TRN VX

It’s a crazily crowded market down there below the $50 mark and TRN VX compete in that segment. It does it with quite some authority, too: VX is not bad at all.

Actually, its sole real tuning “flaw” is that excessive peak at 8 Khz which I doubt can be considered nice even by die-hard trebleheads (although you never know…). Anyhow… it can be quite effectively tamed down with some simple EQing, thus making the entire presentation more pleasant – at least on my score. It’s worth noting that some users found that applying some micropore tape on the nozzles produces a similar peak-taming effect, which may be worth trying too.

Once that’s taken care of, VX is a bright V-shaped driver which can deliver quite some pleasure to treble lovers looking for a lot of air and detail up there, for an after all modest price.

Taking its tuning as a reference, the most direct competitor I can think of for VX is KBEAR KB04 which for even less money delivers however less coherence amongst the various sections of the presentation (particularly in the passage between mids and trebles) and somewhat poorer technicalities. Simply put, VX can be seen as an upgrade to KB04.

I recently auditioned and reviewed TRN BA8 which, oppositely, can be with good reason considered a direct upgrade to TRN – for twice its price though.

Before getting to the analysys, a dutiful disclaimer: I got this pair of VX from my friends at TRN, entrusting me to an unbiased analysis and openhearted subjective evaluation, which is what I’m reporting here. You can purchase VX at TRN official store.


Test setup

Questyle QP1R / Apogee Groove + Auglamour GR1 or iBasso T3 – stock silicon tips – KBEAR/TRI 4 Core 5N Single Crystal Copper cable – lossless 16-24/44.1-192 FLAC tracks.


Signature analysis

Tonality Treble-inclined V-shape. Timbre is bright, clear and lean-ish.

Sub-Bass Quite extended, not much elevated (less than midbass) but enough to offer some rumble. Not much texture though.

Mid Bass Probably the best part of the product, midbass is good, punchy, fast (in DD terms) and very controlled. No sign of bleeding into the mids, and nice texture and layering. Good job here. When it doesnt come accross as sufficiently elevated, it’s in my opinion more due to over-pushed trebles than depressed bass (which is not).

Mids Recessed and thin, almost hollow. A good attempt has been conducted at making their lowend coherent with the (fuller) bass, with some partial success. On the opposite end, highmids are quite forward and somewhat pretentious at times, but not bad.

Male Vocals Clear in spite of the recession, yet unbodied, too lean.

Female Vocals A tad better than males but still too lean and sharp for my taste. I heard no sibilance.

Highs Crisp, a bit grainy, dominated by an excessive 8KHz peak, and quite rapidly rolled off after that. Taming the 8K peak down by 3-4dB and nudging 16K up by 1dB the situation gets better, revealing a nice (for the price) resolving treble section, which would anyhow benefit of more air.


Technicalities

Soundstage Not bad, decently wide and high, lacks in depth

Imaging Instrument positioning is clear and precise. On the flip side, it’s limited to a left-right effect.

Details Average in the bass in spite of the quite snappy DD tuning. Good on the highmids and trebles, where hihats cymbals and bright brass instruments come out very nicely.

Instrument separation Quite good also in crowded tracks

Driveability Very easy due to a good sensitivity, which however does not generate hiss on my sources. Good.


Physicals

Build Convincingly sturdy metal body, with a nice brushed finish available in green and black variant. Not bad at all.

Fit Not outstanding at least for my conchas: housings are a tad too small for me and tend to move and fall out.

Comfort Very good as long as I avoid moving too much to avoid my fitting limitations (see above). YMMV

Isolation Not great at all, probably also due to the “un-filling” fit (see above)

Cable Shameful: it presented an evident channel unbalance. Swapped it instantly with a spare one I had. By information I collected it looks like my cable is not the sole bad one bundled with TRN VX.


