General Information

The T20 is a high performance in-ear headphone featuring revolutionary DualCoil™ dynamic driver technology capable of outperforming conventional drivers in levels of resolution, clarity and detail. The injection moulded stainless steel housings feature a tuning filter system to adjust the sound signature, while a comfortable, noise isolating fit is ensured by patent pending, mouldable over-ear hooks.

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100+ Head-Fier
Pros: Class-leading build quality
- Extended bass response with adequate sub-bass rumble and a controlled mid-bass that doesn't overshadow the midrange
- Detailed mid-range with good vocal rendition and without any harsh peaks/sibilance
- Non-fatiguing treble with good upper-treble reach and micro-detail rendition
Cons: Fixed cable with memory wire (ugh!), and it's 15cm too long
- V-shaped tuning with recessed lower-mids and "colored" tonality
- Treble timbre has a metallic sheen to it
RHA T20i Review: Old Guard


Very few companies can tout that they make their drivers “in-house”.

RHA is one of them.

They originally piqued my interest back in 2013 with their MA750i earphones, which had a very comprehensive packaging and a rather fun tuning for something not priced at the upper echelon of the market. Surprisingly, those are still being sold by RHA, and while there are better IEMs at that price nowadays — they don’t completely fall apart against the competition unlike some of their contemporaries *cough* Shure SE215 *cough*.

RHA T20i was released back in 2015, and are still being sold as RHA’s mid-range offering. Their predecessor, T10i, has been phased out, while their initial successor, the CL1, has been buried six-feet-deep (now that’s what you call a spectacular failure). The asking price has gone down considerably from their original $250 MSRP, but given the abundance of chi-fi IEMs at this range, many don’t even consider the T20i as a viable option.

So, how do they stack up against the current competition, 5 years later? Read on.

Note: the ratings given will be subjective to the price tier. Definitely the expectations from a $15 IEM won’t be the same as a $150 one, and that’s the approach taken while assigning scores. I bought the IEMs with my own funds. Disclaimer)

Sources used: Questyle QP1R, LG G7, Cayin N6 II, Yulong Canary

Price, while reviewed: ~$140. Can be bought from RHA’s official website, or look for deals and discounts on Amazon.


Build: I’ll just cut to the chase: the RHA T20i is exceptionally well-built. The whole outer shell is made out of stainless steel via a rather complicated process called Metal Injection Moulding. This leads to a sense of density and solidity that very few IEMs in this range can match.
The overall design is rather utilitarian and industrial, with smooth curves, minimal lines and a compact, pebble-like shape. The exterior finish is immaculate, as even the joints can’t be felt as you brush your fingernails across them.
There is a rather sizable driver-vent on the back (beside the RHA logo), while the inner-side has the channel-markings. The nozzle itself is removable. You can choose between three filters — Reference, Bass, and Treble (more on these later). The pattern of the grille on the nozzle is also quite unique.
The cable itself is non-removable, and that’s a shame. Not that the cable is poorly built — it’s more solid than most third-party cables and can withstand severe amounts of abuse. It’s just that the memory-wire is a royal pain to deal with, and at 1.35m the cable itself is quite long for carrying while commuting (mine got stuck in precarious places more than once, smh). The earhooks used to be frail and broke apart over time on the earlier models, but RHA has fixed that now by replacing the material. Apart from these niggles, there really is nothing else to complain about. There are more than enough strain-reliefs with the 3.5mm jack having a spring-assisted one (cool!). The chin-slider works, and the remote with mic and play/pause control is quite convenient.



Accessories: RHA usually has a rather comprehensive packaging, and the T20i is no exception to that. You get their signature tip-holder, and 10 pair of eartips of various types — Comply foams and regular Silicone tips (both single and dual-flange). You also get a sizable carry case and a shirt clip. The biggest attraction of the packaging though is the metal tuning-filter holder. You just unscrew the existing filter on the IEMs (Reference filter by default) and replace with one of the supplied filters.
Now, I personally had to use Final E-type tips to get a good fit, as the supplied tips didn’t work for me, but there are plenty of people who find them just fine so I won’t hold it against RHA.


Comfort: Being on the heavier side of things, the T20i doesn’t just disappear into your ears like some other IEMs. The memory wires also need a bit of getting used to, but after a week or so it doesn’t bother you much. With the right tips, they will be fairly comfortable for long listening sessions.
The smooth sides fit snugly in the ears and you can actually lie down with them in ears (though I wouldn’t recommend falling asleep with any earphones). I can’t see them being suitable for workouts though, the cable is too long and the IEMs too heavy for such activities.

