Pros: Treble details exceptional for price-point
Four effective dip-switches which concern themselves outside the pinna region
A historic product upgrade for Knowledge Zenith, aka KZ
Lovely lower-midrange that makes the signature smooth like butter
Fast and well imaged treble
Balanced and effective midrange
Cons: Maybe too polite, yet still conservative and sophisticated
Soundstage/imaging is large and romantic, yet not price-leading
Bottom-end has a touch of slowness, and reserved impact
First impressions:
My job consists primarily of working-out an opinion which comes in the first 10 seconds of putting a new IEM in my ears. That’s right, we make assumptions right-off. And when I put the JOYODIO SHINE in my ears, right-off I got a pretty good idea as to what the company was up to. This was truly the results of an off-shoot of KZ with the new created company JOYODIO making a very specific statement. The $79.99 SHINE was procuring an involved treble, a treble which offered sophisticated detail and tone. Combine that with the 7mm woofer and the overall tone was actually going somewhere. Such 29689 and 30019 balanced armatures were showing truly well thought-out timbre and puzzle-pieced right-into a smooth, even and correct frequency response! In fact Hybrids are my favorite methodology for IEMs builders to use………and this contrast is actually the theme of the SHINE. Yep, Light and Shadow….contrasts, that is basically what they were going for, that and a treble sophistication. A style of treble sophistication almost never found under $100.00. So when you combine the fact that we have contrasts, a smooth but detailed (BA) treble and midrange…..and an authoritative bottom-end………well really the SHINE has it all! And while it’s not perfect (I’ll get to that later) it is a fun and exciting entry into the IEM world.
I can’t help but see some similarity here? The new KZ D-Fi single DD shares many of the design themes of our JOYODIO SHINE!
When in fact there is a large discrepancy in pricing with the $33.00 KZ D-Fi being way less money than our SHINE at $79.99. And they should be as KZ are always following their routine as a budget leader. So while even though both IEMs offer the four tuning switches, the KZ D-Fi is only a single full-range 10mm DD where the Shine offers a 7mm DD plus the two BAs.
When I first laid eyes on the SHINE I laughed, call it surprise as normally budget IEMs are not allowed to come with such tuning switches. First four tuning switches for the SHINE at $79.99 in January of 2023, then this $33.00 KZ D-Fi and the tail end of March 2023! And while once in a while I really like tuning switches, about 80% of the time I don’t. To me it really depends how they are implemented.
1234
Pop:
XXXX
OOOO
Classical: OOXX XXOO
Rock: XOOX OXXO
HIFI:
OOOX
XXXO
Standard:
OOOO
XXXX
This is the basics, when in reality there are a total of 16 different set-ups to match your tastes. With the mechanics of the switches working as so.
1) Low
2) High
3) Ultra-high
4) Full-frequency over-all regulation
The tuning switches: I can’t help but think of the marketing stimulus KZ brought to the table introducing such a set-up. I mean they bought-up a ship-load of the switches, and are now flooding the market with these two versions of “switchable” IEMs. You can rest assured that in two weeks we will find another “switchable” IEM from KZ. It does inspire the imagination as to the outcome of using the switches, I mean with all the subjectivity in this hobby, surly the switches must allow an IEM to make everyone happy…..right?
The switches only allow for mild (but real) attenuation or boosting of frequencies, but fail to introduce any true character changes held with-in the pure character of the IEM. Meaning you have blue cheese in a sandwich and to a point it doesn’t matter how much bread you use, you’re still in store for the blue cheese taste at some point in time. Now maybe you can add more ingredients, but basically how much are you going to be able to add to the sandwich until it’s too big of a sandwich or veering-off in taste anyway. Remember here, everything is related to balance.
Blue Cheese:
At this point you’re probably wondering if I’m calling an aspect of the JOYOIDO SHINE character blue cheese? And in-fact I am, in fact I am using the term to describe all BA IEMs, even $2000 ones. Yet with-in them lay BA drivers and as such every BA driver has a subtle character in-which often manufactures try and address the resulting the (off) tone. This blue cheese (metallic) tone is noted more often in cheap no-name drivers, but amazingly as of recent, no-name drivers have slightly come of age. Meaning this BA timbre is actually getting better than ever. Both Knowles and Sonion have led the way making the tonal response of BAs cross-over into (almost) closer-to-perfect timbre replay. What I’m trying to say is the JOYOIDO SHINE does have an off-timbre and they haven’t even tried to bury it in the mix. No, they are taking the timbre of both the included 29689 and 30019 balanced armatures and exposing the tone for all to admire. And while such facts of life reveal a form of metallic (blue cheese) reality, really it’s quite good for the money. In fact due to the way the bass and mids played out into a specific balance in the JOYOIDO SHINE, I hold it above other examples of no-name Hybrids like the 4BA/DD TRN ST5!
