Tansio Mirai X

INTRODUCTION:
Hailing from 2014, TSMR (Tansio Mirai) takes its name from the Tang and Song dynasties, a period synonymous with the zenith of ancient Chinese culture. This is my first foray into the brand, despite having stumbled upon the TSMR abbreviation while lurking in online audiophile circles. Let's just say it hadn't quite piqued my interest – until now! With the company celebrating a decade of sonic exploration, it's natural to wonder if their latest offering, the X, will be a special edition worthy of the milestone. Will it live up to the hype and carve its own niche in the crowded IEM market? Buckle up, as we delve into the X and see if it strikes a harmonious chord.

FOREWORD:

• The gear on hand has undergone at least 10-15 hours of use before it was assessed.
• No EQ is ever applied in my reviews.
• For the sake of convenience, I try my best to use a stock setup. Not everyone has access to personal ear tips or cables. If personal ear tips, cables, or accessories are used, you will be notified.
• As I try to be objective, my claims inevitably will be subjective and biased to my personal preference. I cannot stress more that you should take this with a grain of salt for we have different perceptions to sound and what we hear.

SPECIFICATIONS:
Maker: TSMR (Tansio Mirai)
Model: X
Drivers:
Low frequency: 2 x 8mm strong magnet dynamic, hollow coaxial structure, Carbon mixed diaphragm

Mid frequency: 2 x Knowles balanced armature

High frequency: 2 x Sonion balanced armature

Full frequency effect: 1 x custom film retarding driver (this driver is detachable design, frequent disassembly is not recommended)

Impedance: 10 ohms
Sensitivity: 103db

PACKAGING & DETAILS:

The X arrives in a modestly sized box, its color mirroring the IEMs themselves. While the price tag might have you hoping for a more extravagant presentation, it gets the job done without unnecessary frills. Let's delve deeper and see what sonic treasures lie within.

CASE:

The included carrying case, while undeniably adorable in its compact size, does necessitate a bit more mindful cable management for the X. However, the clean white aesthetic and convenient zipper closure make it a practical choice for portability. While it won't accommodate extensive accessories, its slim profile ensures it'll slip easily into a pocket or small bag.

EAR TIPS:

The X comes equipped with two ear tip options, distinguished by their color – a clean white and a classic gray. The white tips, ever so slightly softer than their gray counterparts, take the cake when it comes to comfort. While the stock tips deliver a decent sonic experience, I highly recommend exploring the world of "tip rolling." This audiophile practice allows you to experiment with different ear tips, shaping and enhancing the sound signature to perfectly suit your listening preferences.

CABLE:

The X's cable is a real looker, boasting a glamorous white finish accentuated with gold accents. It exudes a sense of luxury that's undeniable. However, a minor hitch arises in the lower half's stiffness. It tends to retain the coil you give it, which can be a slight inconvenience. On the upside, the cable has a satisfying weight that reinforces its premium feel. And to cater to your specific needs, the X offers terminations in both 3.5mm and 4.4mm flavors.

APPEARANCE:

The X's visual appeal is undeniable. Crafted from a luxurious resin, it boasts a captivating teal hue that shimmers with a life of its own. A subtle vent strategically placed near the dynamic drivers hints at the sonic prowess that lies within. The faceplate itself features a circular vented design, adding a touch of intrigue. But the true star of the show is the translucent shell. This ingenious design choice allows you, like a fellow connoisseur of transparent marvels, to peek into the X's intricate inner workings. It's a visual feast that complements the sonic journey to come.

COMFORT:
While the X undeniably boasts a head-turning design, a slight ergonomic hurdle presents itself. The nozzle diameter is larger than your average IEM, which is precisely why I needed to downsize from medium to small ear tips for a secure fit. Opting for softer tips would have likely addressed this issue as well. Despite this initial hurdle, I managed to achieve a comfortable seal after some experimentation. However, it's worth noting that the larger nozzle size may necessitate a different tip size than you're accustomed to. Just a heads-up for fellow audiophiles out there – a little trial and error might be required to find your perfect comfort zone with the X.

TUNING SWITCHES:
TSMR has a well-earned reputation for incorporating tuning switches into their products, and the X is no exception. Now, full disclosure – I've always been a bit wary of these sonic dials. They felt like a gimmick, a way to mask underlying flaws rather than true sonic mastery. However, the X's implementation forced me to re-evaluate my stance.

The switches are refreshingly simple. Switch 1 unleashes the bass beast, Switch 2 strikes a harmonious balance, and Switch 3 caters to detail-oriented listeners who crave a prominent midrange and treble presence. The sonic shifts between each setting are undeniable – a testament to the effectiveness of these switches. Switch 2 became my default choice.

Now, a caveat from my fellow X explorers – you can't activate these switches simultaneously. It's a pick-one scenario. But therein lies the beauty – the X offers a level of adaptability that caters to your ever-evolving listening moods. While I may have initially approached the tuning switches with skepticism, their undeniable impact has me singing a different tune (pun intended!).

Note: so what happens if you switch on 2 or more switches? I'll leave that to others to discover. I'm a “set it, leave it” kind of guy. I like to keep things simple and not over-complicate things.

SOUND IMPRESSIONS:

TECHNICALITIES:
The X's technical prowess is nothing short of a revelation. The soundstage boasts impressive width and spaciousness, offering ample room for every sonic element to breathe and shine. This expansive presentation can likely be attributed to the cleverly implemented vented driver. Depth, height, and width are all distinctly rendered, creating an immersive sonic environment that pulls you into the heart of the music.

Imaging precision is another feather in the X's cap. The placement of instruments and vocals is remarkably accurate, allowing you to effortlessly pinpoint their location within the expansive soundstage. But the true star of the show might be the X's timbre. Here, we encounter a remarkable level of realism, devoid of artificiality or unwanted coloration. Instruments and vocals resonate with a lifelike authenticity that's simply captivating.

Coherence is another area where the X excels. The drivers work in perfect harmony, delivering a seamless and unified listening experience. There's no muddiness or dissonance to be found, just a beautifully balanced sonic tapestry.

