TIMSOK TS-316

NOTES:

Timsok Audio may not be a well known company to many. I myself was unaware of them until a member of our review group, Canuck Audioholics Anonymous, took a chance on ordering the TS-316. I am so happy that he did as this iem has proven to tick all my boxes when it comes to the musically organic sound I crave. Founded in 2018 Timsok is made up of founders and partners with over 20 years of experience. They have flown under the radar for far too long.

At an asking price of $499usd the Timsok Audio TS-316 is at the top of their iem range which features just 3 products. Timsok also produce an over-ear headphone, the TS-1024, but at an asking price of $1999usd.

The TS-316 I have for review features a driver compliment of a single 10.2mm dynamic driver. The company website is well done but not exactly overflowing with information. This can be seen as a plus as the marketing department hasn’t stepped ahead of tuning and manufacturing as seen in far too many other brands these days.

With respect to sound, I found that the TS-316 had more of a W type of tuning that again leans towards my preferences. Generally, I prefer this more “balanced” tuning approach.

Fairly easy to drive the TS-316 seems more forgiving of sources but deserves one with good quality as the bass can suffer otherwise. A more neutral source is recommended and wide bore short stemmed tips seemed to work best.

The TS-316 proved to be one of the just small handful of iem I have heard that pulls me into the music almost immediately. It has a cohesive naturalness of sound that I often found intoxicating. Yeah, I liked it that much!

Read on to find out more.

SPECS:

Model: TS-316
Driver: 10.2mm Dynamic Driver (titanium and carbon fiber hybrid diaphragm)
Sensitivity: 102.5db 1KHz
Frequency Range: 20Hz~20KHz
Impedance: 32Ω
Cable: 1.25M / OCC
Connector: 0.78mm 2Pin
Plug: 4.4mm Balanced
Adapter: 4.4mm Female to 3.5mm Male

BUILD FIT & QUALITY:

The TS-316 is a gorgeous iem. The medical grade polished stainless steel shells are beautifully designed and have a corresponding solid feel to them. They are of medium size and I found the fit was as close to perfect as I’ve experienced.

I did not have the full retail package for the iem but original case and cable was included. The case is classier than many I’ve seen included with iems much more costly than the TS-316. The cable, well…… It is a 4.4mm balanced termination but the haptics are questionable. The cable looks great but is too stiff and at times this was off-putting as I chilled out on the couch enjoying the iem. The cable kept wanting to do its own thing. This is probably going to be a non issue for many in this hobby as everyone I know in this space has lots of go to cables that they’ll use instead.



BASS:

The bass of goes deep with ample slam and rumble when called upon. Sub-bass is more emphasized than mid-bass and there is a pleasing warmth to the low end that lends to its organic nature.

Mid-bass has great punch and snap and does not stray into the midrange. Bass texture and detail is also a pleaser. Listening to “Angel” by Massive Attack the power was all there with the texture clearly evident. One thing to take note of is that unless driven by a more capable source, the low end of the TS-316 can become somewhat less defined. Moving on to acoustic bass, the double bass on the Robert Glasper Trio’s track “In Passing” showcased the natural tone and weight that the TS-316 possesses. Likewise, on “Poem Of The Chinese drum” by Yim Hok-Man. Clean powerful bass strikes with all that natural drum skin reverberation and decay on full display.

I had to play another track and “Barley” by Lizz Wright sounded spectacular on the TS-316. The powerful bass drum strikes were cleanly separated from the stringed bass. Likewise, for “Here I come” by the late great Reggae artist Denis Brown where the TS-316 served to make the bassline clear and distinct.

The Timsok TS-316 offers up a standout bass presentation. There may be some BA based iems in this price range that can squeeze out some more details, but not with the level of organic delivery that the TS-316 is capable of. Very well done!

MIDRANGE:

Moving on to the midrange. The Timsok TS-316 offers a midrange that is balanced with good detail retrieval, both macro and micro. Vocals are neither forward nor recessed but sit in a comfortable plane with the rest of the music. There is a rise in the upper-mids but it is kept in check and no harshness was noted. It affords a reasonable amount of energy without straying off the path of being natural.

Male vocals at times could have been a little warmer or chestier but were relayed with great clarity. Female vocals on the other hand were spot on, Amber Navran’s whimsical vocals on Moonchild’s tracks “Change Your Mind” & “Cure” sounded great. On “Sweet Love” by Anita Baker her vocals were clear and expressive with great definition.

The TS-316 excels in being organic with the emphasis on a natural presentation. This is best heard with well recorded tracks using acoustic instruments. “No Worries” by the Robert Glasper Trio was a treat to listen to with a vibrant yet natural sound coming form the TS-316. “He’s a Carioca” by Eden Atwood followed suit with a smooth natural delivery. I finished up with some live tracks from a hires test disc featuring “Late Night at the Pawn Shop”. Needless to say, the TS-316’s playback was more than pleasing.