Back to tuning switches:
So my take on the switches is I can still hear the 2X BA character and 7mm DD character no-matter what slight effect is introduced by this crossover network. It’s like, yes….the crossover network has an influence, but the actual music making device is still there and responding accordingly, no matter how much you alter the incoming frequency. Now of course the balance of frequency bands change in relation to one another……..but the driver character still remains. IMO
Now contrary to my normal modus operandi, I actually used the switches, and found of the assortment I liked the Rock and HiFi settings, still the switches fail to commandeer the FR into anything other that (still) what it is……which is a fast, bright more treble centric yet balanced signature. Where the DD can be slightly adjusted, yet there is no way to really avoid the over-all tone of the IEM. And while the KZ D-Fi is a whole other ball-of-wax and going to guess these switches still play very little roll in changing the character of that one, also? Meaning I can guess that the KZ D-Fi will be slightly darker and missing the BA brightness, yet the switches will still only politely do their job to bring about a different listening experience.
What the switches do is offer the perspective buyer hope, hope that they will in-fact hit pay-dirt when looking for their desired synergy of sound. And while yes, there is 90% chance the SHINE will align to your satisfaction….further, it’s obviously more important for you (the IEM buyer) to get to grips with the over-all IEM sonic offerings, to learn if the SHINE is more to your tastes right-off, so lets get to that.
Sound impressions:
Treble:
After taking a full day off from any listening, I feel I will approach the Shine with an even perception and fairness here? Also I have used the the “Rock” switch presets and an aftermarket cable in which to try and warm-up the tone.
I’m using the Han Sound OCC ZENTOO cable in 4.4mm.
Reason being I was not supplied a modular cable or 4.4mm connection and I feel my 4.4mm connection in the Sony WM1Z DAP is the best for the interpretation of the JOYODIO SHINE?
AHH!
Really this is great for the priced asked. I’m starting off with the treble as I feel it was a focus in this SHINE tune. While KZ just spent a time exploring what could in-fact be achieved with played-down treble with the KZ ZS10 Pro IEM and the KZ AS16 Pro IEM. Both IEMs truly were met with huge hugs here at REDCARMOOSE LABS. But now we hear a turn of events………..yep………that’s right. KZ is exploring a more bright and detailed treble, much like what TRN have recently explored with the ST5 Hybrid.
In fact the best way to understand the direction taken here is to go ahead and do side-by-sides with the TRN ST5. But before that I will kind-of do a general description to generalize what to expect if you do go ahead and move forward on a purchase, but have no idea what the TRN ST5 sounds like.
The Standard Treble Experience:
I can generalize here as DAP choices, cable choices and switch adjustments only go so far to really change anything. The full-on character of the SHINE, shines through regardless of any wishes or modifications here. Yep, it is what is it is. And……..what it is slightly bright, but totally detailed and focusing on an evenness with that focus. We are met with a bass that is almost tuned to replicate BA bass. And while mids are BA mids…………the slant is moved to accent the highs. What we are left with is a fine and adjusted treble experience that really doesn’t seem adjusted in any way……it’s just treble focused.
BA timbre:
So when BA timbre is now left out on its own, we have to question as to what style of tone this is? While we were always wondering how the fix was for the KZ ZS10 Pro IEM and the KZ AS16 Pro IEM? That in fact those brothers in sound reproduction were somehow given the timbre “pass”………you know like a card to pass inspection due to lower treble out-put anyway. Yep, it’s safe to say the KZ ZS10 Pro IEM and the KZ AS16 Pro IEM avoided any scrutiny due to a down played treble focus. Yet here it’s way more important to realize that you are paying for this timbre. This sophistication cost more because it’s a more worked out timbre. A more real idea of how instruments could sound. And of course still parlaying a style of BA tone, that tone is better aligned and brought fourth. So in short, the treble is more pronounced than the recent past KZ creations and done in such a way that it sounds big and natural.
Midrange:
Whenever I need to search the Internet for a FR graph on a product is because something is either right/correct or really wrong. I will have a curiosity to witness the train-wreck before my ears or into enlightenment as to why or how is a tune so darn smoothly correct. And here is that time, for correctness. Regardless of the switches, notice how the 600Hz to 20kHz stays relatively the same here in the graph? While there is subtle variations among all the possible setting here in regards to the switches, let me save you some time. After studying every possible setting, the basic tone remains the same and the midrange (especially the upper “pinna”) is left alone. This is how (not just me) everyone hears the SHINE! And it should be this way. This way because the pinna area of hearing is by far the most sensitive, and the most noticeable to any alterations in sound change. But in this case it’s more than that! They left the upper midrange alone due to nailing the pinna threshold. What that means for us is the ability for the IEM to kinda dial-in vocals and the common place that everything is balanced on. That’s why they don’t want to change it with switches, and why you don’t want it changed with switches. While the effect is slightly underwhelming in action (of moving the switches) it’s for a reason.
BA vocal timbre:
Once again it is all really well done for the money asked here. While BAs do only so much to add natural reverberations to sound fall-off, they get the attacks of notes into a style of harmonic complexity regardless. And while still there is a slight tonal glossiness encountered here, that’s a departure from reality, such negatives are allowed. The tonal deficits are by far acceptable and simply come with BA methodology. The beautiful BA parts of the tone are fully expounded upon and a gift at this price. Notice I am concentrating on vocals here, well guess what……that’s what the SHINE is focusing on too! Luxurious big and well done vocals!