Moving on to separation, the X strikes a masterful balance. Instruments are distinct and discernible within the mix, but the overall presentation prioritizes musicality over extreme isolation. The separation is there to be appreciated, but it doesn't overshadow the song's natural flow.

In essence, the X's technical capabilities are truly exceptional. It delivers an impressive level of detail and precision, but it never loses sight of the emotional core of the music. This isn't a sterile, analytical IEM; it's a technical powerhouse that prioritizes musicality and sonic enjoyment.

BASS:
The X's bass performance is nothing short of awe-inspiring. Words like "visceral," "captivating," and "full-bodied" barely scratch the surface. It's a clean, realistic, and surprisingly nimble low-end that leaves you wanting more. And the beauty lies in its flexibility. Thanks to the ingenious tuning switches, you can tailor the bass response to your heart's content. Whether you crave the bone-rattling power of Switch 1 or the more balanced approach of Switch 2, the X delivers. But even with the bass cranked up (courtesy of Switch 1), the X never loses sight of the midrange and treble. It's a masterclass in low-end control, where every bass guitar note and drum kick resonates with impressive resolution and texture. The bass presence is undeniably prominent, a detail that will leave bass heads grinning from ear to ear. But here's the shocker – even for a self-proclaimed "neutral head" like myself, the X's bass presentation is undeniably seductive. It's a sonic indulgence that's hard to resist. This powerful low-end makes the X a perfect companion for both music and movies, immersing you in the action with every sonic boom. Dare I say, it's the most captivating bass performance I've ever encountered in an IEM.

MIDRANGE:
The X's midrange is a revelation. Vocals and instruments residing in this crucial frequency range are rendered with remarkable transparency, boasting a satisfying density that keeps them firmly anchored in the mix. The presentation leans ever so slightly forward, a touch that I found particularly delightful. It adds a hint of intimacy to the music, drawing you closer to the emotional core of every performance. Once again, the X's exceptional resolution and textural prowess shine through. Timbre is impeccably lifelike, with instruments and vocals sounding natural and uncolored.

Here's where things get interesting – the X's midrange deviates slightly from strict neutrality, adding a touch of flavorful magic. It avoids the sterile, flat presentation that plagues some IEMs. The X isn't afraid to infuse its sound with a touch of personality, and it succeeds admirably in doing so. Orchestral pieces and jazz arrangements come alive with this touch of vibrancy, making them an absolute joy to listen to. However, it's worth noting that the X's midrange might not be the ultimate choice for purists seeking absolute neutrality. It prioritizes musicality over pinpoint precision, a characteristic often associated with balanced armature drivers.

TREBLE:
The X's approach to treble is undoubtedly smooth and refined. It avoids the fatiguing shrillness and sibilance that can plague some IEMs, opting instead for a relaxed, gentle presentation. This doesn't translate to a lack of detail, however. The X manages to present a surprising amount of treble information, ensuring that every nuance shines through. However, for die-hard audiophiles who crave the aggressive bite of piercing cymbals and raspy hi-hats, the X might feel a touch too polite. Conversely, those with sensitive ears will find solace in this smooth, non-offensive treble response. Ultimately, the X treads a careful line, ultimately leaning towards the warmer side of the spectrum. This might not be for everyone, but it delivers a fatigue-free listening experience that prioritizes sonic comfort.

TEST TRACKS:
Here are some tracks I usually listen to when reviewing:

That’s the way of the World by EWF
Africa by TOTO
The Girl in the Other Room by Diana Kral
Balmorhea album All is wild, All is Silent
Sila by Sud
Smooth Escape by D’Sound
Never too Much by Luther Vandross
P.Y.T by Michael Jackson
Ain’t no Sunshine by Eva Cassidy
Shoot to Thrill by AC/DC
Another one bites the Dust by Queen
Good times bad times by Edie Brickell
Alice in Wonderland by Bill Evans
Ain’t it Fun by Paramore
Redefine by Incubus
Far Away by Nickelback
Lovesong by Adele
Lingus by Snarky Puppy
Harvest for the World by Vanessa Williams
Love Bites by Def Leppard
No Such Thing by John Mayer
As by Stevie Wonder
Whip Appeal by Babyface
Ain’t Nobody by Chaka Khan
Futures by Prep
Landslide by Fleetwood Mac
Every Summertime by NIKI
SADE tracks
AC/DC tracks
Queen tracks


And many more… I always listen to High resolution format, being the least quality 16bit/44khz FLACS be it offline or online.

VERDICT:
The X marks my inaugural foray into the world of TSMR, and what a delightful journey it's been. This IEM strikes a perfect balance between unadulterated musicality and a hint of analytical prowess. The implementation of the tuning switches is a masterclass in simplicity and effectiveness – a testament to TSMR's understanding of this sometimes-controversial feature. While I may not have initially embraced the concept, the X's straightforward switch design won me over.

The X's bass performance deserves a special mention. It's a revelation, a sonic experience that redefined my expectations for in-ear monitors. This is, without a doubt, the most captivating and well-controlled bass I've encountered in an IEM. Even for a self-proclaimed "bass-light" listener like myself, the X's low-end magic was undeniable. It adds a layer of depth and satisfaction to the overall sound signature, making every listening session a joy.

Considering its price point and exceptional performance, the X rightfully earns a crown as a champion of the mid-fi IEM segment. It's a fitting tribute to TSMR's decade of sonic exploration, a testament to their dedication to crafting audiophile-grade experiences.

A heartfelt thank you goes out to the Audio Geek group and its leader, Sandeep Agarwal, for providing the opportunity to experience this sonic marvel. The X has left a lasting impression, and I have no dou
bt it will leave fellow audiophiles equally enthralled.

PS: special thanks to @Dsnuts for walking me through the tuning switches.

The TSMR-X
Redcarmoose Labs April 4th, 2024

Who is Tansio Mirai (TSMR)?
Tansio Mirai is a Chinese manufacturer who currently makes a number of specialized IEMs. TSMR or TANSIO MIRAI was registered as an IEM maker in China by the Beijing Tang Song Bouyan Technology Company in 2016.

