Tansio Mirai Shock

Review In Short:

TSMR Shock is one of the most versatile IEMs when it comes to tuning. If there is any song/genre in your collection that sounds weak, just spend a few moments tweaking the tuning knobs, and viola, it sounds brilliant.



Disclaimer:
Not a seasoned audiophile, so take my impressions with a grain of salt (maybe multiple grains of salt).

Thanks, Audio Geek⁩ community for gracefully helping me audition the TSMR Shock

** More about me, my music preferences & songs used for testing are added at last, so you need not scroll through things that are not necessarily interesting for you. **

Looks, fit & comfort:

Looks: Translucent in Purple-Violet hue shell (please don't hold me to this color desription- I am not a color-literate), featuring a yellow and a brown knobs. Looks weird, nerdy, and good at the same time.

Fit & comfort: On the chunkier side but still gentle on the ears. Ensuring good fit is important here given the fact that the BCD is designed and placed on the outer side, transferring its impact to the lower part of the ear (antitragus, thanks Google) than the flatter surface near the ear canal (concha)


source: stanford.edu

Side-sleep test: Pass -- marginally. Easy to wear in normal postures, side sleep not its best suit but can be accomodative.

Stock Cable:

• Bright white, nylon-like finish braided with dark purple connectors
• Well-behaved, no memory
• No microphonics
• Slightly on the stiffer side.

A note on box content & accessories: Along with the usual suspects in an IEM package like the eartips, cleaning brush, and case you get a mini-screwdriver kind thing- keep it safe; it is probably one of the most useable things for the TSMR shock, and finding a replacement might not be easy.



Source chain:

Source device:

1. Samsung S23
2. Apple MacBook Pro
3. Asus 6z

Music streaming:

1. Apple Music
2. Hiby music (local FLAC files)

DAC & Amps:

1. Fiio K11 R2R
2. Moondrop Dawn pro
3. VE Devastator

Sounds:

Settings Tried:

Stock: Yellow 2 & Brown 4 (Great starting point)
Vocals & Clarity: Yellow 4/5 & Brown 5 (favorite tuning)
Harman + Warm: Yellow 2 & Brown 3 (Slightly friendlier treble than stock)
DuckBloke Recommendation: Yellow 1.5 & Brown 2 with PEQ

Yellow aka Bass knob is good from positions 2 and above. Below position 2, bass gets slightly out of control, making your mids and vocals not as crisp.

Brown aka Treble knob is safer to tweak, it keeps getting sharper and brighter as you move from setting 5 to 1 -- it does not have any side affects, just choose your point of safety.

Note: Most of my review is based on the Yellow 5 & Brown 5 setting, but I will try and cover across knob settings.



Overall: A very versatile IEM that molds to your preferences easily. Lovely when listening to live recordings, giving you the illusion of being present at the venue.

Bass: Crystal clear, once the bass knob is 3 and above, the bass side of frequencies seems like seeing through a glass that is freshly wiped. Bass lines, however crowded the recordings are, are delivered with clarity and nice separation.

Vocals: Great tone and very good rendering of vocals, especially when the vocalists add modulations to the songs - it sometimes gets magical. (not in rap songs, mostly in melodious/acapella songs). But again 2 and below on the yellow knob, vocals get compromised significantly.

Treble, Details, & Resolution: TSMR shock has a very good presentation of the song, retrieves details at ease.

Treble has a vast choices to choose from, 2 & below setting on brown is knob is on the brighter side for me -- but you know when you want throw some extra brightness for a short listening session extracting details you can. Even though there are brighter positions, the sibilance is brilliantly controlled than what I had expected of such brighter tunings.


About me: [Feel free to skip]

**Not a seasoned audiophile**

More of a music lover than an audiophile. Most of the time, I am lost in the song before I notice any technical details.

Music preferences:

• Severely localized (Tamil 75%, Hindi 20%, International 5%)
• Heavy on vocals; bass and instruments more supportive in nature
• Bass and beats on ~35% of songs
• Favorite artists:
  • Composers: AR Rahman, Ilayaraja, Deva, MS Vishwanathan
  • Male Vocals: SP Balasubramanian, Hariharan, KJ Yesudas, P Unnikrishnan
  • Female Vocals: P Susheela, KS Chitra, Harini, Shreya Ghoshal

Glad that you are here; thanks for reading.

Verdict:

TSMR Shock can be a one-and-done IEM if you are a tweaker(or engineer) at heart who loves to listen, tweak, and get things the way you want- and it need not be fixed at one tuning or the one right way; different listening sessions, you can happily switch between preferred tuning modes.

For example, use Y2B4/Y2B3 for your gym sessions when you want your blood pumping, Y5B5 for your ghazal/vocal sessions, and Y5B1 if you are crazy for treble.

If you are a simple person who is not interested only in music and not in engineering your IEMs your way -- TSMR shock can work for you if you hit the right tuning, or maybe there are options which fit you out of the box.

In short, like Christian Bale, TSMR Shock can transform into the IEMs that the song and mood call for. But bear in mind, you have to become Christopher Nolan and direct it the right way, which is not completely easy.

Is innovation merely a driver of economic growth, or a necessary ingredient in human fulfilment?

If you've ever found yourself traveling down the same old roads yearning for something new, you'll know the feeling of having a new experience can wake up parts of yourself that felt dormant.

Similarly in the audio hobby, at we times look around to see clones of the same formulas everywhere and find ourselves craving something different.

So when I was recently offered a pair of the new TSMR SHOCKs with tuneable bass & treble dials in exchange for my thoughts I jumped at the chance.

I can't even recall the last time I tried IEMs with tuning dials, rather than more common tuning switches.

So are those dials just a gimmick or are they genuinely useful? Read on to learn..

Packaging​

The USD $599 TSMR SHOCK arrive in a small cardboard box, inside is a leather case, two sets of silicone eartips in 3 sizes, waifu card & manual, IEM cleaning tool & small screwdriver (for adjusting the tuning screws) along with the IEMs & stock cable.

The case is an improvement on past TSMR offerings & feels quite nice in the hand, its a bit chunky for a jeans pocket but will slide into most jacket pockets easily, though I believe it is faux leather.

The stock 2pin silver-plated OCC cable is available in your choice of 4.4 or 3.5mm termination & deserves special mention, sonically it performs superbly and is built to a satisfyingly premium standard - a major upgrade over past TSMR stock cables that's really impressed me.

Ergonomics​

There's no getting around the SHOCKs' vented resin shells being considerably large, so they'll stick out quite far. Their shape itself however is gently curved, one I find very comfortable.

However perhaps owing to that shape I find they don't seal quite as well as some of TSMR's other models, but the difference is quite minor and noise isolation is still adequate.

They're decently heavy but not unduly so, and ultimately I can leave them my ears for hours without complaint. Aesthetics I'll leave to your judgement as purple is a love or hate choice for many.

Sound Impressions​

I used a Luxury & Precision P6 Pro HK set to hi-gain mode at 9/60 volume to evaluate the SHOCKs, as I listen at lower volumes. This is the Tidal playlist of tracks I use to evaluate IEMs.

The SHOCKs utilise 2x 8mm DDs for bass, 2x Knowles BAs for midrange, 2x Sonion BAs for treble along with 2 full-range BCDs. They're somewhat L-shaped with powerful bass, a slightly recessed midrange & fairly dark treble, yet bass & treble are fully tuneable with physical dials.



Bass

Bass is significantly north of neutral, with double DDs delivering satisfying slam and rumble.

Midbass in particular is strongly emphasised which contributes to exceptional note weight at lower frequencies, sub bass is a little more toned down but still punchy with no feeling of hollowness.

Overall bass is very meaty and satisfying, though midbass can become a tad overwhelming on certain tracks. Bass texture is not the very best I've heard from IEMs at this price & could use a tad more bite.





Midrange

Vocals are positioned further away the listener, and can feel somewhat small & recessed as a result. The upper midrange is emphasised to prioritise clarity over smoothness & naturalness.

The midrange can come across as grainy and a tad congested at times, and I would prefer more lower midrange warmth. The tuning reminds me of one closer to the Harman Target than other TSMR IEMs.

It feels like the midrange ingredients are there for a satisfying meal, but a dash of spice to make the recipe work is absent. There's a pronounced sense of spaciousness to midrange instruments however, which may encourage you to overlook other shortcomings.



Treble

Treble is slightly unrefined & fairly dark on the stock tuning setting, upper treble in particular is subdued. This can be rectified by adjusting the treble knob to a substantial extent however.

Overall treble quality is perhaps on the grainer side, and this is where implementing EST drivers may have delivered smoother and more detailed treble.

It feels like BCDs were substituted for ESTs as it would've been very difficult for TSMR to include both at this pricepoint, and I don't particularly mind the tradeoff as those BCDs definitely give the SHOCKs an enhanced sense of scale, but the lack of treble refinement effectively becomes the price of that.

Technical Performance​

Staging depth is particularly impressive and this is where BCD drivers provide a unique experience almost unobtainable without them. There's a sense of spaciousness between each instrument which makes the soundstage feel almost endless even though the dimensions are fixed. It really does feel as though sounds are coming from in front of your head rather than off to the sides, with a satisfying impression of dimensionality non-BCD IEMs usually lack.

Imaging suffers from BCD haze and may be worth the tradeoff due to the unique staging qualities, but a sense of pinpoint precision is absent. Lowering bass via the tuning knob can slightly sharpen imaging as the stock bass quantity can otherwise cloud the stage.

Resolution is slightly below par for this price range and instruments can instruments sound a tad congested at times. The drivers don't seem to have any trouble keeping up with fast music, but the midbass-heavy tuning can muddy things occasionally. There's a little bit of grain in the midrange & treble.

Note weight in the lower frequencies is particularly good due to the midbass-emphasised tuning, those two DDs really do a superb job there.

Dynamic range is adequate without being a standout attribute, and it feels like here too those BCDs & their shimmering haze are clouding the SHOCKs' ability to highlight instruments more distinctly.

Tuning Knobs​

Historically I've never been a fan of tuning switches, which always feel like a great idea in theory but in implementation rarely line up with my exact preferences - that's where tuning dials may have the advantage, offering greater potential flexibility.

TSMR ships the SHOCKs with a small screwdriver that's perfect for adjusting the two bass & treble dials, the only difficulty is matching both IEMs perfectly. There are small notches on the sides of each dial like markers on an analogue clock which make this easier.

Sadly the bass dial's default position feels like it's 60 or 70% of the way towards the max setting, so you'll get more bass turning the dial but there isn't as much extra available as I expected. Admittedly the SHOCKs are already bass-heavy by default, but some bassheads may wish for more.

The treble dial works better because SHOCKs are quite dark as stock, and the treble dial's default setting feels only 30% of maximum so there's plenty more treble to be gained if you desire.

The restriction of both dials is only one specific bass & treble frequency gets raised, which may not be the exact one you want. Still, it's a capable system and not one we see implemented in IEMs often.

IEM Comparisons​

I compared the SHOCKs to similar IEMs with a Luxury & Precision P6 Pro HK in hi-gain at 9/60 volume.





ISN H60 - 2xDD 4xBA (USD $349)

The H60's improved dynamics are immediately noticeable, as is their blacker background and higher resolution across the board.

The H60s are quite a bit brighter and sound clearer & less congested, and despite having a flatter & narrower stage have sharper, more defined instruments with more upfront vocals.

H60 bass also feels a bit faster & more responsible. Whereas the SHOCKs are punchier & meatier with better note weight, warmer but more sluggish at times.



TSMR ARMOR - 2xDD 2xBA 1xEST Hybrid (USD $289)



The ARMORs lack the SHOCKs' sense of fullness, bass doesn't hit quite as hard on the stock switch settings & bass texture is a little mushier, note weight is also down.

The ARMORs are more laidback & less bright with a smoother tonality emphasising the lower midrange more, so they're potentially less fatiguing but the SHOCKs feel more resolving & less congested.

Instruments feel smaller on the ARMORs, dynamics are a bit lower & stage depth is not as impressive.



TSMR X - 2xDD 4xBA 1xPR (USD $399)



Sonically both IEMs are quite similar, but X tends to be smoother & thicker with a more prominent midrange & more elevated midbass, whereas sub bass is diminished and they're a little darker.

X defintitely spotlights vocals against other instruments more starkly and is tuned to sound more musical, but doesn't separate instruments as cleanly inside its' wider, but much flatter stage.

The SHOCKs tend to feel a bit thinner and perhaps shoutier but also more resolving, and thanks to the BCDs instruments are projected further forward of the head.



Simgot EA1000 - 1xDD 1xPassive Radiator (USD $219) with LC7 Cable (USD $69)



The EA1000s' lower driver count is clearly evident in their lower resolution, greater congestion & occasional difficulty keeping up with fast music.

EA1000 are brighter & more dynamic with far more treble emphasis. Despite their narrower stage, depth is similar. They feel very open & expansive, perhaps thanks to their externally firing passive radiator.

Unfortunately EA1000 treble can occasionally feel metallic and they certainly lack body, at times sounding a little floaty thanks to their Harman tuning.



I visited Addicted to Audio in Melbourne to compare the SHOCKs to IEMs with similar characteristics.

THIEAUDIO Hype 4 - 2xDD 4xBA (USD $399)



The Hype 4s are more energetic with greater upper frequency emphasis, note weight is lower and unfortunately bass lacks the same impact & heft.

Hype 4s' stage is much flatter, instrument separation can suffer & vocals sound quite lean.

Troublingly Hype 4's DD also feels more sluggish, and their greater upper midrange emphasis is reminiscent of Harman tuning which I don't particularly care for.



THIEAUDIO Oracle MKIII - 2xDD 2xBA 2xEST (USD $589)



The Oracle MKIIIs are much more dynamic and portray larger instruments across a broader stage.

Vocals are more forward with slightly higher resolution, imaging is sharper, and they're also brighter.

The SHOCKs are more musical by contrast, and feel a good deal more raw.



Letshuoer EJ07M - 1xDD 2xBA 1xEST (USD $669)



I find these two IEMs sound somewhat similar, but the EJ07Ms are slightly more dynamic with vocals set further back, and tonally they're more neutral.

The SHOCKs have greater note weight & bass emphasis, whereas the EJ07Ms have thinner tonality with greater upper midrange presence.

Staging is slightly wider on the EJ07Ms with less warm air between notes resulting in sharper imaging.



THIEAUDIO Prestige - 1xDD 4xBA 4xEST (USD $1299)



As expected given the price difference the Prestige are far more refined, smooth and also resolving.

However I do find their bass somewhat pillowy and treble is quite bright, and it doesn't always integrate with other frequencies seamlessly as I'd hope for.

Staging is more 3D on the Prestige but bass quantity is lower as is note weight, in general they feel much less grainy & raw than the SHOCKs.

Cable Comparisons​

I tested the SHOCKs with a number of aftermarket cables to gauge how impressively they scale.



Effect Audio Ares S 4 Wire (USD $179)



Ares S demonstrates similar stage dimensions to the stock cable with perhaps a touch more depth, dynamics improve and vocals shift forward with a blacker background.

It's a decent pairing which sounds a bit cleaner though tonality is fairly similar to the stock cable, with brightness shifting up a small notch.



Penon ASOS+ (USD $215)



Staging is definitely wider, bass impact is a little deeper & more satisfying, and instrument separation is slightly improved.

Sadly tonality shifts towards emphasising the upper midrange & higher frequencies more which I don't particularly care for, and I'm not sure the technical improvements make up for it.



Penon Renata (USD $269)



Dynamics are improved, the background is appreciably blacker and instrument separation is better. I even notice a small uptick in resolution.

Staging feels more expansive perhaps aided by that blacker background even though dimensions don't change much, generally it feels like instruments take a step back from the listener.

It's a good pairing, but one that struggles to justify the price of the upgrade - a trend across all cables I tested, which speaks for the impressive quality of the stock cable.


NiceHCK DragonScale 2 (USD $299)



No bass improvement here, but staging does feel wider lending a feeling that instruments have more room to breathe, and there's a stronger perception of resolution too.

