TFZ x Angelears Athena

Introduction

Every good IEMS fan is familiar with The Fragrant Zither (TFZ) brand. The Angelears shop, made up of audio engineers, electronics manufacturers, audiophiles and musicians of all ages, believes in more than a union of elements or a simple frequency response. It believes that experience, the fusion of acoustic designs, tuning and user feedback all play a part in the products. That is why the shop meticulously selects products with a particular history, a lot of passion and authentic engineering. The shop aspires for its collaborative efforts to be an interactive process that strengthens designs by gathering authentic feedback, which in turn drives the creation of superior designs and greater user satisfaction. Building on this foundation, Angelears wanted to revive TFZ. The Goddess Megami was the cornerstone of TFZ's design philosophy before being succeeded by the Super TFZ line. There were always users who praised the fine tuning and elegant aesthetics of the Megami series. It was in this way that Angelears set out to revive this beloved product line. The new Megami series seamlessly integrates the latest tuning trends in the market and retro timbre. The first collaborative product, ‘Athena’, features a vibrant resin housing and a high-sensitivity transducer unit specifically tuned for Asian pop and instrumental genres. Athena delivers solid bass response with extended treble performance, ensuring an immersive listening experience that brings out the nuanced details of each track, and provides sufficient power in outdoor bass listening. Inside, it uses a dynamic driver with a beryllium-plated diaphragm, which has outstanding rigidity and low mass to facilitate a fast response to audio signals, generating extraordinarily clear and accurate sound reproduction. TFZ employs a high-flux magnet paired with a voice coil unit inside a meticulously designed dual-cavity, dual-path chamber. This synergy enhances the ability to capture the subtleties and nuances of music, allowing listeners to fully appreciate the complexities of a wide range of instruments. The Athena capsules are meticulously manufactured in resin using advanced CNC machining technology. This innovative approach ensures consistent resonance performance and eliminates variations that could compromise sound quality. The ResinArt panel features a captivating colour scheme that fuses rich dark blue with vibrant hues, embodying a sophisticated vintage aesthetic while elevating the headphones' dynamic vocal performance. TFZ's design philosophy focuses on efficient, low-distortion dynamic driver designs. By focusing on the entire frequency response range without crossover, TFZ aims for natural sound transitions and minimal distortion. This commitment to improved articulation and continued input to the same design domain allows TFZ headphones to achieve greater technical prowess without an unreasonable increase in price. Finally, the TFZ x Angelears Athena model is a limited edition of 500 pieces in each colour (Gold/Silver). Let's see what this collaboration has to offer in this review.



Specifications

• Driver Type: 1 dual-cavity, dual-path, dual Tesla-range, dual-magnetic dynamic driver with 10mm beryllium-plated diaphragm.
• Frequency Response: 5Hz - 40kHz.
• Sensitivity: 105dB.
• Impedance: 32Ω.
• Jack Connector: 3.5mm SE silver plated.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Length: 120cm.
• Starting price: $129.

Packaging

The TFZ Athena comes in a square, silver-plated box with dimensions 121x121x76mm. On the main side you can see the name of the model inscribed in the centre in a handwritten font. The TFZ logo of the goddess Megami and the name of the Angelears shop can be seen at the bottom. The brand name is inscribed on one side, and the TFZ website address is on another. On a third side there is a white sticker indicating that this is the limited Gold version. The back side is smooth. The box does not close completely, but both silver lids leave a gap in the middle, revealing a black interior. After lifting the lid, you can see that the other silver side acts as a base and that there is another black box inside. The first thing you see is a little black box with the slogan inscribed in silver letters and a plastic flap on the top to lift it up. This is the accessories box. Underneath are the two capsules embedded in a black foam mould with black cardboard glued on top. Underneath you can read the name of the model and the description of the model in silver letters. The complete contents are as follows:

• The two TFZ x Angelears Athena capsules with two medium sized white silicone tips.
• A blister with three pairs of white silicone tips with narrow core sizes SxMxL.
• One blister with three pairs of white silicone tips with wide core sizes SxMxL.
• One instruction manual.
• A black imitation leather pouch with the goddess logo in silver.
• One blue four-stranded cable, 2Pin 0.78mm interface and silver plated 3.5mm SE connector.

With a starting price of $129 the Athena comes with a good cable, two sets of tips and a classic leather pouch. What I appreciate most is the cable. The rest of the accessories don't deviate one iota from what TFZ itself has delivered in the previous models I own. Even the tip sets are the same as the classic models like the TFZ Tequila Pro.