The TSMR name is actually a play on words originating from the English language translation of “Tang Song era”. The Tang Dynasty and The Song Dynasty was an era of immense social change, scientific, agricultural and artistic progress. The Chinese invented gunpowder during that time as well as the printing press and the magnetic compass. The first paper money was invented in Song Dynasty in China during the 11th century. The name TMSR is in remembrance of such eras, ultimately bringing such values and dynamics into the future.

TANSIO MIRAI production as of today
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 + 2BA + 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

I only have personal experience with 4 TANSIO MIRAI IEMs. The first was the Sands, then the Land and then the TSMR 5 and now this X or 10th Anniversary as its called. Where in hindsight it seems (from my limited brand exposure) that this X is a slight new focus. Much like Penon did with their 10th Anniversary model, TSMR has aimed at the mainstream with this one. Shrugging-off any of that TSMR elitist (hyper) treble detail, to thrill only a fraction of the listeners out there…………….TSMR with this latest tuning is aimed at bringing the mainstream to their factory doorstep. That means it’s a party of sorts, an Anniversary party. In doing so they have adopted new technology in the form of 3D printing the shell. And brought forth a new style of driver which has that big duct you see on-top. As such it uses passive repetitive vibrations which in turn increases vibration amplitude. To celebrate their tenth anniversary they also reduced the price by 43%. Now whether you go along with the 7th driver being called an actual driver or not is questionable? Questionable too is the sale price (for a limited time) of $300.00 off? So the 10th is a limited Edition……..where that could mean that they will make less of them than regular models. Which in a way has me questioning the logic here. If the 10th sells so well, which it has turned out to do………..why would you only make a limited amount? Unless of course advertising………creating buying motivation through implied scarcity.

So whatever the marketing concepts are the TSMR-X or X as I will refer to it, is a small wonder. The X is a phenomenon here at Head-Fi, so much so that I’m not sure this review is even needed for it?

Word got around early on that the X brought something new to the table. That those 2DDs were put into action for a sonic reason, that those 4 BAs were selected carefully, and this CFRD is implemented correctly. The thing is TSMR maybe didn’t invent the CFDR (Custom Film Retarding Driver), yet they have used the theory here in a successful manner. A little on-line research enlightens us that a structure has in-fact been used before with 64 Audio and their APEX system. But sure, that’s the thing……..utilize every tool at your disposal to reach sonic success, and TSMR did.

There are three DIP-switches that alter the bass. Standard tuning is with the middle 020 switch up, and that’s my favorite, so all the music tests in this review will center around that tuning. Then there is 100, which means the left switch is only up, that produces the most bass. Then the opposite with only 003 up, that is full bass attenuation. Then finally there is a setting of 000, which is no bass at all…..I didn’t try it, nope not even curious about that setting.

The TSMR-X set-up:
Low frequency: 2 x 8mm strong magnet dynamic, hollow coaxial structure, Carbon mixed diaphragm

Mid frequency: 2 x Knowles balanced armature

High frequency: 2 x Sonion balanced armature

Full frequency effect: 1 x custom film retarding driver (this driver is detachable design, frequent disassembly is not recommended)

Model: X
Driver: 2 x dynamic + 4 x balanced armature + 1 x custom film retarding driver
Material: 3D printing high quality resin shells.
Frequency response: 5-30kHz
Impedance: 10Ω
Sensitivity: 103dB
Connector: 2pin 0.78mm
Cable Length: 1.2m

You may be curious if the 64 Audio APEX driver will slip into the port at the top? OK, maybe you’re not curious about such experiments? The APEX M12 module is slightly smaller so it won’t fit. Yet Penon says CFRDs are removable, except “frequent disassembly is not recommended” I guess they need to tell you in case for whatever reason they move? But truthfully I have no burning desire to take the CFRD modules out, especially out of a perfectly working IEM. And I’m pretty sure they don’t move at all………I’m not going to try, except I have done all kinds of bullying around with the X in the few weeks I’ve had it on hand and no, the APEX module, I mean CFRD module doesn’t move one bit.

2 Knowles middle frequency BAs
2 Sonion high frequency BAs
2 8mm Coaxial Carbon Mixed DDs
1 CFRD “Driver”
7 drivers in all



Cable comparisons:
I'm starting-off with cables as they are a great way to introduce an IEM and its sound signature. Sure many are skeptical of those darn (cable) things doing anything, so if you’re one of those types skip this section.

The review in many ways is the same without the cable descriptions. Except for me cables are maybe the most fun, as it is easy to get excited when a certain cable moves forward to enhance a particular sound response? Now I should probably disclose the most important statement of this review so far?

The X is so well balanced that it works with every cable in use today!

Yep, what that means is we are not trying to change the response to put out any fires or start any fires, so to speak. The TSMR-X is fine the way it is and absolutely great with the included cable. I say this as the TSMR Land and TSMR Sands were not the very best with the included cable. And it just so happens…..I’m almost certain this is the same cable that came with the Land and Sands? All this is because the X is incredibly middle-of-the- road as far as playback goes, also this style of easygoingness was also found with the Penon 10th Anniversary as well. And I will let you in on another secret early on here……..both 10th Anniversary models are both some of my very favorite IEMs to come out recently. While the Penon 10th gets me a little closer to my sound, there is a provocative sexiness in what the X does on a regular basis. Such findings have made this review super easy to write……..much like a simple diary of experiences.

And you may wonder how does the X pull this off? I will slowly get to that, but in short it is even, correct and complete in tuning and has very good technicalities to boot.



1)The Penon ASOS+ 8 wire, 24 AWG 99 cores Silver Plated Copper with Litz structure and special Purple Plug (Palladium) $215.00

2)The ISN GC4 Single Crystal Copper Gold Plated 4 stand 16 core $179.00

3) The Penon OSG Graphene infused Silver Plated Copper 4 stand 71 core Litz structure $299.00

4) The ISN S4 4 strand 63 cores totaling 252 cores silver plated copper $55.00

5) The ISN G4 Type 6 Litz configuration Graphene silver plated OCC with Graphene Gold paint, 4 shares 180 cores per share $99.50

Here is the thing, each cable offers a slight personality all to itself, and the charming thing is to find out just how the X displays such character. And I might add, some IEMs are in need of correction, yet the X is a kind where each and every cable property was focused in the purest of ways, gaining insight into the very center of each cable's attribute! Meaning in the regular 020 setting the X was behaved and went with every cable used today.