Both imaging & dynamics are improved, overall creating a slightly cleaner picture that alleviates some of the SHOCKs' midbass bloat in this decent pairing.


Effect Audio Code 24 (USD $799)



I couldn't resist trying this combination despite Code 24 being priced higher than the SHOCKs!

Staging is much deeper, with a substantially blacker background and sharper imaging that are very impressive. Overall the stage feels much more circular with vocals in particular spotlit much better against other instruments.

Note wight drops slightly and tonality is a little brighter & thinner, but those technical improvements are quite substantial in this a terrific pairing, that nonetheless struggles to fully justifies its' cost.

Conclusion​

The TSMR SHOCKs are an intriguing proposition that'll appeal to some listeners more than others.

If you're after IEMs with plenty of bass (that you can dial even higher), a strong sense of spaciousness & treble you can set to your ideal level then you could do far worse than pick up a pair.

If you're not a fan of midbass they may not suit you quite as well however, and tonally their midrange isn't the most natural I've heard.

However there's plenty of nice things to say about their fantastic stock cable which feels, performs & looks terrific, and the innovation of their tuning dials is one a lot of users will appreciate.

I applaud TSMR for continuing to innovate and try new ideas - that's precisely what makes our hobby so persistently enjoyable to be a part of.

DISCLAIMER

I extend my gratitude to Mr. Sandeep Agarwal of Audio Geeks India for including me in the tour of TANSIO MIRAI SHOCK and providing them to me for review purpose, and as such the resulting impressions are unbiased and purely reflect my subjective & neutral take on it. The tuning knobs were set at the stock position of 2 for Bass (Yellow) and 4 for Treble (Brown). Lastly & more importantly, I tried the TANSIO MIRAI SHOCK with aftermarket ear tips & cables & experienced that it scales much better to them unlike the stock ones. However, to maintain fairness to the bundled stock package I reviewed the TANSIO MIRAI SHOCK using default green core silicon ear tips (medium) & the included stock cable having 4.4mm balanced termination.

About me

I am not a professional reviewer, but a music enthusiast. I started my iem journey about 2 years ago. My choice in iem’s gravitate towards musicality rather than being analytical. That said, I am not a bass-head nor a treble-head but prefer balanced to warm sound signature having good sub bass shelf with thumping mid bass slam, clear weighty mids and well extended smooth detailed treble.

Specifications - Technical details taken from Penon Audio website’s TANSIO MIRAI SHOCK page.

Description - TANSIO MIRAI TSMR SHOCK is a 2DD + 4BA + 2 Bone Conduction Driver Hybrid Audiophile IEM Earphone with 2 Tuning Knobs that adopts a new sound design by implementing Dual-Frequency hardware EQ adjustment system with 2 tuning knobs that adjust low-frequency and high-frequency range very intuitively, making tuning easier & provide greater flexibility to the sound & widely adapt to personal preferences. Yellow knob controls low frequencies & Brown knob controls high frequencies.

Msrp - $599.

Purchase Link (Non-Affiliated) – TANSIO MIRAI SHOCK

Brand – Tansio Mirai.

Model - Shock.

Drivers - 2 Dynamic Drivers + 4 Balanced Armatures + 2 Bone Conduction Drivers per iem.

Impedance - 10ohms @ 1kHz.

Sensitivity - 10dBs @ 1kHz.

Frequency Range - 5Hz to 40KHz.

Cable - Silver-plated OCC.

Connectors - Flush mounting 2 pin 0.78mm.

Plugs - Choice of 2 plugs while ordering (3.5mm Single Ended or 4.4mm Balanced).

Ear Tips - 8 pairs of silicon ear tips.

Nozzle Diameter - 6.4mm.

Nozzle Height - 5.00mm.

Tools - Cleaning brush & flathead screwdriver for adjusting the tuning knobs.

Case - Light brown colored leatherette rectangular zippered case.

Driver Tech - The TANSIO MIRAI SHOCK is a tribrid iem having 8 drivers per side, totaling 16 drivers 2DD + 4BA + 2BCD x 2 driver configurations for the pair as below.

• 2 x 8mm dynamic drivers, hollow coaxial structure, carbon hybrid diaphragm for Low frequency.
• 2 x Knowles Balanced Armature for Mid-frequency.
• 2 x Sonion Balanced Armature for High frequency.
• 2 x Sonion Bone Conduction Drivers covering Full frequency range.

Cable - While ordering the TANSIO MIRAI SHOCK, we get the option to choose a cable having either 3.5mm Single Ended or 4.4mm Balanced termination. The cable included is silver plated OCC type & is of a good quality & looks premium while the purple-coloured metal housings of connector pins & termination plug perfectly match the translucent purple shells of the TANSIO MIRAI SHOCK. The silvery white braided cable is a bit rigid but is tangle free & not having any microphonics. The ear hooks are nicely curved & help to retain the iems in the ear. Performance-wise, I felt that the included cable does not do full justice to the TANSIO MIRAI SHOCK & felt that it scales up much better with aftermarket cables.


Build & Design- The build quality of the iems is great overall & the purple medical grade resin shells are 3D printed & transparent allowing us to see the drivers housed inside, while being reminiscent of the TANSIO MIRAI X. The faceplate embeds two tuning knobs. The two pin ports sit flush on the shells & are very convenient for cable rolling. For me, the short length & the thickness of the nozzle are worrisome as they can make or break the Bone Conduction Driver effects as it is difficult to get a good secure deep fit in the ears due to the possibility of the ear tips coming off due to the lack of lip on the nozzle, hence ear tips play a large defining role in experiencing the TANSIO MIRAI SHOCK to the full.


Ergonomics & Comfort – The shells are large & thick & protrude out of the ears. As mentioned above, the fit & comfort is heavily dependent on the getting the right ear tips. However, once you get a good fit the comfort is high due to the ergonomic shape & the curved edges of the shell. Subject to good fit, the TANSIO MIRAI SHOCK is comfortable for extended listening sessions devoid of any ear fatigue or discomfort due to the efficient venting of pressure build-up.

Setup - My impressions are based on the listening sessions by pairing the TANSIO MIRAI SHOCK with Hiby R4 utilizing the 4.4mm balanced output. Other pairing was done on my laptop with Shanling UA4 dongle on 4.4mm balanced output.

Music – My library consists of music recorded in high resolution lossless Flac, Wav & SACD formats. My music choices are varied & I enjoy listening classical, instrumental, symphonies, Bollywood songs, ghazals, bhajans, English songs, rock, pop, jazz, edm, trance etc, basically anything that sounds enjoyable & pleasing to my ears.

Sound - I spent about 60+ hours listening with the TANSIO MIRAI SHOCK & found it easy to drive. Most of my listening was done at 40/100 volume setting, give or take -/+ 5 points. The tuning knobs were set at the stock position of 2 for Bass (Yellow) and 4 for Treble (Brown). The TANSIO MIRAI SHOCK is one hell of an iem. It is a very well-tuned, fun sounding & musically engaging iem that does not sacrifice on subtle nuances & technicalities. Plus, the icing on the cake are the two micro adjustable knobs that can be rotated to adapt to wide genres of music. Overall, I found the bass to be perfect. Midrange is superb with lush tonality & accurate timbre with full body vocals & instruments. Treble is detailed, very well rounded & extended while being airy & crisp, however, the true stars of the show are the 2x full frequency Bone Conduction Drivers that are incessantly weaving their magic & unfolding an unparalleled sonic experience to the listener.

Bass - Hands down, the TANSIO MIRAI SHOCK has one of the best bass that I have heard, even though I am not a bass head, I thoroughly enjoyed the bass being offered, with the Bone Conduction Drivers also providing warmth, added texture & physicality to it such that it that can be felt when it hits…deep & impactful & having boatloads of not only quantity but also quality to boot.

Midrange – The midrange on TANSIO MIRAI SHOCK is immaculate. It projects vocals & instruments accurately both in timbre & tonality. Male voices have good weight & density, whereas female vocals sound lively & clean without being shrill. Here we find the Bone Conduction Drivers radiating extra presence and details to the midrange, giving richness to vocals & instruments, without causing any tonal imbalance. Overall, the midrange is sweet in details & sounds lush.

Treble – The treble on TANSIO MIRAI SHOCK is very well tuned. It effortlessly extracts all the details from the tracks such that I was awestruck when I found myself hearing microdetails in the tracks that I am familiar with. The air in the upper treble is so finely tuned that it has a sense of sparkle & brilliance to it & comes forth as fast, clean & transparent. This does not mean that the treble is harsh, fatiguing or offensive, on the contrary, I feel that it perfectly complements the robust bass & the superb midrange without any sizzle. Here, I feel that the Bone Conduction Drivers are adding more dynamics to the treble, making it more open, airy, spacious & giving it a heightened presence & perception.

Technicalities -

Soundstage, Imaging & Separation - The TANSIO MIRAI SHOCK projects an out of head, vast, 3D holographic soundstage. Listener occupies the midpoint with all the instruments placed inside a spherical periphery. Particularly important is that the soundstage does full justice to the recording setting as in presenting the scene as intimate, spacious & grand, just as it was recorded. Imaging is excellent with great layering. There is plenty of air and separation between the vocals & the instruments, such that it gives the soundstage a widespread feel, wherein each of the vocals & instruments can be perfectly identified & zeroed in on effortlessly.

Synopsis – Kudos to TANSIO MIRAI team for designing & creating a groundbreaking iem in the form of SHOCK. It is a very versatile iem that will find appreciation among bass heads, neutral heads & treble heads alike. Just a rotation of the knob will deliver the sonic experience suited to individual preference. Needless to say, that it is a JACK of ALL iems & deservingly so. For me it is truly an ENDGAME iem transcending the KILOBUCK threshold easily.

VERY HIGHLY RECOMMENDED.

Thank you for giving your valuable time to read my review.

Happy listening.

I had the privilege of listening to the $600 TSMR Shock IEM, as part of the Audio Geek tour system, and will attempt to impartially relay my findings to interested readers, in the impressions that follow. Tansio Mirai use a patented bone conduction technology for this set, and the intricacies of how this is applied and functions, is described very well on the product webpage, which can be viewed here.

It’s nice to know that the Tansio Mirai brand name references the Tang and the Song dynasties of Chinese antiquity - eras whose legacies can still inspire us people of modernity, to be guided towards cultural refinement and beauty.

Hardware
The tuning tool supplied is solid, and won't deform the tuning dials, if used correctly. There's no description of the cable for Shock on the TSMR website, but it deserves a special mention for its aesthetic quality, and comfort - particularly around the ear hooks. Despite there being a certain amount of disappointment expressed about the cable in some reviews, I personally couldn't find any issues with it. The resin shells of Shock are lightweight and not excessively bulky, and are therefore ergonomically comfortable, suited for listening durations of an hour or more. The simplicity* of portable hi-fi meant that, once paired with Spinfit tips and a Tempotec DAP, Shock was ready for trial! (of course simplicity is a relative concept in this hobby)



Sound impressions
Because Shock is customisable, it's interesting to experience the differences that adjustments to the dials make. The Sonion bone conduction drivers (BCDs) deliver an impressive bass sound in the default setting, and as the dials are moved towards a more targeted bass-heavy tuning, one can really hear, and be transfixed by, what those drivers can do. By the way, rumour has it those BCDs are the same as the ones used in Penon's Rival.

One of the drawbacks, if it can really be called that, of listening to IEMs for review, is that I constantly find myself listening to classic pop albums with excellent engineering, such as the Quincy Jones produced Michael Jackson albums. It's a joy when an IEM gets these albums sounding as good as they deserve to, and that's certainly the case with Shock - the BCDs complement its dual dynamic drivers, to give the bass frequencies an engaging, natural texture, so that classics like Billie Jean, Baby Be Mine, Beat It, etc, can now be heard at a level of quality which fans of the King of Pop could only dream of in the 1980s. Of particular note, the synth bass in Baby Be Mine is rendered with excellent clarity, and Shock owners will be able to refine the presentation to their preference.

Listening to the excellently produced Chartreuse album on Qobuz, by soundscape expert Mark O'Leary, I was enthralled by Shock's ability to perfectly render this atmospheric electronic music, immersively and engagingly. Its 4 balanced armature drivers combine to ensure that the sound stage is holographic and encompassing, with plenty of tactility and everything else fans of electronic music could wish to derive from their earphones. I'm very pleased to see that Mark took my drum & bass/jungle recommendations in the early 90s and has progressed this artform towards advanced levels - I cannot claim any responsibility for his great jazz playing, however.



Conclusions
Because it's customisable at the hardware level (which for some is preferable to customising the sound signature at the DSP level) I think this IEM gets a good review for its price, and is a solid candidate for someone looking to enter the mid-tier world of IEM audio.

Disclaimer:
The TSMR Shock is part of a review tour organized by A.G. in my country. The tour unit belongs to the brand. This review reflects my unbiased, subjective, and honest opinion of the IEM.

Sources Used:

1. iBasso DX180
2. Lotoo Paw S1

Eartips:
Divinus Velvet Widebore MS size

Cable:
Stock cable used throughout the review



Introduction:
TANSIO MIRAI started developing earphone-related products in 2014 and later established Beijing Tang Song Boyuan Technology Co., LTD in 2016. The earphone design and production team from Guangzhou Academy of Fine Arts adheres to a high level of production technology, improving custom earphone aesthetic standards. After several years of development, the company officially began releasing custom earphones and universal mold earphones in 2018, prioritizing sound quality and aesthetics.



Sound Impressions:
TSMR Shock offers multiple tuning options for adjusting bass and treble to your liking. The yellow dial controls the bass (lows), while the brown dial adjusts the treble (highs).

After experimenting, I settled on the yellow dial at 2.5 and the brown dial at 2. This setting suited my sound preference, though it recessed the mids more than I typically prefer. So, if you enjoy recessed mids, you'll likely appreciate this tuning.

Review based on this tuning dial setting.

Bass:

Sub-bass:

After experimenting, I found the bass response at 2.5 to be perfect. The sub-bass has excellent quality and quantity, ranking among the best at this price point. The TSMR Shock can satisfy most bass-head audiophiles. The sub-bass quality is so good that songs like Raja Aala by Avadhoot Gupte become more enjoyable.

Mid-bass:

The mid-bass delivers very good impact, enhancing drum and bass guitar timbre in a pleasing way. It also has a fast attack and decay. While there is some mid-bass bleed into the mids, it does not overwhelm or overly thicken the sound, maintaining a good balance.



Mids:

Lower Midrange:

The mid-bass bleed results in male vocals having enough thickness, creating a unique and realistic timbre. However, snare drums feel slightly softened rather than sharp, possibly due to the balance of bass emphasis rather than a strictly V-shaped tuning.

Upper Midrange:

Female vocals feel slightly recessed, lacking clarity and emotional depth in songs like ‘Bai Ga’ by Arya Ambekar. Vocals sound nasal and hollow, and cymbals don’t feel natural. Adjusting the tuning dials to yellow at 1 and brown at 1 improved the upper midrange, bringing more clarity, but at the expense of bass presence.



Treble:

The treble has enough energy while remaining smooth overall. There is no unpleasant sharpness, nor does it sound dark. Cymbal strikes are generally pleasant, though the lack of upper treble extension makes them feel slightly blunted in their decay. The treble rolls off quickly, which, if extended slightly more, could have been the perfect balance for this IEM.

Technicalities:
The most striking feature of this IEM is its outstanding technical performance. Detail retrieval is strong within its price bracket, though it does not quite compete with significantly higher-end IEMs. Additionally, the soundstage is impressively expansive, offering excellent instrument separation and precise layering. This combination of attributes makes for an immersive listening experience that truly stands out.



Conclusion:
The TSMR Shock impresses with its strong technical performance, offering great detail, a wide soundstage, and clear instrument separation. The TSMR is well suited for the Hip-hop. Its tuning options let users adjust the bass and treble to their liking. Bass lovers will enjoy its deep and powerful low end, while those who prefer a balanced sound may need some adjustments. However, the treble fades quickly, and the mids could be clearer. Overall, the TSMR Shock is a good choice for those who enjoy a Hip-hop genre.