Now, onto the sound.

This is a fairly novel driver setup that’s proprietary to RHA as far as I’m concerned. They used two voice coils of differing diameters instead of two separate drivers, and places them in front of the same magnet. The inner voice coil is tasked with the frequencies from the midrange (2.2KHz) to the sub-bass (16Hz), while the outer voice coil takes care of the remaining upper frequencies. There is a crossover circuit that divides the frequencies accordingly, but since this is a single driver assembly in the traditional sense you don’t have to deal with phase or coherency issues. You can read about it more here.

Do note that all sound impressions are made with the default Reference filters. I’ve tried both the bass and treble filters, but they tend to shove the mid-range six-feet-under and boost the bass and treble respectively. The Reference filter offers the best tonal balance and showcases the T20i at its best IMO, so that’s what I’m going to base the impressions upon. Your mileage, of course, may vary.

Lows: Perhaps the stand-out feature of these IEMs would be their overall bass presentation and extension. The sub-bass digs deep and you can feel the rumble even around 18Hz, and they take the center stage with around 4dB of boost over the rest of the bass frequencies.
Mid-bass has rich texture but it’s not as prominent as the sub-bass, and overall bass speed is on the faster side (for a dynamic driver that is). There’s some bass-bleed into the lower-mids, but that adds warmth to the overall signature rather than congestion. This bass response suits particularly well to Pop/Rock genres, e.g. John Mayer’s Clarity has a rhythmic bass-line that’s wonderfully reproduced on the T20i.
With the bass filter on — this can become a true basshead IEM. My only gripe with the bass response is its tendency to distort at unsafely high listening levels. I myself would never listen to such volume but if you are one of those loud listeners — take note.

Being a V-shaped sounding IEM, the T20i has recessed mid-range. However, V-shaped tuning doesn’t mean that the mid-range is poor, rather a tastefully done V-shape signature can be quite enjoyable on modern Pop/Rock songs — just as it is on the T20i.
The upper-bass to lower-mid transition is smooth without any jarring peaks, but it is dipped a couple dB below the rest of the mid-range which results in distant-sounding male vocals, as evident in Colin Hay’s I Just Don’t Think I’ll Get Over You. Fortunately the lower mids aren’t thin sounding by any means, so this rendition isn’t offensive in my book.
From the lower-mids, it gradually rises for about 2/3dBs into the upper-mids, and in the archetypal v-shape fashion female vocals have more emphasis than male vocals.
Mid-range timbre is on the warm side, and has a euphonic signature overall (for the lack of a better word) that gives string instruments a colored yet appealing tonality. This particular mid-range rendition can get addictive and definitely adds to the overall fun-factor of the IEMs. Mid-range resolution is very good overall and only bested by certain multi-BA/hybrid assemblies or DD IEMs solely focusing on detail retrieval (e.g. Shuor Tape). I personally didn’t encounter any shoutiness or sibilance in the vocals, and apart from the lower-mid recession (a couple dB of boost would’ve been fantastic) I have no complaints.

Upon first listen, there’s a good chance that you’ll find T20i’s treble rather… odd. Firstly, there’s that metallic “shine” to the whole treble region (it’s characteristic of RHA’s house sound in a sense) that adds some grit to metal tracks but sounds odd on more mellow songs. Secondly, the peak around 5KHz gives an unusual crispness to acoustic guitars and other string instruments, while violins and such high-pitched instruments are not so up front as the region from 6–8KHz is dialed down by at least 5/6dB. Usually this would mean very blunt cymbal hits and crashes, but thanks to the peak around 10KHz and then another upper-treble peak between 13–14KHz allows the cymbals to have their natural decay without sounding overly blunt. They are still behind the mix in most tracks (e.g. in Filter’s Take that Knife out of My Back, Tool’s Chocolate Chip Trip) so if you need hard-hitting cymbals — these won’t deliver on that.
As for detail retrieval, there’s fairly good amount of resolved treble detailed, though the recessed 7–9KHz region will probably not satisfy those who are pursuing the utmost treble detail.


Soundstage: The soundstage on the T20i is very well-rounded with similar height, width and depth. It’s not as exaggerated as some multi-BA IEMs, rather it’s more of a natural expansion where the instruments are slightly out of your head without being too distant. This was really enjoyable especially while watching movies so there’s that.