The timbral accuracy of the TS-316 was quite good. This is an iem that really pulled me into the music again and again. Note weight was also notable being rich. Dynamics and Transients were handled well with a sharp leading edge and natural decay. Layering and separation were all well done, the TS-316 allowing the discernment of individual instruments even during busy tracks such as “Beautiful Lie” by Vick Lavander which was handled with ease.

TREBLE:

Treble is well extended with great clarity and good detail retrieval.

The natural playback evident in the mids and bass was also clearly heard in the high frequencies. There is a crispness to the treble, though with no harshness. Ample amounts of air and sparkle are present as well.

Treble sensitive people may find that there may be too much energy but I was very happy with the amount I heard. It added to the sense of openness I heard with the TS-316. An iem with this kind of bass presentation relies on the treble to keep the balance and this is exactly what was heard. Clean, even sweet, with enough energy to create an overall smooth balance.

The organic nature of the TS-316 is also present in the treble. Cymbal strikes and string resonances had a natural sound to them.




IMAGING AND SOUNDSTAGE:

The Timsok TS-316 presents a soundstage of moderately large dimensions. Height and depth are also well represented. The TS-316 never sounded congested or closed in. Busy tracks were no problem for the TS-316. Positioning within that soundstage was excellent. The speed of this driver and tuning make for a very engaging listen.

-Versus-

Meze Advar:

The Advar is more costly than the Timsok TS-316 but they do both sound terrific and share similar driver compliments of a dingle dynamic driver.

Bass is more expressive with the TS-316 with there being a toss up when the metrics of texturing and detail are compared.

In the midrange I found the TS-316 had better note weight with the Advar being just a touch more detailed. The Advar is also more energetic sounding with a comparatively greater upper mid prominence which some may like or dislike.

Treble is interesting that while the Advar has a brighter treble, both were not harsh and matched very closely when it comes to detail retrieval.

I loved both iem and feel uncomfortable making a decision between the two.

CONCLUSION:

The Timsok TS-316 is a winner on so many levels. Here we have a beautifully designed and manufactured iem with a sound that rises above even that.

The TS-316 oozes a natural presentation that immediately satisfied my “Organic Sound” requirement needed for me to even consider an iem “Special”. It does that and so much more. I have rarely been compelled to dig deeper into my music collection usually sticking to the 15 to 20 tracks I use for evaluations. The Timsok TS-316 had me listening to numerous tracks I have not heard in far too long.

If by now I haven’t been clear enough, the TS-316 has joined just a handful of sets at all price ranges that I had trouble pulling out of my greedy ears. It offers the listener an organic, cohesive and detailed sound that I found compelling.

The Timsok TS-316 gets a strong recommendation.

Disclaimer: TS-316 is purchased at discounted price through MuiscTeck’s Test & Share program.

Introduction

TIMSOK is a headphone/IEMs brand formed in Shenzhen, China. The mother company of TIMSOK is one of a few HiFi dynamic driver manufacturers that has been supplying tuning solutions to numerous well-known HiFi brands. Three years ago, TIMSOK released their first product, TS-1024 which is a full-size planar magnetic headphone. TIMSOK TS-316 is named after the 316L High Strength Stainless Steel material that is used as the shells of TS-316. TS-316 uses TIMSOK’s self-developed 10.2mm dynamic driver with unique blue coating diaphragm and 1 Tesla magnet.






Design

TIMSOK is made of 316L medical grade stainless steel, it is more durable and skin friendly than the traditional 304SS. Each pair of TS-316 is hand polished for a sophisticated look and coated with AF finish to ensure the scratch resistance. There are two air vents, one sits at the front of the faceplate, the other one is located at the back of the shell, right under the 2-pin socket.

The stock cable is made of 196 conductors frozen monocrystalline copper. The cable is sleeved by Teflon and Polyamide PU shielding. The double layer sleeves make the cable relatively stiffy.




Packaging

Comfort and Fit (7/10)

The comfort of TS-316 is decent. It is reasonably lightweight as a metal shell IEMs. The shells have a generic but safe shape, all the edges are perfectly rounded, and nothing is cutting my ears. However, the stock cable is a bit stiffy. Sometimes the cable can drag the IEMs out of my ear canal. Some aftermarket upgrade can easily fix this issue. I will explore more of the options in the “Cable Rolling” section.

Sound Signature



TS-316 offers a very neutral tone with a little warmth underneath. The frequency response curve stays loyal to the 19’s Harman curve (aligned at 1khz, 2nd slope, 75db measurement).



In my opinion TS-316 still did some minor refinement to the Harman target. It lowered the 6k-7k which is where the vocal teeth notes are located. This small refinement helps the overall presentation of TS-316 become smoother than typical Harman sound.