I had a pleasure of listening to Tansio Mirai (TSMR) Shock as part of the Audio Geek EU Tour. The very first thing that caught my attention upon listening was a deep sense of lyricism in how it presents the music, especially evident in the vocals. On Kate Bush’s album Aerial, her voice is super clear and full of emotions and also same goes for Geddy Lee’s vocals on “Tom Sawyer", which sounds intimate and nuanced. All instruments sound very realistic, have a great, deep timbre and resonance (like violins on Vivaldi’s Four Seasons or piano and double bass notes on GoGo Penguin albums).

Shock has a great dynamics but I had a chance to compare directly with ISN H60 and the latter was evidently a winner in this department. Nevertheless, tracks like “Walk on by” from Isaac Hayes album Hot Buttered Soul and “Walking around the Stormy Bay” by Polish prog legends SBB from their Welcome album reminded me of times when I used to listen to those albums on cassette tapes via Leak Stereo 20 valve amp and the sound seemd like it had no limits and would just grow bigger and bigger....good times
It offers great string and brass instruments rendering in any orchestral sections from any album I’ve listened to. Every music genre was truly enjoyable through TSMR Shock, from Classical, Jazz to Rock.

Tuning switches are great option for any IEM but here they are a little bit tricky to figure out at the start and rather counter-intuitive (brown knob for treble, yellow - for bass...hmm...clockwise turn to decrease, anticlockwise - increase... hmmmm). Can’t shake the feeling that someone didn’t really think it through during the design process. But that aside... After a bit of experimentation, I have settled for 3/5 for bass and 4/5 for treble and conducted my critical listening on these settings.

BASS: punchy and tight, can go very low and with the yellow tuning switch to the max it might be great fun for bass-heads


MIDS: clear and full-bodied, slightly recessed but lush and atmospheric


TREBLE: smooth, crispy and well extended, with plenty of air between notes


TECH: wide, holographic, 3D-like soundstage, precise imaging and instruments separation, impressive microdynamics


I think I can truly say this set could be and end game for me at this point in time if only not for this terrible colour choice....

Being a reviewer I try to give my subjective opinions on iems, in the hobby at the moment 95% of iems released at the moment are good a solid 4 stars in their price segment so the differences between great iems and good iems is all about the nuances. All reviews are based on a single point in time for the reviewer next week an iem can come along and make a mockery of your previous judgement.

When the Shock was released there was a lot of talk about the bright purple resin shells the look really polarised the community. I have to say I wasn't really in the love with the colour myself. Then I found out that if you contact Penon you can request a custom colour for an added extra cost. which I considered worth it, you can see from my pictures they turned out exceptionally well.




TANSOI Mira Shock is basically the endgame of the 3 releases FEAT, X,and SHOCK. This new bass heavy TSMR release schedule has been a breath of fresh air for bass heads. If you want to experience what the hugely popular TSMR sound can provide the Shock is truly the peak.

The Shock with its double 8mm Dynamic Drivers that were first seen the TMSR X have been refined from the TMSR X which was already exceptional the extra texture and details are easily discernible. Instead of 2 Knowles ba to handle the mids and treble, we have 4 ba's, 2 Knowles for the mid frequencies and 2 Sonion for the high frequency plus 2 full frequency Sonion Bone conduction drivers.

The unique part that’s exclusive to the Shock is the tuning dials one for bass and one for treble which allow you to sculpt the sound to your taste from neutral to full on bass head. What surprised me most about the Shock is the mids they are never swamped or made to take a back seat, always clear detailed with nice body and the kind of open holographic presentation only bone conduction iems can provide.



The Shock are very engaging with a strong bass presence and clear well bodied mids with smooth treble. TSMR's new direction in tuning is really producing iems for the majoirty of bass lovers it's very hard not to like this quality bass driven signature.

In these days of two week life spans of iems where an iem is released hyped then forgotten about. I think the new iems from TSMR are iems that we are going to remember as they offer a wonderfully balanced sound signature that is both dynamic and musical.

The Shock is the most expensive of the 3 releases priced at $599 which is a competitive price range for an 8 driver set at the moment an iem has to be pretty special to standout.

The all 3d printed resin shell is very well built my only caveat would be the the short nozzles like the TSMR X, careful selection of eartips is needed to get a comfortable fit I settled on Divinis Velvet tips for a very comfortable fit with good seal so I could enjoy the bass and Bone Conduction to its full effect. Unfortunately for me the included eartips don't seal for my large ear canals.



The included leather zipped case is quite large and not very pocket friendly but good for a back pack for travel.

I'd just like to say upfront I believe we are all biased when giving our subjective thoughts about IEMs and earbuds be it a particular type of signature that works with our music library or how they look and feel in our ears. On the subject of ears everyone's ear anatomy is different and this effects fit and seal which in turn effects the perception of bass response so I recommend finding the right ear tips or foams that suit your ears to get the best of any earphone.My review star ratings are linked to the price range of the iem eg a 5 star review of a $100 iem is not equal to one of a $1000 iem.I’m and audio enthusiast with a collection of over 200 iems, 30 different sources with a music collection that numbers over 100,000 tracks and 18 flathead buds I share my impressions as a way to share my enthusiasm for the hobby I approach from the premise of music first technology 2nd, what does this mean? For me the technicalities are not of prime importance but does the music move with this particular iem.I’m a connoisseur of many different sound signatures. The only prerequisite is musicality I’m not a fan of analytical cold playback. My scale of success when it comes to evaluating earphones is; do I get goosebumps when they playback my favourite tunes. There are many good earphones but do they give me goosebumps?
Unfortunately I have a draw full of just good earphones. I want the earphone that I reach for without thinking because I instinctively know it will bring the thrill I’m seeking from my music.

The TSMR Shock has a bass head sound signature with excellent technicalities and very natural presentation while being free of any unnatural tone or timbre colouration, the bass is not boomy, it digs deep in the subbass region while also supplying mid bass slam with great texture and detail making drums, electronic bass instruments exciting and engaging. I'm a closet Basshead and I was extremely satisfied with the forceful bass provide. I was able, while turning bass dial to 5, achieve too much bass for me so I settled 4 1/4 with the treble set to the same giving a balanced W signature with thunderdrous bass smooth treble an wide holographic staging. For the rest of this review these are the settings I used.

While the Bass is a big feature it's not to the detriment of the mids or treble regions. A standout quality is the zero amount of distortion or congestion even with fast speed prog metal. There's a lovely snap and clarity to leading notes across the frequency range with natural decay to draw you into the music.

Now I know there are those who don’t believe in burn in of earphones, all I’m going to say is, I burn in all my earphones the Shock's bass response opened and up even more and the treble smoothed out at the 50 hour mark I didn’t hear any shift in the signature from there on.



Disclaimer
Penon was kind enough to send me a sample of the TSMR Shock at discount price. I am not affiliated with Penon and of course was not asked for any copy checking before publishing, they are seeing this the same time as you. All pictures taken be me or sourced from the Penon website . ALL opinions shared in this review are my subjective thoughts.

Below is the description of the Shock on the Penon website.

TANSIO MIRAI Shock

TANSIO MIRAI TSMR SHOCK 2DD + 4BA + 2 Bone Conduction Driver Hybrid Audiophile IEM Earphone with 2 Tuning Knobs
Description
SHOCK adopts a new sound design.
Dual-frequency hardware EQ adjustment system with 2 tuning knobs
Can adjust low-frequency and high-frequency energy very intuitively, making tuning easier. Provide greater plasticity for the sound. Widely adapt to personal preferences. Yellow knob controls low frequency, Brown knob controls high frequency.
2pcs 8mm hollow coaxial low-frequency
Makes SHOCK burst out amazing low-frequency power and bring stronger musicality.
4pcs imported Balanced Armature
Ensure sound quality, strong resolution, rich details, sweet mid-frequency and smooth high-frequency.
Patented Bone Conduction technology
The double L-shaped membrane channel allows the sound of the bone conduction driver to be conducted through the ear cartilage, greatly improving the application efficiency of the bone conduction driver in the in-ear earphones. The bone conduction driver has stronger penetration, and the many subtle vibrations generated can be felt by the body. The way the cartilage contacts can also allow the ear to receive more comprehensive sound information as a whole, enriching the layers and making the sound more holographic and three-dimensional, further enhancing the spatial sense of the in-ear earphones
Driver configuration
One side with 8 drivers, both sides total 16 drivers
2 8mm strong magnetic dynamic drivers, hollow coaxial structure, carbon hybrid diaphragm for Low frequency
2 Knowles Balanced Armature for Mid-frequency
2 Sonion Balanced Armature for High frequency
2 Sonion Bone Conduction drivers for Full frequency compensation
Specification
Brand:Tansio Mirai
Model:SHOCK
Driver:2 Dynamic Driver + 4 Balanced Armature + 2 Bone Conduction Driver
The nozzle diameter is 6.4mm

The nozzle height is 5.0mm
Frequency response range: 5Hz~ 40kHz
Impedance: 10 ohm @|kHz
Sensitivity: 102dB @|kHz
Connector: 2pin 0.78mm

Cable: Silver-plated OCC
Plug:3.5mm audio/4.4mm balanced
Package
TSMR SHOCK
Earphone bag
8 pairs of Silicone earphone eartips
Cleaning and adjustment tools
Instructions
Warranty
18 months warranty

Make sure to research any earphone before you buy!

What do they sound like?

As I mentioned above they are a bass lovers signature that are so well balanced, they played well with pretty much any genre I've listened to with them

The bass is boosted present with enough sub bass to dig deep for bass driven tracks and mid-bass to give that extra bit of slam even in the neutral tuning position. The included cable a good quality cable that TSMR seem to be pairing with all their recent releases personally find it a bit bright and replaced it with the excellent Penon ASOS 8 Shares Alloy copper Silver-plated & OCC Silver-plated Mixed cable with interchangeable terminations. The Asos added more depth to the bass while improving the 3d spacial staging providing an intoxicating blend of full dynamic bass that adds more wow to the bass and smooths out the treble without losing the details and air.

The Shock's bass is meaty and dynamic, the quality of that bass is superb full of details and texture drums have depth you can hear the sticks striking the skins. The bass is never thick. Overly warm or bloom laden there's an impressive amount of clarity with zero bleed.

The mids are super clean and free of any bass bleed they are really well layered, very spacious with musical notes floating outside your head with no extra colouration very smooth with good air, female vocals sound amazing, pure soaring with no edge or sibilance just sweet and rounded, male voices have good body but do not sound thickened

Treble is well extended with no jagged edges smooth and well rounded. Cymbals sound natural with good decay, guitars have a nice edge are detailed with every resonance clear and sweet.

A perfect iem for Classic Rock, Blues, jazz and acoustic music.The timbre and tactility of drums, strings, guitars and brass instruments is very natural all instruments find their own place with pin point accuracy.

Vocals both male and female are reproduced authentically with emotion, every inflection, intonation is apparent as a singer climbs the scales it is presented well cutting through, voices have a depth of detail that's not apparent on the TSMR X . The Shock is not super forgiving of poorly produced music but give them a well produced album they take the listening pleasure to another level.

When I'm evaluating iems I have a play list of roughly 100 songs of mixed genres. With the Shock I found myself not analysing the different frequency ranges just listening to albums in their entirety getting lost in the music for hours at a time . I found they I worked across all the genres in my library always full bodied. smooth and detailed . The space around instruments was beyond expectation. They really excelled with Daft Punk, Chic, Michael Jackson RunDNC, Big Boi, Eminem as well as more organic artists like The White Buffalo



Some of the music Selections I evaluated the Tansoi Mirai Shock with

Daft Punk--Get lucky
This track really shows what a well tuned Bass with clean mids and treble gives you with this classic dance tune, the groove is infectious and authorative nailing the beat to the floor with Pharrell Williams vocal cutting through to great effect. It's freaky how much more involving the Shock sounded in comparison to the TSMR X

Eminem/Remind me
With its "Joan Jett's I love rock n roll" sample sounds intense and full with the bass driving hard and the guitars cutting through with clarity. Eminem's rapping sounding excellent with every nuance of his words clear. Overall "Remind me" sounded wonderfully full and gritty with the slashing guitars and driving beats the vocals really benefited from the way the Shock's bass doesn’t bleed into the mids not adding warmth to dull the vocal attack. Again the way the extra space and width including the depth of detail in the bass and mids that the bone conduction drivers bring compared to the TSMR X is just incredible.

Marc Coen and the blind boys of Alabama – Silver Thunder Bird , this multi-layered live vocal is a classic with moody piano intro and fabulous vocals reproduce with just enough weight to draw you in giving weight to the slowly building to the vocal acrobatics of the Blind boys of Alabama. The staging is also brilliantly reproduced, increasing the atmospherics greatly. The Shock works incredibly well with live recordings putting you front and centre in a spacious room with the artist never sounding thin just rich and expansive, utterly realistic in the way the atmosphere of the concert is conveyed

BIG BOI– KILL JILL , the vocaliod singing is played pitch perfect full not thin leading you into the huge bass drop which tickled my ear with its force before the vocals kick in this song is like a watermark for bass head iems and the FEAT really hits the mark relaying the thunderous bass but not clouding/veiling the mids and treble the FEAT handles this song with expertise. This song is quite complex in the layering of voices beats and instrumentation the Shock really let's all the individual parts breathe and allows you to appreciate the whole.

White Buffalo - The Woods - starts with a lush strings with Jake Smiths rich baritone vocals and slowly builds with new instruments being introduced as this slow ballad builds. Jake's authorative vocals stays front and centre as the song becomes a multi-layered wall of sound the Sjock manages to keep the big production in control avoiding any congestion, with every nuance present and correct, impressive. The Shock is more than just a one trick pony is a sophisticated bass head iem that plays across genres with aplomb.

Shawn Mullins – Anchored in You from the Souls Core Revival album
The brass section intro intro is perfectly presented sweet and detailed with great texture and tone, the timbre is beautifully natural. The drums with that slow restrained rhythm anchor the song with skillful authority Shawn's emotive vocals which are the focus are the star of the show never overpowered by the drums and guitar, the depth of detail really showing the nuances in his voice. The bass knows when to take a back seat never boosting the lows unnaturally but ready when the song calls for it.

The Hu – This Mogul (with William DVall) –The dynamics of this track are huge with drums guitars and Mongolian instruments, the Horsehead fiddle, Tovashuur, Tumar Khuur, Tsuurare and Mongol throat singing with a special guest William DuVall of Alice in Chains. The power of this dense, complex and rhythmic masterpiece is there, they have pin point accuracy the bass quantity doesn’t overpower the rest of the signature theres enough slam and texture to give the driving rhythms and dynamics room to beathe. I didn’t hear any congestion in the instrumentation despite the density of this track. The vocals of William DuVall stood out against the wall of instruments and were on point and unveiled. The Shock didn’t feel exposed with faster tracks with instruments in the same frequency range still being given space to be heard with little to no congestion or ba timbre present. The bone conduction drivers adding even more space and opening up the complex layering on instruments exposing more detail in this masterpiece

The Shock is reasonably easy to drive iem I had no issues using them with my , Daps, Dongles in getting loud enough, the dynamics and open sound was present with all sources the texture and layering they are capable of was available for all to some degree.They sounded good with all sources but i did prefer a warmer source. This is an iem that doesn’t necessarily need a powerful source but it does scale impressively with the bass getting tighter with even more details and texture.

I'm not a fan of analytical sounding IEMs/earphones that force details into your ears like a photograph with HDR and sharpening set at max a decidedly digital representation. I'm more Vinyl on a turntable, Leica manual focus, sumptuous colours on kodak colour gold film, kinda guy, where if you look really close all the details are there but it's the whole image you appreciate rather than just how sharp it is. The quality overall sound signature of the Shock is exciting with sub bass bass slam snappy midbass really sublime open natural mids and a smooth safe treble to make a sound signature that I appreciate and really enjoy.