Imaging is precise and even manages to get the “cardinal” (i.e. top-left/top-right etc.) positioning of instruments right. My test track for imaging in this case was Yosi Horikawa’s Crossing and it sounded nearly as good as on Philips SHP9500 (though the SHP obviously had an upper hand in the end). Precise instrumentation and spatial cues are definitely a strong point of these IEMs and something RHA has executed admirably.

There are numerous other IEMs under $200 nowadays and many of them are really good. However, few does the v-shape tuning as well as RHA managed to do here. Those who do it well usually don’t come with the 3-year official warranty that RHA provides, and it’s something RHA honors all the time. Their customer service and RMA process has been fantastic for me personally, and this is something one should definitely take into account while purchasing.

Source and Amping:
While the sensitivity figures of this IEM (90dB/mW) will lead you to believe that they’ll need some serious juice, reality is quite different as they sound loud enough out of almost everything. That being said, I’d suggest pairing it with a low output impedance and noise-floor source as it’s quite sensitive to hiss and power-supply hum.


Select Comparisons

Shuoer Tape (~$130): The Shuoer Tape has been one of the most hyped IEMs in this price range, and shall make for a good comparison against the “old” T20i. While the Tapes are marketed as “electrostatic” IEMs, they are in fact “magnetostatic” and dynamic driver hybrid made which is supplied by a specific OEM.
First up — the build quality and accessories aka the entree. I’m personally not a big fan of the Tape’s design, and considering the frankly awful Quality Control of that IEM — this round goes squarely to the T20i.
Next up, sound quality aka the mains. Both IEMs have very elevated bass response, but the Tape focuses on mid-bass a bit more than the T20i. Mid-range is where the T20i pulls ahead as the mid-range tuning is more coherent and less shouty on the RHAs. Shuoer Tape applies a wide-band upper-mid boost that makes certain female vocals very shouty and tiring. Overall mid-range resolution is also better on the RHA with more nuanced placement of micro-details instead of them trying to shove everything down your ear-canal via FR fudgery. The one area where the Tapes clearly have an upper hand is the treble response where it simply has more extension in the upper treble and a more prominent lower treble tuning than the T20i. It can get fatiguing during long listening sessions, however, in case you are treble sensitive, so there’s that.
As for the other aspects: Tape is more comfortable. The soundstage is wider on the Tape while both having similar soundstage depth. Imaging is also similar on both — as in great.
If you have to pick between one of them and don’t care much for absolute upper-treble reach — take the T20i. If you need that upper-treble (and a frankly different presentation of tracks, which may or may not be a good thing) — go ahead with the Tapes, though be wary of their questionable QC.

vs Campfire Comet (~$200): Campfire’s “budget” IEM hasn’t had much hype lately, but they are one of the best built and uniquely designed IEMs in this price bracket. Build quality is exemplary on both, though some may find more peace of mind with the Comet’s replaceable cable (I am skeptical of mmcx, however). Accessories are also fleshed out and Campfire also has good customer service.
About the sound, the Comet sounds like a polite purr compared to the visceral growl of the T20i. Really, they have such a starkly different presentation that it can feel jarring while A/B-ing them. While the Comet is one of the bassier single-BA IEMs around, they pale in comparison to the T20i’s gut-punching bass lines. Then comes the mids where the lower-treble sounds almost blunt, resulting in a bland presentation of string instruments. The upper-mid peak does put the female vocals forward enough to enjoy them, and is perhaps the only similarity they share with the T20i. Treble is where the T20i simply has more energy and details, though some may prefer the smooth and fatigue-free treble presentation of the Comet.
Soundstage depth and imaging both are inferior on the Comets, while soundstage width is a tad better on them than the RHAs.
In short, I’d suggest the T20i over the Comet if you prefer a more energetic signature and overall superior detail retrieval and technicalities. The Comet is more laid back and soothing, making it fit for relaxing listening sessions.