Probably my curiosity got the best of me to test where the included cable lands in comparison to the $55.00 ISN S4? I mean that would be a starting point just to see both if the ISN S4 was something or if the included cable was just that good?


ISN S4 above

The included cable v the ISN S4:
There is a specific reason why I choose the S4 to try out here. Call it curiosity, or maybe I’m simply too into this hobby, but the S4 is a rare bird. My first introduction was to the MMCX version of the cable included with the ISN D10, back in mid April of 2022. Even then I knew this S4 was a specialist cable, allowing for a style of bass control and clarity through diminishment of the lower midrange, clearing the path for vocals to emerge. The S4 also added stage from many cables, maybe very reason it was a mandatory inclusion with the D10. By its nature the D10 is an L shaped jaunt into ISN's idea of the perfect DD driver, and what came out the other end of the review was a capable IEM that actually had a profound midrange and even treble itemization………and was not foggy or really missing pace with the S4.

My next introduction to the S4 was the 2Pin edition which (all of a sudden) was an included cable with the ISN Neo 5. A week after the Neo 5 was released in the wild with the ISN S8, it was determined that the S8 was too sleepy of a combo with the Neo 5. And sure enough the S4 became a stark (vivid) turnaround due to cleaning up the Neo 5 bass fog and adding a wonderful stage, plus doing this magic with the vocals, making the Neo 5 one of the single best deals of the year. As more and more members contact me for advice on the Neo 5, I interface with it more and more, even after the review, to view the Neo 5 as even better at response qualities.

Even using the Neo 5 as a contender to future IEMs showed how the Neo 5 is not pulling any punches, and basically destroying the competition with realness of vocals, stage and vividness of presentation. When doing side-by-sides such completeness of stature ends up being something to remember. Therefore, look for the Neo 5 again later in this review as a comparison to the TSMR-X!

The included cable v the ISN S4:
I have chosen to compare these two as a question of could you upgrade your included cable by simply getting the ISN S4. I will spill the beans right off at the start to give you a heads-up to where we are going. Money spent on the other cables in this grouping would be money well spent. Still, what do we have as a cable included with the TSMR-X and what is the ISN S4 really like as an option?

The included cable is visually incredible, just like the TSMR IEMs are visually profound, and it is true that the included cable with the X is the same one that came with the Sands and TSMR Land IEMs. What this cable does is boost the 5-7kHz range, and was instantly found to be too bright with the Sands and the Land. So other more pure copper based cables are a way into success with the Sands and Land. Before even laying hands on the TSMR-X word on the street said the included cable works out well. That was my first clue that we may have a new and different sound signature with the X.

A more mainstream success story with the X……..and that is the fairy tale this review is about.

In fact you may not want to read any further……………just buy the X and be done with investigating it, and save yourself some time.


The included cable above

$399.00
https://penonaudio.com/TANSIO-MIRAI-X-10th-Anniversary-Limited-Edition.html

Liberace style gold

Oh, you’re still here….? The included cable is first of all absolutely (physically) beautiful and I have to say the members who stated that the included cable works out are definitely on to something here. It has nice ear-hooks, and this Liberace style gold hardware with the white wire. The included cable means business here. Only still it is too 5-7kHz boosted with the X and will still make the X little thin sounding. Yes, it will work if it is all you have, and it is incredibly resolving, just it is holding back the bass notes.

The ISN S4:
Surprisingly the ISN S4 has even more bass thrusters going on. And while not as dramatic or as vivid as the other cables in this test today, the S4 was an ounce or two better than the included cable. Still I would save your money and not spring for the $55.00 S4, but wait and add a little to the cable fund before partaking of the winner-cables to come. Still this was a great side-by-side test.



Included cable above



The Penon ASOS+:
Look, this has been a cable that is so balanced, it goes with everything. The stage, the pace, the feel of it. The weight of the ASOS+ is 53 grams in 4.4mm, very close to the 44 grams of the 4.4mm TSMR-X included cable.

Ergonomics:
Yet somehow the ASOS+ shows better ergonomics, seemingly heavenly………….going into a more pliable and fluid demeanor all the time, in every direction, and on every day of the week. Sure the price for admission to the ASOS+ movie is $215.00, slightly over half the price of the TSMR-X, yet it actualizes it. Yep, it makes the X all it can be, within reason. I mean you don’t have to read any more of this review, simply buy the X and the ASOS+ and be done with it. Walk your dog maybe (give your cat a small fish maybe) as you don’t have to read any more words (in this review) here?



OH, your back? I guess I need to explain myself. Now we are jumping to the next level. Bigger stage, deeper, thicker and wider……so more involving.........and exciting. The vocals are pushed into farther existence forward, the bass (really the whole low-end) is now coming from a blacker background and more separated, holding bass textures. But really the best part is two fold, dynamic imaging and separation inside the midrange.

There are synth embellishments that are flowing into position into their very own separate stage on the outskirts of the stage. I could go on for a few more paragraphs, but this review is already way to long……….

And this isn’t a matter of sound signature preferences here, no...........the TSMR-X is so middle-of-the-road that most everyone has a chance to find happiness, except maybe the extreme bass heads and the treble heads, you know who you are.

But to put it into one sentence…….the ASOS+ causes the X to blossom into full actuality into what it has potential to become.



The ISN GC4:
Another wildly different cable here, and creating to its very own character. A very thin cable that performs like a thicker cable..............way above anything you would guess. As at rare times looks can be deceiving in the cable world. Weighing in at only 20 grams, the GC4 becomes not only lightweight but super thin. Yet the optical illusion here is reproduced by gold, yep……the GC4 has a Rhodium plated plug. Simply a build with copper and gold, except there is some silver in the solder. Before in the cable tests we were using the mid-centric WM1A with MrWalkman’s firmware.