Specifications (declared)

Housing CNC-milled “aerospace”-grade magnesium alloy + reinforced inner structure
Driver(s) 1 x 10mm DD, 3 × Knowles 30095 and 3 × Knowles 50060 BA
Connector 2-pin TFZ
Cable 1.2m 3.5mm terminated
Sensitivity 107 dB
Impedance 22 Ω
Frequency Range 7-40000Hz
Package and accessories 1 sets of S / M / L silicone tips
MSRP at this post time $ 102,37 ($ 45,00 street price)

Introduction

Today I'm going to be looking at the TRN VX, a 6 BA 1 DD hybrid IEM that costs about $70 from HiFiGo. TRN is yet another ChiFi company that has popped up in the last couple of years and seemingly puts out new products ever few months or so. I've had the chance to listen to the TRN V80 and the TRN V90 before. I wasn't a big fan of the V80 but thought the V90 was fairly decent relative to other offerings at the $50 mark at the time. With that, let's see how the TRN VX does. Disclaimer: I received the TRN VX from HiFiGo in exchange for this honest review. I have not been or will be compensated in any other way.

What's in the Box?

The unboxing experience is a very barebones affair. You get a minimalist white box that holds the IEM, cable, and tips. You get a generic set of S, M, and L size tips and a black 2-pin TRN cable. I dislike the cable. It is very tangly and has cable memory such that kinks are ever present. I'd probably swap out the cable if I were to daily drive the TRN VX.

The construction of the TRN VX is solid. It's a full metal shell and aesthetically pleasing with a clean look and tasteful chamfer lines. The TRN VX fits over ear and I find it to be quite comfortable thanks to its reasonably sized nozzle. Isolation is poor. You will hear cars as they pass by, if you still go out.

Sound



My initial impressions of the TRN VX's sound was favorable. It's a bit of a W-shaped IEM as it has a midbass emphasis, an upper mids forwardness, and a bright tilt. I'd consider it fairly well tuned and overall decently balanced. The bass clearly has that DD heritage while the mids don't suffer badly from BA timbre. Its treble energy may be the make-or-break for those looking at this IEM.

Bass:
As seen the graph, the bass is clearly lifted. While not overpowering, it's definitely bassy. The VX has a more midbassy approach to the bass rather than subbass focus and we can see it rolling off, though not too badly. The DD in the VX drives the bass and has a dynamism that gives plenty of energy to the bass. Though it lacks texture, it is responsive and has doesn't feel bloated or sluggish. Compared to the majority of other IEMs in the budget segment, the bass of the VX trades blows or edges out its brethren. You'd have to go to IEMs like the Tin HiFi T4, Moondrop Starfield, and Etymotic ER2 to clearly best it.

Mids:
Interestingly, I don't find the TRN VX to be a warm IEM despite the bass bleed into the lower mids that the graph may suggest. And the reason is fairly obvious: the large amount of pinna gain and upper mids around the 2-4 kHz mark offsets the warmth I'd otherwise expect. Speaking of the seeming bass bleed, I don't find that the VX has an issue there at all. The bass transitions into the low mids without fanfare. But back to the upper mids. Some may find the VX shouty; I don't. Though I will admit that I generally have a higher tolerance than others in this regard. Vocals have an obvious forwardness and is presented with plenty of clarity. There is a bit of an edginess to certain "sss" consonants in the vocals, though not to the point of full blown sibilance.

Treble:
The lower treble around 5-6 kHz is de-emphasized so there isn't too much of the crisp attack from the hats and cymbals. Nor is there harshness in the vocals. But past that is some treble oddities that aren't reflected in the graph (note: the 8 kHz peak is a measurement artifact - take it with a grain of salt). To start, there is a sharpness and some splashiness when it comes to the hats and cymbals. It's not so much the initial attack but the decaying ring that gains a brightness that can be fatiguing to listen to. There's a sense of aggression with the treble, and not in a good way. Generally speaking, I find that most IEMs, regardless of price, struggle to properly render the highly delicate and nuanced sounds of the hats and cymbals. In the case of the VX, this is exacerbated and turns into emphasized incoherence in poorly recorded music. For those sensitive to treble, the VX may not be for you.

Presentation:

Soundstage and imaging are about average for IEMs. It's not claustrophobic or congested but doesn't strive beyond that. Resolution is surprisingly good. Part of it may be due to the forwardness of the mids and aggressiveness of the treble but I felt that, like the bass, it performs better than the majority of other offerings in the price range. Well done here by TRN. Like the staging, instrument separation and layering are fine. Nothing standout about them nor will they be the limiting factor of the overall sound quality.