Bass:
Go ahead play with the switches. 0101 on the graph or (OXOX) is my switch description here. What happens is yes, the bass is truly accentuated here, but because of the prominence of pinna perception, the midrange is still the same, which results in a diminished effect. Still I like it, I like the extra bass, but I like the rock setting too, those 4dB boosts in bass are far less noticeable than guessed from the graphical response in 1001/XOOX. Still the more I listen the more I start to understand the importance of the switches and the importance of the bass in replay here. As always playback is a balance which designates more treble, thus with this subtle V more bass is needed to balance the boat. Too much treble and we go off into an even more treble centric show, and really at this exact point in time the SHINE sounds balanced. Though you would consider it a more treble centric tune. In reality it is a subtle V shape experience, with a treble tilt. I called the bass slightly like BA bass earlier when in reality it’s not, but that was an entertaining descriptive at the time. Especially now with XOOX…….it is subtly showing more impact. And of course the difference is with the decay, as obviously this is DD decay because it is a DD! Such attributes go to make this overall tone balanced and provocative. Still the amount of bass means this signature is fast and nimble, none of that extra bass baggage flowing-up and totally ruining the lower midrange. And of course here is the vocal identity of the SHINE never overshadowed by the bass! But is it there? Is the bass actually spoken for in the sound signature here? Yes, it is wonderfully. While downplayed slightly and not a DD holding the most detail or texture, it somehow blends to give bump and rhythm to the total experience. It’s this rolling and softly counterpointing tone, that makes you not want any more, especially with XOOX!
Comparisons:
Now hold on here before I compare the SHINE to the TRN ST5 I want to throw a curve-ball into the events. Yep, this is really needed to somehow put the SHINE into true prospective. Remember how I’m always calling the SHINE treble centric or vocal centric, well……I need to break it to you that in-truth the SHINE isn’t 100% a bright player, it’s leaning that way, but before the main competitor to the SHINE I will need to do comparisons to another way more bright player……..just to get perspective here!
Back in December of 2020 I went and encountered a very neutral IEM, but in hindsight it is actually a little bright. And in comparison to the SHINE, a lot brighter. You see this is sold gold here to compare these two forces of IEM power. It is in fact only through comparisons do we find truth in character. I can try and tell you about how the SHINE is this or that all day, I can even show you graphs, yet to hold each IEM in the hand and to demonstrate them side-by-side is truly the path to enlightenment! Do you happen to see the pinna gain area already start at 1.5kHz? Yep, that is really there and heard for what it is! Then it travels up to 2.9kHz before settling down……you hear that. Added is the next brightness which is a drastic bump at 5kHz. Combined these two culprits go to give the Legacy 4 a definite feeling of resolution. But beyond that, some can’t take the fireworks (heat) provided with the spice! And you know what they say about heat right? If you can’t take the heat, get out of the kitchen!
So in learning from the L4, we find the treble and midrange positioning (no matter what switches) to be of a smoother and more relaxed demeanor. But besides that, and here is the kicker……the overall presence of stage and well as the bass focus is somewhat bigger, actually a lot bigger. This injects a new level of involvement, we as listeners simply gravitate towards areas of larger musical size and grandeur! And the double-kick is that when you add bass tone and bass size it all becomes something of an event, to make you almost wonder why they called it the SHINE, when it’s more like a SHINING SUNSET! They should have called this IEM the SHINING SUNSET!
The TRN ST5
Why, why am I using this IEM? It’s more BA drivers and it flaunts it in its name….the ST5. 4 BAs and 1 DD. But regardless of its make-up, both KZ and TRN are kind-of battling it out for your business, so I’m adding fuel to the fire!
TRN ST5 v KZ/JOYODIO SHINE
I had a girl-friend named Joy once in 6th grade. You know the trial style of dating…..where you are just learning the technique, I purchased a necklace for her and we would hang-out during school on the playground……Ah youth, it’s waisted on the young! Anyway……..
I like the ST5 a lot more than when I reviewed it? Still I hear my issues with it and those little deficits become more pronounced with further listening. Still the main issue I have with the ST5 in in two parts, one the pinna is starting way early (same as the L4)……that and the actual no-name drivers of the BAs have a slight BA sheen that is probably due to the brightness being way out front. I will say those extra BA drivers, the two more BAs do install slightly a bigger soundstage. Who ever made the two 30095 balanced armature drivers for the midrange section, and the two 50060 treble producers are not disclosed. Now I don’t mean to be any style of BA snob, but in my TRN ST5 review I actually recommend the KZ ZS10 PRO X instead, more no-names!
In my book there is a huge difference in build materials too. Yep, the SHINE is a composite of a Zinc Alloy faceplate and medical grade resin shell, where the TRN ST5 is a total Magnesium-alloy build, possibly reacting to install resonances? Brighter resonances?