Construction and Design

TFZ returns to a classic design very similar to its Live 1 model. It is a classic shape within TFZ itself, with a semi-custom design made of resin. The outer face is multicoloured with predominantly green and blue tones. In its centre is a crown with the golden logo of the goddess Megami that occupies almost the entire outer face. The crown can be chosen in gold or silver. On the edge is the overlay plate of the 2Pin 0.78mm connection interface. The capsule is semi-translucent. The inner side and the mouthpieces are part of the same body. On the side next to the connection interface is the name of the product as well as the letter indicating the channel of the capsule. In the centre of the inner side there is a hole. The nozzles are projected and slightly elongated and narrow. They have two levels, the first has a diameter of 5.7mm, while the crown is almost 6.3mm. The length is slightly more than 4mm from the first tier. The mouthpieces are protected by a metal grid.
The cable consists of four intertwined strands and is coated with a shiny blue PVC jacket, which is very eye-catching. The sleeve of the gold-plated 3.5mm SE plug is a smooth silver cylinder. It has a groove near the cable exit and has the model name written lengthwise in slightly darker grey ink. The cable outlet is not protected. The splitter is the same, but much smaller. There is no adjustment ring, although there is a white Velcro strap which, interestingly, has ‘SUPERTFZ’ written on it in yellow letters. The connectors are the brand's classic 2Pin 0.78mm protected connectors with a slightly rigid, over-ear shaped guide.
The design is a classic resin design that enhances the logo of the goddess Megami with a larger size. The colour and quality of the cable is remarkable, thick, very attractive, pleasant, soft and flexible. It's a pity that there is no possibility to choose a balanced plug, as is currently fashionable.



Adjustment and Ergonomics

TFZ semi-custom designs are very comfortable. They have a very rounded inner face with no edges, which provides a shallow fit, quite free from contact with the outer parts of the ear. If you have a relatively adequate canal, with the tips that come with them you could achieve a medium insertion, thanks to the projection of the nozzles. With my homemade large silicone tips filled with foam I achieve a superficial occlusive, but soft and long-lasting insertion. With other thicker tips the pressure at the entrance of my ear canals is higher. Here, that fit is precise, very comfortable, generating just the right pressure to keep the capsules very firm, durable and, at the same time, very pleasant to wear the model for many hours. This provides a great occlusive seal that enhances the physicality of the bass and increases the level of isolation and sound insulation.



Sound

Profile

The TFZ x Angelears Athena have an energetic V-profile in the upper mids. I feel a certain resemblance from the mid-range onwards to the TFZ My Love 4, but with a much more emphasised low end. It is true that it is quite far from the graphics of the classic Live series, No.3 or Tequila 1. If anything, it could be a re-definition of Tequila Pro, but with less bass and more treble. It is clear that something has changed in the tuning of these Athena's, which reminds me of tunings from another brand (see the Comparisons section).
The Athena has an extended low end, focused on the mid-bass and with a clear emphasis on the pinna area, with increasing gain from 2khz to 5kHz, so it should be taken into account for people sensitive to the upper mids and treble. Not surprisingly, this new model has been tuned especially for K-pop/J-pop and instrumental music. Clearly, as I have commented in other reviews, that level of energy concentrated in the upper mids and upper treble does not go unnoticed by my ears and implies some listening fatigue, as well as a preference for the choice of associated warm sources. It also has its advantages, as well as an escape from the current tendency to soften the profiles too much and make them dark. In the Athena the informativeness is pronounced and contrasts with many dark IEMS of last year.



Bass

The low end feels a little more rounded and lacks the sub-bass lift typical of the TFZ, which generated a powerful yet clean low end. Here there is a little more extension, although it should be made clear that the main emphasis is on the upper mids. But this does not detract from the fact that it is a low end with a good level of power and presence, clearly above neutrality.
In the very low-presence pure tone test, the lowest note is perceived to be quite soft. Even so, a physical rumour is distinguishable, which already shows signs of a sensory, deep, natural and low-coloured behaviour. And it is in the second note that this is already evident. As it should be in a TFZ IEMS, the bass has to be a reference and it shows: the pure, very low-frequency tones have no negative ripple character and show a realistic behaviour. The power increases with frequency and the 40Hz note feels quite powerful and reference-like. The translation to reality involves a powerful, fairly fast punch, with very little aftertaste and fast decay. It has a fair amount of elasticity, with a limited rubbery feel and a smooth, round texture, as there is not too much perceived surface roughness. Without a doubt, this is a technical bass, with a remarkable sense of depth and a good level of darkness. Despite the extension of the bass, its execution is clean and finite.
In the other classic test of dirty, complex and unfiltered bass, the Athena demonstrates excellent control from the very first bars. With a dexterity that impresses, nothing seems complicated to reproduce for these resurgent TFZs. The execution is impeccable, combining great power with high technical prowess, marking the bass lines in a forceful, firm, dark and full way. In my opinion it still lacks a point of darkness and more sensory character, but again I repeat that this is a bass without colouring, but with a more neutral timbre. An excess of power doesn't overpower this bass, which is always controlled, within its limits, very well structured, maintaining a clear separation between bass lines and bass drums. The low notes are very clean, very well drawn and defined. The low end generates a remarkable volume, but it doesn't feel bloated, nor does it linger long in the room. This is a technical bass, slick and fast, expertly controlled, precise, detailed and decisive. TFZ certainly hasn't forgotten how to reproduce bass in a canonical way.



