CCA TRIO

Ladies and Gentlemen, today I bring you a review of the lovely and surprising CCA Trio. Let me start by saying that I really enjoyed it, and undoubtedly, it is one of the BEST options in its price range.

Accompanied by a modest and simple unboxing, it comes in the famous KZ/CCA box with a basic cable, which could be of better quality for the price/performance range of the product (or optimistically speaking, it's still one of KZ's best cables hahaha), 1 pair of foam tips (which were already squished in the box compartment), 3 star tips, and a tool for adjusting the tuning switches. Yes, it includes the controversial tuning switches, which, spoiler alert, work REALLY WELL in this model. Its shell is generously sized and provides excellent isolation. It didn't cause me any discomfort, but it might not be the best choice for small ears. The faceplate is shiny black piano metal (adding some elegance and sensibility), prone to fingerprints, with three slits reminiscent of a shark. I'm not in love with the Trio's design, nor do I find it ugly. It's just functional. I used M-sized 7hz tips and Trn T Tips.
I tried various upgrade cables for the Trio, and after using the QKZ T1 (which worked very well), I finally settled on a white silver cable from Ivipq (bride’s dress style), which looked beautiful on it, besides making it much more comfortable. Lighter cables, such as white and silver (I suggest checking out Sgor cables), are a perfect match for it.

Equipped with three 8mm dynamic drivers—a configuration that not long ago was quite peculiar and controversial—it makes perfect sense here, delivering an excellent performance, especially in terms of that "subwoofer" feel in the bass, classic to multi-DD earphones. It’s an easy-to-drive earphone that doesn’t need extra amplification, with minimal gains when plugged into a good source. Clearly, in terms of external presentation, the Trio won’t win over anyone! Nothing here is fantastic or revolutionary—at most average or reasonable. Everything amazing it delivers is in the sound, so let’s move on to that!

The CCA Trio follows a U-shaped tuning that heavily draws from the Harman Target, but with a special twist, and the added bonus of tuning switches. Its bass is quite powerful and impactful, with a generous boost in the sub-bass, making everything that needs to shake do so with authority. It reminded me a lot of the boost from the Truthear Zero Red, but here it extends a bit more into the mid-bass. With the tuning switches, you can tame them (though the boost remains present), or make them even more pronounced with the 1100 configuration (almost basshead level, as the other frequencies retreat a bit, giving the bass full range to work). This is one of those earphones where even the faintest basslines come alive and can be heard clearly. Despite being hefty, and perhaps a bit more than my personal preference, they never became muddy or interfered with the presentation.

In the mids, we have a calm and slightly recessed presentation, providing a warm, silky feel to almost everything the earphone plays. It’s like a hot drink on a cold day. The lower mids have a thick and present feel. Guitars and other midrange instruments sound great, just a step behind neutrality, bringing a sense of peace and calm. I’m usually not a fan of recessed mids, but here the presentation is very well done, and despite not being my preference, I can’t find any faults. As for vocals, it shines more with male voices, bringing the right "growl" and warmth. Female vocals sounded slightly off to me (a bit thinner/recessed), which didn’t detract much, but I must admit it’s not its strong suit. Essentially, it has a very relaxed and non-aggressive pinna gain. I loved this earphone for listening to alternative rock bands with forward guitars, lively basslines, orchestrated drums, and a strong vocalist. In this scenario, it SHINED!

Finally, the treble. One of the best aspects of its tuning, extremely well-placed with a more generalist presentation, foregoing personality. They are delicate and sweet, far from sibilant, but also not dark. It’s a very pleasant, correct, and seductive presence. I’d love to see this kind of tuning in more earphones. The detailing and airiness greatly benefit from the Trio's characteristics. In terms of technicalities, it’s very well-resolved. Its instrument separation is fair and efficient, and the soundstage is a good size, not causing claustrophobia. It’s not the king of technicalities, but it doesn’t lack them either. A performance that leans towards musicality. In this range, there isn’t much specific work, and I believe it will please everyone—both fans of closed earphones, who will find a completely tolerable presence here, and fans of extremely bright and clear earphones, who will find a presentation that won’t lack color.

Tuning Switches:
0 = off. 1 = on.
1111: my favorite configuration, the main one I used to shape this review. Highly recommended; the earphone performs excellently in the bass without losing detail. In this setup, it reminds me of the Binary Gizaudio Chopin.
1100: Basshead mode. Maximum bass performance. It’s quite interesting, but I wouldn’t use it. Loses detail.
0011: Maximum detail and calmer bass. My second favorite.
0110: I didn’t expect to like this one so much. In this setup, the earphone becomes more V-shaped, more energetic. Very well implemented.
0000: "Default" mode, it’s like the 1111 sound but calmer.
There are more possible combinations; I’ve covered the main ones, but you can test many other options.