I mean,I do understand where the love for the ST5 comes from, and in some ways it’s more technical than the SHINE. It’s just the SHINE also is playing with a lesser pinna gain and resulting in a more forgiving and listenable tune in my humble opinion. And to give the ST5 some credit, I did use a different cable (the same aftermarket) one as the SHINE in use, and the bass was way better than the provided TRN cable. Also I just want to state that I have nothing against the TRN sound, as I reviewed their flagship BAX TOTL and gave it a 5 star review, it’s just this ST5 is a little hot. IMO
What happens with IEMs is they are always looking for this balance and truthfully it comes down to personal preference, but there is always a balance of detail and brightness counteracted by smoothness and dullness. It is key in finding a way to give a little of both and it seems (for me anyway) that KZ has found the key to this balancing act? You know really the other single thing is the extra lower midrange add with the JOYODIO SHINE, yep…….there is this extra thickness added to the lower midrange that adds a presence? Where such a set of frequencies have been removed from the ST5 resulting is a totally Hybrid sound, the bass doesn’t really sound connected to the mids at all. Any why should it? 4 BAs way out front and a 10mm DD dislocated from the sound, where typically I like the separation such a set-up provides, but here it’s maybe too separate? Where the JOYODIO SHINE portrays a more linear response where while more reserved in stance......showcases a togetherness and a sense of refinement.
Music example:
“The Slider”
T. Rex
The Slider
44.1 kHz - 24 bit
Well, this is such a special song to me personally. Kind of a Rock awakening at 10 years old. Yep, 1972 and The Slider represents Marc Bolan loosening-up and getting more production quality than the previous album “Electric Warrior”. At 00:03 after the drum accent intro we are greeted with the rhythm guitar. Really they aren’t messing around coming-on full-tilt with the drums, bass and guitar at the 00:03 point in the song. Right off we are alerted to a glorious shaker sound…….creating a ride sound much like a ride cymbal only this time panned far out to the left. SSSS……SSS,SSS…….these styles of instruments are perfect to learn about what our treble BA is doing. And really in so many ways the separation and perfect tone of this shaker sets the mood……..but more than that it is a musical sound to be transfixed upon….only for a moment. Also the overdrive guitar has a crunchy tone, that while I’ve heard it more robust and forward, in this playback, in balance with everything…..it’s the cat’s meow. Also there is a crash cymbal right at 00:03 that works as an intro to the start, and while not overly loud, the timbre is just right, though I’ve heard it better separated in other IEM………what do you want for under $80.00? Really for everything the SHINE is, it’s not doing anyone thing wrong here! At 00:10 the vocals start.
Timestamps accurate only to FLAC file.
The Slider
Lyricist：Marc Bolan
I could never understand the wind at all
Was like a ball of love
I could never, never see the cosmic sea
Was like a bumblebee
And when I'm sad, I slide
I have never, never kissed a car before
It's like a door
I have always, always grown my own before
All schools are strange
And when I'm sad, I slide
Oh slide
And when I'm sad, I slide
I have never, never nailed a nose before
That's how the garden grows
I could never understand the wind at all
Was like a ball of love
And when I'm sad, I slide Oh watch now I'm gonna slide
While never considered Marc Bolan’s best work, that is not the point. We are not looking for best, what we are looking for is replay, and a natural form of experiencing the music that was found upon our youth. Finding a way to re-experience the sound and get connection to the tones. The album has been criticized as being too one dimensional and simple, yet when first heard in youth, none of that matters. It is what it is. And because of that no Rock Critic can take any of the magic away simply by comparing it to the thousands of songs he’s heard.
At 00:38 the backing chorus gives us a taste. This is in-fact the hook of the song, and added emphasis comes with violins and as well as a drum break-down. And really that’s all there is to this number. This song holds an amazing level of linearity that prolongs its effectiveness and within that structure......the subtle adds. 00:30 comes the the DO,DO,DOs……..And truly the most amazing thing again......is the simplicity. The fact these guys get millions of dollars and chisel their place in rock history by performing something that is so aloof and casual. The ingredient here is the basic song, that there is a structure that while simple, grooves and breaths with life, even after all these years. And finding playback to be not only special with the JOYODIO SHINE, but through and complete.
Phone use:
Going over to an ancient Galaxy C9 Pro 3.5mm output we are met with authoritative bass and vivid highs, though pale in comparison to audiophile DAP 4.4mm use. And while I can hear that simple phone use was a concern in designing the SHINE, it must be disclosed that an audiophile DAP or a Dongle is really superior. And while somehow the SHINE really likes juice, it was actually not that bad in phone use and way better than previously guessed.