WM1Z:
Now we are going to jump to the thicker and more bass laden WM1Z. Also I’m doing this to prove a point, that the X goes with pretty much anything I own to parley wonderful results, why? Because it is even, complete and correctly tuned. So here now with the 1Z we are given (besides the bass) a fishbowl of imaging of treble around your head. I mean now we are really reaching a form of involvement. While the imaging is actually more dense in the midrange, the parley of elements sits further outside than maybe even the ASOS+ only because it is of less energy, and of less clutter. Sure maybe most of this is the DAP, as it can be argued that ear-tips and the DAP make more difference than the cable..............I won’t totally disagree with those folks. Yet here there is also the signature bass sculpturing of the GC4, that and a structure of treble and midrange elements. In fact I’m using one of my most treble laden songs, and it is absolutely fantastic.





Theater of Tragedy
Assembly (remastered)
Superdrive
44.1 kHz - 24 bit
Here we are experiencing the GC4 with all of its character intact! Yet that particular character goes to promote a style of listenability and image-density due to gold and copper. This is one of my brightest songs, yet everything is parlayed with style and finesse. And while imagine all the elements being thicker and holding a weight, stuff is still fast moving, and even faster due to the (low-end) tightening effect in the resulting 2X 8mm DD lows.

That in fact we have the bass in the pocket, thumping and yet holding exquisite pace and spacial clues to hear all this stuff.

While no way do we have the treble expansion of the ASOS+, yet this here is a different part of town………you know when you had a shot of the town's best Scotch and took to the streets……..that amber glow and fun makes me want to stop and postpone this review…………and simply listen for the rest of the day. I’m a guitar player and this exact guitar tone is simply great, crunchy and yet not too forward, in places like the bass. This once again cements our ideas of balance and predictability from the X, only there is room for exploration, to where we may never know what we will find with cable rolls, yet it is all good.



The Penon OSG:
Last week I did all these same cable rolls (before) and even wrote about it in the forums. I do this as testing cables on two different days (a week) hands you clarity of results. As we hear IEMs at times, we are not comparing IEMs we think, only subconsciously referencing the last IEM we reviewed, on the day before.

Time is the cleaner of tonal ideas to move and become more objective through spreading your reviews out into longer time-frames. Basically giving your ears and brain a rest.

The OSG was one of my favorites from last round, so let’s see where it lands. Using the WM1Z and the same ear-tips. Remember the Penon Quattro review I did near the last day of January of this year? No? Well that review covered the steps that were needed to be taken to reach audio nirvana. And sure some may be lucky enough to find that happiness on the first Quattro date, yet I found the Quattro had to be courted before she put out.

Here is the opposite really, easy to find access and involvement as the X goes with everything. The OSG once again shows how the X is a cable demonstrator. An IEM that lets the pure character of the cable through. And here with the 1Z the OSG are starting to come-off even more separated than the Sony WM1A from last week. Cleaner and more vibrant. Again less midrange energy than the ASOS+, yet holding its very own special charms to enjoy.

Why:
With Graphene we encounter a full sculpturing of bass, a smoother, more white and delineated midrange than the ASOS+, yet not holding as large of sonic footprint. The ASOS+ has its own ideas about size, and the thickness that the Purple Copper Plug and 2Pin plugs bring to the table. Where really they could be thought of as almost opposite. Where sure the ASOS+ is slightly more dense sounding with midrange itemization than the standard ASOS cable, yet there are other qualities to the OSG that make it a keeper. Sure this review will ramble-on with a comparison of the ISN G4 cable, another Graphene experience. Sure both the OSG and the G4 have this Graphene sound, especially in the bass sculpturing and midrange stage positioning, but the $99.50 you pay for the G4 only gets you in the Graphene doorway. The $299.00 OSG goes to proclaim a clearer pool of water, and looking into that pool we can see the depths of imaging, the further sculpturing of bass, and the fine details brought forth into midrange textures. There is this shiny white polish that really looks like the jacket of the OSG encasing the vocals, and separating them from the background stage.

The Penon OSG:
Where here there is a thickness...........thicker than pure silver that the Graphene proclaims.

It is separating and adding its own more detailed crunch to the guitars. The free-flowing and approaching stage elements show us where your extra hard-earned cash went. In fact it is this treble character that I can’t even describe, except it is a slight tone down from pure silver, but goes ahead and has its own style of transparency and energy. It is in-fact this separation that has me fascinated.............endlessly fascinated going along for the ride.



The ISN G4:
Only after the Penon OSG I had to double check (this G4) to see if the IEMs were not out of phase or something. Here we are experiencing a more linear G4 example of vocal playback, the midrange elements are there and spread-out from the vocals, but hold a lack of luster in comparison to the Penon OSG. Thinner of a more congested manor. And in the end, I have to (once more) try the included cable and the S4, just for schiits and giggles.

The palate cleanser:
Not sure if you have seen food testers at work, but they always have a beverage to equalize their tongue chemistry after trying a food sample. They will often use a mouth-full of Coke (as mouth-wash) to somehow reset their perception for the next food sample. At times these people work for large corporations and will help a company align the food or beverage taste to mainstream likes, or have the food item changed with more or less salt, or more or less sweetener. As trying the ISN G4, and ISN S4 (once again) showed more down to earth examples to where I have made a list of the results.

To rate these cables from best to worse on a scale of 5 being best………

Penon ASOS+ - 5 stars
PENON OSG - 5 stars
ISN GC4 - 4 stars
ISN S4 - 3 stars
ISN G4 - 3.5 stars
Included cable - 2.5 stars



IEM comparisons
Now we include a few IEMs as side-by-side tests
The Neo 5 came out recently and has pushed its presence into the limelight, being many a Head-Fi members favorite IEM as of late.

And maybe you already have the Neo 5 and want to know how the X compares? Or you have the X and have become curious as to the inevitability of a Neo 5 in your life?

I can say right off they are complementary and you could possibly get results owning both. Here I’m bringing out the ASOS+ cable and the Sony WM1A, as really together they offer a slightly mid-centric yet correct way to hear all three IEM tests today. The only other difference is a more donut type ear-tip (on the Penon 10th, and Neo 5) as I don’t need the length of the slightly longer wide-bore X ear-tips.