Finding an earphone with this performance for under $25, or around R$110 for us Brazilians, is extremely commendable—almost a gift. Very coherent, resolute, and technically above its competitors in this price range. The Trio does a fantastic job, easily competing with the $50 flagship earphones like the Truthear Zero Red, Simgot EW200, Epz Q5, and others. Its value for money characterizes it as an anomaly in the hobby because it literally OUTPERFORMS earphones in its price range, and along with the TRN Conch, it’s become my go-to recommendation for this price range and even stretching a bit further. The Trio isn’t an extremely surprising and different earphone, but what makes it a true killer is its unmatched cost-benefit ratio, offering performance that only units twice its price can reach, shaking up this price range in the market.

Overall, the Trio is an earphone that sacrifices personality and life for a calmer, gentler, and easier-to-please sound. Aside from the bass, which stands more firmly and is precisely the most manipulable part of the spectrum via the tuning switches (and also the most "universal" in appeal), in the mids and treble, the Trio may not win you over, but it will hardly disappoint you either by falling short or going overboard. I classify it as a warm neutral earphone, sometimes flirting with energy.

Metaphorically, I’d compare the Trio to a piano. A majestic piano, positioned in a concert hall illuminated by a golden chandelier. Its imposing and glorious presence fills the room, its bright ivory keys begging to be played. It can do everything, has all the possibilities, and is always present, but there are those things in which it excels. A piano can be strong and energetic, but it can also weave romantic and subtle lines, and it treads these extremes with class and elegance, even without doing everything in a CLASSIC manner. That's how the Trio is. It walks through these avenues, doing everything with grace, without losing elegance, even if it’s not THE BEST in that area. Both manage to bring a healthy and relevant duality, beautifully being a "jack-of-all-trades."

Comparisons:
Truthear Zero Red: With clear influences from it, both in configurations and tuning details like the bass, in a way, the Trio is a strong competitor to the Zero Red, with the advantage of costing almost half its price. If you want a Zero Red and don't have the money, the Trio is my first recommendation. The bass response of both is very similar, while in the mids, the Trio sounds more laid-back and gentle, whereas the Zero Red has more accurate and lively mids. When it comes to treble, the Achilles' heel of the Zero, the Trio performs much better. At the end of the day, I personally prefer the Zero Red, but I wouldn't be surprised if many people prefer the Trio, given that it’s potentially more versatile.

TRN Conch: Its biggest value-for-money rival, to me, they are the two best earphones you can buy for under R$200 (around $35). The difference between them is STRIKING. The Conch is a cool, neutral, detailed, and calm earphone, while the Trio is a warm neutral, with more energy, bass, and less treble. In terms of sound quality, both are on par, if that's what you're wondering. In terms of unboxing, the Conch has the upper hand, as it comes with a much more complete kit and doesn't require any upgrades. Meanwhile, the Trio is easier to drive on any source, whereas the Conch is slightly more demanding.

KZ DFI: In a way, the CCA Trio follows a very similar signature to the beloved KZ DFI and could be considered an upgrade to it. In my view, it solves the DFI's main issue, which was the treble. Clearly, we can see that KZ CCA followed a progression with its earphones: DFI > Polaris > Castor > Trio > Rhapsody > Hydro.

KZ Castor Bass: You can also taste a bit of the Castor here, but the Trio's bass response is tighter and faster. The Castor Bass has a great soundstage, while the Trio's soundstage is more intimate. Overall, it's also an upgrade from the Castor, and for me, the Trio had a better fit than its younger sibling, which is a significant advantage. At the end of the day, even without technical details, the Trio sounds like a more accurate and resolved earphone than the Castor due to nuances and finer details.

CCA Rhapsody: Here we have its closest sibling. As mentioned earlier, they share the same tonal flavor with small nuances. The Rhapsody is more technically accomplished, with a wider soundstage, better detail, and instrument separation due to its drivers. Regarding the bass, I confess that I was often confused because the response of both is very similar yet different at the same time. After extensive testing, what I noticed is that the Trio's bass leans more towards the mid-bass, while the Rhapsody is 100% in the sub-bass. The Rhapsody's bass is quicker and more dynamic, while the Trio's bass has more weight and authority. It's a very subtle difference that took effort to notice. Moving on to the mids, the Rhapsody is bolder and has better variations in tuning, sometimes even overstepping, while the Trio, as manipulable as it may be, still clearly follows a limit. In short, if you like one, you'll like the other. The Trio, overall, is more musical, energetic, lively, and warm, while the Rhapsody is more technical, versatile, sometimes "refined," and classy. It depends on personal preference when choosing between the two.

