TempoTec IM05

Introduction

Tempotec, the well-known brand from China, continues to move forward with new products for its catalogue. Specialising in DACs/AMPs and dongles, it is lately diversifying its products with the DAC Streamer Serenade X, the small desktop DAC/AMP MARCH III, the excellent DAP V6 and now it is daring with its first IEMS. These are 1DDD+4BA hybrids priced under $150, at $139 to be precise. The dynamic driver is an 8mm LSR unit, for the mid frequencies it uses the BA composite driver SWFK 10006 and for the high frequencies it uses the BA composite SWFK 31736, both from Knowles. The cable used is oxygen-free silver-plated copper and consists of 4 strands of 112 0.05mm strands. It comes with a 3.5mm SE plug. The capsules are made of resin with a classic semi-custom design with good volume. There is a choice of two colours, black and transparent with a silver outer face.
According to the brand itself, the IM05 headphones are named after the classic Tempotec nomenclature, which classifies the devices by musical forms, such as Sonata, Serenade, Variations, Fantasia, Waltz and now Impromptu. IM stands for Impromptu.
For this review, the model used was the black one. Let's see what Tempotec offers us in its first IEMS model.



Specifications

• Driver Type: 1DDD 8mm LSR, 2 drivers BA SWFK 10006 for mid-high frequencies and 2 drivers BA SWFK 31736 for ultra-high frequencies.
• Frequency Response: 20Hz - 40kHz.
• Sensitivity: 99±1dB
• Impedance: 30Ω ± 10%.
• Channel Difference: 1dB.
• Maximum input power: 20mW
• Jack connector: SE 3.5mm silver plated
• Capsule Connection Type: 2Pin 0.78mm
• Cable length: 1.2m ± 5cm
• Cable Composition: 4 strands of 112 strands of 0.05mm oxygen-free silver-plated copper.

Packaging

The Tempotec IM05 comes in a medium sized black rectangular box of dimensions 117x117x77mm. The main face is the profile of a capsule seen from the outside. Above it is the model name in large orange gradient letters. Underneath is the configuration of the drivers and, at the bottom, the brand logo. On the sides you can read the brand's slogan. On the back side there is very little information, the model name and the small description are repeated, the brand's web address and the e-mail address are in Chinese and English. You can see a sticker with the EAN13 code indicating that it is the "black" model. Finally, the brand's logo and slogan can be seen in the bottom right corner.
After opening the box, you can see a round, black zippered case, which is bulkier than usual. It is housed in a black foam mould. Underneath is another level separated by a black cardboard with the logo. This is a small case containing the user guide and warranty cards. Finally, there is a kind of envelope, also made of black cardboard, which contains inside a foam mould where the silicone tips are housed. The capsules and cable are inside the zippered case. Each one of them is inside a transparent zip pouch. There is also a small carabiner. In summary, the complete contents are as follows:

• The two IM05 capsules.
• The cable.
• One carabiner.
• One zippered case.
• 3 pairs of wide-core grey silicone tips, sizes SxMxL.
• 3 pairs of grey narrow core and black silicone tips, sizes SxMxL.
• 3 pairs of narrower core black silicone tips, sizes SxMxL.
• User guide.
• Warranty card.
• Warranty certificate card.

The highlight is the zipped case. It is larger than usual and round. Inside it has padded hexagons and is spacious, the IEMS fit perfectly. Even though it is bigger, it protects very well and the extra volume inside is appreciated when storing the IEMS, as well as the extra protection. 3 types of silicone tips is not bad at all. Although it's not the most luxurious presentation, Tempotec has, as usual, aimed for practicality in the packaging, as well as more effective accessories than gimmicks. And that's appreciated.