The ISN Neo 5:
Man this style of playback becomes a bigger stage and a wider illustration of the song.

Really the ASOS+ and Neo 5 are a force to be reckoned with. And truly there is better involvement here…..to me anyway. Just the size of the stage, and the size of how there is a thickness front to back, and even a little top to bottom? Vocals are bigger and more out front, becoming a style of unarguable clarity. Sure there may be a slight timbre tilt to the Neo 5 that travels upwards in comparison to the truly dialed in timbre of the X. But to me with the ASOS+ the Neo 5 is more IEM at a cheaper price. Yet you need the ASOS+ to get here.

The ASOS+:
The Neo 5 is so resolving of cables that you have to spring for the ASOS+ to climb to this particular mountain-top……but the view from the top is real and moving. Yet you can often change to Neo 5 adding a different tone by using the ISN CS02, or the wildly more clear and vivid yet smooth RENATA, really all three give you a window cleaning to delve into the true depths of the Neo 5 experience!



The Penon 10th Anniversary:
The 10th is a literal party between your ears, my favorite Penon ever!

The Neo 5 is now probably my favorite ISN, maybe gaining ground on the ISN EST50? But one thing I know for sure is the Penon 10th is by far the best thing they have ever made. Now keep in mind the 10th is not in any way........ perfect. The 10th is a hybrid and owns a guilty pleasure of not being anywhere near as cohesive as the Quattro, I mean really they are very different. But, but the main thing about the 10th is its well roundedness.

Well-roundedness:
The 10th plays every music genre and goes with every device possible to gain fun. When I say fun, it's probably the most fun you could have legally? Slightly sloppy with the bass, yet even Hybrid dislocated in disbursement of imaging, it is this rolling party!

Here the 10th is even more itemized and clear than the Neo 5. Those EST drivers, they are not for looks here. A little more careful than the Neo 5, and more sophisticated and pure. Actually I take back that trash talk about the sloppy bass, cuz the ASOS+ cleans it almost right up. It’s probably the full lower midrange I was mentally referring to as there is a section where it is more musical than analytical?

This is music playback.............a sway and swagger that pushes through to get you grooving, forgetting about analyzation, or any other of those big words.

Compared to the TSMR-X the Penon 10th is bigger staged, more dramatic, and more fun. Where the X is quieter and more reserved. But to put it clearly, the 10th is the better IEM, simply a bigger and a more involving stage, heck even the vocals are bigger, closer, and holds more detail. What can I say, it is what it is.



Music tests:
Here for the music tests I’m using the SONY WM1Z and X, with the slightly longer wide-bore ear-tips and ASOS+ cable.



Theater of Tragedy
Assembly (remastered)
Episode
44.1 kHz - 24 bit



Time stamps only are reference to the digital file not the YouTube video.

As such this song goes about showcasing both treble items, vocals and bass, not to mention the timbre experienced here. This in-fact is one of the brightest songs I own, so it also is a sink or swim test due to any glare shown or stridence preformed. The opening (lol) is a cymbal crash at 00:00. I mean there is no lead-up or introduction here, this song starts out in full-force throwing everything and the kitchen sink at you. With-in that first two seconds we are transported to exactly where the producers what us, engulfed into the mood, rhythm and tone that is unavoidable here. Probably the coolest feature (right-off) is the interplay of both guitars and the bass. And that is the thing, this X replay has some of the very best timbre out there for a Hybrid. The guitars are correct in tone and timbre............showing a multitrack soundstage. Where inside of that soundstage is the first glimpse is the various multitracks tracks, then at 00:07 a cymbal splash way out to the center and right.

Though here the tone is not exactly played down or exaggerated, but correct. Surprisingly I used this same song with the Quattro replay and described it in the recent review. To where the Quattro was responsible for slightly better timbre, cymbals are made of metal………so that metallic quality is talked about when Head-Fi members say they are embracing the BA timbre, and there are no arguments here on that fact.

Typically Hybrids will dislocate the tone, only because much of the time it really is coming from a different driver and not from a full-range DD. So that driver is a small reed of metal and it is vibrating back and forth, it can start and stop faster than most DDs, therefor gaining transient response milliseconds over the DD brothers. This attack is cutting through both in attack, note-edge and tone….......separating itself inside the mix. The keyboards are almost ringing in effect right at 00:20. This decay with spice is made to cut through the mix, and it does with flying colors. Maybe they are using a slight distortion to give it a kick. Whatever they have done this keyboard section is not at the vary start, but is an introduced melody just as the Raymond Rohonyi’s vocals start around 00:20. The bass is also sounding like keyboards, and is given this distortion treatment, either playing though (something like) a Fender Twin Amplifier or directly to the soundboard.........or both. Then you figure out the melody was introduced at the start as a set-up to the full take-off of the song at 00:39. I mean sure everything is both slightly compressed and processed, yet this is the style of this music…….a departure Gothic Heavy Metal into this strange Euro-pop.

There is even remnants of Kraftwerk here, yet with the female vocals that are about to be introduced bring us fully home and into a groove. Theater of Tragedy became one of the best known Gothic bands upon introduction in 1995, but the year now is 2002. This album isn’t always accepted by fans, as how can you change your style to such an extreme?

A change of style:
You are probably goin to alienate your original fan bass, and take on a whole new crowd………that is if you don’t go down in flames first. This is introduced as a (as previously mentioned) dirty sounding Pop with an add of Industrial, yet is neither. To me it is unique and will always be remembered as an attempt at something different, almost like its very own sub-genre of music.

The melody and choruses are really holding the darkness of gothic music, only the lyrics are Pop. And to tell you the truth I’m not sure why I like this so much, I guess because it’s catchy? The TSMR-X is in the zone, but more careful and in-control than the Penon 10th Anniversary or ISN Neo 5 ever thought of being. Polite and careful, technical and correct, but not taking any chances. Slightly more straight-laced, prim and proper, yet holding that realness that gets us involved. Not as much reverberation as the Neo 5, nor as heavy of a lower midrange. Yep, everything is cookie cutter careful and exact. Interesting too that carefulness travels all the way up into the treble, as nothing is overly bright or even forced, and this song is forceful, if it's anything at all.

