Howdy fellow audio friends, today we dive into the realm of Mid-fi with the TangZu Audio XuanWu Gate, a loan unit from Akros, a great reviewer and human who has thrown me a mentoring hand, of which I am eternally grateful for.
This is my first go at this price range, so please bear with me not having any direct comparisons to better describe its sound in relative terms. At the time of this review, I also don't own a source or amplifier that matches this set's quality or price, thus my impressions are limited to my Qudelix 5k (used on wired mode), which I find quite neutral in flavor, however might lack power output to make the XuanWu shine brighter.
The XuanWu Gate feels like a U-shape signature, with warm'ish/dark'ish tints. It is a musically oriented set that doesn't sacrifice much of technicalities in order to exist. It has great layering and separation capabilities that blend really well with a warmer signature so it doesn't feel convoluted, rather very precise. There is some degree of bass tucking which might not please everyone but indeed is a safe bet that allows the mids to feel breathe and be unveiled.
Sub-Bass (7.5/10)
Vibrant and deep, well extended.
It has boosted intensity, it's not as textured as it is intense, but there are still texture details present.
Soul deep rumbles, although not very gargling, so you do get your bones vibrating however not in a crackling way. It feels as if the attack phase is not ultra fast, rather smoother and organic.
This leads to outstanding performance on acoustic/organic bass instruments, allocating great depth that is perceived as instrument "body". It feels very natural on these, honestly, a delight, working wonders on modern Jazz recordings, rendering them very richly.
Although the subbass is on the verge of not being natural, which is a fun trait and, for instance, doesn't wrongly color classical music (but it does color it).
I would quantify it as 65/35 subbass to midbass ratio. Not for neutral heads.
Midbass (7.5/10)
Feels tucked, which leads to cleaner lower mids, however steals some note weight in both the midbass and lower mids. When listening to fast Metal subgenres the midbass-tuck works well, making the sound less convoluted and of quick recovery.
Analogue kickdrums on jazz recordings behave inconsistently, depending on the pitch. Lower pitch kicks tend to capture more sub-bass and sound richer and fuller, same with electronic/synthesized kickdrums. Higher pitch kickdrums feel leaner and not as thumping.
Despite this, agility is still a main perk here, offering snappiness and tidiness over the instruments, especially the percussion ones.
Lower Mids (7.5/10)
No mud at all, super clean presentation.
Slightly nasal/honky performance, more evident on male voices. Percussion toms can feel a bit boxy. This is the only aspect I nitpick as a timbre incoherence.
A bit leaner note weight, noticeable on the piano, but as it is a set with very good instrument separation, so the piano and other instruments aren't crowded by other neighboring instruments, rather having their own room to perform.
This also makes details more easy to pick on, not being veiled.
There is NOT an accentuated contrast with neighboring frequencies, so it feels very coherent tuning wise, which to me is a strong sign of tuning maturity. It is also due to the midbass tucking and not ultra forward upper mids.
Upper Mids (8/10)
Balanced, meaning not too forward, which is quite welcomed as of 2024.
Coming from the lower mids without the feeling of dip (veil) and having these Upper Mids, it gives a sense of evenness amongst comping instruments of different timbres and registers. This is refreshing.
Attacks are moderately crisp and informative, quite more so than on the release phase. This means you feel more texture on the first instrument attacks, like on guitars, harps and horn instruments, but less texture during the sustain or decay phases. When guitars play chords it feels less defined than when a lead guitar solo is played with a pick. From my experience, this benefits metal genres over indie or acoustic guitar genres, as they feel snappier and more forward.
No harshness whatsoever, being mostly smooth and lush.
Vocals feel natural and effortless, yet they are positioned at the same level of other instruments in this range, not popping out of the mix.
Treble (7/10)
Tamed in intensity whilst retaining details and air.
Hi hats do miss some sparkle, they are textured but not sizzling as a brightly tuned IEM. They don't mush when played fast - no amalgamated hi-hat noise.
There are some distortions happening on higher register xylophone/vibraphone and trumpets, on specific resonances, not happening on every track with these instruments.
Higher pitched clicking noises can sometimes be distracting as they get heavily boosted. On the other hand it perfectly renders a lot of the IDM genre Easter Eggs (ear candy, dug deep in the mix) so you can go hunting for them, and surely you will feel like an audio explorer.
Technicalities
MacroDetails (8.5/10) and
microdetails (8/10) are to be retrieved like the dog breed. There are tons to be picked on, on any frequency range. The quality of details stamps "mid-fi" all over the XuanWu.
Soundstage (8/10) is rather wider than taller. Not impressively big for the price, but the panning sounds feel holographic. Sounds tend to spread more horizontally than vertically, and dont always revolve around your head.
Impressive instrument
separation and layering (8.5/10) This can be a bit under appreciated due to the hefty dose of sub bass that can distract or "shadow" this ability. However the multi-driver configuration and crosstalk are well implemented, so we do get space for each instrument to "live" - great for critical listening.
Timbre is incoherent on the lower mids, as stated before, but that is it.
It is not a relatively easy to drive IEM, needing quite some juice to shine its best, also working better with not so warm sources, in my opinion, so it doesn't over saturate the bass domain, risking the mids cleanliness.
Fit and Comfort
Bulky shell. I didn't enjoy the extra weight plus the fitting is uncomfortable and I wasn't able to have them for longer than 1 hour.
I tried a couple of tips and it was hard finding one that seemed to improve the seal quality, so there is some quirkiness to the nozzle angle.
Design and Aesthetics
Not really a fan of the name nor of the looks (color scheme and shape). I believe the naming and history might cater better to the Eastern consumer.
This might have been an IEM that wasn't intended for the Western consumers, even if it is not mid-centric or vocal oriented. Or maybe it was, as a history lesson when we search for the origin of this IEM name.
Includes a sturdy and good looking cable, non-microphonic and the unboxing experience is premium, opening up like a gate, to reveal its insides. You also get a really sturdy leatherette case, with stuffed insides that accommodate both the IEM and the cable in a fresh new way.
Final Words
Regarding my own taste, I didn't vibe with the XuanWu, solemnly because I often don't enjoy warmer sets nor midbass tucking, plus the fitting didn't allow me to comfortably listen to them for longer periods of time.
This doesn't mean you won't like it. If you are treble sensitive and want clean mids without losing a thick bass presence, the XuanWu Gate is definitely an option to consider. Add some great details and separation capabilities for when you feel like critical listening, and you are in for a treat.
I think it is a very capable set, definitely unique in the combination of perks: warmth, musicality and technical capabilities - characteristics you rarely see in the same sentence.
I have noticed amongst my audiophile friends that the ones who often enjoy more oldschool tunings tend to love the XuanWu Gate for the aforementioned perks that are not easy to find bundled on the same unit.
I hope you have enjoyed my observations,
Miguel Esteves