Select Comparisons

Tin Audio T2 Plus

The T2 Plus is my current budget benchmark as it provides solid tuning and respectable technical performance at the $50 sweet spot. Unfortunately, the T2 Plus pretty much beats the TRN VX in all respects except for the bass. The T2 Plus' bass is a little unconventional; it's not bad per se but is rather unique. I called it "bouncy" in my T2 Plus review. On the other hand, the TRN VX's bass has a more standard, straightforward approach and I'd say is a sidegrade or minor upgrade. The T2 Plus' treble response is much better than the TRN VX. Mids is a toss up. If you like vocal forwardness, get the VX. The T2 Plus' vocals is more subdued in comparison. Technical performance of both IEMs are otherwise on par with each other. For $50, the T2 Plus is just a straight up better price/performance proposal especially when it comes with better accessories.

Thieaudio Legacy 3

To be honest, one of the first thoughts I had when listening to the TRN VX was that it was a cheaper, exaggerated version of the Legacy 3. To an extent, I think that still holds true. The tuning of the VX has more upper mids, more bass, and has treble compared to the relatively treble-weak Legacy 3. A/Bing the two, I think it mostly comes down to a tuning preference issue. The Legacy 3 is noticeably warmer with laid back vocals and the lack of treble is very apparent next to the VX. The Legacy 3 has a slightly better bass response. VX's more midbass focus causes it to fall short when a solid deep note is needed.

TRN V90

The TRN V90 was one of TRN's previous offerings that I reviewed before the VX. At the time, I thought it was pretty decent and on par with the KZ ZSX and BLON BL03. Tuning wise, they're fairly different. V90 has a classic in-your-face V-shape while the VX has a more balanced tuning. Between the two, I'd say the VX is better but honestly the differences aren't night and day. If you already have a V90 or any other decent $50 or so piece of ChiFi, I'd suggest that you look for a bigger upgrade than the VX. At the very least, get the Etymotic ER2/Tin Audio T4/Moondrop Starfield.


Should You Buy It?

Not really. The TRN VX is a very solid budget offering. The challenge lies in its competition. For $50, the T2 Plus exists. For $80 or so, you can sometimes find the Tin Audio T4 or Etymotic ER2 on sale and those pretty much blow the VX out of the water. The only reason you should buy the TRN VX in my view is if you've heard the T2 Plus and crave more upper mids forwardness and treble presence. At the end of the day, if you already own a TRN VX or for some reason really want to buy one, be happy with it. It's a fine IEM and not every IEM can be a contender for the price/performance crown. The TRN VX has been a commendable effort and I look forward to what TRN does next.

Reason for 4 star rating: I wasn't too sure if I was going to give it a 3.5 star or 4 star rating. In the end, I decided that the TRN VX does deserve a 4-star. Despite its shortcomings and stiff competition, I believe the VX sounds good enough to be worthy of it.

The driver wars have not died down on the budget side of things. Witness as TRN stuffs as many drivers as they can into a compact earpiece, while keeping prices crazily low for their new hybrid flagship, the VX. And you know what, they sound pretty good.

I’m neck-deep in the portable audio hobby, and shamelessly so. If a support group like “Earphones Anonymous” existed I’d probably sign up just to share recommendations and prevent others from quitting. There is just too much to buy and hear, and missing out is the real problem!

I kid, I kid. Of course, sometimes my wife would ask, in a serious tone, exactly when enough is enough. My curt reply was simply, once I have every in-ear monitor (IEM) in the color palette. Technically that’s 16 million colors, heh. Today, we cross dark green off the list. This marks the only time I’ve agreed to review something based on the product color alone, and I feel lucky.




TRN is a drop in the sea of Chi-fi companies with comical, astronomical, acronymical names like BLON, TFZ, KZ, BGVP, and CCA. Founded in 2017 by Dongguan Zuo Du Acoustic Technology Co. Ltd, TRN is a brand that unites their ODM and OEM arms under one name, specializing in wired IEMs, Bluetooth/TWS IEMs and cables.

Having ex-KZ engineers among their ranks, TRN are fittingly known for their rock-bottom prices and value-centric approach. Simply put, more drivers (and wires) for less. Today, we are looking at the VX, their new seven-driver hybrid flagship containing a 10mm dual-neodymium magnet dynamic driver (DD) and six balanced armatures (BAs) per side, all for a sub-$100 price. Like Marty McFly would say, “get out of town!”