vs Mee Pinnacle P1 (~$150): The Mee Pinnacle P1 has been Mee Audio’s flagship IEM for over three years or so. They have a more neutral presentation overall compared to the RHAs. Bass response is not as pronounced and extended on the P1s compared to the RHA T20i. The mid-range tonality, however, is more neutral on the P1, along with the overall timbre. Detail retrieval is about on par for both, though the P1 doesn’t focus on the micro-details as much as the T20i. Those details are there, they are just not pushed forward. Then comes the treble response where cymbals are more forward on the P1 and upper-mid to lower-treble transition is far more even handed compared to the abrupt “peak around 5KHz then just fall off the cliff” tuning of the T20i. Soundstage is definitely better on the P1, while imaging is about on par for both.
The biggest issue of the P1 is their build quality as their mmcx connector tend to loosen up over time. There’s also the matter of impedance matching as they are 50Ohm IEMs and you’ll probably need a decent source to make the most out of them.
It’s difficult for me to choose one in this comparison, the best would be to try them both and pick one (though that applies to almost any IEM comparison).




While RHA has been struggling for a while with their flagship IEMs (the CL1 was a massacre, while the CL2 has had mixed receptions), they still have a very capable mid-range offering in the T20i.

The biggest issue with the T20i would be the first week or so. You’ll have to fight with the memory wire, perhaps try a few different eartips and finally learn how to deal with the extra-long cable. Once you get past that and the “north-of-neutral” sound signature — there’s a very fun sounding IEM here.

The T20i is V-shape done beyond well. Well-extended and enhanced Bass? Check. Not too recessed mids that focus more on instruments than vocals? Check. Detailed top-end that’s not fatiguing? Check. Great soundstage and imaging? Check, check.

If it’s V-shaped signature that you want, the T20i will deliver. It might be “old” and not as hyped anymore, but it is plenty capable of standing on its own, and that’s that.


Test tracks (as Tidal playlist): https://tidal.com/browse/playlist/04350ebe-1582-4785-9984-ff050d80d2b7

Test tracks (as YouTube playlist, often updated):

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Just realised FR looks really similar to MH755. Fixed cable will break eventually but luckily this should be fixed with the new MMCX version.
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Nice review, thanks! As for the comparison, the Comet is a single BA, so what would anyone expect from the soundstage... :)
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Yes, single BA definitely limits its capabilities to some extent, though Final Audio has some really interesting models with great soundstage/imaging that has only a single BA.


New Head-Fier
Pros: Warm yet detailed. Lively/Energetic. Lush & Natural… almost analog-like.
Cons: Bass can be too prominent. On most tracks, just above-average soundstage.
This is an encouraging tale of disappointment and an anecdote of the merits of patience -- an unveiling of sound that’s rich, lush and beguiling!

RHA T20 by McSchnauze .jpg

I quite recently purchased the RHA T20, as I was curious about the tuning filters (Bass, Reference, Treble) and the proprietary Dual Coil dynamic driver. I’ve heard a lot of good things about their MA750 (and mixed thoughts about their overly bass-focused T10). When I first put on the T20 at the store right after purchase and played some test tracks, I had the compulsion to immediately return the item. But after mustering some courage (and faith), I decided to keep them and let them run their course. So after about a week of (brain or gear) burn in, I’ve come to enjoy these sexy & robustly built IEMs (with a bit of tip-rolling).

For this review, I won’t go over the packaging, build and accessories (as others have done a wonderful job with that already), but will focus on the RHA T20’s sonic qualities.


I’m a 41 year old lover of all things sonic, with some classical voice training. I compose cinematic-inspired pieces & make choral arrangements in my spare time. I enjoy listening to a wide spectrum of genres, such as classical & cinematic scores, choral music, jazz, folk, world / new age, musicals/theater, pop, rock & alternative. I prefer a relatively flat signature, with some bass enhancement (but not bass-head levels), or presentations with a mild “u” signature (not an exaggerated “v”). I don’t consider myself as an “audiophile” but I am a self-professed music lover. Despite being new to this hobby, I believe I can discern tonal & pitch variances quite accurately. Nope, I am not getting monetary compensation from RHA for this review – this is simply an exercise of sharing my auditory experience regarding RHA’s in-ear monitor, the T20, with the hope that you may find it helpful (if not, at least entertaining). Just remember – my ears, gears & sensibilities. Your tastes and perceptions would most likely vary.

Btw, do check out some notes at the end of this review for my thoughts on burn in (gear/brain), suggested product improvements, as well as RHA’s superb after-sales service.