Build:
While found are two shell materials, such uniqueness is just that, unique. While the faceplate has this darker shine which is the Zinc Alloy reflecting, it more or less reaches around from the front to hold the 2Pin plug on one side, and the switches on the other. Only a single vent is found emanating directly from the resin (inside) area, the SHINE is on the low-weight side at exactly 7 grams a piece. Inside is the 3D printed sound-tube arraignment which can be seen slightly from the outside. It should be noted that while not up to the nozzle in BA positioning, the BAs are somewhat in the middle, farther from the 7mm DD than guessed right-off. Such 29689 and 30019 balanced armatures are not necessarily way forward in stance nor lackluster in personality. The nozzle tip shows a fine wire mesh screen set back slightly surrounded by the a lip ring which hold ear-tips on fabulously. When in fact the true genius to this build is the 3D printed sound-tubes. Upon transillumination it can be viewed that there are in-fact two very small sound-tubes that are way smaller than average. One tube is emitted from the bass driver and the other tube from the BA sections. Due to 3D printing the hole design then makes up the upper nozzle area structure of the IEM as one single composite entity, completely eradicating the chance of any unwanted movement post construction.
Packaging:
Showing up with a premium case never even thought about with a standard KZ product, the packaging really shows a little thought in comparison to standard KZ flair. With the KZ “star” tips included on the IEMs themselves, another clue as to their origin. Plus an IEM ear-tip holder grouping a sold package of 6 different silicone ear-tips. And maybe other tips included would be of interest to others, I found the wide-bore clear silicone to be an old favorite. Now when I say favorite you may think normal favorite, but no these wide-bore silicone ear-tips I use on all my reviews and use in my daily IEM listening almost 90% of the time. So you can imagine my joy (sorry) of finding them included with this package! Besides the guide to using the switches, you also get a giant 13 language guide to using the SHINE. Such a guide book is enclosed in it’s very own envelope. The blue case is pretty much an identical match to what DUNU includes minus the branding.
Cable:
The 8-Strand silver-plated cable included came equipped with qdc style plugs on one end, and a 3.5mm plug on the other, included on mine was a microphone and transport/control button.
Conclusion:
The SHINE is slightly hard to drive, yet sounds incredibly even at any volume used. In many ways I am at a loss to how KZ/JOYODIO found such a splendid balance of forwardness and relax-ability? But it’s there. Such charms will slowly enamor you to the sound, if you are looking to visit the town the SHINE provides. I mean I really like hybrids the best, and I like the style of brighter laid-backness that the SHINE produces most of the time. So in so many ways this IEM has my name on it, maybe yours too?
And while the switches are not a gimmick, they are providing a tonal change outside of the pinna gain, which is what is needed after-all. It’s just those switches don’t have the ability to fully change driver character. So what? While I have heard other crossovers that do more, I totally understand KZ/JOYODIO’s design goals and agree with them. It’s actually an incredibly conservative tune, a subtle yet effective tonal stance. Really this IEM is different than the few KZ IEMs I have recently reviewed. And while at first I kinda thought it was way different than what KZ has made, I’m slowly warming-up to the fact that KZ as a company really does have a specific sound and I’m on-board with that. In fact KZ does have a sound, but chose to repackage and re-price the SHINE to appeal to a different sector of the market. The included carrying case, the look and finish, the selection of ear-tips…..I could go on, but you get my point!
I spent almost 5 weeks with the JOYODIO SHINE, and during that time learned to respect it more and more. While not the brightest IEM I’ve heard, the SHINE goes about its day providing just enough detail to make listening fun. The extra lower midrange is fluid and lush going to somehow paint a character across all the listening, adding room reverberations in emphasis! And while the upper treble tilt-highs provide resolution rarely found at this price-point..........making the SHINE SUNSET become something unusual. But most of all you’ll remember (from your last listening session) about the SHINE togetherness. Yep, the fact that somehow they have done the tuning and building footwork to provide an even and compete tonal response, that while not the most flamboyant or vibrant, it is a sincere response bringing you closer to reality in music!
PRODUCT SPECIFICATIONS
Model SHINE Driver 1DD+2BA Impedance 11-31Ω Sensitivity 106±3dB Frequency Range 20-40000Hz Cable Material 8 core silver-plated cable Cable Length 120±5cm Plug Type 3.5mm
JOYODIO SHINE
1DD+2BA Hybrid Driver In Ear Monitor
Pros: - Premium Look and feel
- Included case is great and useful
- Included tips actually work for this IEM
- Cable works and is tangle free
- 16 Different tunings
- Female vocals are nice
- Big card to describe in part what the switches do
Cons: - Male vocals a tad thin.
- Way too many tuning switches a bit confusing
- Not a excellent performer in technicalities
- Needs power to get the DD going with the higher impedance
Joyodio Shine
February 22, 2023
9:42 AM
Joyodio Shine - 1st. Attempt
Pros:
Premium Look and feel
Included case is great and useful
Included tips actually work for this IEM
Cable works and is tangle free
16 Different tunings
Female vocals
Big card to describe in part what the switches do
Cons:
Male vocals a tad thin.
Way too many tuning switches a bit confusing
Not a excellent performer in technicalities
Needs power to get the DD going with the higher impedance
Now let's get into it: The Techy Stuff
1x 7mm DD and 2 BA
I share my impressions as I hear them with my ears.
As all our ears are different shapes & size so what I hear as bright or bass heavy -you might hear as dull and Vise-Versa; just something to be mindful of.