The VX is currently available in dark green and black via Linsoul and Amazon. But why would you choose black? I’d like to extend my sincere thanks to Linsoul for the review unit and the fast, reliable shipping despite that danged virus grinding the world to a halt.

This review was first published in Headphonesty.

Equipment Used

DAP

1. FiiO M15

IEMs

1. TRN VX
2. BLON BL-05
3. Moondrop Starfield

Albums

1. Amber Rubarth – Sessions from the 17th Ward
2. Bruno Mars – 24K Magic
3. Daft Punk – Random Access Memories
4. Dua Lipa – Future Nostalgia
5. Fleetwood Mac – Rumours
6. Kendrick Lamar – DAMN.
7. Lana Del Rey – Born To Die
8. Melissa Menago – Little Crimes
9. The Eagles – Hell Freezes Over
10. The Weeknd – After Hours

Technical Specifications

• Driver: 1x10mm dual-neodymium magnet DD, 3×30095 BAs, 3×50060 BAs
• Impedance: 22Ω
• Sensitivity: 107dB/mW
• Frequency Response: 7-40000Hz
• Plug Type: 3.5mm Straight Plug
• Cable Length: 1.25m
• Earphone Interface: 2-pin 0.75mm

The prettier medium-sized tips is active discrimination.

Packaging and Accessories
Like walking into a fake Apple store, the box and packaging resembled KZ so much that I was taken aback. This won’t help TRN, who are trying to establish themselves as an entirely different entity. You get a cardboard sleeve with a drawing of the VX on it. Slide that out to reveal a simple white box, with a transparent PVC sheet in front proudly displaying the green gems.

Besides the VX, you get only the barest, starkest essentials, sorry to say. A cable, 3 pairs of ear tips in varied sizes, manual, warranty, inspection certificate, and that’s it. My biggest problem is the absence of a case, not even a pouch which the much cheaper BLONs were able to provide. For over $70, the packaging is a travesty.

The included cable is soft, lightweight, and classy in black. However much I try to like it, it is prone to tangling, kinking, and the dreaded memory effect. Straightening or coiling will result in the cable attempting to return to its previous state. Further insults are the pre-bent ear-hooks which curl too much and get in the way when wearing the IEMs. Let’s just assume that this is TRN’s lowest-end cable that’s an alternative to Plastics One.


When you’re dark green, hoity-toity designy colors like mint green and cyan don’t make sense.

Design and Build Quality
Now aren’t you a handsome devil. Delivering shades of the Green Hornet, Lantern and Goblin (you get the picture), the color choice is, in my opinion, a masterstroke to generate interest. There’s only so many black or silver IEMs you can collect until it gets boring. Not only that, the seashell motif, curvy lines and light reflecting off the metallic surface makes it especially alluring. This is a charmer.

Looking closer, the earpieces are made of CNC magnesium alloy, consisting of an outer shell, inner shell, and an aluminium nozzle. The nozzle has tiny perforations that direct sound evenly and prevents ear gunk from going into the earpiece. The inner shell has two vents to accommodate the dynamic driver. The 2-pin socket has an extruded design which anchors the cable securely and protects the fragile pins from accidental damage.

There is some driver flex while fitting the VX into my ears. It doesn’t bother me, but some believe it will shorten the DD’s life. If you’re hung up about that, you’ll have to look elsewhere. Otherwise, the VX is well-designed and well-constructed. And, despite its stuffed internals and metal shell, manages to remain small and lightweight. It’s only slightly larger than the single-driver Moondrop Starfield, like turducken to your turkey.


Thriving in its natural habitat.

Fit, Isolation, and Comfort
The seashell design reminds me of an old Stallone movie where seashells replaced toilet paper. Yeah, it scarred my childhood. It was never revealed how they worked, but I guess ergonomics played a big part. The VX’s smooth curves adhere very well to my ear canal and conchas (which, fact fans, also means “shell” in Spanish). The fit is brilliant, aided by the lightweight shells, petite size and angle of the nozzles.