Bass (9/10)

The bass of TS-316 is outstanding, it focuses on sub-bass rumbles over mid-bass warmth. The bass from TS-316 offers a solid foundation that holds other frequencies stand steady on top of the bass. It helps the overall presentation stays clean, neutral without being too “light” or “flurry”. When the bass goes above 100hz punchy and controlled, the kick drum hits hard and tight. The mid-bass at 200hz is very well controlled which minimizes the coloration and makes the overall bass tuning stay neutral. TS-316’s bass is perfect for Orchestra, Rock and certain EDMs which have multiple bass layers in one track. The neutral and clean bass reproduction from TS-316 makes me almost visually see the bass bloom in front of me.

Mid (7/10)

The mid-range of TS-316 stays clean and precise from the “upper-bass” frequency. The upper-mid, lower treble is tuned wonderfully. It is energetic with a lot of sparkles but not overly bright or shouty. My main criticism towards the mid-range is between 400hz to 800hz. I hope there could be boosted a little bit to add some thickness to male vocal and guitars. The way TS-316 was tuned sacrificed a bit of the thickness but traded for more clarity and less muddiness. So, it falls into the ballpark where I can’t say the mid is recessed but it is not thick enough for my personal preference.

I think the mid-range signature has a lot to do with the dynamic driver itself. It is a titanium and carbon fiber hybrid diaphragm which naturally goes to the neutral precise but leaner sound.

Treble (8/10)

The treble of TS-316 is sparkling, airy and energetic. It tends to reveal as many details as possible and gives an overall clean and clear presentation. The extra energy at and above 10khz adds more air to the sound. The extra air can extend the sense of space and enhance the resonance of certain instruments such as cymbals and strings. Details, resolution, sense of space and engagement are the major benefit that this treble contributed to the overall sound. However, the Harman-ish upper-mid, lower treble could be too forward for someone. So, if you have experienced the Harman tuning and not a big fan of its treble you might want to do some eartips rolling. To me Symbio W clearly does an excellent job.

A Mini Annihilator23?

When I initially tried TIMSOK 316, it reminded me of something, something I own. I quickly searched through my IEMs collection and found Annihilator23. They are really close. Of course, there are differences in timbre and resonance, but the tonal balance and sound signature are actually really really close!



Like shown in the FR graph, the bass and mid are almost identical between TS316 and Anni23. The trebles are different, but they still share a similar trend. To my ears, Anni 23 has a more refined and smoother lower treble. TS316 pushes the lower treble a little forward and crispier.

Beyond the curve, Anni 23 has better texture in treble, the instruments sound more realistic. Anni has more decay in sub-bass which helps the bass more impactful, but as a trade-off, it is slower than TS316.

Tips Rolling



Stock Tips: The stock tips of TS316 are top notch. They are soft and still have a great texture. The sound of stock tips are lean towards engaging and treble forward compared to other tips I tested. So, if you classify yourself as treble sensitive, tips rolling might be very helpful.

Symbio W Clear: They are my favorite tips with TS316. I love these new Symbio tips so much. These tips help TS316 has lower-end body and cut off the lower treble a little bit. The clarity and resolution were not sacrificed as the traditional foam tips which is a big plus.

Nostalgia XWB Eartips: They replaced UM Blueheart as my default “measurement tips” they fit in 711 perfectly. The sound signature is similar to the UM Blueheart as well as the stock tips with maybe a touch more warmth. The bores are softer and much easier to replace.

Cable Rolling

The stock cable: Let me be straight forward: this stock cable is a pain. Not because it sounds bad, it actually sounds really good, and it is hard to say the $300 level after market cables are truly an upgrade in terms of sound. But the ergonomic and comfort are terrible to me. So, my target is to find a cable that sounds as good as the stock cable (if not better), not expensive, and has good ergonomics.

Effect Audio Eros S 1st Anniversary Edition (Eros S AE): Eros S AE is a neutral-warm cable, it seems to pull back the treble at 8k a bit and push the energy to the upper-mid. If it is a very appealing combo with TS-316, it controlled the “shouty” tune of TS-316 and makes the overall sound more refined and smoother. The design and comfort of EA needs no introduction, they always make some of the best-looking cables. Eros S AE is on the thicker side, but it is a lot softer than the stock cable.

Liquid Links West Lake: One of my friends recommended me to test this cable with TS-316. They do look and sound beautiful together. The biggest advantage of West Lake is that it has the very typical “copper sound” which has a full and thick bottom end. Eros S is good at trebles and upper-mid, but the sub-bass is a bit rolled off. West Lake brought the sub-bass back in a side-by-side comparison. For treble, West Lake has good texture and creaminess, but if you want to keep the “zest sparkle” that TS-316 originally has, Eros S AE might be the better choice.