As I mentioned earlier, the Trio excelled in playing alternative rock (those trendy bands with people wearing plaid shirts and sneakers/all-stars, haha). I also really enjoyed the Trio for listening to 80s pop; it brings the necessary flavor and energy to drive the music. In OSTs (soundtracks), the Trio proved to be a fantastic option, regardless of the composer or style of the work, performing everything perfectly. Listening to choro (Brazilian genre) was also delightful with this earphone. Its tuning greatly favors the classic instrumentation of the genre. Specifically, the timbre of tubas, horns, and other brass instruments sounded fuller, catching my attention with the Trio. They resonated with exceptional vigor and warmth, giving a brightness that greatly enhanced the instrument.

Synergy: In "Murder On The Dancefloor - Sophie Ellis-Bextor (2001)," we get a great taste of what the Trio can offer at its peak performance. The rumble of the beats drives and brings liveliness to the music, with the slightly distant vocals bringing a sense of calm to the excitement. It makes me feel like I'm at a European club, having the time of my life. In "Kiss of Life - Sade (1992, from the album Love Deluxe)," the Trio delivers a true lesson in control. The dancing bass that drives the music has an inspiring life and clarity, with the powerful vocals igniting the art. The sax solo is very elegant, without exaggeration or deficiency. True mastery! Coincidentally, the Trio arrived while I was hooked on the album "Lapso" by the band Menores Atos (2018). And with the Trio, I could glimpse its best version. The bass flows meticulously over the tracks, while the energetic and determined guitar brings structure. The vocals are presented in a highly coherent and correct manner. In "Find My Away - Gabe Dixon (2008)," another example of how well the Trio can generously manage and resolve the band. Everything is delivered in an orderly manner, with indescribable vigor and dynamics, without anything left out or overdone. In "née-nah - 21 Savage (2024)" we can perceive the fullness of the Trio's bass without intruding or muddling the rest of the music. Lastly, in the 80s classics "Gimme! Gimme! Gimme! - ABBA" and "Don't Stop Til You Get Enough," we see the Trio in its most splendid glory, with the weight of the bass, the clarity of the synths, the vocal textures, and sharp details—truly an explosive and completely thrilling experience.

Quick Guide to the Tuning Switches:
0000 - Standard, plenty of bass (covering mids and subs), U-shaped.
0100 - Lots of subs, U-shaped.
1100 - Basshead, L-shaped.
0011 - More detail, light V-shaped.
0110 - Focus on mids, V-shaped.
1111 - A more balanced U-Shaped.

Bass: Trio bass line is like a double-edged sword. On one hand, it's got that thick, clean presence that can make bass-heavy tracks quite enjoyable tho. But on the other hand, it's not the deepest or most rumbling bass you'll find.. it's not as special as rhapsody imo.. It's like a home-cooked meal.. comforting and satisfying, but it doesn't quite hit the spot like a gourmet dish might, You Know What I'm Sayin'..
Vocals: midrange is where the Trio tries to sing its heart out. the vocals come through clean and open, like a window letting in a gentle breeze. Yet, sometimes it feels like the window doesn't open wide enough tho, leaving you wanting a bit more warmth and clearness of the sound, especially on tracks where the midbass tuck is noticeable..
Treble: treble, oh the treble it's a tricky one. It's crisp and open, which can be a breath of fresh air. But beware, it can also be like a gust of wind that's just a bit little too sharp, leading to that occasional sibilance that might have you reaching for the volume down button. but but i try using better cable it fixes the problem.. its again the KZ cable (the vermicelli aka rice noodle cable) that's make the problem.. u should get a new pair after market cable and keep it the KZ cable in the box.
Technicalities: In terms of technical improvements, Trio does show progress over any CCA / KZ release but not better than Rhapsody . It's like upgrading from a bicycle to an electric bike.. you get a smoother ride, but it's not quite a race like a motorbike.. that'll give you a thrill at every turn...