For this assessment, I used my Cayin N3 (warmish neutral tonality), gain set on medium for most tracks, volume primarily at 50%. The T20’s stock “reference” tuning filter was used. EQ was left untouched. Aside from at least 100 hours burn in (brain or gear), most importantly, I also used some spare wide bore / shallow tips I had lying around. Using these tips, instead of the stock tips, the sound opened up and the bass was tamed yet still commanding, while maintaining body of the mids, as well as the treble energy. I tried the “treble” filters, but found the overall signature became too “v-shaped” for my tastes, and the “bass” filter was just too bassy for an already warm default signature. No external amp was used.

Below are the primary tracks (FLAC) used to evaluate sonic qualities & presentation, and the T20’s delivery of certain genres, instruments & vocal ranges:

Jupiter: The Bringer of Jollity (Gustav Holst)
Chasing Pavements -- Live at The Royal Albert Hall (Adele)
Marche Royale (Igor Stravinsky)
There’s A Small Hotel (Jane Monheit – soprano range)
Anch'il mar par che sommerga -- Bajazet (Cecilia Bartoli -- mezzo soprano range)
Breathe Again (Toni Braxton – alto range)
Even Flow (Pearl Jam – baritone/high-baritone range)
Believe Me Natalie (The Killers – high-baritone/tenor range)
If Ever I Would Leave You (Robert Goulet – low baritone / bass range).
Kadu Buva (Kenny Wollesen, Jonathon Haffner & Dalius Naujo)
Young Hearts Run Free (Kym Mazelle)
Tundra (Amber Rubarth)
Sweet Georgia Brown (Monty Alexander)
Pretty Piece of Flesh (One Inch Punch)

…and some other music tracks, across different genres.

***THE MEAT***

So here are my thoughts about the previous flagship offering from Reid Heath Acoustics – the T20…



Bloom. Boom. Dark. Veiled. Aggressive. Congested.

The lows were overly dominant, as if one was swimming in sub-bass. Vocals and mids sounded curtained off. Treble sounded muffled. Gasping for air.


Detailed. Energetic. Warm. Rich. Expansive.

The T20 follows RHA’s V-shaped house/signature sound with a stout low-end and pronounced highs, best paired with a neutral or slightly bright/cold DAP/DAC, in my opinion. I think my initial dismay was due to the fact that I’ve been using the Fiio EX1 2nd Generation on most days prior to acquiring the T20. The Fiio EX1ii is an IEM that is generally bright and somewhat balanced, with enhanced but controlled lows, superb soundstage / airiness / imaging, and with mids & treble that I enjoy. Also, I believe that my Cayin N3 (unfortunately) adds to that already warm & bass-heavy presentation of the T20 (the N3 is slightly warm to neutral).
So yes, the sound did take some getting used to (or the drivers have finally flexed their muscles).
Now the T20 is more enjoyable, offering a full-bodied, richer and impactful presentation.
The T20 is not the most revealing, but in lieu of this, it enhances the sound making even some bad recordings/mixes sound quite enjoyable. The T20 is not ideal for reference/mixing but it is definitely crafted for music enjoyment, assuming you’ve taken a liking to its type of presentation.

Sub-bass emphasis, with decent rumble & extension – a good backdrop to the rest of the higher frequencies. Emphasized but rendered like a sonic wall at the back of the stage.
Mid-bass is punchy and quite fast, and surprisingly doesn’t intrude much on the lower mids.
I would have loved the lows, if they were at least 2db lower. The bass can be a little too much for my tastes, thus, I had to tip roll as I don’t like touching the EQ on my DAP. The stock narrow-bore / low silicone tips further emphasize the bass, which may suit those who want heftier lows. I chose to use my spare wide bore / short silicone tips to lessen the funnel effect and tone down the bass – the sound becoming more balanced and enjoyable!

Male Vocals are natural and full-bodied, though very slightly recessed and can get quite drowned out on busier tracks (especially baritone/bass voices). Eddie Vedder’s vocals in “Even Flow” was well rendered with ample grit but a little less so compared to how the Audiofly AF56 or iBasso IT03 does it. Still, alternative rock/grunge sounds great on the T20! Robert Goulet’s rendition of “If Ever I Would Leave You” was simply sublime, with sufficient body, emotion and warmth!
Lower Female Vocals are more forward, slightly dry yet natural sounding – Tony Braxton’s vocals in “Breathe Again” had an enticing warmth & heft to it! Higher Female vocals have better imaging and ample airiness, and carries over some warmth of the lower registers, resulting in vocals that sound fuller despite the higher pitch.
Good transience and micro-detail retrieval for instruments such as trumpets, horns, guitars – as long as the track does not get too busy.