Construction and Design

The model described is the black one. The IM05 capsules have a semi-custom design, medium-large in size. They are relatively bulky, especially because of their thickness. It is true that the outer face is not very large and it is a stylised version in the shape of an African continent. The mouthpieces are designed and oriented according to the semi-custom shape. While the outer plate is metallic, the rest is made of very smooth and light resin. The right plate has the brand logo and the left plate has the brand name, in yellow inscribed ink. The surface of each plate is micro-textured. It is true that the capsules are slightly translucent. On the narrow-sided rim is the model name, in yellow lettering. The zero is a hole surrounded by a small golden cylinder. On the long edge is the 2Pin 0.78mm connection, fully integrated into the body of the capsule. Next to the transparent plastic insert containing the gold-plated double female connection, the letters R and L are circled and written in gold ink, indicating the channel. The inner side has a projected edge to anchor on the root of the helix. The mouthpieces have two levels of diameter, the first and narrowest being 5.3mm, while the rim is almost 6.2mm. The mouthpiece itself is short, less than 4mm, but its base is well projected. The orifice is protected by a perforated metal grid.
The cable consists of 4 intertwined strands. Each strand has 112 strands of 0.05mm oxygen-free silver-plated copper. The black model has a dark copper coating. The rest of the parts are simple metal cylinders. The sleeve of the 3.5mm gold-plated plug is straight and has the brand name written lengthwise. The divider piece is a black metal cylinder. The pin is a simple, small metal ring. The sleeve of the 2Pin connectors repeats the pattern and indicates the channel by means of a corresponding white lettering and a plastic ring at the base of the two connectors, red for the right channel, transparent for the left channel. Both pins are gold-plated. The cable has over-ear guides and is a bit thick, yet manageable and flexible, its stiffness is low, nor does it have much tendency to take shape. The connectors are not very heavy and the capsule plus cable assembly is light.
It is a classic but effective design, not too flashy. The outer sides are very simple and only the colour of the transparent model is more eye-catching because of its silver tone and because you can see the inside clearly. My black model loses that possibility and is much more nondescript.



Adjustment and Ergonomics

The capsules are bulky, but the semi-custom design of projected mouthpieces, pronounced valley and high rim, makes the fit unobtrusive, overcoming the root of the helix without problem and without rubbing it excessively. However, this effect may be limiting in the choice of tips that allow for a comfortable fit. Attempting a deeper insertion may increase the pressure on the root of the helix and cause discomfort as the hours go by. With a shallow insertion with my large foam-filled home-made tips, the fit is very good, achieving a very occlusal fit and very good sound insulation. Thanks to the anchoring, the capsules do not move out of the shell, as they do not rotate.
Although they clearly protrude, as they are very light, there are no problems with them falling out during daily activities such as walking, commuting, moderate activity, etc.
The thickness of the mouthpieces may limit the use of alternative tips, as a wider or more flexible core is required.



Sound

Profile

One could say that the IM05s have a W-profile because of their three peaks. In short, though, one could almost say that they are V-shaped IEMS. The low range is relatively linear up to 100Hz and then there is a steep drop down to 600Hz, with a valley extending down to 1kHz. From here, there is a double climb, first to 2kHz and then to 2800Hz, which is very pronounced (almost 10dB). Here there is a very sharp "cat's ears" curve, which ends at 5kHz, and then suddenly descends into a rather abrupt control zone towards the air zone.
The profile is not balanced, after a thick and wide bass, the first half of the midrange is rather backwards. Then, the mid-highs are truly exalted, ending in an initial sparkle in the treble. After that, the high-mid and high treble decay quite a bit.



Bass

The bass is quite rounded, extensive, powerful, somewhat rubbery. It has a medium velocity, it feels like it leaves a certain aftertaste in the environment and its recovery is not immediate. All this means that the volume and space occupied by the bass is relatively large. There is something dark about them, which is capable of infecting electronic music. There is weight and punch in the kick, yet it doesn't feel visceral, it's more big than raw. Another feature that limits that feeling is the roundness of the surface. In this sense, its surface is relatively smooth, the texture is more smooth than descriptive. The bigness of the bass is felt more for volume and physicality than for energy in a full stroke. It is the build-up of the bass that can become saturated, as well as the low flexibility of the bass. It is not a very dynamic ensemble in this respect. Between the afterglow, the somewhat slower retrieval and the volume of the bass, the result is a not too high resolution and an average, even somewhat diffuse definition, implying that consequent saturation of the bass space, which tends to take up a lot of space in the music, but also inside the head. If the music tracks lean towards sub-bass, the IM05s can handle the situation better. But if it's more classical electronica, with thicker bass drums, the IM05s may be too much. Without being better, technically speaking, the sub-bass is more natural and deeper, with a good darkness and a tighter behaviour, but it still gets away with a lot of power and volume. At this stage there is more control, a more prominent roughness. As the frequencies get higher the bass begins to overcrowd and lose its ability to recreate concise planes and discernible bass lines. Even so, in complex, unfiltered bass-saturated songs, the resulting sonority is even pleasant, kept under control, without becoming saturated and without misbehaviour. On the contrary, in these complicated situations, the IM05s remain musical and realistic, managing to round off the situation, without losing their temper, at the expense of the result becoming overwhelming. And this is much more than others are able to do.
In the pure tone test, darkness and gomosity can be felt in the reproduction. On the one hand, this gomosity is attractive and may be responsible for rounding out and softening complex situations. But it can also be responsible for adding that more diffuse, less defined and less precise touch. On the other hand, the darkness is nice in bringing realism and naturalness to the reproduction, recreating a sub-bass that is more sensory and also, charged with energy. The timbre is appealing in that respect, as is the vibration produced, more apparent in the LFOs than in the low-mid.