Conclusion : The CCA Trio iem are a bit like a blockbuster movie with great special effects but a predictable plot. They're comfortable tho, they've got a variety of tuning options like the switch feature, and they offer a sound signature that many will enjoy. But they're not without their flaws. The occasional sibilance and the midbass tuck might be deal-breakers for some, and they're not the most dynamic set around.​

At $29, the CCA Trio iems are a solid choice for those who want a decent upgrade without spending a fortune. They're not perfect, but they're a good companion for your daily listening sessions, especially if you're not too picky about the bass and treble.
My Rating.
- Low: ★★★★☆
- Mid: ★★★★☆
- High: ★★★★☆
- Technical: ★★★★☆ (4.6 /5) {☆ 0 point, ✮ 0.5 point, ★ 1 point}

The audio company, CCA (Clear Concept Audio) for me is somewhat of a refined version of its older sister, KZ (Knowledge Zenith) on how it tuned their products. The CCA Duo is still one of my favourite dual dynamic sets out there as I really enjoy using it occasionally in my casual listening session and it became part of my rotational set in a month.



And now what we have here is its successor model, The CCA TRIO. The CCA TRIO is definitely an upgrade over the DUO in terms of features as it has an additional driver and tuning switches. It uses a slightly larger dynamic driver compared to the DUO as it has an 8mm compared to previous 7mm and it was slightly modified to have a more cohesive presentation of all parts of the frequency range while maintaining a less distorted and interference-free sound quality.



Its three dynamic drivers were assigned in some certain part of a frequency range as the two dynamic drivers were assigned to sub bass region and mid bass sections while the remaining dynamic driver will handle the rest of the remaining parts the frequency range, the midrange and the treble region in which I find the set-up even more interesting. Then trio drivers were encapsulated in a composite shell chassis with a modified UIEM-type form factor consisting of metal alloy faceplate and acrylic resin cavity base. At the top part of both shell chassis, there are four toggle switches that you can adjust its tuning in which I believe has something to do with impedance swings to change its sound profile. Like all CCA sets, it still retains the QDC-type connector as its interlocking mechanism with its stock cable.





The fitting on this set seems to be pretty comfortable to wear as it sits well into my lug holes without any issues atlk. It gives me sufficient sound isolation as it really seals well to block some noises coming from the outside surroundings.



The stock cable of CCA TRIO is still the same similar build oxygen-free copper wiring in a parallel-type cable with an L-shaped 3.5mm termination plug.



Like all entry-level product offerings from CCA and to some extent, KZ, the CCA TRIO is pretty basic in product packaging with bare-bones included accessories.



Here are the following contents that are included inside the box:

• Pair of CCA TRIO IEM transducers
• Stock cable
• 1 pair of memory foam ear tips
• 3 pairs of KZ Starline ear tips in different standard sizes.
• Tuning tool
• User's guide

As for power scaling and requirement, this set can be driven with sources with decent power output but pairing it with devices with adjustable gain mode like DAPs and desktop DAC amplifiers will fully utilise its full potential with its fullest audio performance. To make this set even more interesting, this is the first CCA or even KZ set that ever activates the high impedance mode of my LG phones.



Regarding this set's tonality, due to the implementation of tuning toggle switches, the CCA TRIO offers a variety of tuning profiles from bass boosted U-shaped sound up to the bright U-shaped sound signature that makes them more versatile.



These are the toggle tuning set-up along with its brief description:
(*Legend: ■ = up, □ =down)

□□□□ = Aligns more to a standard U-shaped sound profile, it highlights more on lows and high frequencies.

■■■■ = The most “balanced” U-shaped sound profile, it gives more emphasis on low with a slight attenuation on the high frequency.

■□□□ - The sub bass-focused U-shaped tuning with some reduction on some parts of high frequency.

■■□□ - The bass-boosted tuning setting among its tonal profiles of this one.

□□■□ - Presents a tad brighter and energetic tonal profile.

□□■■ - it's the brightest tuning among its tonal profiles. While it is still considered as a U-shaped sounding , some parts of the midrange and high frequencies are definitely accentuated on this one.


LOWS/BASS:

The bass responses on this set varies depending on the tuning toggle set-up, from tight and incisive up to a tad boomy and vigorous one. There's a sufficient sub-bass presence in all tuning but the □■■■ and □□■■ will highlight it more as it will be reverberating and rumbly from sub bass-focused instruments like low tuned bass guitars, octobasses, drum machines and synthesisers.

□□□□ = it has a balanced texture on its mid bass as it gives an ample note weight on some instruments and male vocals.