My version of what my perfect balanced IEM is: Good Sub Bass, with a warmer tone weight but faster and a nice transition into lower bass that adds the correct note weight to male vocals without too much bleed to effect female vocals with too much added thickness. I want to hear guitar plucks sounding with good intensity and tone.
Male vocals should sound correct and female vocals not to thin or forward.
Highs need to good extension and no sign of sibilance.
Instruments need to have correct tonality and sound natural.
For reference my favorite IEM is the Xenns Mangird UP with it's EST drivers that add sparkly enhancement only and not forced in a smooth natural way I prefer the fast speedy bass of the Beryllium Coated Driver.
My music Library is widely varied from; Metallica, Great White, Cowboy Junkies, Pink Floyd, Adelle, Melisa Ethridge, Fleetwood Mac, Five for Fighting, Manskin, Poncho Sanchez, Jimmy Smith, Chopin, The Crystal Method just to name a few. When not listening to my test tracks the majority is Jazz or Alternative Rock especially Female Rock. Lorde, Halsey, Alanis Morrisette, Evanescence.
All depends on my mood. If I want to chill out I listen to artists like the, - The Who, Pink Floyd, Deep Purple, Dire Straits and Dead Can Dance just to name a few.
If I want to have a beer and just get lost then some Jazz , Miles Davis, Poncho Sanchez, Jimmy Smith, Ray Brown Trio.
If I want to rock out then some AC/DC, Bad Co, Great White, Led Zeppelin, Robert Plant, Metallica.
And Those Times I want to get into vocals then Lorde, Halsey, Biff Naked, Alanis Morrisette hit the spot.
I mention all this so you get a sense of my library and what I like when I make my audio impressions other than the playlist
Sources: E1DA SG3, Shanling UP5, Geshelli JNOG J2 with AKM4493 chip. Truthear SHIO (Dual Cirrus Logic 43198 DAC Chips)
DAP/TRASPORT: From Lenovo Laptop with Tidal, iBasso DX160 (Dual Cirrus Logic 43198 Dac Chips), Samsung S22 Ultra with DSD Files.
Amps: LoxjiP20 & XDUOO MT-604 tube hybrid amps and Topping A90D Amp 4.4 Pentagon Balanced Out - Unless stated
Tips Used for the Shine were the stock Large turbine looking ones that are wide bore.
My Format that I like to use is that I will list the music tracks I used & why with my musical impressions of the playback using that track with the notes I took during my time with the Joyodio Shine.
*My Notes are not meant to be full sentences just my thoughts written down at the time and transposed.
**Remember these are critical listening notes write it as I hear it, not overall impressions**
***Listening done with setting 1001 on the toggle switch R&B/Rock 4,4 balanced off of Topping A90D with iBasso DX160 as transport DAC.
Total Time 2:09:51 27 Tracks
#1 "Beautiful Blue" by Holly McNarland
(I love Holly's vocals should be crips clear vocals with the right edge to here vocals)
"A bit recessed . BA timber can be heard here adds shine not terrible, Drivers don’t have perfect cohesion seems to not blend in well."
#2 "Give Me One Reason" Tracy Chapman
(I love her voice and the way it is recorded listen for the strums on the guitar - I have seen Ms. Chapman live a few times; so In my mind, I try and remember how she sounds like 5ft from me as I was blessed to experience)
"Vocals were good. Instrumental a bit veiled, bass shy for my liking."
#3 "Paradox" by M.E.B.
(Great female vocals listening for accurate piano at 0:11, bass hits at 0:28 and vocals at 2:00)
"Bottom end was there a bit tubby. Not bad for this track, Vocals forward in mix."
#4 "House Of Broken Love" & "Rock Me"
(80'S Baby, Double Kick drums at the beginning of the first track I am listening to how fast it hits how solid is the bass and what's the decay like. An ideal replay here would be fast, powerful bass with nice note weight to feel it in your chest so to speak if you were at a concert.) ( With "Rock Me" same thing but I am listening for the bass guitar drops on this track it should be quite low)
"Shouty at 2:30 turned it down, Bass tightened up at 2:30 switch to balanced cable, pillowy at low volumes"
#5 "Wheat Kings - Remastered" by The Tragically Hip
(Sense of stage and Male vocals)
"Stage height good, Vocals forward in mix , now getting a sense of the shine."
#6 "Chemical Mentalist" The Crystal Method
(Bass, more bass fast and lots of it - How does it do end of the story - Huge Smile or poo emoji?)
"EDM good w power shouty without but not sibilant."
#7 "Its Time" by Labrinth, Sia, Diplo
(3 very different singers and their voices come together. I use this because it’s a cool track and at higher volumes lesser IEM's get sibilant. Piano doesn’t get washed out and Vocals at 2:30 should blow your little mind) "NOPE"
"Vocals ok but showing its weakness in technical chops."
#8 "All My Friends Are Here" Joe Satriani
(In this track you can hear Joe playing dead Center with the busy and very separated L & R licks added in and then he brings you back to center with some crazy and very hard-to-play Descending A Major rifts! As Joe described this song as "A rock guitarist trying to control a wild beast"
"Very congested stage , excitement not there just a more mellow replay."