Verdict

TS-316 is a gem. It has its own signature and a very realistic timbre which is almost impossible to find at this price range. The biggest problem I found at the $300-500 price range is not the tonal balance or resolution, but the timbre, layer and texture. These are the technical aspects that cannot be done by just “tuning”. It has a lot to do with the driver’s capability, especially for a single DD. The blue diaphragm dynamic driver of TS-316 is undoubtedly top notch in this regard. TIMSOK chose a “safe approach” by tuned it close to the Harman target, but I can see it has the capability of being tuned to a wilder sound, and it leaves us space to EQ it closer to the sound we want. Iconically, the FR curve is almost identical to Annihilator 2023, it further approved this driver has a lot potentials, at least it can be tuned similar to a $3k multi-driver flagship.

TIMSOK TS-316 - $499 Single Dynamic Driver



Introduction and Caveats

I am a single dynamic driver fantatic - let me get that out of the way before I say anything else! I am drawn the coherency and overall charm of the humble single DD, and my radar always on high alert to any newcomers on the scene. So I was quite intrigued to see the TS-316 appear on Musicteck a few weeks back, and knew pretty quickly I had to have one. A large focus for me in this hobby over the last few years has been single DDs, and I've owned quite a few - and indeed held on to some gems I've discovered along the way. It is always fascinating to hear the diversity of tuning from just a single driver, and to note the improvements over time, with some really excellent sets available at a more entry-level price point... the Simgot EA1000 a case in point, and a subject for a future review. In spite of trying quite a few kilobuck sets over the last couple of years, I keep coming back to single DDs and have pretty much accepted these are my focus for the most part. My DD collection includes the below, and I find all excellent in various unique ways and often to suit very different shelves of my library.

1. Softears Turii Ti
2. Dita Perpetua (a very recent addition)
3. Victor (JVC) FW10000
4. JVC FW1500
5. Technics TZ700
6. Sennheiser IE900

I've sold quite a few over the last couple of years, and tend to regret parting with them - I would like to have held on to them all, but typically the lure of some other shiny new toy led me to sell something to raise the cash - an illness many here will be familiar with! I list my collection as a point of reference to consider in this review, and I will of course compare some of these later on.

I would like to thank Andrew as always for his excellent service and overall contribution to our community, not sure where we'd all be if there was no Musicteck! I was provided with a discount in exchange for a review here on Head-Fi, and as always, all thoughts, pictures, and general ramblings are mine and mine alone

A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and techology from as far back as I remember - even as a small child asking my Mum to put records on the turntable (Abba, Supertramp and Planxty if anyone is curious )

My music preferences are very varied - anything from classical to techno, indie rock to jazz and all in between. In my early teens I was a big fan of bands like The Cure and The Smiths (still am all these years later), and I was biten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occassional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.

The TIMSOK TS-316 is available from Musicteck for $499 at the time of publication HERE




Who are TIMSOK? (from Musicteck)

TIMSOK was founded in 2018. The founder and partners all have more than 20 years of experience in the acoustic industry. TIMSOK has provided drivers and tuning solutions to many famous brands in recent years. Also, TIMSOK has many patents on the planar magnetic units and the dynamic units. And the planar patent is the initiative in the world.

Specifications

Model: TS-316
Driver: 10.2mm Dynamic Driver
Sensitivity: 102.5db 1KHz
Frequency Range: 20Hz~20KHz
Impedance: 32Ω
Cable: 1.25M / OCC
Connector: 0.78mm 2Pin
Plug: 4.4mm Balanced
Adapter: 4.4mm Female to 3.5mm Male

Unboxing & Accessories

The unboxing is pleasant, but nothing exceptional in my opinion. The TS-316 arrives in a rather understated box -




Opening the outer flaps reveals the contents, or at least the boxes that contain the contents...



Digging deeper, we get to see the TS-316, albeit under a paper sheet - getting closer though



An incredibly shiny mirror-like stainless steel that looks stunning, is a pain in butt to photograph, a fingerprint magnet, and definitely easy to scratch - over the last four weeks or so I have been incredibly careful, yet have still managed to get a few micro-scratches.



All of the included accessories laid bare (excluding the case which I'll cover next).

1. A selection of tips in small, medium and large (I'd like to see a better selection at this price point)
2. Stock cable with 4.4mm balanced jack
3. 4.4mm to 3.5mm convertor
4. Soft pouches for TS-316

The supplied case is of decent quality and while a reasonable size, it can still be a bit tricky in my experience to wrap up the cable and have the socks on the TS-316 and all fit securely in the case - it is possible, just takes a bit of work.



There is a handy net storage at the top which I've found useful for additional tips.



Design and Fit

The TS-316 are a reasonably small form factor (and are much smaller than what they look in pictures), with somewhat stubby nozzles - these can be a tad difficult to get a secure fit, and I certainly had to reach for my trusty Symbio F fairly quickly to ensure they stayed in. The Symbio F in my experience don't negatively impact the tuning, but still provide a good secure seal - foam tips have a reputation for increasing low-end, and reducing high-end but I don't find that to be the case with Symbio F, or indeed it they do, it is not very obvious to me. They are vented, and no problem with any pressure build.