Lower treble is prominent with decent clarity & detail retrieval, giving it energy & character. Violins are energetic, forward and detailed enough yet sound ever so slightly smoothed over. I actually find this treble rendition as one of the T20’s charms – energetic yet not grating! Btw, I could handle pronounced treble, so YMMV.
Upper treble extends quite well. Cymbals and high hats have good shimmer without becoming splashy, though sound slightly fuller than they should. Sibilant-prone tracks are not as sibilant, due to the overall darker / warmer character of the T20.

Quite intimate compared to the superbly staged Fiio EX1ii and the iBasso IT03, but still above average. However, I occasionally get surprised with the T20’s soundstage rendition – it can sound expansive, depending on the track (resolution, mix/mastering, etc.). The T20 has ample width, closely followed by height, and some depth. It has enough air, but is not as airy as the offerings from Fiio and iBasso. However, the T20 can still deliver exceptional directional queues, positioning & holographic effects despite its more intimate soundstage. Things can get quite claustrophobic on very busy tracks, due to the overall warmth – however, it barely shows distortion even in louder volume settings (an interesting finding!).

The T20 is quite easy to drive (16 Ohm impedance with 90dB sensitivity) on my Cayin N3 with volume averaging at 50% on medium gain. Its frequency range of 16-40,000Hz does hint at the impactful presence of lows & highs. It has an almost black background and an unnoticeable driver reflex (if any).

As of now, I don’t have other gear in the same price range to directly compare with the RHA T20 (purchased at approximately US$200).

So I’ll just make comparisons with some of my other IEMs:
Vsonic GR07 Classic Edition (approx. US$100)
iBasso IT03 (approx. US$300)
Audiofly AF56 (approx. US$100)

Hopefully these comparisons will help you get a better idea of the sound virtues (and cons) across the budget/entry/mid-level price ranges. Just note that the aforementioned prices were as of time & location of purchase.
Comparison Guide:
> is defined as “more but just by a little compared to…”
>> is defined as “very perceptible variance; obvious difference”
= is defined as “equal to; same as”

*By the way, even if a certain IEM is positioned at the last rung, it doesn’t mean that that particular quality is absent or lacking, as it can still be average / above average. I will call it out if the model really suffers/shines immensely in a particular aspect.

So here are the gears stacked against each other, exemplifying certain qualities, from the most to the least:

Neutrality = GR07 > IT03 > AF56 > T20
Timber/Naturalness = T20 > IT03 = AF56 > GR07 (upon further listening, I realized that the GR07 is the least natural sounding among this roster. However, the GR07 still has good timbre and doesn’t sound too digital / artificial / metallic, albeit sounding ever so slightly nasal in certain vocal renditions, compared to the other three)
Detail/Resolution = IT03 >> AF56 = T20 > GR07
Airiness & Clarity = IT03 > GR07 = AF56 > T20
Imaging & Positioning = GR07 = IT03 > AF56 > T20
Soundstage = IT03 = AF56 > GR07 > T20
Dynamics = GR07 = AF56 > IT03 > T20
Transience = IT03 > AF56 > T20 = GR07
Bass Quantity = T20 > AF56 = IT03 > GR07
Bass Quality = T20 = AF56 > IT03 > GR07
Mids Quantity = GR07 = IT03 > T20 > AF56
Mids Quality = T20 = AF56 = IT03 > GR07
Treble Quantity = T20 = IT03 > AF56 > GR07
Treble Quality = IT03 > T20 = AF56 > GR07
Amount of Sibilance = GR07 = AF56 > IT03 > T20 (based on first listen, but all have tapered down after ample burn in, and clearly, the T20 wins here!)
Comfort = T20 > GR07 >> IT03 > AF56
Apparent Build / Durability = T20 >> IT03 > GR07 > AF56
Immersion / Engagement = T20 = AF56 = IT03 >> GR07 (the GR07 is the most neutral of the four but still manages to be engaging. But the other three models have the upper hand with their own unique form of immersive presentation.)