Instruments and vocals with its brief sound characteristics:

Bass guitars - mellow and resonant sounding

Bass kick drums - thudding and gloomy sound.

Bass and bass-baritone vocals - sufficiently dense with enough deep resonant in their vocals.


■■■■ = Still a balanced bass but a tad fuller compared to the □□□□ setting.

Instruments and vocals with its brief sound characteristics:

Bass guitars - more rasping and broader sounding compared to the □□□□ setting.

Bass kick drums - pounding and rumbling sound.

Bass and bass-baritone vocals - more denser and darker tone with even more deep rumbling sound.


■□□□ = More sub-bass focused while retaining a sufficient mid bass texturing from a ■■■■ setting.

Instruments and vocals with its brief sound characteristics:

Bass guitars - it has a rasping and menacing sound compared to □□□□ setting.

Bass kick drums - eerie and resonant sounding.

Bass and bass-baritone vocals - it retains the sound characteristics of ■■■■ that the vibrato is apparently clearer to heard.


■■□□ = Definitely the bass-boosted one as it shows a more prominent bass section across its frequency range but it muddles up some frequency parts particularly on midrange and lessens the upper midrange and presence part of treble region.

Instruments and vocals with its brief sound characteristics:

Bass guitars - more earthy and sombre sounding as it has more weight on it.

Bass kick drums - it has a fuller and pounding sound among the tuning settings.

Bass and bass-baritone vocals - it has more weight , with a darker tone with rich texture.


□□■□ = A bit similar bass presentation as it share similar sound characteristics with □□□□ and ■■■■ settings.

Instruments and vocals with its brief sound characteristics:

Bass guitars - it has a weighty and retains some of its raspiness on its sound character.

Bass kick drums - menacing and resonant sounding.

Bass and bass-baritone vocals - it has some similarity with □□□□'s vocal characteristic.


□□■■ = It presents a tighter and less textured mid bass similar □□■□.

Instruments and vocals with its brief sound characteristics

Bass guitars - resonant yet aspirating sounding.

Bass kick drums - resonant yet it has some hollowness on its sound.

Bass and bass-baritone vocals - it has a lightest among the bass and bass-baritone vocals as it has a tad hollow texture and less darker tone with an inadequate deep resonance on it.


MIDRANGE:

The midrange presentation on this one again depends on tuning settings but all of them are noticeably recessed in the overall midrange presentation. At least it retains some clean and well-bodied sound on vocals and instruments.

□□□□ - Maintains a well-balanced texture with ample warmth for vocals and instruments.

Vocal types:

Baritones - sweet and mild sounding.

Tenors - brassy, full and with a tinge of metallic sound on their vocals.

Countertenor - tender, mild and emotive sounding from their falsettos.

Contraltos - It has a sufficient lush and richness on their distinctive chesty vocals.

Mezzo-sopranos - Smooth, expressive and tender sounding.

Sopranos - Silvery vocal qualities as it has sufficient brightness on them, lyric and soubrette sopranos will sound better on this one.

Instruments:

Guitars - It has a sufficient bright and lively sound.

Violins - vibrant and metallic sounding.

Cellos - lively and vibrant sounding.

Trumpets - it has a metallic and brilliant sound.

Trombones - sounds quite solid yet penetrating.

Horns - it has a resounding and intense sound characteristics.

Concert flutes - clear and a tad shrill sound.

Piccolos - clear and a bit intense sounding.

Clarinets - reedy and expressive sounding.

Saxophones - sounds lively and reedy.

Snare drums - punchy and resonant sounding.

Toms-toms - sufficiently warm yet resonant sounding.

Field drums - it has a menacing sound.

Kettledrums - resonant and rumbling sound.

Pianos - balanced and evened tone.


■■■■ - it still presents a well-balanced and less energetic midrange compared to □□□□ setting.

Vocal types:

Baritones - It has a sufficient more power as strength compared to □□□□ as it has give more steely voice on Kavalier baritones and more plush and richer vocals in dramatic, Verdi and Noble baritones.

Tenors - Still have a brassy and fullness to their vocals but less metallic sounding.

Countertenor - a bit smoother version of the □□□□.

Contraltos - it sounds more rich and musky compared to the □□□□ setting.

Mezzo-sopranos - smoother, velvety and less intense vocal.

Sopranos - it has that creamy and silky sound that makes them sound comforting, that type of tuning will be more suitable to spinto and dramatic sopranos.

Instruments:

Guitars - balanced and a tad buttery on some acoustic guitar tracks.