#9 "The Antidote Is In The Poison" GoGo Penguin
(Modern Jazz at its best. Powerful, Dynamic track full of emotion and snappy bass. Fantastic track to listen to how well Micro Dynamics are conveyed and get a good sense of the IEM's ability to convey that to the listener.)
"SEE ABOVE"
#10 "Angel" by Massive Attack
(Say it with me - massive textured bass drops )
"Soft replay bass not really"
#11 "Bring Me Some Water" by Melissa Ethridge
(I like this track to hear Melissa's voice and see if the transducers (speakers) reproduce her voice to how edgy I think it should be.)
"Vocals are fine missing a bit of edge to her voice, guitar didn’t come through as it should."
#12 "A Whiter Shade Of Pale" Annie Lennox
(A Bach-inspired Hammond Organ M102, I seriously love it and its unique sound with Annie's voice this is so cool)
"Missing the sparkle but vocals ok."
#13 " So Cold " Holly McNarland
( Vocals on this track are further back in the track and L & R upfront good track for testing depth of stage and vocals - Sub Bass at the very beginning has a nice drop.)
" Same as #12"
#14 "Shape Of My Heart" Sting
(in this track I am listening to the sound of the guitar pulls and slides. How well does the IEM give an emotional presentation of the mix between the vocals and the bass.
"Male vocals missing a bit of note weight pulls the same thing."
#15 "Wishing You Would Stay" by The Tea Party with Holly McNarland
(Love this track. With this song and this band, it was the first time having a guest vocalist. Holly McNarland has a great voice and I have seen her live a few times front and center getting sweat on. Listening for Holly's voice being forward in the mix and not sibilant.)
" Ok vocals overall good compromise."
#16 "Avenue A" Tom Cochrane and Red Rider Live from the Symphony Sessions
(This track with more resolving IEM'S you can hear the guitar pulls and slides with a sense of open spaciousness and grandeur)
"Narrow average stage."
#17 “Eden” Hania Rani
( The way Hania has recorded this track with the mics on the strings in the body of the piano is incredibly unique and such a unique presentation you can hear the string's tension at the beginning, Bass kicks in at 1:40 and goes low that’s what I am listening for.)
"Piano lacks note weight."
#18 “Summertime” Louis Armstrong & Ella Fitzgerald
( This Track has both legendary artists Simply listening to Louis and Ella’s voices and of course, the Piano and trumpets how accurate and lifelike.)
"Trumpets lost there sharpness not correct here."
#19 “Blue Train” Poncho Sanchez
( Trumpets here are silky or should sound that way with good timbre, overall mix how does it present, and of course Poncho’s drums )
#20 “ My Girl “ Royal Philharmonic Orchestra
(Listening for instrument placement and stage and this track gives a good sense of dynamics and excitement with lots of dynamics in the mix)
" Missing both ends bass treb."
#21 "Iconic" by Alanis Morissette
(More edgy female vocals to give you the chills)
#22 "The Day That Never Comes" Metallica - Live with the SFO from S&M2
(Big open stage good depth of stage excellent recording with a excellent orchestral opening)
"Stage sounds like playing in a GYM not huge venue."
#23 "Tricycle" by Flim & BB's
(Turn this one up and wait till 0:28 seconds- Have Fun Dynamics test)
"Gone Missing."
#24 "Thriller" by Michael Jackson
(Great song to listen for stage and imaging)
"Thrillless."
#25 "Team" by Lorde
(Female vocals if your lover of those this is a great track)
"Two thumbs up on vocals."
#26 “ Wake Up “ Oliver Mtukudzi
(Oliver Mtukudzi is an African Musician and prolific guitarist and Vocalist. He sings with a mix of South African styles sometimes in English sometimes mixed like in this track and includes the traditional drumming styles of the Korekore. TUKU MUSIC at its finest – Listening for vocals, bass lines, and clarity – and because it is just fun! Right at the beginning you have some very cool snaps and instrumental)
"Missing the excitement."
#27 "Brothers In Arms" by Dire Straits
(Intro and dynamics or distant thunder, and Iconic Mark Knopfler's vocals Bass hits at 2:12)
"Intro soft bass , Mark's voice needs more weight."
SUMMARY & FINAL THOUGHTS FOR: Joyodio Shine
I think on Joyodio' s first attempt into the congested IEM market they achieved their goal bringing a overall value package to the table with a nice presentation , case, Cord was tangle free, nice tips and a top of tuning options directly aimed at the novice person to this hobby. Overall I think they achieved their goal and for a first attempt great effort!
What puts a negative spin on this IEM is probably with the tuning switches it added a certain impedance load where the average person who wants to drive this off of their mobile device will be left disappointed. As is the Joyodio Shine is power hungry and its overall performance will depend on how much juice you can feed into the thing.
Overall I would have preferred a warmer replay but again that is my subjective preference for my music.
Louis Armstrong was a classic example of thinner vocal weight in the fact that he didn’t sound like Loui.