Not only that, the sleek, flush edges provide fantastic comfort. I wore them for hours without feeling much of their weight. Isolation is below average however, thanks to the two vents on the inner shell. The holes may seem tiny, but the effect is immediately felt, or rather heard. I could hear external noise like fans or chatter within the same room. You won’t be able to take this to commute unless you like ambient noise.


There’s book-smart and street-smart, how ’bout a book of streets?

Sound Quality
This ragtag gang of seven varied drivers combine their powers to form a uh, mega sound-producing machine. But just how good or bad is it?

Overall Sound Signature
In a case of putting your best foot forward, the VX admits it has three feet. The VX possesses a W-shaped signature, with elevated bass, lifted treble, and slightly forward mids. The good thing about this signature is, the sonic information (and infatuation) is immediate, and you hear macrodetails and dynamics easily, presented on a silver platter. You will be able to tell, within a song or two, if the VX sound is for you.

Taken apart and judged individually, they make a worthy sales pitch. The bass is powerful and deep, the mids are clear and detailed, while the treble is crispy and sparkly. It’s a marketing agent’s dream to be able to describe something so succinctly and precisely. A mass-market IEM designed to maximize wow factor with the “buy now” button suspiciously nearby.

However, not all is rosy. The VX is all about the flash and bang, and thus lacks subtlety, delicacy and nuance. A feminine touch, if you will. Moments of quiet introspection and reflection are lost to the unrelenting sonic assault. It’s no fun uncovering layers of musical mystery when everything is already laid bare for you. Like watching a comedy with someone explaining the jokes right after the punchlines.

Listening Conditions
Critical listening was done after 75 hours of burn-in, because I have no idea now neodymium magnets work but 75 sounds like a solid number. I didn’t hear a difference afterwards, but the magnets were able to attract more metal. The main review rig is FiiO’s M15 player, with the stock cable and stock medium tips. I didn’t really have to tip-roll because the provided ones are already good.

\
In the era of keeping safe distances, hiding behind lampposts help.

Bass
One part of the company profile that I failed to translate, copy and paste was their house sound, which is, spoiler alert, bass-elevated. Listening to the VX’s bass, it was immediately clear that they’re all about that bass, ‘bout that bass. And it’s expertly executed, equal parts warm and punchy, yet nimble. The midbass is the focal point here, delivering full, rounded, impactful notes with a clean finish and no bleed.

The sub-bass, although tamer, has a thing or two to say too, reaching deep and displaying some rumbly, thumpy physicality without being too boomy. The best part of the bass is the balance between fun and technicality, making its presence known and felt, but still maintaining good layering and texture. The effortlessly natural tone makes this the most organic-sounding part of the whole spectrum, rounding off a rather accomplished bass section.


Hmm… Mickey Mouse clogs.

Mids
Like catching Clark Kent in a phone booth halfway changing to Superman, the transition from bass to mids isn’t smooth sailing. To throw in another travel analogy, it’s a rough landing. The smooth and rounded upper bass contours make way for the detailed-to-a-fault and super-textured lower mids. The mids go for the jugular in terms of detail retrieval, making it their primary objective for better or worse.

The mids sound thin and brittle next to the wholesome bass, to the point of dryness. It can’t be argued that for the price, VX’s clarity and detail levels are in a class of its own, showcasing superb dynamics, air, texture and layering. Notes are well-spaced and lucidly defined from attack to decay. What’s more, its slightly forward placement means you wouldn’t miss a beat of what’s going on.

The biggest sacrifice though, lies in the timbre. Instruments have a bright, slightly hollow skew, while voices both male and female, take on a nasally, breathy character, as if begging for a sip of water. It’s a technically astute, but not emotionally engaging experience. A bit more heat and moisture (warmth and wetness, I mean) would improve the mids section significantly. Or an “add melted butter” switch.


Let’s go save Ryan’s privates!

Treble
The treble is the unmistakable, formulaic sequel to the mids, and depending on where you stand, it can mean either Terminator 2 or Speed 2. It continues the absurd transparency and speed of the mids, but at least here, timbre and tone is not the absolute priority, and technical terms like air and extension start to make sense. The VX treble soars towards the stratosphere like a jet, navigating the skies with finesse and ease.