The shells are really stunning looking and feel excellent quality - there is a nice weight to them even though they are quite small.







The cable as noted looks very nice, however is not very practical to use - it is terribly unwieldly, microphonic, and has a tendency to pull the IEMs out of my ears if I don't ensure the neck cinch is secure. For the purpose of this review, I have endured these issues but a lot of my use over the last few weeks has been with 3rd party cables, my favourite being the Satin Audio Athena.

I attempted countless times to wrap up the cable in a typical curling fashion to take some shots but it point blank refuses to stay in place, immediately seeking random directions to unwrap itself - best I could do is capture as below, which gives a sense for the material and overall finish. It is certainly a smart looking cable, and absolutely feels high quality but I would suggest TIMSOK rethink as I can't imagine many people will enjoy actually using it.



Pictured here with the Satin Audio Athena... I would prefer if the cable sat flush but otherwise I like this combination a lot and has been my choice most of the time for the last few weeks.



Listening Impressions

As noted in the intro, I have owned many single DDs and without question my favourite variety of IEM. I love having a collection of 'specialists' that cater for my pretty broad range of musical preferences, and indeed various listening use-cases; anything from out walking, in bed, moving about the house, travel etc etc. I had pretty high hopes when I ordered the TS-316 that I would enjoy them, I do have 'happy ears' in that I rarely actually dislike a set, but tend to look for where synergy exists with my library and listening sources - some are fantastic with faster electronic genres, others better suited to more relaxed acoustics and vocals, and of course everything in between.

I've had the TS-316 paired with various sources to include LPGT Ti, Shanling M6 Ultra, Sony NW-WM1A, and most recently my new Hiby RS8 - oh and my desktop, Eversolo DMP-A6. While they aren't a especially hungry or picky IEM, they definitely appreciate some power - not unusual for a dynamic driver.

Pictured below with Hiby RS8 and Effect Audio cable.



The sound is overall nicely balanced, with very good detail retrieval and a reasonable stage size that can at times present with a somewhat holographic sensation, allowing instruments to sit very precisely in various positions across the stage. Even taking apparent tuning limitations of a single dynamic driver in terms of to what extent frequencies can be sufficiently represented into consideration, there is excellent low-end, very respectable mids, and clear/airy treble up top - possibly leaning a touch bright at times with more challenging recordings or for those more sensitive to this region. Again, being a single dynamic driver, it is a cohesive presentation that tends to focus the position to the centre of my head, providing that 2-channel speaker sweet spot sensation. I would say a reasonable all-rounder, but does some genres better than others, and best suited to modern higher quality recordings.

Bass

The sub is more prominent, and has very good extension and rumble, digging deep as needed. Mid bass has reasonable impact but the quantity steps back and I would say impact is a touch soft. Timbre sounds excellent on both 'real' and synthesized intruments - lower registers on piano, bass guitar or the deeper tones of a synthesiser. Overall I find the bass very well executed, and offers a nice sense of texture to the presentation.

Mids

The mids tend to sit quite level in the mix, presenting in a somewhat W-shape - vocals don't step forward, more so in-line with instruments and central. Upper mids can be prominent and this occassionally hits my area of sensitivity with older recordings in particular. From testing male and female vocals, I would lean towards female as I find male can present a touch too light, lacking the body I would usually seek in artists such as Leonard Cohen or even Elliot Smith who sounded almost sibilant at times. Instruments in this region have excellent detail, very clear and precise timbre which tends to be somewhat more energetic due to the upper mids and as we step up to the energy up top in the treble.

Treble

Airy, extended, crisp and somewhat bright which allows for a more energetic signature and helps give a larger sense of stage and detail retrieval. I love how instruments like violins extend at these higher registers, and indeed percussion which sounds lively and very realistic. While I do not find the treble too extended, it might be a challenge to those senstive in this area.



Test Tracks & Selected Single DD Shoot-Outs

I have selected a few sets at various price points to compare with the TS-316 - the sequence of testing is from most to least expensive for each track.

1. Softears Turii Ti
2. Sennheiser IE900
3. Victor FW1500
4. Simgot EA1000
5. Orivetti OD200 (silver nozzle)

Nation of Language - Tournament

As per my comment on Elliot Smith, I hear the male vocals here a touch thin - I would like a bit more body, but it is an improvement on Elliot, I think due to being a more modern recording. Aside from that, the track has a great sense of vibrancy and wonderful air between instruments, each presenting with an excellent sense of space, I love how the percussion is rendered, spread out on the stage with the accompanying synths and bass guitar. The song is lively, engaging, and works wonderfully well with the TS-316.

