding bass quantity and quality without sacrificing treble presence and extension when compared with other bass enhancing ear tips.
Having said that, the Kiwi Ears Airoso is an excellent alternative especially if you wish the KE4 has a slightly more enhanced treble, larger and airier soundstaging combined with a cleaner midrange. Which in my opinion, has a better lower-mid clarity compared to the KE4 that can get quite muddy with certain ear tips. Combine this all at $70 much cheaper than the KE4, and perhaps the extra balance you could get the Kiwi Ears Flex ear tips to go with it. Well, that marks up the end to my review of the Kiwi Ears Airoso and hope to see you all in the next one!
Additional Test TracksCan You Stand The Rain - Boyz II Men 44.1kHz
Money For Nothing (Explicit) - Dire Straits44.1kHz
A Poem Titled You – TAEYEON 44.1kHz
Anesthetize (Live) – Porcupine Tree DSD256
Vermilion - Slipknot 44.1kHz
Kanade - SUKIMASWITCH 44.1kHz
La vaguelette (Original Game Soundtrack) - HOYO-MiX 44.1kHz
Rhythm - Jamey Haddad, Lenny White; Mark Sherman 44.1kHz
Kimigatame (When Suara Meets DSD 11.2Mhz) - Suara DSD11.2MHz
Just Coolin’ – Art Blakey 192kHz
Automatic - Hikaru Utada 44.1kHz
In My Room - Hikaru Utada 44.1kHz
Colors (Live in Studio) - Black Pumas 192kHz
Timbres – Yosi Horikawa 44.1kHz
Misguided Ghosts - Paramore 44.1kHzAttachments
Last edited:n0varay
New Head-Fier
Pros: > Twice the power to its predecessor model.
> Affordable.
> Ultra-compact design.
> Features an updated design and all-metal enclosure.
> Neutral, clean sounding with slightly greater resolution than previous model.
> Livelier treble with better presence.
> Timbre is slightly on the brighter side (if you like it bright).
> Does not heat up compared to the previous model.Cons: < Can be noisy, emitting loud hissing noise with sensitive IEMs.
< Due to the brighter timbre, it may not be suitable to pair with bright or upper-mid focused IEMs.
< Midrange can be a tad dry.
Kiwi Ears Allegro Pro - The Pocket Powerhouse Saga Continues!
Disclaimer
IntroductionWhile other brands are building more ridiculously powerful and heavy dongles, which some nowadays capable of reaching beyond 500mW in a standard dongle size. There are also brands who went back to its roots of a dongle, prioritizing the essentials such as portability rather than its luxuries. Thus, when we're talking about the ultra-compact dongle segment, Kiwi Ears, Audirect and ddHiFi always come to mind. Which brings me to today's review, we'll be talking about Kiwi Ears and in recent weeks they have announced the new upgrade to the Kiwi Ears Allegro Mini, their first ultra-compact dongle DAC/AMP which till today I still regularly use as my reference DAC.
This time, I'll be reviewing the Kiwi Ears Allegro Pro which still features the ultra-compact design. But now, it has been updated with the addition of two new amplifier modules providing amplification for the Allegro Pro. That is the ES9603 from ESS Technology. For your information, the ES9603 amp has been featured in some dongles before such as the HiBy FC5 and the more uncommon YongSe BS-1. Apart from that, Kiwi Ears have also implemented digital filters which users can toggle via a button. Hence, I would love to take this opportunity to send my regards to @EvelynZ , the marketing representative from Kiwi Ears, for offering me an opportunity to review the Allegro Pro.
Packaging and AccessoriesKiwi Ears has given the Allegro Pro a whole new package and presentation compared to the it's predecessor, the Kiwi Ears Allegro Mini which came barebones in a white printed cardboard box. The graphics looked a lot more flashier and combined with the blueish colour which instantly grabs my attention. To make it more appealing, Kiwi Ears decided to place the outstretched spiky elements taken from their brand logo which I think was a clever move.
In front of the box, we have the illustration of the dongle itself alongside some marketing points and the Kiwi Ears branding. Similarly on the right side of the box displays the functionality of the Allegro Pro, meanwhile on the left side is located the specifications of the dongle. At the back side of the box, are printed the details about the company and there's also a technical drawing/package drawing of the Allegro Pro.
Similarly to the Allegro Mini, the Pro version does not come with any accessories and only the dongle DAC/AMP itself sits snug inside the foam cutout. So far, I don't find anything lacking about the presentation considering the price.
Design and ErgonomicsKeeping the same design principle as the previous model, the Allegro Pro still features the ultra-compact design which quickly grows into me. The Allegro Pro now is entirely made using metal compared to the Allegro Mini which uses plastic for the 4.4mm and 3.5mm jack housing, I don't find it to be lousy or will break anytime soon but the all metal build does certainly appear to be much better in terms of durability and aesthetic value as well.
Photo above shows the size comparison of the Kiwi Ears Allegro Mini (top) and the Allegro Pro (bottom).
Comparatively side by side, the Allegro Pro is slightly longer than the Allegro which might be due to the new components inside of the dongle and a tad heavier too but only by a minimal difference. On the face of the dongle, Kiwi Ears has redesigned the notch which made pulling the dongle after use to be much easier compared to the older version. Though I personally don't have much complaint on the Allegro Mini, nevertheless it was a nice upgraded feature on the Allegro Pro.
Photo above shows the side-by-side size comparison of the Kiwi Ears Allegro Pro (left) and the Allegro Mini (right).
On the bottom of the dongle, there is a small button which allows you to scroll between the digital filters. According to Kiwi Ears, there are three colours representing different digital filter options which we'll talk more about in the features and sound impression. Other than that, the button feels solid when pressed and does not feel mushy or stuck. Compared to the other dongles in the market, I love the shape of the Kiwi Ears Allegro series since it is just a solid piece of rectangular metal dongle which allows me to turn it into a 90° phone stand. I jest, although I myself regularly do it, it's not recommended or you might bend your charging port.