Violins - full and sweet sounding

Cellos - sonorous and calm sounding

Trumpets - full and sonorous sounding.

Trombones - brassy and full sounding.

Horns - Full and sonorous sounding.

Concert flutes - sighing to mellow sound,it has some softer tones.

Piccolos - graceful and mellow sounding.

Clarinets - it sounds round and melodic.

Saxophones - plaintive and sonorous sounding.

Snare drums - hard, penetrating and metallic sounding.

Toms-toms - it has an ample warmth with resonance.

Field drums - sombre sounding.

Kettledrums - deep and substantial sounding.

Pianos - balanced and evened tone.


■□□□ - it adds a bit more texture on the lower midrange section.

Vocal types:

Baritones - Similar to □□□□ as it is also velvety, sweet and mild sounding on their vocals albeit a bit more assertive.

Tenors - Shares the sound characteristics with □□□□ as it also sounds brassy and full too with less metallic sound.

Countertenor - Similar sound characteristics with □□□□ setting.

Contraltos - it has more smokey and even richer vocals with good depth compared to □□□□ setting.

Mezzo-sopranos - Smooth and tender sounding.

Sopranos - It also has a silvery characteristic on its vocals with some hint of metallic tone.

Instruments:

Guitars - sounds balanced with some good overtones.

Violins - vibrant and clear sounding.

Cellos - lyrical and lively sounding.

Trumpets - it sounds quite full and magnificent.

Trombones - Similar with □□□□'s setting as it is also solid and penetrating.

Horns - mellow and velvety sounding.

Concert flutes - light yet rich sound.

Piccolos - clear yet it has a noticeable shrill on its sound.

Clarinets - expressive and reedy sounding.

Saxophones - lively and reedy sounding.

Snare drums - Hard and sharp sounding.

Toms-toms - it has an adequate warm and resonant sound.

Field drums - menacing sound.

Kettledrums - resonant and it has more rumbling sound.

Pianos - balanced and evened tone.


■■□□ - Due bass bleed across the midrange it gives a warmer textured sound of all tuning settings that this set have,but there are instances of a tad boxy and hollow sound on some vocals and instruments.

Vocal types:

Baritones - It has a fuller and richer sound as it sounds too warm and smooth.

Tenors - Brassy with darker, stronger and deeper tone, excellent on dramatic and heldentenors.

Countertenor - a bit smoother with more warmer variant tuning of the □□□□ setting.

Contraltos - apparently, it has more profuse and huskier vocals compared on both ■■■■ and □□□□.

Mezzo-sopranos - More smoother and velvety compared to ■■■■,□□□□ and ■□□□ settings. It almost sounds a bit closer to contraltos.

Sopranos - Comparable to ■■■■'s but it is richer and quite a more sensitive voice due to its warmer tuning.

Instruments:

Guitars - meaty and warm sounding.

Violins - full solemn and lustrous

Cellos - round, solemn and warm sounding

Trumpets - warm, full and has a darker timbre.

Trombones - Smooth and fuller with a darker tone.

Horns - full and mellow, quite a muffled sounding.

Concert flutes - rich and mellow sounding.

Piccolos - it has a graceful and whistling sound.

Clarinets - warm and lustrous sounding.

Saxophones - earthy, round and warm sounding.

Snare drums - hard and rustling sound.

Toms-toms - rich and a tad boomy sounding.

Field drums - boomy and sombre sound.

Kettledrums - Booming and velvety sounding.

Pianos - warm and rich tone.


□□■□ - it gives a more energetic midrange presentation especially on female vocals, strings and woodwind instruments.

Vocal types:

Baritones - Velvety, sweet and mild sounding.

Tenors - Their voices have more dazzling and ringing sound on them, good for lyric and leggero tenor types as it has a light and agility on their vocals.

Countertenor - Tender, smooth and velvety vocals with a tad brighter tone.

Contraltos - A bit similar to □□□□'s sound quality.

Mezzo-sopranos - it has a more vivid and intense vocal quality.

Sopranos - It has a brilliant and gleaming vocal quality compared to ■■■■, □□□□, ■□□□ and □□■□ settings.

Instruments:

Guitars - dry sounding and more focus on presence.

Violins - brilliant and a bit shrill sounding.

Cellos - it has a brilliant and stately sound.

Trumpets - sounds vivid and shrilly.

Trombones - dramatic and eruptive sounding.

Horns - mellow yet metallic sounding.

Concert flutes - brilliant and a tad shrill sounding.