• Turii Ti immediately sounds a more lush, with added detail, clarity and stage size extends out in all directions. It feels a bit like going from standard to hi-resolution. The track doesn't call for much bass depth, as such Turii Ti copes perfectly well. It perhaps sounds a little less energetic, becoming instead more vibrant and emotive with the more emphasised mids. The vocals have some more body to them too, but I still feel I could do with more density
• IE900 is again very captivating, with the emphasis on bass and treble immediately evident. I don't find the somewhat recessed mids here being much of an issue, and there is excellent overall clarity and detail. You can hear the snappy DD being able to manage any speed with absolute ease, with lots left in the tank if were needed. Again I feel the TS-316 has a greater sense of urgency and excitement to it, but both sound perfectly enjoyable.
• FW1500 is my least favourite so far - I think this is where the slower driver is less capable, and it sounds somewhat lifeless compared to TS-316, and indeed the others. Vocals push forward, but not rescued due to other issues such as a sense of congestion which ultimately leads to a harsh rendition of the track. This doesn't surprise me, as the FW1500 is not a set I would associate as being a good fit for a genre like this.
• EA1000 is a huge improvement on FW1500, but definitely not at the level of TS-316 - the main difference being the ability to handle each element of the track where it can't cope quite as well at TIMSOK, coming off a touch harsh during busier passages. Vocals are however a bit more forward, and have some more body.
• OD200 gives us the smoothest presentation, with a very captivating performance across the FR - not at the level of detail, airiness, or stage size vs TS-316, but a solid offering and as I've generally found with this set, you can just enjoy your music.

Julia Jacklin - Don't Know How to Keep Loving You

Timbre for both vocals and instruments sound immediately stunning and beautifully captivating - TS-316 definitely excels with female vocals over male, and is really wonderful with slower tracks with like this. Julia's fantastic voice is central, a touch forward and you can hear such clarity in every word - the passion in the chorus easily bringing hairs to a stand. There is a large stage, and I really do feel immersed right in the centre. Absolutely fantastic.

• Turii Ti - I have a very similar experience here as to the Nation of Language track above - yet again, a larger and more holographic stage with more air and detail, and incredibly captivating. Julia's vocals are stunning, and offer a touch of an 'improvement' over the already brilliant performance on TS-316. Both sets are excellent for this track, but Turii Ti does step ahead.
• IE900 - I love the stereo field presented by IE900, always instantly reminds me of a 2-channel system. Julia's voice does step back and lose some body in comparison to the others, but it wouldn't be enough to dismiss IE900 completely by any means as the precision, speed and clarity of IE900 gives a different take to the others, and is very captivating in that wide stereo field - I love how guitars, drums, bass are presented with such clarity but yet still highly emotive.
• FW1500 immediately pushes the vocals forward having just come from IE900, but they are not at the level of TS-316 in terms of clarity, definition and overall realism. Again it's a more stereo field, but lacks the captivating allure of TS-316, I think largely due to the more prevalent upper mids on the TIMSOK and absolutely steps back significantly in overall resolution. Had I not just been listening to these other sets however, I suspect I would have thoroughly enjoyed on FW1500.
• EA1000 brings us back to TS-316 territory, and in many ways sounds a bit like a baby TIMSOK It doesn't quite reach the heights of stage, detail, air, and overall timbre but really not a million miles away. Julia's voice is again central, vibrant, and very captivating - bordering a touch on sibilance at times but not quite, and I do hear TS-316 as the more capable driver in this regard too.
• OD200 has the most relaxed/smooth presentation of the lot, with a very 'musical' delivery which is hard to fault from a listening enjoyment perspective, before we start getting into technical nuances etc - yes it has a smaller stage, yes it has less detail, layering, imaging but a highly enagaging listen.

Anthony Linell - Fractal Visions

Some dark, brooding techno of the slower variety here with a lot of complexity and detail. This to my ears sounds fantastic, TS-316 does a great job of presenting the many layers of detail from the lowest to highest of frequencies, sounding quite holographic and very captivating. While the synths can meander into the upper registers, I don't find them piercing or harsh. It is a well produced track from an excellent album, and TS-316 is a very well suited IEM.

• Turii Ti steps up from an overall stage perspective, presenting a large holographic field for the many layers to explore. It falls down however immediately on bass, and this track needs bass. The emotive synths that present later in the track sound very captivating, and present out wide into the vast stage. It is an enjoyable listen, but I'd comfortably take TS-316 in this instance.
• IE900 is made for this track - the deep bass, and crisp uppers really allow this to shine. The fact that the mids step back a bit with the IE900 matters less for me with a genre like this, where synths are still sufficiently lush and actually better positioned a touch back vs lows/highs. While TS-316 does a fantastic job here, the IE900 for me takes the prize where the tuning is more appropriate to my ears.
• FW1500 as a smoother, less resolving set immediately sounds more intimate and somewhat congested coming from the IE900 - I do adjust after a couple of minutes and while the driver isn't as fast, it copes perfectly well with this track and I'm not left wanting for anything. There is a clear difference to the TS-316 in overall detail, stage, and as a complete package is less captivating.
• EA1000 presents a 'safer' take, but we've still got a lot of detail and the bass does a good job in capturing your attention, feeling quite drawn to it's rumble. I expected this set to be more challenging but TS-316 is actually brighter up top, and more resolving, as such at times poses a greater risk to tracks with a lot of energy - not the case here, but I do still hear EA1000 as that bit smoother.
• OD200 again has a smaller, less detailed presentation but does an excellent job - I find OD200 well suited to various electronic sub-genres and absolutely the case here too with a slower/more abstract variety of techno. While not as 'impressive' sounding as TS-316, it certainly draws you in to the overall experience and allows you enjoy the complexity without creating fatigue.