Female vocals:
Female vocalist/star of the show Liv Kristine Espenæs was the male vocalist's girlfriend at the time, and you can feel the playfulness in this album, as when it is her time to sing…….well she gets the spotlight. At just 00:54 she makes her entrance! Though the male vocals set-up everything........like building the house for her to thrive in. And while I have heard Liv Kristine Espenæs at times more forward, I have also heard her more (dull) behind the scenes too? But looking into her further, her voice holds a lot of detail, though not as much as the Neo 5. Still the Neo 5 does other things different too. The sung vibratos the character she creates is herself, and that is super important with BAs, to gain realism to where her voice sounds normal with-out the drama of off timbre.




Hans Zimmer
The Dark Knight Rises OST
Mind If I Cut In?
192 kHz - 24 bit
A long time IEM test favorite here. I mean this is a track that I have used for years and years. It is both well performed, well recorded, and never seems to get old. Plus I know this song like the back of my hand.

The heavy bass holdover at 00:00 is exactly that, a holdover from the last previous song. Yet somehow that impulse is a thrill to have at the start……like it is setting up boundaries right off……what nonsense am I spewing, it is simply gorgeous bass, and a great recording of gorgeous bass, even if it lasts for a mere moment in time.

This dark cello work and strings is also how the previous song “Gotham’s Reckoning” starts off too. Where remember this is a soundtrack, so the songs often segue from one to another. Still that initial bass physicality was a hint here of more drama to come, kind of like a sonic guarantee of performance.

Our listening mind:
That just goes to show you how our mind works. If we are provided......even a beginning appetizer, we are in attention, hoping to get more........actually re-assured more is on the way. Because the TSMR-X can do this, it can jump out of nowhere to provide the bass notes, if they are there in the song. At 00:15 we are immersed in cello work, a violin recording, and the space provided to offer separation, so that each constituent has its place in the recording.

I’m in wait for the piano keys, like a dog waiting for his treat…......he knows is coming. Yet at 00:31 I’m sidetracked here, it is the extra texture of that cello, and a hint of the piano to come! I mean the volume changed on us, and I can feel that volume change with the X. As simple emphasis does in recording energy...........which also corresponds to the playback emphasis by the musicians draw of the Cello bow….....…showing conclusion, or better yet transition in the song.

And yes, there is a faint recorded and processed set of metronome key strokes. These backing rhythmic elements are always used by Zimmer, though they come in as many different ways as pieces of his music exist. As this is the backdrop adding tension and propelling the song forward, as this is the first hint of rhythm, at least this style of rhythm. This simple one note over and over............maybe Zimmer learned (this technique) from previous scores (as a student) to use as a tool, as it is both simple and effective here. As at 00:42 the real piano notes take place. Simply out of nowhere they are our lead now, taking our attention. And with the TSMR-X the notes are very very close to perfect timbre……….I mean this is what you are paying for, and the timbre progress that forces older IEMs like the 2018 Fearless brand, to be placed into bedroom dresser. Really the interplay of the metronome sound and the forward piano here make-up 100% of the song.

Bass:
At 02:06 it hits and does it ever accomplish the work at hand………glorious bass…......giant bass. But the deal here is that we can here both inside the bass note and hear the details of the texture, but more than that there is super precise volume changes going on with this note. And it is careful and detailed, not sloppy in any way. In fact I think this is what they call audiophile. A far cry from car-audio. None of that bass bleed into the midrange, just clear and precise, actually far better than I was expecting from the little TSMR-X?

So first and foremost this is Hybrid playback and what is gifted with that is that the DDs sound separate, only the bass is so very controlled and tight, that it become a part of the whole here. All the way past 00:21 that bass rolls and the recedes, and the push forward................ to take new alternate positions inside the stage. Remember I have been hearing this for years, and this is some of the cleanest I have heard this prolonged bass drop.

.............at 02:28 we are still living with that single prolonged note. Only there is of course the piano and what is becoming into focus, dynamic contrasts………just the fact that the low-end bass note is now large in size and (just by contrast) making the piano seem brighter. Here we are rewarded with an IEM that maybe just because it is a Hybrid, or maybe TSMR chose the drivers well........... yet here is the full deal……and.........the technicalities. The technicalities to pull this number off, and not just do it well, but do it justice.



Build:
About 80% solid 3D printing. With looking at it there must be a resonate chamber but it is near the top (guessing 20%) of the structure. I mean there are not just sound tubes (up there) as there is a single vent, that is delineated in a red ring or blue.

The CFRD sound tube:
There is a sound tube for this CFRD, there is a sound tube for the 2X 8mm DDs, and a separate sound tube for the two Sonion 2X tweeters and a sound tube for the 2 midrange Knowles 2X BAs. While the nozzle is slightly short, I was instantly able to remedy the situation with a different ear-tip, and I’m sure you could do the same if it was a slight issue. With the wrong donut ear-tips the X gets in a little to close and the actual ear gets in the way of finding an air-tight fit. The tuning switches are great if you use them, yet even adding the 100 setting for bass simply added more bass and didn’t affect the stage like some DIP-switch set-ups do. The size ends-up finding itself on the smaller side of medium and at only 6 grams a piece in weight they are the very definition of small. Sure the back-side of the X shows a semi-custom curvature, and a-top of that is the only printed nomenclature……the wording “TSMR-X” identical to both sides.

Looking inside with transillumination we can view two sets of crossover circuits on two opposing sides....maybe? Looking down at the nozzle end we can see 4 sound tubes with a small filter set-up on the two bigger tubes. And of course the two woofers are designated to allow for resonance being they are mounted near the top, right under the hollow faceplate area. Where all four of the BA devices are submerged in the solid 3D printed resin section.