Sources used:
Onix XM5 Overture
FIIO JM21
Shanling H5
Cayin N3 Ultra
Cayin N7
IRiver Activo
Hiby R8
Sony NW-WM1Z
KAEI TAP1 WITH CLASSIC BURSON V7 OP AMPS

When using my different sources I did favour the warmer more powerful ones the extra dynamics and layering and technical presentation was more apparent but the overall musical presentation was the same. My Favourite source with the Shock was the KAEI TAP1 and the Onix Xm5 Overture



Cable rolling
I'm a cable believer but if you are not then skip this bit.
While the Shock comes with a decent 4.4mm or 3.5mm cable I wanted to try them out with a more premium cable so I connected the Penon Asos. When I paired with Penon Asos cable which is quickly becoming one of my favourite cables the bass became richer and fuller a touch of warmth was perceived in the mids while the treble remained sparkling and detailed the special power of this cable is that it adds a depth and warmth to the bass and mids without any form of bloat or veiling I'm really looking forward to trying this cable on more of my iems and will be turning up in my reviews from here on in.



The Penon Asos is available from the Penon store for $169 which i consider to be a bargain for a cable of the quality.
https://penonaudio.com/Penon-ASOS.html

Penon ASOS 8 Shares Alloy copper Silver-plated & OCC Silver-plated Mixed HiFi Audiophile IEMs Cable wth 3-in-1 Modular PlugsDescriptionPenon ASOS Audiophile IEM Cable Brand: PENONModel: ASOSMaterials: 8 strands, 25 cores alloy copper silver-plated + 99 cores single crystal copper silver-plated wire mixedHigh transparent imported PVC wire sheathCarbon fiber silver shell3-in-1 modular plugPackagePenon ASOS cable3.5mm audio plug2.5mm balanced plug4.4mm balanced plug



Comparisons

The nearest iem with a similar sound signature would be the TSMR's own X which is a price level below the Shock, to be frank the shock excells at level above everthing the X can do while still keeping the house sound of driving bass and uncloured mids and treble TansMirai have achieved in producing and iem that just raises the bar onto another level. The differences between these two is not small, the X's switches were very effective but with tuning dials they allowed a much more controlled way of getting the sound to exactly what you desire.
I do need to say the TSMR X has been one of my favourite bass driven iems and has been in constant rotation in my collection so the level of improvement the Shock has brought has really surprised me.





Conclusion

You could say I'm surprised by the Shock
With their variable tuning dials I will admit it took a little practice to skillfully adjust the dials with the aid of a magnifying glass as my eyes aren't quite as young as they used to be but once I had got the knack it was easy to adjust.

I can't think of a comparable set that brings the quality of sound that the Shock provides with its added flexibility. As an ex basketball player I can confidently say they are slamdunk for all day listening with the confidence that whatever genre you throw at them they will play it back with skillful engaging ease.

Even at the asking price they are incredible value and get my highest recommendation, your collection needs them!

Configuration: 2x DD / 4x BA / 2x BCD
RRP: $599

Introduction

Tansio Mirai (TSMR) are a brand that have been on my radar for a while – I think mostly having read positive reviews and impressions but I also found their branding quite appealing. Having read a lot of very high praise for SHOCK, I decided to reach out to TSMR and enquire about a review unit which they were kind enough to send me… as always, all thoughts and pictures are my own, without any input from the brand. Thank you TSMR for the opportunity.

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.



About Tanso Mirai (from TSMR website)

Chinese trademark: 唐宋未来
English trademark: TANSIO MIRAI
English abbreviation: TSMR

The brand name is taken from the Tang and Song dynasties when the ancient Chinese economy and culture were at their peak.

"未来" represents a vision for the continuation of prosperity in the past and the present.

TANSIO MIRAI started to develop earphone-related products in 2014, and later established Beijing Tang Song Boyuan Technology Co., LTD in 2016.
Earphone design and production team from Guangzhou Academy of Fine Arts, adhering to the high level of production technology, improve the custom earphone aesthetic standards.
After several years of precipitation, the company began to officially release custom earphones and universal mold earphones in 2018. To sound first, to beauty for constant.
We adhere to the use of high-quality materials, gradually accumulate and develop more mature and more characteristic tunings, and constantly surpass ourselves.
For the future, we will continue to innovate and forge ahead to find our own positioning and brand characteristics.

Driver Configuration (from TSMR website)

• 2x 8mm strong magnetic dynamic drivers, hollow coaxial structure, carbon hybrid diaphragm for Low frequency
• 2x Knowles Balanced Armature for Mid-frequency
• 2x Sonion Balanced Armature for High frequency
• 2x Sonion Bone Conduction drivers for Full frequency compensation

Specifications (from TSMR website)

Driver: 2 Dynamic Driver + 4 Balanced Armature + 2 Bone Conduction Driver
The nozzle diameter is 6.4mm
The nozzle height is 5.0mm
Frequency response range: 5Hz~ 40kHz
Impedance: 10 ohm @|kHz
Sensitivity: 102dB @|kHz
Connector: 2pin 0.78mm
Cable: Silver-plated OCC
Plug:3.5mm audio/4.4mm balanced

Unboxing & Accessories



SHOCK arrives in a small box, with branding that gives a clear picture as to what to expect inside. It’s a pretty straightforward unboxing experience, no beating around the bush – pull off the outer sleeve, and you are greeted with what I would consider the more familiar TSMR branding that I’ve seen online… this I feel has a more premium appearance.



Once you’ve opened up the inner box, you are presented with a brown faux-leather case which contains the IEMs and all accessories.



You are not left wanting in terms of the bundled accessories which include a basic selection of tips, the tuning screwdriver, cable, and a cleaning brush.



The cable I have to say is a disappointment for me. It is very stiff and unwieldly, as such both uncomfortable and creates a reasonable amount of microphonics – two big no no’s for me, and bar the first couple of days while I attempted to get used to it, all of my listening since has been with aftermarket cables (Tripowin Zonie and Penon OSG). I like to use an IEM like this in many different listening scenarios, often to include out walking, in bed, and generally moving about the house – the stock cable just doesn’t fit these use-cases, for me at least… your mileage may vary!



Fit & Design



The design from an appearance perspective is definitely not to my preference, they look at bit like toys to my eyes and give off the impression of a low-cost product – now I must stress here the “not to my preference” as it is of course a subjective opinion. And ultimately as is the case with absolutely any IEM, it’s how they sound that really matters in the end…



I find the 2-pin sockets incredibly tight, both for plugging in the stock and aftermarket cables – so much so I was actually nervous a pin might break, thankfully I’ve managed to avoid that… I’ve read horror stories of pins breaking off in an IEM, and shudder at the thought of that experience! I’m not sure if this is exclusive to my set, or more broadly but I would suggest caution with cable-rolling just in case.

In order to allow the BCDs to work effectively, the shells do need to have a good secure fit – I’ve struggled with this with my usual go-to tips (mostly Acoustune AET / AEX07) are on the larger size, and the deeper insertion led to pressure build which I find incredibly uncomfortable. I’ve now resolved by using foam tips, allowing a secure fit and thankfully no pressure. I haven’t heard any other SHOCK owners mention this, but worth noting here just in case anyone else does.

Leaving aside those initial challenges, I do find SHOCK comfortable and very light, as such allow for varied listening scenarios – a lot of which for me has been out on long walks in the morning. They isolate very well also, so a good choice if you want to block out a lot of external environment noise.

The tuning dials work incredibly well in terms of the ability to really tweak the FR to your preference. You need the included flathead screwdriver (or indeed one like it) to make the adjustments. To be honest, I’m not a fan of flicking a switch on an IEM, let alone dials that require very clear focus to ensure you’ve got both sides tuned to the same specific level… that said, I can be impatient and having put in the effort, there has definitely been the subsequent reward for the time invested. The dials are a bit strange in that in order to increase either bass (yellow) or treble (brown), you need to turn anti-clockwise which seems counterintuitive to the usual clockwise. Unlike a switch or a selection of switches, these dials really do allow you to dive deep and play around with various settings, making for an IEM that can sound like multiple sets all in one.



The below snip is from the enclosed instruction manual – this is important to read as it clarifies the direction of the dials, the default selection, and importantly, the fact that the little ‘hump’ or bulge denotes the start point if you like…



Listening Impressions

For the purpose of this review, all of my listening impressions pertains to the dials set to 2/5 for bass, and 3.75 for treble approximately – these are roughly default settings out of the box. I’ve been using with a variety of sources to include my trusty Sony ZX300, Aune M1p, and Sony ZX707. It is an easy to drive IEM, but does appreciate power to shine – reminds me of the wonderful ‘Szalayi’ from Oriolus in that regard.

I have found SHOCK to be quite an all-rounder, performing very well with any genre I choose. I was initially leaning more towards faster-paced electronic music to really soak up that powerful bass, but I ultimately discovered that even beatless ambient music sounds splendid, especially more detailed, nuanced selections as the BCDs really demonstrate their magic. I’ve experimented quite a bit with the tuning pots, which again to be honest had me a tad frustrated at times when trying to figure out the precise levels… this likely more of an issue subject to your eyesight – mine of which clearly becoming more in need of glasses… if you have them tuned where they don’t align, it can sound a bit of mess, and at times I was honestly debating sending them back to TSMR – but persistence here definitely pays off in the end, and if like me perhaps your eyesight is on the decline, it’s worth having a torch nearby to properly see the various points on the tuning dials.



Bass

Have you ever had those moments when listening to a track, the bass comes in, and it literally sends shivers through you? – even at the somewhat modest selection at default, that is exactly what happens for me… a beautifully visceral experience that has very good quality and quantity. Both sub and mid-bass is very distinctive, where you can really hear and feel it’s presence inside your head, I guess again the BCDs complementing the 2x DDs. The details in bass guitars can be heard quite clearly, and have nice lifelike presentation – when I choose an artist like Matthew Halsall for example, adore his work and often select one of his albums to get a sense for timbre, clarity, and overall tuning finesse for relaxed jazz/electronica… SHOCK performs admirably here, very easy to kick back and get blissfully lost in the experience – a key measure for me with any IEM. I’ve cranked up to higher levels to experiment at times, and the sheer quantity rises significantly, so you can certainly have fun here testing out various settings… but just note that an increase of one pot, definitely impacts the other – it’s not a simple equation of “increased bass, retain mids/treble” – tuning generally is impacted by small modifications to either yellow or brown pots.

Midrange

The midrange is full-bodied, and presents with a vibrant, and lush tonality. I often choose London Grammar for testing female vocals, and listening to “Oh Woman, Oh Man”, I hear the vocals presented a touch forward and with excellent realism – they are sat central in my head, and the accompanying instruments span the stage with good clarity and imaging. Flicking over to male vocals, I often go for Beck, and typically load up a random track from the stunning “Sea Change” – in this case I went for “Lonesome Tears” and as per London Grammar, vocals sit central, a touch forward and again with excellent realism… perhaps a slight bias exists in the tuning for female vocals, as Beck sounds ever-so-slightly thinner than I prefer – nitpick though, but must be noted as I observe (and indeed this could very likely be rectified by some tuning tweaks if I were to reach for that screwdriver…). Again, instruments are clear, and zooming in on violins here, they sound beautiful and captivating, soaring to an emotive touch-point without tipping into any harshness in upper-mids.

Treble

As a caveat to this segment, I have become a real fan of ESTs for treble, so a bit of a bias there which is hard to remove. With that out of the way, I have found with some more energetic tracks that the treble becomes a touch harsh at the current setting, but on the flipside, toned down I feel like I’m lacking a bit of air and sparkle up top – this is where I believe ESTs could step in as a solution, but not sure how they’d respond to tuning dials. I tend to zoom in on percussion when evaluating treble, especially to get a sense as to how hi-hats render, seeking a bit of bite here and an airiness to allow them shine – listening to “We Are Between” by Modest Mouse, I could do with a bit more refinement to allow percussion present with more realism… if I adjust upwards even to around 4/5, it becomes too harsh. Jumping over to a track called “Spores” from a recent (excellent) new album called “Flow Zone” by CRC X VC-118A, the treble is much more well-behaved, presenting the electronic percussion with more subtlety, and allowing the overall detail and complexity of the track to shine – this is a very well-produced album, and in my experience where SHOCK really best demonstrates the tuning magic on offer.



Technical Performance

Regardless of tuning experimentation, it is not the most resolving set, as such those more micro details won’t be as apparent. Again, pot swivelling experimentation might yield various different outcomes here that will impact technical performance, so it really is down to your level of interest/time-to-tinker. What is immediately apparent, and incredibly impressive is how the BCDs perform in terms of imaging – pinpoint perhaps an overused term in my own reviews, but I have to pull that one off the shelf here, and in addition say ‘laser’ pinpoint… especially with well-mastered/produced electronic music that has a lot of detail and layering, SHOCK performs here with spectacular results. I find the music tends to present inside-my-head, but extends out depending upon the recording and positioning of instruments or vocals etc – that ‘in-your-head’ presentation though certainly for me grabs my attention the most, as it is quite unique when BCDs are part of the driver configuration, and indeed it can be strange to then switch to a non-BCD set, it certainly takes a bit of adjustment for me, and I can understand how some people now insist on bone conduction. Going back to resolution, SHOCK definitely does not go for a clinical analysis of your music in terms of squeezing out the smallest details, the focus being more of a musically engaging signature – be it fun, emotive, captivating, or otherwise.



Test Tracks

Seph – Felina



This is a relatively recent purchase for me, and honestly best represents the type of music I’ve been most enjoying SHOCK with: melodic electronic music, with intricate drum programming, and ample layers of detail – an incredibly visceral experience with the BCDs showing off their in-your-head prowess, something that needs to be heard and felt to really understand, hard to fully articulate. Mid-bass kicks with fantastic impact, landing right in the middle of your skull, and the off-beat percussive elements branch out a good distance in what feels like a stretch to outside my head. The layers of synths swirl playfully across the stage, while a deep pulsing synth allows the sub-bass to shine as a sort of undercurrent.

Jon Hopkins – Part II (palace/illusion)



Staying with electronic, but changing gear to the latest ambient offering from Hopkins – definitely up there with the best albums of 2024 for me, and one of my favourites of all his discography. SHOCK presents a wonderful, immersive, captivating experience – I love how the tuning can cater for energetic and complex tracks like the previous, to the other end of the scale with an ambient piece like this. Again the BCDs work really well with this genre, the positioning inside my head really does accentuate the haunting synths and vocals in this track.

Arooj Aftab – Aey Nehin



Another fantastic album from 2024, and another obvious choice to put SHOCK to the test. As noted earlier with London Grammar, female vocals are rendered beautifully – centre, slightly forward, and with what feels like the right amount of body. Even at the relatively low bass setting I have configured at present (2/5), it steps forward in the mix with a subtle yet authoritative presence; I can feel and hear the plucking of the bass, and again it has a very central position before emanating outward. Other instruments sound wonderfully rendered, and with excellent clarity within the stage.

Virgo Four – In a Vision



This is a classic piece of house from 1989 which features on the self-titled ‘Virgo’ album. I was curious to test this to establish how forgiving SHOCK is, and I’m happy to say the answer is very forgiving. While it doesn’t sound ‘hi-res’ or wow in the way more recent/higher quality recordings do, it still does an absolutely admirable job and I could quite comfortably listen to and enjoy this full album – I often have to switch off an album as an IEM I’ve chosen is just too resolving or energetic, as such the recording comes off harsh and often actually unlistenable.

Man with no Name – Floor-Essence (Dayglo Mix)



Another old one, but I was inspired to delve a bit deeper following the success of the previous track. I was eager to move it up a notch from house to trance, and while browsing through my DAP folders, I landed on this classic. The conclusion is as above, SHOCK yet again delivers here – as before, it’s not a hi-res experience, but nor is it flat or harsh given the old recording. Also reminded here of the need to revisit this album... feels like a good choice for my walk tomorrow morning.