Irezumi - I

I know this album intimately well, having listened countless times for many years - up there with my favourite ambient albums of all time, a real gem. It is beautifully captivating on TS-316, with delicate acoustic guitars gently strumming against a backdrop of emotive synths and deep throbbing bass lines. I find the tuning of the TS-316 pretty much perfect for this genre, allowing me to immerse myself in a pool of ambience, while still ensuring the various instrumental nuances are captured which ultimately creates an incredibly visceral listening experience.

• Turii Ti has the edge here which again I would have expected. The bass definitely steps back, but still present and sufficient enough to capture the sense of drama in the track. The stage is bigger, more holographic and overall a more captivating experience - the 4x price has to be factored, and with that in mind many might be perfectly content with the TS-316 which does a wonderful job considering the price difference.
• IE900 does what I would expect, and injects more depth into that wonderful almost 'pulsing' but subdued and cavernous bass. It doesn't have the vibrancy in the mids, and the guitar in particular has a noticeable drop in realism - TS-316 has a more captivating and ethereal presentation overall. Not to say IE900 does a bad job, but wouldn't be the set I'd choose when I've TS-316 or Turii-Ti to reach for.
• FW1500 has an immediate sense of vibrancy and richness to the track - detail dials back, and stage feels more intimate but it is a compelling listen in it's own right. Bass quantity is quite large, but a bit more 'wooly' in comparison to TS-316. I feel like I could choose the FW1500 and fall asleep with this track on, whereas I might choose the TS-316 to relax but pay attention.
• EA1000 steps back a touch on resolution, but has a nice enveloping warmth that immediately captivates. The bass is again very captivating, you can't help but have it grab your attention as it makes a slow and pulsing appearance - it's not as defined as TS-316, and overall there is less clarity and air surrounding but regardless still sounds wonderful.
• OD200 yet again has an obvious bass emphasis, with a lovely visceral rumble immediately apparent. The guitar sounds authentic and captivating, but a few steps behind TS-316 in overall timbre and detail. The stage is smaller, overall sounding more intimate versus the more holographic presentation of TS-316 or Turii Ti

Globular - Dasein

Some psychill now courtesy of the brilliant Globular. A hallmark of this genre is very high production, deep bass, and emotive synths with often many layers of delicate complexity. This is again a genre that is well suited to TS-316, the resolving nature ensures you hear all of the details, along with the deepest reaches of sub and on up to uppermost treble region. The complexity in a track like this even though not necessarily fast-paced, still requires a competent driver that can keep up and no issue at all, the TS-316 sounds snappy and comfortably handles what can sound like countless layers. The upper energy is at times evident, and again while not an issue for me, it might be a touch bright for some - you will know yourself, if you prefer a darker IEM, this is not for you.

• Turii Ti immediately sounds much more expansive, with a big step up in terms of the distinction between the multiple elements of the track. Bass takes a step back as expected, but still has excellent quality, but quantity is reduced significantly. The upper mids are quite evident which I feel is partly to do with losing some bass emphasis, we are drawn more to the mids which isn't really a good thing here as the genre requires more bass emphasis. The upper extremes are similar to TS-316 whereby they might extend too far for some, touching on harsh at times but not quite tipping over the edge. A problem here is where the bass lacks, there is a personal tendency to increase the volume, which ultimatley in this case becomes to the detriment of the upper mids and treble. I would choose the TS-316 for this genre, no question.
• IE900 steps into the ring here with a very confident strutt - this should be where IE900 can really put up a fight, and I can say now for sure that is the case. The IE900 hallmark bass, both snappy and deep, certainly one of if not the best I've heard in a DD really steps up to the mark for this genre. With the mids stepping back, it has a safer presentation but we still have the highest frequencies to contend with, again IE900 known for it's V-shape and somewhat bright and crisp treble. If this was a boxing match, IE900 would have taken out Turii Ti within a few seconds, but likely a more challenging fight with TS-316 where they both compete with excellent energy and overall competency, albeit with slightly different takes - TS-316 more vibrant in the mids, IE900 sounding that bit more snappy and precise.
• FW1500 immediately sounds too slow for this track, and feels like it's struggling to keep up - which doesn't surprise me at all, the FW1500 for me is better suited to slower, less complex genres as the driver seems to be somewhat slow and an overall less resolving set. It feels a bit disorganised having just come from the more capable IE900, and equally struggles to compete with the TS-316.
• EA1000 surprised me here in terms of overall performance - there is less upper energy, and while it's a resolving set, there is a touch more warmth and less detail / air vs TS-316, as such this track comes off sounding more captivating but does step back in stage size and imaging, sounding more intimate but also captivating. While bass doesn't extend quite as deep, it is still 'deeply' satisfying, and mids have wonderful clarity - treble is crisp, but not at all harsh. Top marks here to one of the cheapest sets in the test.
• OD200 is one I had no doubts would excel here, and indeed it did - while in somewhat similar territory to EA1000, it steps back again in treble and never even comes close to any sense of harshness. The bass is fantastic, mids are lush/clear/detailed, and treble has sufficient presence to allow some air and detail up top, along with a smoother execution. Again, we don't have as much detail, we have a smaller stage, but we have better synergy in another $200 set - and for those of you who don't like extended treble, the OD200 can easily take top prize in this test. Safer tuning here equates to a better experience in my opinion.

