Tansio Mirai Shock

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.