Mids

This is undoubtedly the most polarised and unbalanced area of the IM05. Although what we can see in the graph does not translate so clearly into the sound, it is obvious that the first half of the mids is perceived as being far away. The male voices are sunken, although their recreation is not bad at all. This implies a desire to seek to enhance them by means of the volume, turning it up more than necessary to enjoy them, making the mistake of finding the undesired imbalance, obtaining much more bass and a more present mid-high range. As I say, the recreation of the male voices is relatively accurate, they have a certain warmth, a good amount of detail and nuance. But their remoteness allows them to be enjoyable as a whole, only in those vocal pieces with few instruments, where their quality can be glimpsed. In many other situations, the bass is closer. But, above all, it is the high-frequency flashes that are placed above the fundamental, bringing them to the edge of sibilance when the clicks are evident. In this situation, the result can be somewhat abrupt, harsher, even metallic and piercing. And it is here that the control of the male voices and the good timbre they possessed when they were quieter is lost.
On another note, in this first half of the mids it reaches a zone that feels thinner and finer. It's as if the sinking thinned the notes, to add extra definition to them. Certainly, this zone feels like the bottom of a cone: it is concentrated, thin and deep, but as you get closer to the edge it becomes more spacious and discernible. However, this cone is transparent, quite precise and defined. In this respect, the mid-range has some analytical ability as it approaches the higher frequencies. However, the sonority is not as adequate. The female voices combine a more realistic part with rougher and less pleasant high details, achieving a more penetrating result, even unpleasant in some situations. The detail and nuances show at first glance, but at times they are rough, unpolished, very raw, making that unrefined BA driver look and sound clear. Detail and definition are obtained, a cleaner, more analytical sound is achieved, but at the cost of losing naturalness, bordering on sibilance and obtaining a penetrating, incisive brightness, which can become fatiguing. Undoubtedly, the imbalance between the fundamental and the details, the fineness and thinness of the notes, the lack of weight and thickness of the first half and the difference in distance between the first half and the second half of the mids, greatly penalises the recreation of a central range that moves away from realism, naturalness and musicality, to become an exalted zone full of contrasts.



Treble

The treble is sharp at first, but then moves into a much clearer and more nuanced control zone. Actually, this can also create an imbalance. In the face of an initial vivid and vigorous sparkle, the harmonics feel more subdued, getting some uneven and over-emphasised treble initially, but not suitably extended, even nuanced when the frequencies are higher. The first highs can become penetrating and sharp, before moving into a more normal and controlled zone. This makes the contrast evident, the sonority and timbre not the best. Even the BA character of the drivers is revealed.