Cypress Hill – Insane in the Brain



I couldn’t open the review with a nod to this track, and not then actually test it?! My digital copy of this is an old rip from my original 1990s so possibly not the best quality at this point. Surprisingly, it sounds very good – I say that as often these older rips can come off a bit flat or harsh, neither of which occurring here. The vocals are again central, and percussion actually has a nice authentic presence. The famous bassline rumbles along very nicely.

Conclusion

I came to SHOCK with high expectations based on the impressions I had read from those that went before me – these expectations were met, and definitely exceeded. While I’m not a fan of the design or cable, nor am I much of a fan of adjusting dials to find a tuning sweet spot, moving beyond these subjective ‘issues’, the end result is a highly competent set that delivers spectacular tuning, and some of the most immersive bone conduction presentation one could possibly hope for at price significantly south of $1,000, quite 'insane' how the presentation sits within your head. Throw any genre at SHOCK and they deliver, regardless of quality – SHOCK will scale up or down as appropriate. 2024 has been an incredible year for this hobby, and SHOCK is without doubt up there with some of the very best I’ve tried... fingers crossed for a SHOCK-2 with ESTs down the line!

The Tansio Mirai SHOCK

Some things are worth waiting for and this one took a while! Another instalment of “Finding the Sweet Spot”.

A big thank you to Mr. Chi and Penon Audio for getting this over to me quickly after release. I paid for this set and my thoughts are my own.

What’s unique about the SHOCK is its ability to become just about anything you’d want from a tuning perspective. So what’s under the Hood? 2DD’s + 4BA’s + 2BCD, like a lot of sets being released. Add in 2 Tuning Pots and things get a bit crazy with just how flexible the tunings can be, hence the time to complete this review.

The cable is a 2 core coax silky silver with purple hardware to match the SHOCK’s grape colored groovy design. The case is PU leather and it comes with several sets of decent tips.



On the face plates you’ll find a yellow tuning pot for Bass and a brown tuning pot for Treble. These aren’t notched and allow for micro adjustments. Turn the pots clockwise and both treble and bass are in their lowest settings. Turn them counterclockwise and the SHOCK does just that! It can be a super sub-bass beast. I’m a bass-head and I had to turn it down a bit!




Stock the set comes set at position 2 for Bass and 4 for treble (higher number means less). Making for a warm rumbly experience. I could see why they chose this setting out of the box, as it seems to suit most genres.





Graph 1 shows just how many tuning options I measure with REW (25 in total). The tuning is logarithmic. So the lower the number more dB difference, especially for Bass. Graph 2 shows the Bass region from 5 to 1 has a possible 16dB swing and the treble region a 12 dB possible swing. Now you know why it took so long. The Bass 1 position is particularly sensitive and can influence the treble region greatly below 1.2. Otherwise, from 1.2-5 the treble region remains the same. See Graph 3

The treble region can go from quite dark to overly bright and everywhere in between. I initially followed my standard target on DucBloke.Squig.Link, 2 on the Brown dial, but found this too bright and went back to the 4 setting before making a PEQ array to start the tuning process. After a week of listening I decided to adjust the treble and bass once again and find the position that needed the least amount of PEQ applied.

Graph 4 is the final tuning from the faceplate, with both R&L set to 1.2 on the yellow bass tuning pot and 2.5 on right, 2.2 on left for treble. This gave me the best channel match, with an elevated Bass region V tuning.



Graph 5 shows the PEQ setting, where the Bass has been tucked and treble filled in beyond 3kHz. This opened up the air in the vocal region and extended the treble, without being overly bright.



Graph 6 is the final tuning stage, where the PEQ settings are loaded into my FiiO K19 DSP software, with a possible 31 PEQ setting EQ. I listened further and did live adjustments to the mid region and bass.



The end result, very little PEQ applied as compared to most sets, due to being able to adjust the IEM from the face plate.

BASS: Out of the box, most people would be very satisfied with the amount of bass. It rumbles and slams. With PEQ and some additional tuning, the sub-bass is very deep and bass has excellent feel, but without muddying the mids. 9/10

MIDS: Vocals out of the box are a bit warm and thick. By lowering the 100-200Hz region the vocals were made to pull back slightly and become clearer. Both male and female vocals sounded excellent. 9/10

TREBLE: Again, out of the box was on the warm side. Most of the correction was possible using the brown tuning pot. The result was very well extended without any fatigue. 9/10

DETAIL: Being a 4-way crossover tribrid the detail is very good, with subtle nuances present in detailed tracks. 8/10

TEXTURE: This is where the $599 price tag makes sense and competes against it’s tribrid peers. There are more detailed sets, but they a lot more. So excellent Texture for the money, but not as good as some sets in the $1k+ range. 8/10

TONALITY: This IEM’s tone is excellent out of the box and in the final setting. 9/10

SIBILANCE: 10/10 Here. They really nailed it

SOUND STAGE: Out of the box it was an 8/10 and after PEQ 9/10. Mostly by creating more of a U shape and improving the 100-200Hz range

MASKING: Top performance here, with micro details in busy tracks being clear 9/10

LAYERING: The instruments were well distinguished 9/10

Overall score : 8.9/10 A strong showing for this price point and a lot of flexibility and fun.

DAP and DAC’s used for testing: iBasso DX320MAX Ti, FiiO K19 and ifi Go Pods



I really enjoyed using these on my ifi Go Pods. They weren’t that hard to drive and the DAC chipset of the Go Pod seems to complement the SHOCK

Conclusion: Well worth the price tag of $599 and competes with its Tribrid Peers, with the added benefit of infinite customizable tuning

TSMR SHOCK
2DD+4BA+2BC Tri-hybrid 8-drivers Audiophile IEM
Driver introduction:
Low frequency: 2 x 8mm strong magnetic dynamic drivers with hollow coaxial structure and carbon hybrid diaphragm
Mid-frequency: 2 x Knowles drivers
High frequency: 2 x Sonion drivers
Full-frequency compensation: 2 Sonion Bone Conduction drivers
$599

Tone knobs:
In the mid 1970s tone controls were very much the in-thing for speaker manufactures, companies like Jensen and JBL made their speakers tailored to the room acoustics by activating such adjustments. Also depending on a person’s frequency likes such speakers could be then dialed-in to suit the individual. If you think about it IEMs are just like speakers for personal use in many ways.



Bone Conduction:
Strangely the TMSR SHOCK sounds more like speakers playing in a room to me? More than any IEM I have heard thus far in my life. Maybe this Bone Conduction process has something do do with that? Based on BA technology, Bone Conduction doesn’t exactly sound like BA drivers though.




The TSMR SHOCK:
This review is way too long and way too convoluted. Just so you know you’ve been warned, so don’t blame me if it rambles on and on. Such is life when a new chapter has been written in the story book of personal audio. Yep look above, look at the parts in this sucker. This is TSMR’s 2024 FLAGSHIP………and the crazy part is TSMR have made more expensive ear-phones for sale before…..but that was then and this is now. The topic of the day could be these bone conduction devices? There are two BCDs in each monitor, and they seem to make a huge impact on the SHOCK’s character. Sonion has delivered here as one single progressive move which separates the SHOCK from all others that came before it. Except of course other products that hold these exact BCDs…….I’m told the $3999.00 Penon Rival also contains them. So in short these devices change the stage by injecting frequencies into your cartilage. A full-frequency blast is in addition to what is coming in from your eardrums. This character is slightly distorted in the purest of ways…….the only other BCDs I’ve heard was the Raptgo Hook-X which was a Planar with a side of BCD way back in 2022. But IEM history shows this to be a thing, and really this version of BC technology seems to be the new thang?

Anything that adds a presence is important in IEMs. My best way to describe it is both an added stage and an ever so slight frizziness that in no way detracts from the detail at hand. These BCDs make an added phosphorescence that simply adds realism, but in a soft way…..that almost reminds me of the sound of PZTs? So imagine with me a structure of sound emitters that would take imaging and make an added separate image of sound slightly farther outside the norm……to enchant you and to lead you onwards into your favorite song. These tones are not exactly bright, but are warm and friendly, they also give the TSMR SHOCK a unique presence. Such a presence is in bass density and dynamics, but also travels upwards to expand the midrange stage and treble imaging. As such BC is a slight warm blanket that covers everything except it is joined to the the rest of the drivers not separated. How do I know this, well I don’t..............I’m guessing, except I have heard a few previous TSMR IEMs and others made by different manufacturers, so I’m simply reporting on what is different here? Probably the strangest thing is when you first put the SHOCK into your ears. At least this was the effect for me, that it took a few seconds for this bass stage to form? Yet after 20 minutes I was all in, somehow I heard what this talk of the town is about.



Probably the next big deal is to talk about twin isobaric 8mm bass drivers. I mean I’m giving so much credit to the BCDs, yet maybe what is new and different too is the 2X 8mm drivers, I mean they must be a part of this new neighborhood we find ourselves in? Later I will mention the TSMR FEAT and TSMR-X that both utilize 2X bass drivers. But let’s just say that for whatever reason it seems this FLAGSHIP has perfected the isobaric idea? Oh, and there are two Sonion and two Knowles BAs too. That makes this a 8 driver TOTL IEM, yet the price is only $599.00? Don’t let that value price fool you, as this IEM even wins out over many previous full-featured 3X more cost TOTL FLAGSHIPS. Those two Knowles midrange drivers are blended in just fine, as the two Sonion treble providers. To where I was surprised just how well the SHOCK does vocals, and treble. OH I almost forgot the tuning dials or knobs. Yep, there is a system of faceplate knobs which hold 5 bass positions and 5 treble positions to allow sonic changes to the SHOCKs overall tune. Let’s get to it………….

Yet before we get started, I want to voice my favorite aspect about the SHOCK. There is a vivid and substantial presence about the lows that are both clear yet physical, a robust stage holding physicality aplenty. Once you understand this presence you come to realize that it is a solution to joining the tactile presence of speakers in a room, to somehow cross the bridge to make this particular IEM more like speakers in a room, more than any IEM I have heard so far.

TSMR SHOCK
Redcarmoose Labs September 27th, 2024

Still if you don't want to change the knobs, leave them as stock which is #4 bass and #2 treble.......they will stay in place like that.

Look I get it, you already have opinions as to the faceplate switches, or better yet knobs. You haven’t even seen the SHOCK in real life or played with the knobs, yet you guess this specific IEM contraption is not really for you. The SHOCK has some different looks that’s for sure. Plus……..the manufacturer TSMR went and made this IEM look outlandish looking with this wild purple translucent shell, then they went and made it large, plus put those funny scores across the faceplate. I mean really it looks like a child’s toy, or something that is unfinished and still in the developmental stages……….better yet an escaped lab experiment. Science fiction really. But it's almost 2025 and as enthusiasts we need to keep an open-mind. One thing for-sure, you can spot the SHOCK (as it's SHOCKing) from about 10 feet away, as it looks like Frankenstein's Monster.



Now you probably think I’m going to defend the SHOCK’s looks? I’m not, except there is a flood of IEMs coming out everyday…….and marketing personnel need to get them noticed, because if a product isn’t visually noticed and remembered when seen (by prospective owners) on-line or in-person, that product in question has no way to survive. As you and I know there is a plethora of IEMs being put out every instant by all the manufactures of the world. So blame these looks on the competition, except there is another standout feature here for starters……..yep those knobs.



The Knobs:
Personal bass and treble understanding:
If you’re an audiophile, or just a standard listener of headphones and IEMs you may not realize that personally you like many variations of bass amount levels. Let me ask you this, how many times have you been to a theater or a concert and liked the bass amount? To simplify this, I can pretty much guarantee you those amounts were different each time. So we can start to realize (contrary to what we believe) that many different styles of bass levels are enjoyable. I say this because Graph Enthusiasts can almost just look at a graph and tell themselves if the bass is going to be correct or not for their ears. This my friends is hog wash. I say this because in my personal experience with headphones and IEMs I have many different likes and loves as far as bass levels. I even watch TV with 2006 AKG k701 headphones that are relatively flat in response but do fantastic vocals, especially with the neutral A/V receiver I have them hooked too. So now you start to get the idea about the variable well roundedness in regards to bass…….and possibly treble levels.

And that is the thing……..TSMR probably thought to themselves that conventional (up and down) switches only do so much. Sooo with the addition of a brown knob (with 5 positions of high frequency) and a yellow knob with 5 changeable positions of low frequency……..the general public will be satisfied, I mean how can they not be? And with the Shock you can even migrate between switch positions to find that sweet spot. Not only will the potential buyers be satisfied finding a preferred tonal response, but even future proof.............finding new tonal responses they don’t even know they may want or need. I mean how many times have we wanted to watch a movie with IEMs and wanted a different tonal balance than what we were using for music? Now I’m not saying you are going to need to be changing knobs all the time, yet you do have that freedom if wanted.

The looks:
If you remember, 13 and 14 year-old kids have their very own sense of humor. These subjects are often kept between themselves as inside jokes, gaining popularity as they spread from ear to ear across the classroom. Often a silly derogatory slander contained as a nickname about a teacher’s hair or mannerisms.

And while SHOCK marketing isn’t exactly aimed at 14 year-old, the youthful look is. TSMR is expressing the company's tuning ideas in the IEM looks, attracting a new breed of IEM listener. As such this toy-like aesthetic is truly fitting and correct, often missing the point with the over 30 crowd.

TSMR:
In the past I have reviewed a few TSMR examples of the IEM art……..that while cool looking those examples were still very conventional in looks. In the past (up until the last three IEMs) TSMR has stayed with a conservative tonal game plan.

The TSMR FEAT Universal IEM 2 DD + 2 BA
TSMR-X Universal IEM 2 DD + 4 BA + 1 CFRD

Meaning they had bass, but prior to the TSMR FEAT and TSMR 10th Anniversary they were more about an analytical tone resulting in a less-fun style of playback. So the SHOCK is basically TSMR continuing with the same ideas brought about from the 10th Anniversary and running with those thoughts. As such the early 2024 introduction of the TSMR FEAT and 10th introduced us to 2X 8mm isobaric bass. As such the driver composition of the FEAT is a “hollow coaxial carbon element diaphragm”. While the FEAT was the first TSMR with no switches, the X was fully adjustable with in-fact 3 different up-and-down switches. In so many ways the X became a tonal Chameleon because unlike a few other switched IEMs, the 10th Anniversary switches really did something. Though we see a glimpse of where TSMR with their imagination were going, as the faceplate of the 10th was a wild wavy creation, and a portion of the switch changes allowed for people to explore extreme bass territories. And of course the 10th had that bass ability to be both conservative or extreme with an isobaric 2X 8mm hollow coaxial structure, carbon mixed diaphragm.

TANSIO MIRAI production:
TANSIO MIRAI ZODIAC - 12BA $1349.00
TANSIO MIRAI TSMR 8 SPACE - 8BA $729.00
TANSIO MIRAI TSMR 6 - 6BA $529.00
TANSIO MIRAI TSMR 5 - 5BA $419.00
TANSIO MIRAI TSMR 4 PRO - 4BA $319.00
TANSIO MIRAI TSMR 3 PRO - 3BA $219.00
TANSIO MIRAI TSMR 2 - 2BA $169.00
TANSIO MIRAI TSMR 10 - 10BA $1029.00
TANSIO MIRAI Spark - 4EST + 7BA Hybrid $1499.00
TANSIO MIRAI Land - 2EST + 3BA + 1DD Hybrid $599.00
TANSIO MIRAI Akiba - 7BA + 4EST Hybrid $1550.00
TANSIO MIRAI Sands - 1DD + 3 BA Hybrid $319.00
TANISO MIRAI FEAT - 2DD + 2BA Hybrid $239.00
TANISO MIRAI X - 2DD + 4BA + 1 Custom Film Retarding Driver Hybrid $399.00
TANISO MIRAI HALO - 8BA + 4EST Hybrid $1,999,00
TANISO MIRAI RGB EST - 9BA + 8EST Hybrid $2,999.00
TANISO MIRAI SHOCK - 2DD + 4BA + 2BC $599.00
I have all the green ones.