Piccolos - brilliant with some piercing sound on them.

Clarinets - expressive and has a mild shrill on their sound

Saxophones - forceful and substantial sounding.

Snare drums - sharp and clattering sound.

Toms-toms - it has a less warmth and resonant sounding.

Field drums - hard sounding.

Kettledrums - resonant , dry and a tad hollow sounding.

Pianos - brighter tone.


□□■■ = This tuning gives a brighter and even more energetic midrange presentation that will be more beneficial on woodwinds and female vocals.

Vocal types:

Baritones - velvety, sweet and mild sounding albeit less textured and less smooth.

Tenors - Bright, dazzling and clearer sounding, it might sound better with leggero-type tenors but a bit too expressive.

Countertenor - while it has tender and more expressive but it has even more brighter tone compared to □□■□ setting.

Contraltos - quite a bit unnatural as its sounds leaner and less richer on its vocals.

Mezzo-sopranos - Fiery and “coppery” sounding.

Sopranos - Shimmering and more energetic, almost perfect on lyric and coloratura types of sopranos.

Instruments:

Guitars - crisp and bright sounding.

Violins - bright and zestful but might sound a bit thin to some listeners.

Cellos - very open sounding and bright with some instances of having an incisive sound.

Trumpets - penetrating, vibrant and bright sounding.

Trombones - it is penetrating, intense and overpowering.

Horns - brilliant and powerful sounding.

Concert flutes - bright and penetrating sound.

Piccolos - bright with occasional screeching sound.

Clarinets - brighter and colder sounding.

Saxophones - lively and reedy sounding.

Snare drums - bright and dry sounding

Toms-toms - sustaining, tight and crackling sounding.

Field drums - menacing sound.

Kettledrums - dry and dead sounding.

Pianos - brighter tone.


HIGHS/TREBLE:

Again, depending on the tuning settings, it varies on the elevation and attenuation on the treble response.

□□□□ - it has a sufficient brightness, it has a sufficient accentuate upper-mids up to the presence treble region just enough to give clarity and definition on vocals and attack of percussives and rhythm instruments. Although in some cases, there's some hint of slight sibilance especially on sibilant-laden tracks.

It has well-defined sparkle and a moderate airy extension on its brilliance treble section.

Instruments and its sound characteristics:

Cymbals - glistening and metallic.

Hi-hats - short sizzling sound.

Glockenspiels - glistening and strident.

Celestas - bright and silvery.

■■■■ - While it still has a bright treble response, I noticed just a slight reduction on the upper-mids and the presence part of the treble region compared to ■■■■ setting. It somehow lessens the sibilance and intense boosting that might sound a bit piercing.

It somewhat lessens the intensity of sparkle while retaining a modest airy extension.

Instruments and its sound characteristics:

Cymbals - soughing and a tad undulating.

Hi-hats - short hissing sound.

Glockenspiels - bell-like sounding.

Celestas - glassy sound.


■□□□ - almost similar to □□□□ setting on its treble response.

Instruments and its sound characteristics:

Cymbals - glistening and metallic.

Hi-hats - short sizzling sound.

Glockenspiels - glistening and strident.

Celestas - silvery and glistening sound.


■■□□ - it has noticeable accentuation of the peaks and boosting upper mids and presence treble region on ■□□□, □□■□ and □■■ settings. It will be more tuning-friendly to some treble-sensitive folk.

Instruments and its sound characteristics:

Cymbals - lustrous and soughing.

Hi-hats - shortened dark and dull sound.

Glockenspiels - lustrous and undulating sound.

Celestas - meliow and soft sounding.

It somehow impacts the sparkling intensity to sound a bit veiled.


□□■□ - it appears that it adds some emphasis on the upper mids and presence part treble region as it gives more definition and clarity on vocals and instruments.

Instruments and its sound characteristics:

Cymbals - metallic and glistening.

Hi-hats - short dry and shrill sound.

Glockenspiels - shimmering and jingling sound.

Celestas - it has even more shimmering sound compared to □□□□ and ■□□□ settings.


□□■■ - due to the elevation of the upper-mids up to the brilliance treble region. It gives a brighter and lean treble response that treble heads will probably like it but an anathema to treble-sensitive folk.

It projects a stronger sparkle present with good amount of harmonics with moderate airy extension.

Instruments and its sound characteristics:

Cymbals - bright and a tad harsh.

Hi-hats - short glistening sound.

Glockenspiels - thin and bright sounding.