Soundstage, Separation

With a sound that has clear analytical capabilities from the mids onwards, with fairly voluminous bass, two clear characteristics are achieved: depth and volatility. The clarity and forced definition of the BA drivers makes for a more ethereal sound, marked by details that are evident and at the forefront, but have a certain level of vapour needed to distribute themselves ethereally in the environment. This sense of splashed detail allows for a slightly surrounding appearance, with a subtle out-of-head feel. However, the scene is not very wide, the impression of distance from the mids and its conical representation means that the oval of the image does not widen and the frontal exposure predominates, albeit with a notable height. In this way, the representation of the scene is not completely natural. It has the appearance of being large, but it is penalised by the distance of the mids and by the first highs being too close together. Both the mid details and the lows are the elements that help to make the scene more dynamic, although not as much as would be desirable.
On the other hand, the neatness in the development of the notes, their rawness and definition, bring a level of resolution, separation and clarity that is obvious. Even the background feels dark and the sense of transparency is high, only blurred when the bass dominates the music.
As for micro details, they have a tendency to disappear due to the proximity of larger, more obvious details. If the fundamental frequency of the detail is around the high-mids and first highs, they become too evident, masking the other small nuances to the right and left of these frequencies. This is sometimes a pity, because with a different tuning, the IM05s would be much more democratic with details, gaining presence in a much wider frequency range. In this way, the revealing virtue of the drivers seems to be wasted because of the tuning imbalance.



Comparisons

TFZ Tequila Pro

As usual, I like to compare IEMs with a similar frequency response. One of the IEMS that fits these characteristics is the TFZ Tequila Pro. It is a model from last year, a revamped classic with a W-profile, a particular cylindrical construction, a 1DD driver with a wide frequency response range. Its starting price is more expensive than the IM05s. While the Tempotecs are priced at $139, the TFZs cost $179.
In terms of construction and size there is a clear difference, the TFZs are metallic and cylindrical, while the IM05s have that semi-custom shape that uses resin as a material, apart from the outer face. The TFZ are smaller, but with a more controversial ergonomics, with which it is not so easy to reach the best fit, due to their short mouthpieces.
In terms of sensitivity TFZ has always been one of the most sensitive IEMS brands in its entire catalogue. And this is something that is noticeable with the Tequila Pro, as they are very easy to move. The IM05s need considerably more power to match them in sound pressure.
Another thing that jumps out is the level of brightness: the IM05s are splashier, brighter and more penetrating in those first highs. The detail in that range is more noticeable and closer. The treble and, in general, the notes from the mids onwards are finer and more defined in the IM05s. The TFZs are smoother and somewhat more diffuse in presenting detail. At the micro level it is not able to reveal the same amount as the IM05. But in those nuances that are lost by superimposing others, in the TFZ they are only hinted at. The level of resolution and definition is more relaxed in the TFZs, but they are also less penetrating, sibilant and lacerating. I find that the TFZs don't have such incisive mid-highs and this manages to relax a profile that is also abrupt. The mids of the TFZ are somewhat fuller, with a more natural sonority, even the highs also sound more realistic due to the better balance and coherence of the driver. It can't compete in resolution, definition, separation and clarity, but it can compete in naturalness and musicality.
The bass of the TFZ is a bit more focused on the sub-bass and more compact than the IM05. I still think that the TFZ basses are a reference and I have always liked them, maybe it is their most characteristic seal. The Tequila Pro's are no less in this aspect, they have a fast and powerful punch, their surface is smooth and round, while their roughness is smoother. The IM05s are pretty good too, they are a bit more expansive and a bit slower, with a bit more dwell time and take up more space. But I like their texture and roughness, something that makes them more expressive and descriptive. They are a different flavour, with a bit more viscerality, with a sonority that rips a bit more. On the other hand, the TFZs have a more classic and refined bass, more canonical. Tempotec has given a point of difference to the bass of the IM05s that can be a lot of fun. Finally, the bass of the TFZs, believe it or not, is not as invasive as that of the IM05s, perhaps because of their greater inclination towards the sub-bass and their smaller footprint.
In the mids, the male voices of the TFZs also sound distant, soft and light-bodied. On the IM05s they seem to be a little more grounded, with more definition, a little more body, which makes them feel subtly closer and also fuller. In the appreciation of the midrange, the tips used can play a trick on the TFZs, as well as their ergonomics.
The female voices have a similar level of sound, but in the TFZ they are softer and don't feel as forced. The descriptive level is still higher in the IM05s, but there is also a more obvious possibility of sibilance in them. There is more clarity and brightness in the mids of the IM05s, also more separation and definition. The TFZs are more cohesive, smooth homogeneous and more musical.
Stage-wise, the TFZs offer a more classic and natural presentation, being wide and deep, without too much headroom. The IM05s are more surrounding and their presentation is different, more volatile, with more height, with more projected and separated elements. There is less precision in the image layout of the TFZs, while it is easier to discern the elements in the IM05s.
As a conclusion, I would have liked the IM05s to have those softer touches that do exist in the FR of the TFZ Tequila Pro. Surely, the Tempotec would have been more successful, not only in technical aspects, but also in more sonic aspects.