The Shine is not the most technical set nor did it try to be and certainly not at this price point should it be.
Stage was average but had some tracks that presented higher than average.
If you are just stating out and want a good overall package to get you going and help you figure out what your preferred sound signature you like then maybe you should take a look at the Shine.
Round #2 I would love to see a Bigger DD for more bottom end maybe a tad warmer for male vocals and get rid of the fancy packaging and a greater focus on tuning.
I think Joyodio tried to be a allrounder to beginners so on attempt #1 you have to give them some credit and provide feedback to help them improve for round #2
Pros: Bass is fast and snappy, slams hard and deep
Mid vocal is crisp clear, organic and natural
Treble details are good and not sibilant, great imaging and micro details and instrument separation
4 switch for Low, High, Ultra High and Full Frequency overall regulation
works and is prominent
– Pop, Classical, R&B/Rock, Hifi and Standard [on switch]
Suitable for most music genres
Cons: Sub Bass Rolled Off
Slight 3K Peak
Disclaimer: Thank you and kudos to Joyodio for arranging this review unit, all herewith are based on own observation with no affiliation nor obligation, noob observation - please enjoy.
Budget - Value – Versatile - All Rounder - Good Sound
7mm dual-magnet and dual cavity dynamic driver
29689 BA for Mids and High Frequency BA
30019 BA for High and Ultra High Frequency BA
4 switch tuning for
1. Low,
2. High,
3. Ultra High and
4. Full Frequency overall regulation
Packaging / Presentation :
Packaging is in medium size black box. IEMs are metal alloy faceplate with bottom half 3D printed resin. This package comes blue color storage box with zipper, and a SIM eject tool for the tuning switch, 1 pair of KZ starline silicon tips and 2 set x 3 pair of silicon tips in white and grey in S M & L. The stock cable is 8 strand silver plated cable.
Equipment used / Music choices:
ASUS Laptop WIN 11 with Spotify Connect to
Ifi UNO DAC to FSA Beyond HD Amplifier 6.35SE and Supplier HD Linear Supply
Topping DX3PRO DAC to Topping Amplifier L30 6.35SE
ifi Zen Dac v2.0 interconnected to ifi Zen Can 3.5SE/4.4BAL
Sony walkman A55 with Fiio A5 Portable Amplifier 3.5SE
LG G7+ 3.5mm SE with Shangling UP5 2.5bal/3.5SE/4.4bal BT LDAC
Music Tracks - variety of EDM, pop, rock, jazz, country, instrumental, classical, audiophile male/female, chinese / cantonese favourites.
Some of tracks used -
Need you tonight - INXS,
Jack and Diane - John Mellencamp,
I'm Good - David Guetta and Bebe Rexha,
Dancing in the Dark - LOLO,
Snow Throwing – Lose Again,
IntroOooOoo – Kidkanevil, Daisuke Tanabe,
Camomile - Fields of Gold,
Brydshot and Bye - Dimlite,
Mushroom Picker Dance - Floex,
Ed Sheeran - I Don't Care,
Glass Tiger - Thin Red Line,
Symphony No.5 in C Minor by Beethoven,
Bubbles – Yosi Horikawa,
Ageispolis – Aphex Twin,
Original remastered – Leftfield, etc..
Sound Impression :
Overall Tonality and Timbre - sounds organic and natural and smooth. The 7mm single dynamic driver is good and capable, taking care and delivery of good Bass, slams hard and deep, fast and snappy, however lacking Sub Bass, do not have the Sub Bass rumble. The 2 BAs 29689 and 30019, deliver good mid vocal in crisp and clear, organic and natural tonality. The treble is good in imaging, instrument separation and micro details.
Bass – the bass transient speed is fast and snappy. The bass is actually well controlled and accurate, kick drum and strikes are quite precise. Sub bass roll off, lacking and will not satisfy Bassheads.
Mids – both male and female vocals are natural and forward sounding with good weight tone. Slight 3K peak, not sibilant for me, but to some may pose a little ‘brightish’.
Treble - instruments separation and imaging are clear and concise, accurate and precise, yet not sibilant, cymbals and high hats are good, extend well and good micro detail.
Soundstage is considered good above average in width, depth and height. Top end airiness is good above average in producing 3D holographic effect.
All testing are done using the stock starline and the 2 other silicon tips and stock cable.
Joyodio Shine Comparison to
KZ ZAR – Shine in terms of tuning, overall sounds better in lesser bass bleed, cleaner and better clarity, resulting in better resolution and crispy-ness. Soundstage and imaging is better too.
TRN VX Pro – Shine tuning is as bright and transparent, however Shine has the switch that can fine tune to different situation and music to its advantage. Not that sibilant as compared.
Final Thoughts
This is a good tuning set for those that enjoy fast and snappy Bass that hits hard and deep. However Bass-head may miss that low sub rumble. Mid Vocal are represented well, crisp and clear, bright and organic. Imaging is great. Treble highs are well extended with good micro details and resolution. In terms of Value, Versatility and Budget set that can suit most music genre, this is a win.
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