TSMR SHOCK
2DD+4BA+2BCD Tribrid 8-Drivers Audiophile In-Ear Earphone IEM
Low frequency: 2 x 8mm strong magnetic dynamic drivers with hollow coaxial structure and carbon hybrid diaphragm
Mid-frequency: 2 x Knowles drivers
High frequency: 2 x Sonion drivers
Full-frequency compensation: 2 x Sonion Bone Conduction drivers

Setting the groundwork:
This exploration into fullness of sound is both a natural progression for manufactures and really an introduction of concepts first introduced in modern times by Sony. Yet we have always had big fluffy musical sounding (read bass heavy) headphones and colder analytical examples of responses. Years ago when I was 10 years old I did back-to-back comparisons of a Koss (bass heavy) full-size and a Sennheiser (analytical) full-size headphones. Sony went and made an example of a fully detailed (reserved bass) headphone with the legendary Sony R10. Then something happened to Sony, it seems they may have let the whole group of sonic engineers that first designed the Sony R10 go out to lunch permanently? As all-of-a-sudden you had the Sony XBA line that seemed to focus on room response. What would follow is the MDR-Z7 and MDR-Z1R……and finally the IER-Z1R.

Room response:
Room response is the idea that has been proven to take place both in night-clubs and in 2 channel listening rooms. When room response takes place sound waves are bouncing inside the speaker shell then being emitted off the back and sides.............in competition to the focused front firing waves. Such waves then reflect off the rear listening room walls and side listening walls to provide a proven extra few dB of extra bass and lower midrange fluff. This room ambiance is one of the single greatest differences from the sterile (un-bodied) sound response of thin headphones and IEMs. What Sony imagined was a fuller and thicker idea of the R10 response and reintroduced such tone seemingly adding groove to modern popular music as well as adding body to Classical listening alike! TSMR is simply following along, and the IER-Z1R and SHOCK are bass tone and stage brothers, yet the SHOCK is coming-in at 1/3 of the cost!

Even though Sony has refused to put out a flagship full-size or a flagship IEM for years and years, I can almost 100% guarantee they will come next with some kind of knobs or switches. If you followed the Head-Fi MDR-Z1R thread from 2016, or the IER-Z1R thread from early 2019……….you will not read about all the members understanding (and coming to terms) what Sony was creating.

Nope, we had a division of sorts, to where some maybe would have liked an adjustment knob or switch to find and fulfill their sonic happiness. It is these adjustments in tone that maybe cater to the fact that not only do listeners have different ear anatomy, but also sonic psychology which enables the tonal understanding of bright or dark being too much.

Listening to the TSMR SHOCK the first noticeable thing is that there is a nice wide involving stage. Now you would be forgiven for thinking I was going to talk about bass first. With the stock setting yes, there is a dramatic stage and physicality to the lows reminiscent of the IER-Z1R. Maybe the Bone Conduction helps with this, something? I mean really I'm pretty sure this is BC because I've never heard bass and lower midrange so around the room in size? While yes, that is great, what I really wanted to talk about first was the timbre and overall detail and separation. Where all this talk about bass had me thinking before hearing the SHOCK that the standout feature would be bass.......and it is. Except you and I know the midrange is where 80%-90% of the information is found. Yes, it is the beautiful involved and imagined stage that has me actually SHOCKED. But more than that it doesn't matter which DAP I use, or even which ear-tips I choose. What we are gifted with is a wide stage holding involvement and vocal density with still the Hybrid separation at hand. Probably the most fun are the slight creations the producers did to jet-out effects into separate areas of the stage? That is the coolest part.

Music tests:
Here I have placed together a few numbers to try and explain what the TSMR SHOCK is in the best and worst of ways. Really there are very few downsides to this sound, though to try and come to terms, I showed you a graph. Confusing as it may be, these are all the sonic parameters that are possible. So you can see there is a way to add bass extraction, subdue bass extraction and curtail treble display and emphasize the trebles. Stock has the treble (brown) at 2 and the bass (yellow) at 3, and that is how I liked it, which is normally the case most of the time with manufactures. Though note due to where the markers are there are 5 dots used for positioning yet because of their placement you can go almost a full space above and a whole space below. Also keep in mind that both knobs are going to need to match sides with the Right IEM letters which say SHOCK facing upside down and the Left saying TSMR facing right-side-up. This is not as confusing as it sounds in practical usage. Also I found that maybe due to the BCDs the stage was bigger and the bass was more vivid in stock formation than even the IER-Z1R. Anyone that knows me knows I prefer the less bass of the cheaper Sony WM1A DAP over the more expensive thicker sounding Sony WM1Z DAP when using the IER-Z1R. Except strangely enough I could use the SHOCK with both players on the factory settings and get a comfortable sound. I also found that during testing the SHOCK was very well rounded enabling me to quickly switch music genres while leaving the switches be. With that said EDM was at factory settings as well as Orchestral or OST playback……..with it always being correct. If you look at the graph and see the extremes of playback just remember those extremes are just that, to where it can sound grainy or too bass laden at the edges of where you can go. I felt the sweet spot was just how they arrived? Though remember there are always going to be those individuals who crave more bass or crave more treble.



Here I’m using what I guess is the SYMBIO W 4.5mm bore silicone and foam ear-tips. The amazing part is looking at the shape of the nozzle length. You could be forgiven for thinking the nozzles would be too short, but they are not, in fact these fit me better than the smaller TSMR-X……go figure? I am using the Penon ASOS+X and the Sony WM1Z with MrWalkman’s firmware and no EQ…….again on stock settings.


Jara Luca
Ascending
Spiritual Transformation
44.1kHz - 24bit



I was not going to start out with such a track, except the more I listened, the more I found this track was a great example of where we could take the TSMR SHOCK. Just remember that with the added physicality of the V shaped tone, plus the WM1Z bass.........the bass was substantial. Yet the trick here is that the added treble of both the Sonion drivers and the treble tilt of the 1Z added just enough energy to make this work, for me anyway? This opening lets you know that smooth is the name of the game here. Yet on-top of that smoothness the BCDs added a slight extra outside embellishment of both treble and bass detail here……not to mention the mids…….you can’t escape the BCD! The cymbal strikes are warm and in no way bright or even that metallic in the mix, and I like that!

The riddle:
And to start off with, that is the riddle before us here. To cover it, this appears at first to be on the edge of boring, of too dark a mix, to where sure I could add a treble dial slot on both IEMs, or I could go over to the WM1A for a more mid centric style of playback……but, somehow there is enough detail and not really fireworks, but added detail, though slightly dark it how it is presented. I’m guessing this is why the SHOCK is so well rounded, that most genres and even a number of cables or ear-tips workout. This is the sign of a star in my book, because instead of looking to fix anything, we are simply listening and enjoying what is heard. Still this is a style of playback that gives long term listenability and of a warmer and thick nature. The juicy part is how both the bass and backing synth are somehow separated and heard being their own tracks totally near the same tone, except separated in glory here. Of course there is the downbeat…….and that force of throb is at the start…….but before that we are given the best part of this song in the middle of 00:45 we hear the different synthesizer tracks fully separated, yet still warm and inviting. At 00:51 the beat starts, plus we can pick and choose the volume………maybe the best part here. Yep, go for added volume or not, there is a freedom about. Of course more volume will add to the details as somehow instrumentation does get farther separated, but this playback could be used both at lower volumes at work, or off-work to maximum volume…….or of course in-between! At every volume the pace is rolling and grooving and the instruments are never too bright or piercing in demeanor……..just organic and fun. Everyone knows with the wrong IEM electronic music can get stark or too vivid, but not here, the SHOCK is our friend and a known member of the family…..whatever you decide to throw the TSMR SHOCKs way!

The goods:
Look, most of you reading are about reality in replay, not some wacky hippy synth-drone freak-out, and I get that. So our next number will focus on factual and realistic replay.


(All examples in this review pertain to the digital file not the video.)

Soen
Imperial
Illusion
48kHz - 24bit


So I’m going to go ahead and spill the beans here. This is one of the very best IEMs I have heard in my life, and absolutely the best I’ve heard for 2024. So far I’ve reviewed 47 IEMs this year. Why, realism of course. And here is the TSMR SHOCK being shocking! This is a 24/7 everyday thing for the SHOCK, it is just laying around waiting for you to access it…….to make your day! Such accolades may sound silly, but that is how I truly see the SHOCK? The Fender Rhodes holds the opening keys. Yet it is the vocals that hold our imagination transfixed. This song reminds me that these children learned at the school of Pink Floyd. And while maybe Soen is not thought of as being audiophile content like Floyd is……..but to me it is? Even the back-up of Hammond B3 organ flows are reminiscent of the Floyd. But this is about the SHOCK……..so what is going on? Well I will start with what my first impressions were……..that there is a separation and placement that when the drums hit (and guitar) at 00:38 it is both the actual size and contrasts that start to remind us why we are here. OH, you think, same as listening to speakers in a room when the authority hits, well that is what is dramatic. I truly wonder what the impressions would be if we took the SHOCK to a show……a Head-Fi meet-up. Actually I already know due to the numbers of new owners that make-up the Head-Fi Discovery Thread. I mean you really don’t need to read anymore of this long winded review………no more information is necessary for a purchase. Sure you can read on yet I can promise you you’re only going to read about are sunny skies and puppy dogs………and maybe there is nothing wrong with that?

You don't have to read anymore of this review as you now have all the information (already) to make a purchase!

Anyways:
This song has a few experimental sounds that we don’t always hear. This for the long listener they will add intrigue and excitement.........simply because of new sounds (even if they are regular instruments we have heard before). At 00:37 there is this big cymbal sound. Only they have done something to the attack to where is is almost like air, like an air blast. And they keep using it, though it gets toned down a bit. Probably what the best feature here is simply the sound of Joel Ekelöf’s vocals, that and the way out front meaning “in-your-face” guitars. Sure when we greet additives..........it is striking, I mean how can it not be? But it is the fluid rhythm and bounce that endears me the very most…………the instrumentation, but also that balance here. The chorus and those cymbals, but the drum fills……..you know this is not a critical science, yet it can’t always be found everywhere?

Going back to a quiet spot before the lead guitar lites up the sky………….at 02:43! Commonly this is simple stuff, or is it? I do know the SHOCK makes it become a special time to listen in my life, and for that I am grateful.



Taylor Swift
reputation
Look What You Made Me Do
44.1 kHz - 16bit
Part of the SHOCK success is that it is holding note-weight. Why this is now being disclosed this far into the review is a mystery even for the author here. Except you probably already guessed this by now. The imaging being big, the note density being firm and heavy….the stage being big…….what else is there? Truly when I look back into the discovery of almost every Hybrid I have covered in the last few years, it is this balance of getting note-weight and still correct vocal placement aligned, without going into the strident zone, or the too boring zone.

And while sure the SHOCK does low volumes well, it is better at higher volumes! Yet if you were wondering what the cool stuff about this song is……..there are a few studio tricks the producers gave forth. For starters…….those tinkly fairy bells a float. At 00:12 if I remember right this is an actual introduction to the chorus of the song, only suggested in little floaty chimes……right before all heck breaks loose with the bass at 00:15. And…….and that is the introduction of Taylor as the singer too. Part of the reason I chose this song is the bass. WTH? The bass action is so very physical that I don’t even have it loud yet it is intense. Now that Bone Conduction is here, stuff like this is that much more transporting, transporting the listener to basically forget about anything and grab hold of this bass energy……….and sure those twin 8mm DDs are not sitting back, and it kind of sounds like that. That now in 2024…….soon to be 2025 we are met with 4X the bass drivers per ear.

Yep per ear……2X BC and 2X 8mm woofers…….how else do I explain what I’m hearing and feeling in my ear cartilage…..into my soul.

These 4 bass drivers (X2) are taking the bass and doing something I have never experienced before. Not only am I hearing the bass but the bone conductors are now installing a selection of bass tones I’m feeling inside. I mean sure this song’s bass was always visceral and potent, but now it is physical.

The importance in this particular song chosen is the fact that we can fully experience Taylor Swift’s voice.

The fact that often with full-tilt bass IEMs we always risk the danger of having the upper-midrange buried or set-back, but that is part of the magic here that everything is included, despite any suspicion you may have prior, due to listening to inferior styles driver arraignments or tunings.

And really that may be the single greatest thing about the SHOCK, that it seems nothing is left out, yet we are gifted with full-on deep bass presence, almost just like floor standers in a treated room.



King Buffalo
Regenerator
Regenerator
48kHz - 24bit
Changing over to the WM1A……..this one song one especially sets the feeling of Hawkwind. This may sound strange but the SHOCK is a whole new way to listen, almost to make contact more with the songs message at hand. Meaning there is such a connection to the tunes that you have to be careful which tunes you choose. Some bands do drugs then make a whole album (of songs) to whine about their personal after effects, and normally that is fine to listen to, but with the TSMR SHOCK I would much rather make contact with music like this. At the start we are met with a spacey synthesizer, at 00:04 we are greeted by the guitar, then drums at 01:18.

A recurring theme here is where the producers chose to showcase the guitar. Surprise results maybe because each time the guitar is regenerated into a slightly different spatial position……and I like that.

Really at the stock settings of 4 bass and 2 treble we find a well rounded tone, so much so that I can leave it and switch DAPs to the more mid-centric WM1A or the heavy V response of the WM1Z. While using the included cable I found it was brighter than the wider staged ASOS+X, to the point of almost sounding like the #3 treble position instead of number #2? I have this genuine feeling the ASOS+X is making this guitar that much more thick and fun into the width of the stage? And just as always when you are fully on-board with what the SHOCK is doing, it is both distancing the images and adding a warm fuzz, which we will get to in some of the next songs here.

But just note this demeanor of added slight distortion is very, very subtle and was recorded with the guitar at the start, then somehow added again to a slight phosphorescence into SHOCK replay! The IEM is electric after all!

With a number like this the magic is the bounce and groove……the fact that there is a special pace through-out to get acquainted with. The playful hammer-ons into guitar replay take the cake to provide mood here at 03:18. But I have heard this song before with the TSMR SHOCK and I’m patiently waiting for nothing to come-up……….and here it is. Can I say GAWD…..? Wait, I just said it. OH GAWD…..here it is……..I mean there are moments in SHOCK listening that almost seem perfect. That tone, that slight buzz that is so endearing.

At 03:51 the producers dropped a wide guitar stage on us…….wider than expected and filled with this smoothness of rich tone, smooth yet distorted and warm, but more room temperature like a coffee left out…….better yet a Starbucks latte!

This is the very highlight of the review.
It’s those moments like these where it all comes together! The guitar is double tracked but also slightly delayed between tracks, and spread out to both sides of the stage! What makes it even better is the cymbal accents at 04:04 cash, cash! This song is priceless. And the fact that like a fine timepiece everything is heard, even the bass in its own zone.

At 05:22 there is an end to this madness, but even that is synched in time to become a precious moment……..but wait the song is 09:37 long…….it is called regenerator for a reason! Really as the parent sound here Hawkwind should be proud as any style originator could be! At 06:25 the synthesizer comes in to add to the party. This seems like the same preset as the opening? At 06:52 the guitar makes its entrance once more, but we wanted this and welcomed the introduction. Though this time the guitar is more rhythm focused because that is what is special about the guitar, we can choose which tool ability to use. At 07:20 the added track is another guitar, though this time it is found off to the right. The SHOCK makes room for each and every sonic element here. Upon further inspection there is also a bass lead in this later part to where each instrument is in full vibrancy mode. At 07:29 lots and lots of tracks going down……….At 09:00 everything coalesces into a fusion of quietness. The Muti-team of guitars finally lets up………I thought maybe they would play on to infinity? Finally the bass player gets to have a word here………..and of course the drums. Then it ends. Brilliant really!