CLASSICAL/LIVE = IT03 > AF56 = GR07 = T20 (the enhanced lows of the T20 and AF56 balance the typical treble-centered classical genre, while the GR07 allows most, if not all, the voices & instruments to clearly assert themselves)
ALTERNATIVE/ROCK= T20 > AF56 = IT03 > GR07 (the T20 really shines here, though the IT03 & AF56 are not very far behind!)
R&B/JAZZ = T20 > AF56 > IT03 = GR07
POP/EDM = IT03 = T20 > AF56 > GR07


The RHA T20 is a commendable all-rounder and a good day-to-day music companion, excelling in studio-produced tracks (alternative, rock, EDM, pop), and genres that call for more pronounced lows. It’s satisfying enough for live or concert hall recordings that demand impeccable imaging, clarity and soundstage, while giving an entertaining and exceptional low-end balance to treble-focused genres such as classical/orchestral. The T20 is a looker with a luscious pebble-like solid steel injection-molded housing. It feels robust, with RHA’s standard three-year warranty adding to that confidence. Although the T20 can improve on staging, it delivers a cohesive sound with its Dual Coil dynamic driver. If you’re used to cold / neutral / flattish IEMs and are seeking an exciting yet warm signature, natural (almost analog-like) timbre and a robust bass, the T20 is certainly a viable option. What began as a dark & lackluster experience transitioned into a tale of delight, with Reid Heath Acoustics’ T20 eventually unveiling its charms – an immersive, lush and full-bodied life-like sound for sheer musical enjoyment! :)


Aside from the sexy & robust metal housing, and lively sound, I purchased the T20 due to the generous 3-Year RHA warranty. When my cable had some problem (it happens to the best of us) and the local retailer was less than engaged with my problem, I emailed RHA directly and they responded and acted fast, sending a replacement unit immediately. Thus, it’s easy for me to recommend the T20, and RHA as a company – buy with confidence!

I’m still on the fence regarding burn in. Do small transducers, particularly Dynamic Drivers, really change their sonic renditions in time, or is it just my brain becoming accustomed to the sound and/or has become selective to the presentation and frequencies to create a more enjoyable listen? Frankly, there’s not much change in my other IEMs after ample burn in, but with the RHA T20, it’s quite a "night & day" difference! So whether the T20’s dual-coil dynamic driver really flexed itself to sound better through use, or my brain and ears simply adjusted, I would still recommend these IEMs for that lush and natural sound (albeit sometimes too powerful bass).

I think RHA has something nice going on with the T10 and T20, particularly with the tuning filters. The T20 is simply bass-abundant, so whichever filter you use, the lows would still assert their undeniable presence. It would be nice if RHA could create some tuning filters that really enhance the mids (making them more forward) or one that truly tones down the bass. The over-ear hooks' sheathing could be improved, too, as they have started to crinkle a tiny bit. Length of the wire/cord could also be reduced for more manageability. But, please, do keep using that sexy injection molded stainless steel construction (which is surprisingly light!) to maintain the robust and premium feel of your products, as most plastic/resin housings can feel quite, well, inexpensive. Replaceable wires/cords would also be a nice touch, to lengthen use and enjoyment of RHA IEMs.
@svk7 The more I listen to the T20s, I noticed that the bass is not as overwhelming, the treble has become more articulate, the mids still amply bodied with much less veil. I think that there was less of a discrepancy/transformation of sound with the replacement unit as my subconscious had perhaps retained the signature (from the original unit), (taking my cue from @HeartOfSky ) -- a case of timing & sonic relativity (or memory, if you'd like).
@svk7 After the burn in of the replacement unit, I'd say there is still a perceptible difference (bass quantity, clarity, treble quantity, etc.) but less glaringly so. But if you're asking me if it's true mechanical flexing or simply ear/brain adjustment, I am still bewildered (perhaps you're right -- 99% brain, 1% mechanical). I'm just happy that I get to immensely enjoy the T20s now, as a good complementary piece to my other IEMs (I've been using it daily, as of late).
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Oops I did mean ma750. The hooks don’t help. It’s the just the shape of the housing itself is horrible imo.

Soham Sengupta

100+ Head-Fier
Pros: Well built, Great Sound, Good instrument separation
Cons: Average Soundstage, No removable cable, Bass can be a bit harsh at high volumes, May take some time getting the fit right
About Myself:
I am just an average consumer who tries to listen to music just the way they are meant to be heard. I currently have a Sennheiser HD598SE, Fiio Q1 as an amp, and lz a4, rha t20i, rha ma390u and some other cheap in ears. My current favorite is the lz a4 and I will be writing a review for it shortly. Now onto the review.