Mids

It is in the middle range that the Athena's V-tuning is most noticeable. It begins with a slight sense of warmth that imbues the initial part of the mids with body and physicality. This is something that is felt in the lower male voices, a corporeal presence at its deepest base. This effect is short-lived and gives way to a sense of hollowness that softens these male voices and distances them from the listener. However, their nuances feel splashy, and at first glance, that is the effect of a high upper midrange. This tuning means that the mids are not too homogeneous and that thin notes alternate with thicker ones, but with a more abundant predominance of detail and nuance, without this effect becoming polarising or critical. Even so, sibilances and breaths are perceived in a clear and crisp manner. Although the virtue of its dynamic driver gives it a certain level of timbral softness that makes it more musical and enjoyable, despite the distinct sense of clarity, light, sharpness and transparency in the second half of the mids. In this way, mids that could be very thin are not so thin (but let no one talk about thick notes). The middle notes are relatively lean, well spaced apart, vivid, splashy, sparkling and lifted. They also have remarkable contrast and separation between them. And both the smoothness of the driver and its excellent control limit it from becoming too penetrating or incisive, although these are things to be aware of.
The upper area of the female vocals is the part that feels closest to the listener, while a slightly more abundant and marked base is missing. Even so, they come across strongly in the mix, but still maintain a certain unevenness throughout.
The upper mids are clearly splashy and vivid. Sibilance can appear more frequently than desired, despite that sweetened nuance and envelope, but it's certainly clearly perceptible. However, this is compensated by the natural character of the dynamic driver. The same tuning with BA drivers could imply a drastic change in the nature of the sibilance, being more penetrating and less bearable. This is where the tuning is oriented towards K-POP and J-POP, Asian genres with a preference for treble, without losing sight of a reference base.
With this type of tuning, the focus is on brightness, a level of transparency and clarity that is a little forced, with the emphasis on macro detail. Although the driver is explicit, it is not a completely analytical or cold sound, it is rather neutral in that respect. The intrinsic warmth of the dynamic drivers helps to pacify that sense of coolness. However, micro detail is also limited, being somewhat more diffuse in the background and evidencing some difficulty in layering the deeper layers.



Treble

With increasingly fuller dynamic drivers and a wider frequency range, V-tunings feel modified and extended in the high end. No longer limited to an initial sparkle and subsequent decay, the Athena's high end extends into the air with ease, building a very full and extended treble. Even, to my surprise, the initial sparkle is sharp and crisp, but it is also fast, clean and defined, but also precise. Quite an achievement. The sense of brightness is obvious, the notes feel powerful, fine, energetic and luminous. The timbre is quite natural, despite the brightness, the provenance of the driver adds that extra realism and avoids any less realistic metallic touch or ringing. On the other hand, the realistic and detailed treble sonority is maintained throughout the range, with no hollowness in any area, helping to preserve the coherence of the high notes, as well as all the harmonics, avoiding any local loss. In this way, the upper range feels perfectly prolonged and of a taste that I find appealing for treble-heads.



Soundstage, Separation

In the Athena there are many elements that are felt in the forefront, their clear, obvious, splashy and bright sound exposes a great deal of information in a zone close to the listener. However, the low end works to give the ensemble a remarkable sense of depth, but the limitation in elasticity contains the expansion in the longitudinal axis. In this way, the scene appears wide, with a good sense of distance between notes on the horizontal axis. The evidence of the macro detail, the expressiveness of the treble and the expansive feel of the details generate a volatile and slightly gauzy sensation, which helps to recreate a sense of height and ethereality. However, the level of layering and visibility of the mid-range feels more limited.
The elements are drawn coherently in space, with logical and obvious positioning. The but is in the impression of volume and body, which does not feel abundant, but rather average.