Hania Rani - Luka

A beautiful piece of modern classical / ambient music with an emphasis on piano. The detail, clarity, and timbre here sound absolutely wonderful. It has that sense of feeling like the music is playing in the room with you, a vast sense of realism where you feel like you can almost touch the piano in front of you. There is a visceral delicacy to the presentation that is really sensational.

• Turii Ti in comparison steps up further with the detail, and spreads out the stage to a considerably wider field. While bass steps back, there is an overall increased sense of warmth that adds to the sense of emotion - it sounds more ethereal and captivating, and the detail nuances are clearer. The Turii Ti however is 4x the cost, and my go-to for a genre like this and while it is of course better, I would struggle to suggest it's 4x better.
• IE900 has a noticeable drop in the mids, the piano not as rich or vibrant sounding and as such timbre takes a hit. The accompanying details are well presented, and again quite captivating - what I assume are piano pedals actually step forward compared to Turii Ti, but this to my ears doesn't sound as 'correct' as I expect them to sit behind in the mix.
• FW1500 is the warmest, and smoothest here and steps back in stage size and imaging. Piano is very full-bodied and captivating, positioned centrally but loses a bit of upper mid vibrancy when called for. Details are apparent, but less so than the others. It's a different take - less resolving, but more relaxing potentially.
• EA1000 brings us back to a more resolving territory, where we've again got the higher registers of piano and an overall brighter presentation. It's not as precise or pinpoint vs TS-316, it sounds a touch more rounded at the edges and softer, lacking a bit of bite that creates a less revealing and ultimately less visceral experience. To be fair, for a set that is less than half the price, it certainly puts up a good fight and if I didn't A/B, I would have been perfectly content with what I'm hearing.
• OD200 again has nice vibrancy and weight for piano, stepping back however in the upper extremity of the mids which reduce the sense of timbre realism. The stage is more intimate, but still has a good sense of imaging and detail. It is a captivating listen, and certainly enjoyable but not where I would see this set excelling.

Conclusion

The TIMSOK TS-316 is an incredible performing single dynamic driver, offering a highly resolving presentation across a large and at times holographic stage. The somewhat w-shaped tuning is reasonably flexible for many genres, but in my experience the TS-316 is better with more modern recordings due to the upper energy which can be risky with older recordings - there is certainly a brightness from the upper mids upwards that might be a problem for some, but equally enhance the experience where the music calls for this zone in the FR (female vocals, upper registers of strings etc). They are a very well made, beautifully designed IEM with excellent comfort when you've found the right tips - worth noting again that due to the very small size, some ears will require larger tips to ensure they still in place.

I include a picture below in closing due to my love/appreciation for Stoic wisdom. I've recently added a daily journal practice, where a question is posed in the morning for you to jot down some thoughts, and do the same in the evening - this presents an opportunity to reflect on the question during the day, and revisit in the evening. One morning in the last week the topic of 'deep understanding' was put forward, and it was interesting to ponder the amount of 'learning' required in 'listening' in a critical way - and this can be done in very different ways too depending on the desired outcome - what I once listened to in music when I used to DJ is very different to what I now listen to in trying to understand difference in IEM capabilities, and it takes time to really get a handle on that, certainly for me anyway. I never intended writing reviews when I first joined Head-Fi, it happened by accident really when I shared extensive thoughts on the IE900 back in May 2020, and I was encouraged to convert that to a review - I will be absolutely honest and say I really felt way out of my comfort zone, and still do when I read the unbelieavable quality of some reviews here on Head-Fi but I'm enjoying the journey of learning and exploration, and always strive to improve.