I have the RHA T20i for about 4 months and I have burned it with my mixed tracks of pink and white noise for about 100hrs. In short they are quite good for their price and their filter system is just an icing on top of their cake.

Box Contents:

Now, this I must say at first. The unboxing experience of these were just one of a kind for me. I never thought someone could showcase their iems like this! This makes for a very good first impression. These iems contain everything that a man needs to fit them in their ears (but the sad thing is, even with that, it was kind of itchy inside my ears). The box contains 6 pairs of single flange eartips (s,m,l), 2 pairs of double-flange eartips (s,l) and 2 pairs of Comply foam eartips. They also include a carrying case, a shirt clip, a manual and of course the three tuning filters for the bass, mids and treble.
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Build Quality:

These pair of iems have an outstanding build quality. They are built like a tank and are built to last. I think that there are hardly any iem manufacturer who uses injection moulded steel for their iems as it is a long and tedious process and also not much cost-effective. But these iems do not come with detachable cables which is quite a letdown considering the price of the iem. Should anything happen to the cable, you have to send it to RHA for RMA! But still, all jokes aside, this really is a major omission from such an expensive pair of iems. The cable is made of OFC and the outer covering is made of silicon.Also the cable feels rubbery and sticky to the touch which I don’t like much. But the cable is quite sturdy and should survive quite a while if handled properly. Also, I have never seen such a highly protected y-split and headphone jack. RHA has really taken it to the next level in the headphone jack department; the strain relief on the jack is the best i have seen and it feels really durable and premium.

Now this is one of those areas where YMMV. For me even after trying out all the tips including the foam tips, i could not find something that is both comfortable and isolating. The only one that at least was the least irritating to my ears were the small double-flange tips. They maintained a good seal but it still was uncomfortable for me. Also the shell of the iem often made contact with my inner ear and it was painful. But eventually, I adjusted with it and now, they don't bug me no more.

Now, I am making a separate section for the filters as it is one of the main features of the iem. Now, I have read in some forums that people are telling that the filters are a gimmick so let me clear this once and for all - they are not a gimmick, they really do change the sound signature a bit which can be felt by any listener. Now, about the filters, there are 3 types of them included. The black one is for bass, the white one is for reference and the gold one is for treble. Now all of them changes the sound signature subtly without changing the actual sound signature of the iems.
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I am going to be using the bass filter for this sound review as I mostly listen to edm, rap, and also some acoustic songs. The sound signature on these iems is slightly v-shaped which means that there is more emphasis on the bass and the treble than the mids. The audio is going to be flac and they will be output from my pc via fiio q1.

(i) Bass:
Now obviously with the bass filter, the bass really pops out in most of the songs. At moderate volumes, the bass is quite punchy and enjoyable and most people will enjoy it. The bass is really tight and dynamic and it never bleeds into the lower mids. The sub-bass digs really deep and the the mid-bass is quite present in them. There is a bit of a peak near the 100Hz which gives it that "thump". All the edm and pop songs sound really nice with the bass filter on. But at times, it becomes a little harsh at higher volumes, But that's about the only con I could find at the bass department.

(ii) Mids:
The mids are clear and forward on these iem. Both male vocalists and female vocalists sound good on these earphones. Idina Menzel's 'Let It Go' sounds really good on them. Also vocals sound natural and intimate (That means that it seems as if they are singing just to you due to a narrow sound stage). You should give it a try!

(iii) Treble:
The treble is quite strong on this iem and you can literally feel the strings if the guitar in Stairway to Heaven. There is a slight peak at the 1 kHz range which provides a nice bite to guitars and other string instruments. Also the treble is not harsh at high volumes which is nice.

(iv) Sound stage:
Now, the sound stage is not that wide on this iem. It has depth but not width. Also, the instrument separation and detail is extremely good. The amount of detail this iem can replicate is simply amazing. You can listen to some of the tracks you hear almost on a daily basis and you can find something that you have never heard of in your songs!

Now, on to the pros and cons:

(i) Well built
(ii) Great Sound
(iii) Good Instrument Separation

(i) No removable cable
(ii) Bass can be a bit harsh at high volumes
(iii) May take some time getting the fit right
(iv) Average soundstage

Conclusion: These are a great pair of iem but they do come at a cost of $200 which is not inexpensive for an iem, but still if anyone who has a budget of $200 for an iem, I would highly recommend them to at least give these iem a try, they won't disappoint you.


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