Extension is very good, and detail-heads will be happy to note that every facet of the treble is covered thoroughly, like how you check out someone hot from top to bottom in da club. Notes attack with a sharp leading edge and finish smoothly, displaying remarkable refinement and stopping just short of sibilance and harshness.

There’s lots of excitement and sparkle to be had and enjoyed from the lower to mid-treble, before rolling off entirely. This is the most spacious and airiest part of the spectrum, but my complaints are similar to the mids. I’d like more meat in the bones. The treble can sound overly crispy and snappy, and decay too rapidly, where some note thickness and roundness would do more good.

Soundstage and Imaging
The VX soundstage is akin to being stuck in the lift with Debbie Downer, who can’t wait to tell you in excruciating detail how bad her day has been. It’s closed in, intimate and can get a bit uncomfortable. The stage dimensions are wider than deep, with no height to speak of. Coupled with the forward presentation, sometimes it got so intense I had to remove the VX for some breathing space.

But giving credit where it’s due, the VX possesses some excellent, awe-inspiring imaging and separation. Despite the small stage, layering is very perceptible, perhaps aided by the thin notes and rapid decay. Dominant basslines from EDM don’t congest the stage, for example Daft Punk’s Giorgio by Moroder is a welcome treat that envelopes my head-space with giddy futuristic goodness.


Inspired by the Jonas Bros, this all-green ensemble will form a boyband soon.

Comparisons

BLON BL-05
Before splurging over $70 on something, you might ask is there something similar for cheaper? I believe the answer lies in the BL-05, but would also argue that you get what you pay for. At about $42 meet the unrefined, borderline uncouth little brother of the VX. What struck me after a few back-and-forth comparisons was how similar the mids are tuned, although not meant as a compliment for either.
Both have thin, tinny mids, with an emphasis on clarity, sacrificing timbre and realism. On the BL-05, the mids are shoutier and grainier, a more unpleasant listen than the VX. The same story is told in the treble, where BL-05’s sharpness and tendency to over-accent the ‘t’ and ‘s’ intonations becomes fatiguing over time. VX has a better treble, mustering equal amounts of detail but in a smoother and more relaxed fashion.

Both do best in the bass, delivering strong authority and slam while staying clean, although BL-05 is sub-bass focused with more rumble in the jungle. VX manages to best BL-05 in soundstage, sounding wider and airier, although it’s really a matter of which is less boxy and cramped. As I’ve said, BL-05 is like a cheaper VX, but be prepared for a sound downgrade.


Bob Dylan’s Blonde on Blonde this is not.

Moondrop Starfield
Let’s try to get one over the darling of Chi-fi this year, the expertly-tuned Starfield. The VX surges ahead in the technical departments that leave Starfield panting behind. Running down the list, the VX has a tighter, speedier bass response, airier and more intricate mids, higher resolution treble, better-spaced notes and imaging accuracy, overall a more dynamic and immediate signature. So that’s that eh?

But the Starfield isn’t taking this lying down, and absolutely pummels the VX in sheer musicality and haunting realism. The bass is heavier and slower, but some prefer a weighted and bloomy approach. The mids and treble put the VX to the sword with its tonal accuracy and timbre naturalness, with notes that flow effortlessly from note to note for a uber-coherent, whimsical aural experience.

What’s more, the Starfield like its namesake expands wider and deeper than VX, leading to relaxed, fancy-free yet immersive listening sessions. You could say VX and Starfield complement each other depending on the mood. Even from the names you can tell, one is robotic while the other is human. While VX brings about jubilation and excitement, Starfield provides healing, calm and blissful elation.


Much like when you mush your hands together to make a face.

Final Words
The road is long and your legs are tired. In the world of Chi-fi, you are thrust in the limelight for the briefest of moments, before making way for the upgrade, the sequel, or the competitor. Unless you have an angle or a chief selling point, being replaced is part of the life cycle of budget Chinese IEMs. Cue Lion King references.

The VX though, is giving this game a good go. While many competitors boast a similar bass and treble-enhanced sound profile, what gives the VX an edge is its amazing value, and shockingly good levels of detail. Not all IEMs are bred to be all-rounders, and VX carves a special niche in the audiophile’s collection by being surgically incisive, but maintaining a sense of vibrancy and fun. He’s going for the long haul.