Conclusion

The Tempotec IM05 is the first IEMS from the DAC/AMPs and dongles specialist brand with a great price/performance ratio. It was designed to match their excellent DAP V6 to match their temperament. It is an IEMS 1DDD+4BA with classic Knowles drivers and that is something that is noticeable in the somewhat more abrupt performance in the frequencies they act on, i.e. mid and treble. In the low end, the LSR dynamic driver recreates a large, wide, voluminous range, which has a good deal of roughness, descriptiveness and energy. It is a V-profile with a bright tendency and analytical character, with good definition and resolution, but with a mid-high and first treble that are too present, which can polarise the sound by attracting the protagonism towards that range, to the detriment of a relatively distant first midrange. Just by smoothing the frequency response and getting a bit more out of the highs, the result would have been more homogeneous and satisfactory. In the current case, it is a less audiophile profile, more polarised, but it may still have its audience due to the absence of other similar tunings in these times.



Sources Used During the Analysis

• Tempotec MARCH III
• Tempotec Serenade X
• Tempotec Sonata HD V
• Tempotec Variations V6
• Tempotec Sonata E35

Purchase Link 1
Purchase Link 2



You can read the full review in Spanish here

Introduction

TempoTec is a Chinese company that is already well-recognized in the audio world thanks to products like the TempoTec Variotins V6 DAP and the affordable TempoTec Sonata HD PRO dongle.

Now, the company has ventured into unfamiliar territory: the IEM market. Their first release, which I will analyze here, is the TempoTec IM05, a hybrid IEM with 1 dynamic driver and 4 balanced armatures, available at a price of $139 USD.


Video Review here

Previous Reviews here

If you wish to read this review in Spanish, click here



Disclaimers:

• TempoTec kindly provided me with this product for an honest review. You can find the IM05 here: https://www.aliexpress.com/i/3256805447585451.html?gatewayAdapt=4itemAdapt (Aliexpress Official Store)
• Analysis over 4 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16-bit - 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)

Unboxing, Build & Comfort

The presentation of TempoTec's first IEM is impressive. The box that contains the earphones and their accessories is substantial in size and features different "layers" where we find the various elements of this product.



As soon as we open it, we can see the case that holds the earphones, each individually wrapped in a small bag, the cable, and a clip to use with t-shirts or shirts. After taking out the case, we continue to explore and find a rectangular box that includes a wide variety of silicone tips that TempoTec offers with the IM05.



Starting with the IEMs, each one has a resin body with a metallic faceplate that feels toy-like. They are surprisingly lightweight for their enormous size. However, I don't think it's a construction that deserves praise, and for a price of around $140 USD, they feel like cheap IEMs.



On the inside, the IM05 features 1 dynamic driver made of liquid silicone rubber (LSR) in charge of the bass, 2 balanced armatures 1006 for the mids, and 2 balanced armatures 31736 for the treble. Additionally, despite its specifications of 99 sensitivity and 33 ohm impedance, I found it is an IEM easy to drive, with the TempoTec Sonata HD PRO being a good companion for these earphones.


Not the best photo due to black resin

The cable is one of the best accessories included with this pair. It's a 0.78mm 2-pin cable, composed of 4 cores with 112 strands each, made of oxygen-free copper (OFC) plated with silver. Here, it seems they missed the opportunity to include interchangeable terminations, but apart from that, it's a great cable.

As for the tips, they are all made of silicone but vary in their design. The IM05 provides us with three balanced bore tips, three narrow bore tips, and three wide bore tips, allowing for a high level of customization for each user's comfort and sound preference.



Something that I don't give much importance to in many cases is the included case. However, TempoTec has provided one of the best portable cases I've had the pleasure of trying so far. It is made with a type of nylon that covers its entire exterior and has ample size to carry both IEMs and any dongle or extra tips if needed. In addition to being spacious, it has admirable rigidity, ensuring that what is stored inside is well protected.