Packaging:









Conclusion:
Maybe I’m right that the X is totally well rounded…..no actually I’m sure of it, the X is the very idea of balanced going with many sources and all genres of music. As it turns-out this is TSMR’s entry into the total mainstream tune. The way they did the treble and midrange is much smoother than previous TSMR explorations…….it even allows use of the included cable. This tune could endanger the X into being boring or owning a lack of character which would make it homogenized, sounding like any other run-of-the-mill IEM out there. But no, the X is unique, Jeez, just look at it? Does this look like any IEM you have ever seen before? The X is special and somehow relays the best of every cable attached to it, due to transparency. This transparency allows for your music to come alive, that you are simply closer to the reality of playback, with no off timbre getting in the way. You see when those members say they want to embrace BA timbre, they really don’t mean embrace awful BA timbre, what they mean is they want to use it as a tool to kind-of create dynamics through contrasts……..and that is exactly what the X does. Just the amazing big and spread-out feeling my Batman OST did prove this IEM is more than just six or seven drivers, that they are masterfully placed and each driver, each sound tube being there for a reason. Just like all of us TSMR is still learning and even though this is their 10th Anniversary model, it is also an example of how they are greeting the next 10 years. This is an IEM I hope they springboard off into a new bolder direction, even a chance they will parlay this tune into a TOTL Flagship? Truly there is no reason they can’t pull this off, they are TSMR in the end. There is a level of build imagination here that shows progression in design and IEM ideas……….I mean who ever thought of making an IEM that has the BAs sitting farther down submerged in 3D resin and the woofers X2 8mm sitting on a separate level having access to the venting system? Such arraignments allow TSMR to locate the trim and careful ideas found in playback. This bass is big and full yet the very definition of textured and detailed. It’s way more detailed than the Penon 10th Anniversary and of course more controlled than the Neo 5 puts forth. The TSMR-X is more polite, it is more grounded, it is more even, complete and correct in playback. Call it sanity in replay maybe?

Yet what about the opposite, not everyone can marry a wild exotic dancer like the Neo 5 or Penon 10th claim to be.

$399.00
https://penonaudio.com/TANSIO-MIRAI-X-10th-Anniversary-Limited-Edition.html

$499.00
https://penonaudio.com/penon-audio-10th-anniversary-iem

$289.00
https://penonaudio.com/isn-audio-neo-5.html

Disclaimer:
I want to thank Penon Audio for the love and for the TSMR-X review sample.

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

Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm balanced
Sony WM1Z 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
ifi GO bar Dongle in 4.4mm balanced
Samsung Phone 3.5mm
ifi GO blu in 4.4mm balanced with wired Type-C USB

The Tansio Mirai TSMR X came in on the 1st of match as of a Pre-Order at Penon for 400USD. For me it was worth the blind buy. I heard a lot of good things from Tansio Miriai so when I saw these coming on pre-order I jumped the gun.
Quick the switches there 7 different tunings and 3 recommended tuning Tansio Miria themselves. I left the graphs at the end. Personally I stuck with the 100 mode lifted the bass a bit + a lower mids got that little kick. With Easytips wide bores

Driver: 2 x dynamic + 4 x balanced armature + 1 x custom film retarding driver
Material: 3D printing high quality resin shells.
Impedance: 10Ω
Sensitivity: 103dB

Tonality: i felt it takes on more of a L shape on the 100 possession while the 003 becomes some more of a natural signature. 020 goes into a U shape. Very well done in my eyes. The bass hits the decay is quick, a very nice attack on string instruments. The dip in the mids didn’t bother me at all since I mostly listen to rock, new-metal, metal and 80-90’s rap and some Jazz, Soul and Blues. Vocals where nice Female or Male, Females are a tad bit more forward then Male, Male Vocals get that extra warmth from the bass region. I want to find out what every type of singing that Chester Bennington did felt really lively. For the saddish songs all the way to the long screams he can hold and do. RIP my favorite artist.

Bass: nice thumpy bass, quick in decay that does not linger in your ears, the rumble is also very well controlled. Bass hits one the bass hit is done and it also leaves the stage. and makes place for the other notes that are following. Even though it looks like a Heavy bass I found it personally very nice and done in a very controlled manner. The heavy deep hitting notes on a guitar like the E at about 83 Hz. Those are well executed even going up the range in notes the attack remains the same controlled manner. I didn't feel like the bleed that much into the mids like the graph shows us.

The Mids, lower mids are a bit recessed. There some instruments and notes can have lesser energy. after around 600-700hz already start to rise in until the upper mids. Due to the real rise of the mids there comes back that detail that can be given into the mids. Are these mids for everybody no, and not for every genre. The upper mids makes the Female vocals pop there is a nice balance then between the bass and the upper mids to give them equal note weight. They blend them well into each other. Some prefer more mids and I can understand why. some genres aren’t gonna be played back as well then others. But the driver in this case is very much in control, ruling it with a kinda a “iron fist”. They are rigid but yet clear in presentation.

Treble: after the pinna peak this rolls back off. so make room for the treble and give this IEM a very nice openstage effect. it’s not sibilant in any shape or form to me. It also feels nice and controlled by the driver in place. So you have the Vocals more upfront and the lead signings a bit pushed back and this I found to be really nice that it keeps the soundstage nice wide and open so you don’t get the feeling that it’s forced and cramped in space.

The Technicals. there in my eyes far above average of what i heard so far. Special with that Custom retainer bin to control the back pressure. It feels that the drivers in general have more air to breath and they can play more easily and in a controlled manner. it really scales well with mid-fi and probably scales even better with high end gear. I personally used a Fiio KA 17 connected to my laptop with Tidal and some local files. Even on busier tracks it holds its own stays in control.
Tansio Mirai did a good job to keep the soundstage nice quite open, in my book an above average for the soundstage. doesn’t feel cramp. Even on older tracks and somewhat worse recording it still tries to keep it open. Where other fall flat

But all said and done. Is this gonna be for every one i think not. if you want a very good bassy IEM that does things well this is one to grab. and ofc i can only speak for what i have in my possession. Some Genres of music will shine far, far more than others. So it’s gonna depend on your library of what music is in it. I have one nit pick with the package. The case is sooooo tiny how I'm supposed to fit them in there, so crammed and stuffed in there. I wish it had a slightly bigger case in the back.