Really this review is all music tests:
While I have two more songs to make my ideas known, this is a style of review in which no IEM comparisons are needed. Why? There is simply nothing I know of at $599.00 on today's market that comes close to what the TSMR SHOCK is doing. Looking back, sure in many ways the origin to this sound was found with the TSMR-X and the FEAT…….except we are now residing in the penthouse apartment. When I first saw the SHOCK it was introduced as the new TSMR FLAGSHIP top-of-the-line IEM, and now that I have it in possession I know why. The SHOCK offers big entertainment, but more than that it has those creamy guitar tone signatures that make you chuckle. Yet it is very diversified in what it can do. Here are a few more new and different examples of how the SHOCK performs.

Theatre of Tragedy
Assembly (Remastered)
Episode
44.1kHz - 24bit
This is one of the brightest songs I own. Now the thing is the SHOCK polishes it down and somehow addresses the treble, except it does more. Let me try to explain what this album is. The album is from an Extreme Metal band that changes into making this strange form of distorted Industrial Electro-Pop. Gone is the heavy guitar, replaced with a more accessible style, that there was never a sub-genre like before or since. Here we are gifted with a strange mix of production quality to where almost haphazardly the mix pushes extra imaging out into unique places in the stage, of vocal snippets, of cymbals……they don’t care what they use, as long as they keep it fun. The whole album is blanketed in this warm fuzz, that coats guitars, drums………everything. Now you may guess that using the TSMR SHOCK would over emphasis this slight fuzz, when in fact it is the perfect example of the new sound we are encountering here. This is a new day, and a perfect example of how we can find Flagship sound now for less than we thought, that and the added IEM personality that goes with everything to kind of thicken-up the sound and smooth-it-out.



Episode:
Each time I hear this I never get tired of hearing the pizzaz in production, that and the critical way they have approached guitar tone. Liv Kristine was the ToT singer from 1993 to 2003 and really helped make this record in my eyes. To where the opener here showcases a guitar tone, also how many times this can be found on the bright side, as it has been truly tweaked-up in production values. The 00:00 inclusion of a cymbal hit doesn’t weaken this brightness one bit.Yet upon hearing the SHOCK version of this song all is in order, and better than just in order as it contains that tell-tale character of SHOCK guitar sound. Such a character is smooth and holding separation in the stage, but also being a big size that is satisfying and fun. Meaning the size of the guitar in the stage gives us ample room to study it from many sides. The fact that Raymond I. Rohonyi gets extra attention into how the vocal processing is done. The way "tiptoe " was doubled-up on the vocals. But the only reason I am writing this is where the shock comes from, from how big the stage is and where those extra spatial words “tiptoe” are doubled-up. The sound is Electronic Pop,

Moving sideways through the sold photo
Slow figures flashing on tiptoe
Crashing cars on a blue tableau
Goes to show it wasn't everywhere
No one steering, just an auto-move
Round and round the streetlights in the groove
Flying windscreens, dropping down below
Aisles of bricks, crumbling with the smoke
Here we go
I think you suit me
I'll make you happy
You specify me
You can't deny me
Dissolving turnpikes in a placid light
Intersections similarly white
I never found the concrete slab
I must have left it on the showroom tab
Escalators moving side to side
Round and round the footprints on the slide
From a picture, the city turned and spoke
There she was, the woman in the smoke
Here we go
I think you suit me
I'll make you happy
You specify me
You can't deny me
Must have left my eyes on a moving train
Tangled phone lines told me to revoke
Turgid reasons, everything's mundane
There she was, the woman in the smoke
Here we go
I guess you suit me
Do you extend me?
You maximize me
You can't deny me
I think you suit me
I'll make you happy

As the two singers trade-off exchanges in vocals, we are entertained by the fact that they were really a couple at this place in time, and the song holds every component to make it heard loud and clear. And while sure I have heard Liv Kristine’s vocals more out-front with other IEMs, I have never heard such fast and complete bass and drums alongside her voice as we have here today. That and the slightly fuzzy treble guitar and cymbal elements that go to give the song a special flavor…..like adding a dose of pepper to a meal…..that and of course the effects into the stage.



Batman v Superman OST
Hans Zimmer & Junkie XL
New Rules
96kHz - 24bit
And this is again me using a song I know well and a set of timpani, or orchestra kettle drums to use to enthrall the opening sequence here. Yes this section is enslaved into a few musical ideas by Hans Zimmer to which we can learn of his tricks………..we start with a synth of a theme for the entire film.

But also at just 00:01 you can hear a rustling of violin strings. All is placed as such to add to the mental drama of the timpani at the very end of 00:18 we witness what the SHOCK is all about. Big, deep and authoritative bass “Timpani” action. Truly in the world of Head-Fi it doesn’t get much better than this opener.

But wait, what do we have coming? First the synth and strings are rotating around in position…..then at 01:12 the timpani start their mission again……….yet it is at 01:38 the mother of all bass notes drops. This sound can be perceived as both reflecting off the sound stage walls………..truly here we are met with the full dose of visceral density, if you get the SHOCK I challenge you to partake of this event, how can you not be moved?



KMFDM
Paradise
Oh My Goth
44.1kHz - 24bit
I wanted to at least talk about the opener here. At 00:12 there is a faint sound, I actually don’t fully know what it is. But since the opener of this is filled with thunder, I’m going to use my imagination and say it is a lighting strike. A shock of lightning maybe? Now the cool part is that at times IEMs don’t even retrieve it………..this faint sound is not there with all IEMs. And I don’t make a big deal of it, except here it is……and I can even hear it more clearly if I turn up the volume. This is proof for me anyway of the detail and creation capable of the SHOCK when requested!



Metallica
Metallica (Black Album Remastered)
Nothing Else Matters
48kHz - 24bit
Here we are tempted with the stage antics, and while you get clues in the start of this song, nothing could prepare you for what is about to take place. At exactly 01:00 all heck breaks loose when the bass drops. There are no words to fully express the condition here as far as largeness of stage and quality of bass provided. But knowing me I almost always put music samples in reviews, yet this time I could have added 20.

So due to trying to keep this review at bay I just included a few of the really, really good examples so far. Though there is a trick the SHOCK does to where almost every file seems to showcase a special feature than you want to tell the world about. To keep this short the bass is both clear and focused, held in a grand stage size, but kept at an agile speed, that may be the most redeeming quality. Yep, both speed and size, I guess that is what putting all these 4 bass drivers a side does?

I say this as it is truly different? This maybe works so well because there is a matrix of both drums and bass which are joined together. And yes they are always joined, except the bass tone is fully distinguishable into being full and natural.

I guess what I’m trying to get across is this song sounds exactly as it is meant to sound…..no questions asked here.

But in addition we can hear every facet of the song, the vocals, the cymbal accents and the way the bass seems to both gain volume and depart like the tide of the ocean.

The fact that this was a profoundly expensive recording and a detailed one at that. To try and keep this short there is an orchestra and a cello sound that is very unusual right at 04:07. If you know this song then you may know the part, though here the sound in fully isolated from the rest of the instrumentation and you can hear the draw of the bow, almost like it has been isolated in the mix, but more than than it has a texture and a reverberation all its own. This detail in reverberation starts with the string then shoots from the right to the left. At exactly 04:57 the climax takes place and the lead starts, though keep in mind there has been a background lead used with guitar feedback throughout the song and that lead has been faithfully reproduced here. It is probably the crispness that lends itself to clarity with the drums and deep bass expressed here that gets me going the most.

That and the fact that I have never heard this song so very clearly, so what the SHOCK is doing is providing both drama and bass density yet what is found effortless and fully tight holding the utmost in transients.

Build:
Here we find a semi-hollow 3D printed construction. When I say semi-hollow really what is not 3D printed resin looks to be only 10%, so it is 90% solid construction coming in a 7 grams total. There are three vents, though the two unscreened vents are super small, as shown in picture at the bottom of the IEM. Looking at it only 7 grams each is low-weight, plus it is a truly good shape, at least for me it is, and fits way better than the smaller TSMR-X.



While in photos the nozzle looks disastrously short, but that is the crazy part, you would never know it when they are in your ears. I would give them 6 on a scale of 1-10 noise occlusion with the sound off, but turned-on sonically they would sound like a 10. Though once taken out of your ears for whatever reason I could hear them running, if they were on a table at high volume? We already talked about the knobs/dials, and even if you don’t use the knobs/dials they are ergonomic and stay out of the way, staying firmly situated in position…….whatever way you have them set, never to move unless coerced by the included screw-driver. The way I set them is with the name SHOCK upside down and the TSMR nameplate facing up. As far as build they stay firmly inside the ear. And never once needed adjustment. I found a number of ear-tips to work, yet found a firmer and narrowed bore tightness to hold the ear-tips on as due to the lack of a robust lip. As such there is always a chance of losing your ear-tips in public, if your tip does not have a firm grip on the nozzle.

Cable:
The cable is nice but at the same time not maybe a cable to get the full-idea of sound with. What I mean is yes, the cable is thick, and the cable comes in 4.4mm and even has nice ear-hooks……But searching through your collection of cables you may land on an aftermarket cable that will add smoothness and stage to the TSMR SHOCK. Meaning there is incredible potential for a boost in sonics. At $319.00 the ASOS+X is a costly additive, but well worth trying to investigate the full idea of sound here. Sure other cables work too, but I just liked the ASOS+X in place here, and somehow never wanted to change a thing for the majority of this review. As mentioned the included cable gave a nice stage but not the biggest, and seemed to gather more information into the mids in a more focused place. On the surface this reads like a good thing, and plenty of folks love the included cable, it is just I wanted a slightly bigger stage as well as a more fluid and lifelike replay.





Packaging:

Conclusion:
Contrary to what you may think, the TSMR SHOCK is a true Flagship. Meaning don’t judge the product by its looks or price-tag. That is of course if you really care about sound………then the rest doesn’t matter. While maybe the SHOCK is not going to cater to those stuffy listeners that have to have a smart sophisticated look to go with their smart sophisticated lifestyle……..the TSMR SHOCK is more about going against the grain. A sonic vagabond in a world of overpriced and overrated IEMs. While the SHOCK already has a following……..it is unique, and once you lay eyes on it, it is not easily forgettable. A sound powerhouse in a world of too polite IEMs that are too dainty in stature, yet the crazy part is the way it is tuned, you can listen to it for hours. The SHOCK does ask for volume both from your DAP and from your ears……….it is simply containing a wider stage and a bigger presence once it's juiced-up. More contrasts, bigger imaging and clearer highs once you go full-throttle. While I’m not sure if the looks are for every set of ears, I’m positive the sound profile is, and if adjustments are needed, the knobs do the rest. Yes, the SHOCK is big and brawny in size and sound……….if you have read this far you’re already on board for such festivities. Yet as guessed it is not the sheer size that makes comfortable fitment, but the way IEMs are shaped, as the form factor makes the SHOCK both sound isolating and a snug fit in daily use.

Art:
The TSMR SHOCK is the very best example of the IEM art to cross my desk so far this year. And while I haven’t heard them all, this is my 47th IEM review for 2024……so that counts for something maybe? In fact there is a completeness with the SHOCK that could have you pack your bags and head-off into the sunset, never looking back and never second guessing your actions.

Easy:
To write this review was easy, as I just need to express how I feel and put it down on paper. The end results here are more like floor standers than any IEM I have heard so far, that there is a need for (other) manufactures to study the SHOCK and emulate its sonic size displacement, if possible. I mean why would they not make other IEMs to at least try to arrive at this zone in entertainment? With that said you can turn-up the bass dial and make a wonderful deep seated bass emphasized IEM for out and about, or dial the emphasis back down for a clean audiophile experience when you get home. That or just be like me and leave the settings alone, as I like just how shocking the TSMR SHOCK is in normal mode. What I’m trying to say is the thrill is always there no matter what you do……..you can’t stop it…….there is no stopping the TSMR SHOCK…….nothing!



TANSIO MIRAI SHOCK
$599.00
https://penonaudio.com/TANSIO-MIRAI-Shock

Disclaimer:
I want to thank Penon Audio for the love and for the Tansio Mirai SHOCK review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm balanced
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm balanced
Sony TA-ZH1ES DAC/AMP Firmware 1.03 4.4mm balanced
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
HiBy R3 II DAP 4.4mm balanced

TSMR-Shock



Recent earphones for Tansio Mirai have seen a change of sound direction, both the Tansio Mirai FEAT and the Tansio Mirai X utilize coaxial dynamics which if you have never tried an earphone with coaxial dynamics. The sheer energy that is emitted with two powerful dynamics handling the bass coaxially brings instant attention to its presentation. Now we see the best utilization of that dual coaxial bass presentation in the Tansio Mirai Shock. From all indications, the Shock seems to be using very similar drivers to the Tansio Mirai-X but with one very distinct difference. The inclusion of dual Sonion Bone Conduction drivers.

Traditionally Tansio has always been about balanced monitor presentations with ample extended treble presence using mostly BAs, it has been a privilege to hear the gradual changes for their tunings and today I am even more fortunate to get their newest in the Shock in my ears for this bit of impression and review. The new Shock incorporates a lot of newer technical advancements. While your traditional hybrids are about incorporating the best of BAs and dynamic abilities, it is when you add two bone conduction drivers from Sonion, things get a bit interesting.

The new TSMR-Shock. A proper name indeed as these are gonna SHOCK and surprise a lot of folks that hear them for the first time as it did for me. Out of the box, it has to be one of the beefiest sounds I have ever heard and when I say beefy. I mean BEEFY! The shock is that this has to be one of the most dynamic full bored sounds I have heard in an IEM form. Unlike the laid back mids from both the Feat and somewhat on the X. It is a full frontal, full bored meaty sound with a large spherical encompassing dimensional stage from the get go.

But then that means it's colored quite a bit? YES it is, but that is just its stock settings, keep reading. These don't sound anything like a traditional Tansio Mirai IEM if I am to be honest. But then it kinda does especially when you turn the bass dial down and then it becomes this more technical level of the sound. But then it kinda doesn't due to the awesome adjustable full frontal visceral mid to sub bass it has. I think it was the Tansio Mirai Lands which was their first IEM that used dynamics and their Sand which brought some insight into the bass prowess of Tansio Mirai IEMs. It took the use of dynamics for this new bassy sound direction and is now fully realized with the use of coaxial bass. What happens when you get the ability to dial as much bass and treble as you want with the inclusion of some higher end Bone Conduction drivers?

So now I am understanding the flashiness of this design, its theme, its name. What it is going for. Forget the traditional strict house sound designs you know. This is all about a full assault, full on immersive fun yet technical sound experience. And just because a tuning is fun does that mean it has strayed away from its mothers sound? Not by a long shot. See the Shock has a trick up its sleeves that most IEMs don't know anything about or have tried to do in the past. Most IEMs with switches have its limitations and while some IEMs are better than others when it comes to tuning variations using switches. The Shock incorporates a first time for me, two tuning dials. Because tuning switches are so last year.

The Shock includes a small flathead screwdriver. A very small roughly 2 inch flathead fits perfectly in the notch of the knobs. With the twist to the left of the knob, you get an increase and or a twist to the right a decrease. Yellow knob for bass with 5 settings and brown knob for treble also in 5 settings. Question is how effective is this tuning knob? Much more settings and sound combinations than you can imagine. It goes from full on V shape tuning with a big blown up bass to a mild neutral level of bass performance. If that is not enough, you can dial down the treble for a warmer tonal character and or bring up the treble to your heart's content. A warm L shaped tuning or a more technical r shaped tuning or as balanced as you would like and just about every level in between. I know there is some debate on the colors chosen here for the knobs as they do look a bit Legoish, however the effectiveness first hand is actually done extremely well. I would guess the full bass end has roughly 15dbs of eyeball shaking bass to a very mild 5dbs in all of its settings. I am not a graph guy so I have no idea exactly how much each setting here gets you but that is just how I am hearing it. The treble variance is not as drastic, but I do get a mild emphasis to a real pronounced bright one so I am guessing about 5-6dbs of increase from the lowest point to the highest for the TSMR-Shock. This gives you a whole lot of variability when it comes to how you like your sound.