Comfort is something that needs to be addressed seriously. The IM05s are IEMs with a relatively large nozzle (6mm approximately) along with a bulky in-ear housing due to their numerous drivers. These characteristics make them fatiguing to wear after a few hours, despite their lightweight. The good thing is that once you find the right tips, they provide kind of a decent seal.



Frequency response description

Credits: https://cqtek.squig.link/

• U or V shape signature
• Abundant subbass and bass
• Recessed midrange frequencies
• Prominent peaks in the 2.5kHz and 5kHz region (affecting female vocals)
• Higher frequencies also have an additional boost

Subjective sound description

Bass

I usually provide a wide range of song examples I listened during my analytical and relaxed sessions, but here I will primarily use one song that emphasizes the qualities of both subbass and bass.

"Suburbia" by Tove Lo is an EDM song with a good amount of subbass and bass, combined with the main artist's vocals. Both low frequencies are accentuated in this set and have the characteristic of reproducing these sounds with a "boom", showing little definition and texture in the bass department. Additionally, it tends to rumble without apparent reason, overshadowing the vocals of the song's protagonist and blending both frequencies (subbass & bass), making them very difficult to separate from each other.

So, we have seismic sub-bass and bass that rumble, taking away clarity from the mid frequencies. This greatly affects one of my favorite genres: Heavy Metal, where it emphasizes bass and kick drums when it shouldn't, overpowering the singers and electric guitars on stage. However, they do a decent job with genres like Electro Swing, for example. In "That's Right! (Jamie Berry Remix)" by Swingrowers, there are synthetic sounds at play, and I can appreciate the somewhat uncontrolled punch that the bass delivers.


Mids

I have never heard more distant vocals on any other IEM out of all the ones I have tried.

During Queen's album "Greatest Hits," I found myself turning up the volume more than usual to make Freddie Mercury's voice more present. In some songs, it was a viable solution, but in others like "Another One Bites The Dust", where the bass is constantly playing, the sub-bass/bass of this instrument really makes it difficult for the lead singer to shine. Another example of this can be heard in the song "Mil Horas" by Los Abuelos De La Nada, where both the guitars and the male vocals sound distant, and the most authoritative elements are the bass notes along with a short cymbal.

Despite what I mentioned, male vocals retain a correct but dark tonality. However, with the female spectrum, singers who reach quite high notes like Adele in songs like "Million Years Ago", can be piercing to the ear due to the exaggerated emphasis on the high frequencies. Also, due to the significant peak around 2.5kHz, other instruments in this range such as violins and cellos take on a slightly metallic tone, as I witnessed during Mozart's "Symphony No. 4 in D Major, K. 19: II. Andante" performed by The Mozartists, but still retaining good characteristics in terms of sound resolution. On the other hand, wind instruments like horns, trumpets, and oboes have a less piercing character to the ear.

During Heavy Metal albums like "Foregone" by In Flames and "Rust In Peace" by Megadeth, I can appreciate that the hybrid driver setup is fast and precise in reproducing the instruments, giving the electric guitars a good bite (despite a metallic tonality, similar to other string instruments), but overall, the thin midrange ruins the sound enjoyment for me.



Treble

The cymbals in the album "Live Undead" by Slayer sound piercing and somewhat artificial, I would say. The attack and decay of this frequency range are agile, fast, and precise, although not as enjoyable as it quickly fatigues the ear. The triangle that sounds during "Act I: No. 2 Valse (Corps de Ballet)" from Tchaikovsky's Swan Lake also leans towards sharp treble, where the emphasis on that instrument is correct but overly fatiguing. Despite being aggressive, it retains a good amount of detail, showcasing the capabilities of the incorporated drivers.

In summary, it was the frequency that bothered me the least, with certain tonality errors and strong peaks, but still showcasing details in the music.


Soundstage & Imaging

From my usual testing with the album "Live After Death" by Iron Maiden, I concluded that the soundstage has a decent sense of width, and with the album "United Alive in Madrid" by Helloween, IM05 also demonstrated a remarkable depth.

The imaging is slightly affected by the thin mid frequencies, but it still manages to accurately position the instruments on the stage. During "You Know I'm No Good" by Amy Winehouse, it impeccably placed the wind instruments on the right, the guitar on the left, and more centrally, Amy alongside the drums in the background.