Comparisons

NF ACOUS NM20

I like to compare IEMS with similar frequency response. In this case, the NF ACOUS NM20 has a frequency response very similar to that of the TFZ Athena. But the similarities don't end there: both feature a dual-cavity dynamic driver with dual magnetic circuitry and a beryllium-plated diaphragm. The frequency response of the NM20 is 9Hz-40kHz, while that of the Athena is 5Hz-40kHz. The impedance of both is the same, 32Ω, and it is in the sensitivity where there is some difference: 108dB/mW for the NM20 and 105dB for the Athena. There are certainly many similarities between the two models. There are no such similarities in the packaging, well, yes, both boxes are square, but the NM20s come in the typical brand packaging, with that CD look. The NF ACOUS come with a zippered case, a SE to 6.3mm adapter and four silicone tips. The Athena has a better cable, two sets of tips and a carrying pouch. I'll take the NM20's case and the Athena's cable. But the differences are not that big between the two in this aspect. The price of the NM20 is cheaper, 119$ for the Athena's 129$ and from there you can justify the better cable. The differences come in the construction. While the shape of the outer face is very similar, the NM2 is thinner and its inner face is smoother and without protrusions. It is also lighter. I like the look of the translucent frosted resin, as well as that metal frame on the outer face. They are really very comfortable and light. The Athena is thicker, has that bulge on the inner side and seems to be heavier. Both are very comfortable, but the lower thickness and weight, plus the smoothness of the inner face of the NM20 deserves the excellent.
On the other hand, despite the very similar specifications, the NM20s are clearly more sensitive and with the same power output a higher SPL is achieved.
I have already mentioned that the FRs are very similar, even the sound is very similar. So here I will delve into the possible differences between the two.
In the bass there are many similarities, but it seems that the bass of the TFZs is a bit darker and a bit more elastic, while the NM20s are a bit drier and with a subtly more colourful timbre. In the very low frequency pure tone test the resemblance is tremendous. I think that in a blind test with equal volume I would not be able to tell them apart. So I'm left with that initial sensation I mentioned. I always thought that choosing between NF Audio (now NF ACOUS) and TFZ in terms of bass was like choosing between mum and dad or between the older and younger brother, being the middle child. Everyone will have their own preferences, but objectively they are almost the same. The NM20s are a bit faster and drier, but the Athena is darker... I don't know, for me it's a draw, especially when the behaviour of pure tones is so similar.
In the mids there are somewhat more differences. Even the NM20 seems cleaner and more excited in the upper mids, opening more the gap between the first half and the second half of the mids. There is more definition and clarity, when the Athena has a point of warmth, a little more thickness in the base, even a hint of darkness in that first half. And while the Athena may seem to be a little more diffuse, without having as much resolution or a more analytical profile as the NM20s, they are more musical, even pleasing, with better control of sibilance and brightness. The NM20s are splashier and brighter, that's something you can already see in the graph.
The NM20's treble still has an extra sparkle, shimmer, finesse, energy and lift, and is still crisper than the Athena. They are in the same vein, but one notch up in the characteristics I have discussed. Their timbre is more acute, their notes are thinner, sharper, but also more delicate. No more.
The NM20s are more analytical, have more separation in the background, are technically more refined. The micro detail is more discernible, as their resolution is higher and also thanks to finer and more delicate notes. They also seem to have more air, but they are also cooler. The Athena has a very good level of detail, but is somewhat thicker, darker, warmer and diffuse in the background.
The NM20 scene expands more easily than the Athena. In the TFZs there is a bit of a clinginess, they need more energy to spread out. However, the NM20s are more volatile, with a more perceptible laterality, even more overwhelming. They also have more height, and that airy, gaseous feel allows the sense of separation to be more pronounced. The Athena's are more cohesive, more joined up, with a less visible bottom and more united at that point.



Conclusion

TFZ returns to the market with a nostalgic limited edition of 1000 units (500 Gold and 500 Silver). And it makes what could be one of the most refined models with its classic V-tuning. It has its similarities to the No.3 and the Tequila Pro, but it does not have as powerful a sub-bass low end as in the past. However, they have improved in treble extension, and one could even say that the high end is the biggest improvement these IEMS bring to the brand's catalogue, as well as a good level of refinement. Of course, you can never underestimate the bass from TFZ and they prove it again with this model. TFZ has gone back to the more technical side, while maintaining a certain degree of warmth and musicality, without going over the top in terms of brightness, but once again opting for a classic V-profile, albeit more extended at the top. The logo of the goddess Megami appears again on its external face, this time accompanied by a large cable in a very attractive blue colour, matching the capsules. TFZ doesn't really bring anything new to the market, as you can see from the comparison I have made. But it can serve to prove that when it left, it could still say some things, even compete with current models with clarity. TFZ was a reference in dynamic drivers, in its V-tunings, with its great bass and it still proves it. And now it has confirmed that its treble has something to say. The Athena can be a collector's model for those nostalgic for V-tunings, a last word from a brand with many attractions and fans. But it seems to have become clear that tunings were not the only way to live. And TFZ tried an evolution with the latest models, lowering the bass, something that had always brought them great joy. Perhaps that was their mistake. On the other hand, it is possible that TFZ has revived in another way. Who knows, perhaps by taking a risk in its new tunings with renewed energy.



Sources Used During the Analysis

• Tempotec V3.
• iFi GO bar Kensei.
• EPZ TP50.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + ifi ZEN CAN 1.

Purchase Link



You can read the full review in Spanish here