Celestas - bright and silvery sounding.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

While this set might not have the best in regards technical capabilities but it still performs fine. It has an average to above-average sound/speaker stage size as it has a median width span but it has a fairly high ceiling on its height reach and good depth as I consider it as moderately spacious within my head room.

On its stereo imaging, it somehow projects a typical two-dimensional stereo presentation with just a decent layered frequencies and dynamic tones from each placement of instruments and vocals in soundscape albeit in two-layered arrangements. Separation capability seems to be fine but not the best out there in under $100/£80.

In terms on both coherence and cohesive performance of its triple drivers, it able to perform a fast transient response without any issues like out of phase or a detached part of its frequency range. This set is quite pretty resolving too especially on micro-dynamics for a multi-dynamic driver set, while it has firm note density on its macro-dynamics, it has a sharp definition on its micro-detail retrieval to extract some nuances and details in an audio track.


PEER COMPARISONS:

CCA DUO

• This set is the predecessor model of the TRIO as it also shares the same language design and it also has more than one driver inside. But the big difference is that this set has a more compact size, possesses only two dynamic drivers inside and it doesn't have tuning switches. The packaging box and inclusion of accessories is still the same as all entry-level CCA/KZ sets that share the same contents and packaging box.
• The CCA has a mild u-shaped sound profile (memory foam ear tips) as it has an ample punchy and precise bass response, a neutral, transparent and energetic midrange presentation, and then bright and shimmering treble response. It has a similar technical performance with the TRIO but its layering is somehow a bit better on this one for some reason especially on some more complex multi-instrumental tracks and movie scores.

CVJ NAMI

• While it has similar build with the TRIO as its shell chassis is also composite of composite materials and has a tuning toggle switch, but there is a difference between them as this set has hybrid driver setup consisting of dynamic driver and balanced armature driver yet the dynamic driver of this set is a bit larger. Regarding its accessories, the stock cable of the NAMI is superior to TRIO's as aside from being thick and sturdy, it also has a modular option.
• The NAMI has three types of sound profiles that veering towards a V-shaped tuning, subwoofer mode which more focus on a fuller bass response, HFE mode which has more elevated presence and brilliance part of the treble region and EHF which has the brightest treble response due to more boost on the upper mids up to brilliance part of the treble region. As for technical capabilities, it is surprisingly very similar with the TRIO from soundstage size up to resolution capabilities.

LETSHUOER DZ4

• Aside from TRIO, this is the only other triple dynamic driver set that I have reviewed so far and compared to the TRIO, they are quite different. The DZ4 uses some smaller dynamic drivers and it was implemented along with a passive radiator module then encased in a 3D-printed resin shell. While this set is quite more pricey as it has better quality accessories like more eartips, stock cable and storage case.
• The DZ4 has a mild U-shaped, and also has a balanced-neutral sound profile that makes it more appealing to the more experienced audio enthusiasts. It has a very balanced bass response, a well-balanced with ample textured midrange presentation with gives a more natural sound on vocals and instruments, and then smooth and inoffensive treble response. Technical capability-wise, while DZ4 and TRIO have similar sound field sizes, the former has a better stereo imaging for giving a more atmospheric presentation, a better layering and separation. The TRIO has a sharper micro-detail definition while the DZ4 has a more balanced definition.

CCA again proves its reputation in the audio community that they are very capable of delivering a product that will be more appealing on both casual listeners and experienced audio enthusiasts who just want a fun and engaging set for their listening pleasure. With a tuning switch for tonal versatility, the cohesive performance of its triple dynamic drivers, a solid build quality of its shell and a very competitive price, while it doesn't have the best stock accessories, The CCA TRIO is enough that I will recommend this one to audio enthusiasts who are in a tight budget and who just want an all-rounder set.

CCA TRIO is now available at KZ Official Store, check out the provided unaffiliated link below.


★★CCA TRIO - OFFICIAL STORE★★



For more CCA product reviews, here are my previous review articles.

◆ CCA CRA

◆ CCA CA16 PRO

◆ CCA LYRA

◆ CCA CA10

◆ CCA HM20

◆ CCA DUO

SPECIFICATION:

MODEL: CCA TRIO
IMPEDANCE: 15-20Ω
SENSITIVITY: 101-103dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR (0.75MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (3) DYNAMIC DRIVER


Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *


P.S.

I am not affiliated to CCA nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to TYVAN LAM of KZ/CCA for providing this review unit. I truly appreciate his generosity and trust towards me and other reviewers.