Conclusion

TempoTec has shown that they know how to provide a premium experience when it comes to the packaging of their products and the included accessories. For their first product in the IEM market, the team has managed to make the drivers provide very good detail definition and other notable aspects such as appropriate soundstage. However, the sound signature still has a long way to go in terms of improvement, and I hope to see this brand succeed in the future if they refine the tuning of their upcoming releases and improve the build quality.

Last-minute edit: While taking pictures of the IM05, one of its faceplates came off, so I had a glimpse of its internal connections. This makes me lower my rating by another half star.

TONALITY: 6.5/10
TECHNICALITIES: 8.2/10
CONSTRUCTION: 8/10
SOUND VALUE: 7/10

Tempotec is a chinese audio company specialize in DAC-AMPs and Dongles. But they do DAP as well. And today I will review their very first IEM, the IM05.

Priced 145$usd, the IM05 is an hybrid IEM using 1x 8mm LSR dynamic driver+4balanced armature.

Let see in this review what I think of very first IEM offering from Tempotec.

CONSTRUCTION&ACCESSORIES



While not bad, the construction feel a bit rough, especially the light alluminium back plate which scare me in term of durability. But not only that, it can produce intense metallic resonance if we tap it with our figer. It's a shame because if it was all resin plastic housing, it would have been great construction but this cheap back plate is prompt to easy scratch and ruin the feeling this will be durable earphones. Nonetheless, it make 2 months I have those and they aren't broke, but yes, the alluminum is very easy to scratch.

Devil hide in the details, so 2pin connector isn't perfectly embeded, again a sign of rushed craftmanship. Plastic part is good as said, and have an ergonomic ear canal like shape with long enough nozzle. Its light and comfy, with low isolation capabilities.



The cable is very good. It's a 4 strands braided silver plated crystal copper. But it's a 3.5mm cable and it seem you can't choose balanced cable, which is a downer.

In term of other accessories we have a basic carrying case and some silicone eartips. It come in a box, with nothing else than this. So very minimal packaging.

SOUND IMPRESSIONS



Ok, these are one of a kind when it come to peculiar musicality these deliver, it's a technical sounding set with boosted clarity and presence sharpness, yet softed texture details so it have a vividly organic tonality that sit between W and U shape.

In fact, If you have listen to the Tempotec V6 DAP, it kind of follow the same musicality approach, where sens of transparency and imaging is pushed as well as crisp openess. Personaly, I wasn't very afound of this kind of dynamic range balance, which is edgy in attack but lack proper sens of note weight and mid range dynamism. The IM05 sure isn't tuned to please my ears, so I will try to be as objective as possible.

Let say it remind me a bit spikier harman target, but with more slam and more energic upper treble, as a timbre fulness lover, the IM05 sure sound thin and cold, keeping me distant from the music, i'm an observer here that isn't part of the music but can clearly perceive it's sounds layers.

The bass isn't what I would call well rounded and define in mid bass impact, it have a sub bass focus boom to it as well as resonant and airy rumble that feel thin and lack flexbility. It's dominant to and feel blurry in resolution, lacking texture and clean separation and definition. Since it's not very chunky or textured, sens of transparency is boosted, which benefit the layering. But their an ''echoed impact'' that feel unatural too. Separation between kick drum and bass line is poor since the bass line will dominate and mid bass resonance will blur the kick definition. Yes, thei something very wrong with bass response here, it's imprevisible what you will get but for slow pop, soul and R&B its not a big issue, it is for lean acoustic bass extension, proper kick definition-texture-separation and proper rumble. I've never heard bass response like this and it's not a good sign. Thumpy echo'ish fun? I guess, since there are not bass light even if IM05 is note weight light.


Mid range is the worst part of IM05 and I would never suggest these to mid range instruments or vocal lover. Its crisp and open but feel distant and light in dynamic. Resolution is good but softed in definition edge. Presence of each instrument is boosted with darkenen texture that affect proper timbre fullness restitution, the violin and saxophone sound off for ex, overly boosted in higher pitch so it have a metallic sheen to it. Piano sound distant and lacking note weigh even if attack is fast and .
The female vocal are fowards and gently bright, thin and timbre is a bit artificial, while violin can sound metallic. Pinna gain is a bit high, so for female vocal higher pitch it can create fatigue. Let just say presence is boosted and harsh part of texture softed. These are clinical mids to my ears, but with boosted sens of transparency that can benefit some instrumental music like classical if you don't care about timbre naturalness since violin aren't lush and piano note are a bit light.