However not all is intuitive with the knobs. Now here is the bit of the issue with this particular design. The knobs are initially somewhat puzzling to figure out which side is what. I will post a pic of what I mean but I think I figured it out. And if the sound is not good enough how about a puzzle element to figure out which way the knob goes is correct? It turns out that you have to literally flip one of the housing upside down in order to get all the knobs to align for adjustment. Once you figure out which way the dial goes. It is as easy as setting each housing with the correct emphasis and whala you get instant bass or trebles and any combination there of. The greatness of the instant basshead version of your IEM is something to behold. I know the prior TSMR-X used tuning switches for this very same factor but the tuning knob this time gives even greater tweaking variations of the bass and trebles. Overall I feel this new knob direction is not only a novel idea but highly effective at the same time. I have to admit this dial a bass idea has quickly grown on me the more I used it. Where I find it very kick ass is when you are out and about. By the way, the thicker more bulky design of the Shock does extremely well to block out some passive isolation. Basshead mode out and about is what I am talking about. Turning the knob to lower the bass when critical listening is more ideal at home. Because of its excellent passive isolation and its bass variability. This all purple thick IEM is the ideal travel companion/ airplane IEM.

As a side note it is one of the very best for movie watching on the go and some seriously immersive gaming. Personal THX my friends. The Shock blocks out the noise and lets you enjoy the full surround like stage with some tasty bass to go with it.

But then I haven't touched upon what the dual Sonion Bone conduction drivers are doing here.
I recently wrote a review for Penon for their new Fan3 as it uses a different type of Bone Conduction driver which is highly effective in bringing that sound to a dimensional level.

As do the dual BC drivers on the TSMR-Shock. However with one clear difference. The sound gets a level of texture and body that the Fan 3s version of the BC driver doesn't exactly emit. Low notes for bass have an increase of physical impact and rumble but it's more than that. Its texture gets a clear upgrade. Not just the bass but all of the sound. The mids has a spatial and layering element to its sound that brings a bit of a special sauce to the mix. Its sound height and depth is some of the best I have heard. I have heard plenty of IEMs with wider stages. This is a given on the Shock but its height and depth is something to behold. Its layering for mids presentation gets an uptick on the very reason why we love to hear music with vocals and instruments. When percussive notes happen in the background it's more than just a background it's way behind your head, or way off to the left or right of you for example.

I know some of you are not so convinced about Bone Conduction and what it does for your IEM sound but for me, it clearly has a substantial effect on how you perceive the sound presentation. The dual Sonion BC drivers in the Shock is different in how it presents sound vs the Coil BC driver in the Fan3. It seems to bring an extra density and a higher level of texture, a definitive dimension to sound immersion that is not really apparent without. The coil conduction driver in the Fan3 seems to spread out the sound more horizontally, the dual Sonion BC drivers in the Shock brings more density to the sound and spreads out sound more spherically in comparison. The TSMR-Shock does not quite sound like your conventional hybrid because of it and I am just merely touching what the Shock sounds like and can do here but the sound output from the Shock to your ears is definitely a treat to behold.

I am no expert at what BC drivers do for your sound but my first experience with them is on the OG Mest which everyone in the IEM game should know by now but being my first IEM that uses Bone Conduction, I went into that IEM with no expectations on how it will sound. One aspect consistent with that IEM and the new Shock is that you get a dimensional sound on a different level. I have had plenty of IEMs that throw out layering of your tunes that sound dimensional but actually hearing different areas of your hearing that has different parts of the music is another level. That is how I am experiencing the Shock. There Are many layers to the sound that seem to expand more so than your conventional 2 channel sounding IEMs. Then there is the ability to insta tune the bass and trebles to your liking. Everything depends on your mood right? Feel like cranking up the bass? Then go for it. Want some spicy treble to go with that juicy full blown bass? You get that as well. The sheer versatility on the fly is actually one of the best implementations of a physical way of tuning your IEM on the fly, I have ever used on an IEM.

Build/ Ergonomics.
So the Shock is a bit on the bulky side and it does stick out of your ears a bit and it has to do with the tuning knobs. Taking a good look into the shells shows its interior and the back shell houses a flat plate that protrudes out via knob through the backside of the shells. This plate houses the internals to make both the bass and the trebles have greater or lesser effect on how you like your Shock but apparently in order to include this plate in the shell the housing is decidedly bulkier than most IEMs. The good news there is that this does not have any effect on the actual fitment of the Shock inside your ears. They fit exactly the same as the TSMR-X as the overall shell shape and the relatively short nozzles are identical. The nozzle itself is a bit short but is easily mitigated by a longer stemmed aftermarket tip. Its included tips work ok but I prefer longer tips for my own ears for the best seal. Which brings me to my next point. BC drivers require a tight good fitment inside the ears for them to work correctly. I would say the overall shape is medium in size in the way they fit but is physically a larger IEM which sits a bit outside your ears due to the backplate adding that bulk. Fitment is not an issue for me and is comfortable for extended listening sessions. I suppose when you add so many drivers inside of a compact shell with physical tuning knobs and all. It is better that the shell is longer/ bulky vs being physically larger fitting inside the ear which can cause hot points in the ear leading to discomfort. No such issues to report. They are kinda curiously geeky in all purple sticking out of your ears but who cares when you are surrounded by your favorite tunes.


The other gripe I have is that the nozzle end basically has a very minor lip to it. It's a more smooth rounded nozzle end meaning certain aftermarket tips will slide off of them making some of the tips you favor, to not work well with the Shock. I am not expecting folks to modify the nozzle to add an extra lip somehow just so they can use their favorite aftermarket tips, JVC spiral dots for example. While it actually fits the nozzle it will easily come off of it due to the lack of lip on the nozzle end. Longer stemmed tips actually work better not only for best sound output but also due to how it can sit on the nozzle more securely. Last thing you want is to be walking around and lose a tip while you're enjoying your daily walk or flying on an airplane. Losing one of your favorite tips is like finding out you lost your wallet. You don’t want that to happen is my point. I hope Tansio Mirai reads my review here and actually changes up the nozzle end a bit so it is more tip friendly.

The all clear purple design with the purple metal hardware of the included SPC cables work well to bring a younger energetic aesthetic to the design but. This design in an all clear black with white and black knobs with an all black cable would have made it look even better imo. To be fair the purple in person looks a lot nicer vs pics. The yellow and brown knobs however I have a feeling was what colors these guys had at their factory when coming up with this design. The colors don’t really match the clear purple and looks a bit toyish if I am to be honest. But in this case, it is function and sound over looks. If anything you will never mistake this IEM for one of your others.

If Prince was alive today I am sure he would custom order one with two different shades of purple for the knobs to go with the all purple resin shell. He would have loved it.

Sound.
As much variety of sound you can get from the TSMR-Shock. I will go over the baseline sound and its technicalities first and then you can imagine adding more bass and or treble will do for that tuning.

At its most balanced mid state of tunings the TSMR-Shock is similar in balancing to the TSMR-X in reference form but with one aspect that adds an entirely different dimension to the sound and that is those dual Sonion BC drivers. Every part of the sound gets more substance in the form of note weight and added texture. I am not a 100% certain but it seems the drivers used for the Shock looks to be similar to the X except for the BC drivers. But it's like all the drivers got an upgraded revision with the use of the Sonion Bone Conduction drivers. There are two outlets where the drivers meet the inside of your ears and it is in this form the BC drivers does its thing. Creating a personal stage and space for what you are hearing.
The variance in the degree of bass and treble varies so greatly that you can tune the Shock to exactly how much one likes bass and or treble or both. You can get some legit varieties of tunings using the knobs and I found myself liking the middle settings for both bass and trebles. One notch increase for both bass and trebles when I am out and about. And if I am really in the mood, the Bass on full blast. Full bass end is excessive, it does cause fairly large bass shadow but when the bass is this juicy, textured and ground shaking. They are just an absolute blast to listen to, especially out and about.

Its foundational sound, believe it or not, is more balanced in form and is nicely technical, it is similar to the Tansio Mirai X in tonal character, its imaging, sound separation and detail level is similar here as well but all with a more spacious dimensional aspect due to the BC drivers. In fact it is in this form you can tune the treble to be moderate with a moderate level of bass and it will sound more or less like the Tansio Mirai IEMs of old. Monitorish, with more accuracy in all things. But who gets IEMs with a bass knob to listen to how neutral they can get? That's like getting a 5.1 surround system with dedicated sub woofers and not turning them on.

Included cable
It matches decently with the TSMR-Shock in what it is doing, especially in looks but much like most throw in cables. These are fairly basic SPC type cables and don’t do anything egregious to limit the sound of the Shock but they don’t necessarily make for the best synergistic pairing either. Once you venture into this level of IEM I am certain you will find your aftermarket upgrade for cables to be better matching. Just know the sound gets better with a better quality chain hooked up to these earpieces.


Trebles
The trebles here reminds me a lot of what was on the Tansio Mirai X but I think it was a good idea to give the user some greater variability for the trebles and that is due to the BC drivers. It might be just me but I feel I need a bit more treble emphasis for a balanced sound with IEMs with BC drivers and I think it has to do with how I hear music with them permanently on at all times. That extra body and textured sound the Shock emits seems to bring more attention to the the bass and a bit lesser extent to the mids in how I am hearing my music so a touch extra in the treble emphasis actually seems to sound more balanced than what was on both the FEAT and the X for example. I also noticed this phenomenon on the Fan3 as well. The good news is it takes a 2nd to the highest setting for the Shock to actually make it sound a bit too emphasized. Each position only seems to add a db or so of emphasis in comparison to the jump you get in the bass end. The good news is the trebles here are very much grounded to help out the sound presentation of the Shock. The only thing this presentation is lacking in is a bit of extra articulation from the use of EST drivers. Otherwise it's got plenty of detail and sparkle when called for, even more so if you feel it could use more of it. That is the appealing aspect of the Shock. Tilting the bass end up and the trebles down a bit brings immediate attention to the bass end and its included warmth. This tunes the shock for more body and warmth of sound effectively giving it a more L shaped tuning. Increasing the treble here gives more details associated with the region and if you turn down the bass the sound becomes more technical and resolving. There is bound to be a setting that will be just right for you.

Mids
This is what was really surprising on the Shock. The mids are much more present and significant for the Shock vs FEAT, and are closer in emphasis to the X but have better depth and height of sound with greater density of note projected with a layering that is greater than their prior IEMs. And it definitely has something to do with the BC drivers. The dual Knowles BAs does a splendid job at the mids and that extra body of note with added texture from the BC drivers gives a fullness with more dimensional aspects to the sound. The mids of the Shock has the least amount of coloration for the overall sound and while it might not have the most richest of tonal qualities, it more than makes up for it with some spectacular imaging. Its cleanly balanced mids presentation is more neutral in form meaning it's not a forward nor are they recessed in emphasis. It has some excellent clarity with even a better level of precision compared to that of the prior X. Instruments and vocals at times image outside of your head. This effect just adds to what the Shock is about. Music sounds extremely immersive due to how it presents sound.

Depending on how you like your bass, the mids are not exactly at an equal footing as the big bass can be or the trebles and I find you can tune both aspects down to a more balanced neutral style of presentation. I don't find the mids to be the complete focus for the Shock but it definitely compliments the crazy levels of bass you can crank up to your liking.

Vocals and instruments have their own space to work with but it is how dense your music sounds that brings a smile to my face every time I hear these. Going from these to IEMs that don't use these BC drivers sound a bit plain. The tuning here works well with the Shock and the mids is the one constant for its sound presentation. With more bass comes a bit more warmth and fullness to the lower mids, this was also the case for the TSMR-X but these sound even more cohesive than the TSMR-X. Somehow them BC drivers just tie the sound together so well it's a presentation that you cannot forget anytime soon. The mids are a good quality and with just enough quantity and focus to work with that crazy adjustable bass and treble. Somehow I have a feeling if the mids were more forward in the mix it wouldn't work as well as it does with its crazy bass and treble dials. A solid clean foundation for its sound, both vocals and instruments are well spaced out in how you hear them. Which is the effect of the BC drivers but then the sounds have a level of density to the notes that makes the Shock sound substantial to hear.

Bass
Turning the bass dial to the middle position or 3 position of 5 brings plenty of bass, I am guessing at around 8dbs of bass which is also a similar emphasis for TSMR-Xs reference position. You can find tune the bass as you can go in between the slots for a mid emphasis between the 3 and the 4 for example, a 3.5 emphasis if you like. To keep things more simple I have been using the settings on the notches. I find myself using the 3 setting the most as it still has plenty of impactful bass with some of the best extended bass compared to IEMs I own. My reference for bass extension is the Sony IER-Z1R and I find myself just as satisfied with the Shocks bass as I do with that set. Considering the Shock will be sold for 1/3rd the cost of the IER-Z1R, it is quite the achievement. I find its stage to be of a similar level to the IER-Z1R here as well. So basically what I am saying is, if you can’t tell already. The Shock is quite the value statement in my opinion.

The bass end of the Shock uses two 8mm Carbon composite dynamics in coaxial form. It will leave a lasting impression here. Tunes with low underlying bass tones in the background of your tracks can be clearly heard. Any music with bass lines will be heard on the Shock. The definition, tightness and quality of the bass here is once again similar to the Tansio Mirai X but it is what the BC drivers bring for the bass end that really puts the Shock at a different level. I mentioned the entirety of the sound seems to be getting a texture boost from the BC drivers. The quality of bass has a lot to do with its texture quality. It's not a matter of just how low the bass notes these can handle. They reach the abyss with no struggle. But when the bass notes hit you want to hear and feel the rumble and that is what the Shock brings. Its bass definition, its impact, its solid tonal character, its speed and tightness is all top tier stuff for dynamics. I am very familiar with Carbon based dynamics and I have owned numerous carbon, diamond like carbon, graphene, carbon nanotube dynamic based IEMs where all of them bring a higher level of bass impact and rumble for IEMs. But I have only a few on hand that actually have coaxial dual bass. The physical power is there, the rumble is for real and the good news there is that you can turn that up to your heart content. The Shock is the very definition of audiophile bassy. This is the reason why you want to venture into the Shock waters. Its tasty bass comes in all manor of flavors. You can dial up or down this bass and this is the real trump card for the Shock. Its ability to be adjusted on the fly is done splendidly well.


Conclusion.
The surprising aspect to all this is, it is all done with a wide spherical stage where you hear stuff happening outside your head. Hence that is the reason why these sound so engaging if not just outright blast to listen to your music with. They are more of a fun leaning set but can get serious when needed. The versatility of the Shock is what's on full display and you are bound to find a setting you will like between trebles and bass. Instead of just tinkering with the settings here. Each setting is a legit sound tuning. You can go from neutral bright, to neutral warm, to full blow bassy and everything in between. I have to give Tansio Mirai credit for bringing the goods on this one. And yes I am gonna overlook the fact that the knob colors don’t match. They have quite the energetic look to them and it is called SHOCK! That is how they wanted you to perceive this sound and it is in a good way. I found myself grinning from ear to ear on more than a few occasions listening to these. Hidden behind that look, the sound is serious business. These have easily become my reference bass tribrids for its price level. Its variability is just fantastic. It all depends on what your mood is. I listen to everything from a bit of country to hard core speed metal, EDM, orchestral,jazz, pop to hip hop, just about all manner of good music. I am the very definition of an eclectic listener. They might not be an end game for a mids lover but more than makes up for it with some outstanding adjustable bass and treble. In the past I had to change up IEMs for certain genres of music but not so much the TSMR-Shock. It can be a chameleon like in how it performs with music. That is what is astonishing about the Shock. Its technicalities are at an excellent midfi level to match the high level of energetic sound output you get from the different levels of bass and its treble. How it portrays your music with bone conduction is very effective, and when you put all these aspects of the sound and its design together. You get a nicely done if not a sheer blast of an IEM to listen to, uniquely looking knobs and all. Thanks for taking the time to read.