The treble is vivid but softed in definition edge, this is what make me think of some harman tuned IEM but this one is more spiky and snare can be too hot and agressive, surprising the listener with a loud impact. It's a very strange treble to describe because with some music like classical, it can be very impressive in term of transparency, resolution and attack speed. It's technical sounding and open, even airy though their not alot of sparkle, decay and brilliance which is something very common with balanced armature. Highs are thin too, it's hard to perceive attack lead and the snap is a bit overly softed.
Electric guitar sound off, due to this softed textured bite it's too dry and polished in details.
Micro details are OK, but lot of sound info are lost in the mix still. IM05 will pick up the most metallic sounding percussions and let other in the dark, which explain an imprevisible result depending of instrument used.

Soundstage is impressive, and one if not the only one highlight of IM05, its very open and airy, taller than wider but still quite wide and mostly very deep.

Imaging isn't the most accurate but we have good space in Y axis for sound layers, and X axis too, it's just not very realist in rendering due to recessed center stage which make random sound being sharply separated, mostly random percussions part.

COMPARISON



VS LETSHUOER DZ4 (3DD+1PR)


DZ4 is warmer, more balance V shape and main difference is thicker, more natural timbre that offer fuller mids and bass.
Treble is darker though, and spatiality is less open and airy.
IM05 sound more technical, W shape with sub bass resonance boost, recessed in mids which are notably thinner and more artificial (colder)timbre wise
Upper mids are more upfront with IM05, treble is more focus with sharper definition and attack speed which make the DZ4 sound darker, bit rolled off pass 10khz, so less sparkle, brilliance,decay.
Note weight is heavier, bass is warmer less well separated but better rounded, chunkier, punchier, more textured too.
Soundstage is notably more open, wide and deep with IM05. Imaging too is next level compared to thicker more blurry, thick in layering DZ4 which doesnt offer same level of transparency.

All in all, technical peformance is notably superior with the IM05, but tonality is more clinical and timbre lover might prer the DZ4 which feel more mid centric and less spiky, less prompt to hear fatigue than IM05.

VS KINERA GOLDEN 2.0 (1DD+2BAs)

Golden 2.0 is more mid centric, again have denser more natural timbre but this time with open and deep soundstage enough. IM05 is more bassy and vivid sounding with more sub bass resonance, less well define mid bass punch and less well layered sub bass line.
Mids are thinner, colder, edgier with higher pinna gain so more shouty too with IM05.
Then the treble is more spiky, energic, snappy and airy. Its thinner and less balance and cohesive and full sounding than Golden, as well it have more metallic texture to it.
Soundstage is still wider,taller, deeper with IM05 and imaging have more space between instrument and more transparent, less compressed layering.

All in all, my conclusion is similar than above comparison with DZ4, the Golden sound more natural, neutral, cohesive, with heavier note weight, even more mid centric tonality and darker upper treble that lack a bit of air while IM05 have too much air and a scooped treble region that make us feel its super clear sounding to the cost of some sound info lost. Musicaly, i enjoy the Golden way more.

CONCLUSION

While the IM05 doesn't trigger any emotional response to me, it's still impressive for a first IEM release from a company that is specialize in dac-amp, DAP and dongles.
But I'm not sure they should distract themself with IEM offering like this that suffer in it's tonal balance, which is boomy, spiky and clinical at the same time, with an overall thin and non engaging mid range.

These will impress treble head and does seeking fake clarity or airy open soundstage, but will shock the ears of those seeking natural timbre and full bodied mid range.

Simply put, the IM05 are nichely tuned and deliver impressive technical performance for the price, imaging is more than decent as well as overall resolution, just don't expect a smooth balance nor natural timbre. Which plenty of sub-150$ IEMs can offer with great technica performance as a bonus.

Potential is there, but tuning talent isn't.

Half recommended!


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PS: I want to thanks Tempotec for sending me this review sample. As always, i'm 10000000000% unbiased and a free spirit that share it's subjective sound impressions.

You can order the Tempotec IM05 here for 109$ (30$off coupon available on site):
https://www.aliexpress.com/item/1005005633900203.html