Tri iOne is Tri’s new flagship single DD iem that came out not long ago. They somehow flew under the radar as you can’t even find many reviews or measurements of them. In this review I will try to convey my feelings about them. You can also read this review at mobileaudiophile.com
Disclaimers
Without boring you too much, I don’t necessarily have a sound preference. I tend to enjoy different sound profiles as long as they do well at what they intend to do. I try to be critic in my reviews but I might be somewhat biased one way or another (Recency bias, buyer’s bias etc.). Please keep these in mind. Also, Tri i Ones are loaned to me by Mahir. You can also read his review about them here. Other iems mentioned here are my own which I bought with my own money. If a unit I reviewed is given or loaned to me in the future, I will say so here as well.
Build, Comfort and Trivia
TRI Audio is a premium-leg of KBEAR. Back in 2018, when KBEAR was focused primarily on the budget segment of in-ear monitors, they designed a high-end pair with the support of a famous Japanese designer, they marketed it with their new brand TRI Audio. TRI released the brand’s tribrid flagship the I3 in 2019, which became an instant success for them. Ever since then TRI Audio is always focused on designing, producing, and marketing high-end audio gears that deliver impeccable performance at attractive prices. (Text taken from Hifigo)Although this paragraph reeks of marketing, it is true that Tri is the premium leg of KBEAR and as i Ones are their flagship single DD, packaging and accessories are simply exquisite. First of all, they come with pure silver Wolfram Cable which is sold for 200 $ by itself. Well not quite, you can actually find them for 100 $ or even as low as 85 $ from different sellers. And the cable’s cloth sheathing is very thick and stiff which makes them hard to carry and manage. They don’t even fit the case easily. And I wish they had modular connectors or at least balanced choice at this price. Coming with only 3.5 mm is a shame really.
Speaking of the case, i One comes with a beautiful orange case which is different from the usual Tri cases. It is bigger and harder. Maybe harder to carry around too but also protects your iems better. 2 sets of tips come out of the package which includes Tri’s newest Clarion tips. Clarion tips feels nice and very comfortable but the stem is too wide so they come off very easily from other iems unfortunately. Lastly there is a black pouch with two slots to put ear pieces separately to keep them from hitting each other and scratching.
IEMs themselves have a solid metal build and are somewhat heavy. They are not the smallest pieces either. To be honest, most of the other single DD IEMs are more comfortable than i Ones, but they are still better than multi driver IEMs.
Technical Specifications
Impedance： 24ΩSensitivity： 108dB@1KHz
Frequency response range： 20~40KHz
Driver unit: external magnetic circuit DD
Diaphragm material: Carbon PET
Unit diameter: 10MM
Earphone type: In-ear
Cavity material: Aluminum alloy
Interface: 2Pin 0.78mm (drop-in)
Plug: 3.5mm gold-plated
Cable material: OFC shielded pure silver wire
Cable length: 120CM±3CM
Sound
A few words about Clarion tips before I get into the sound. I liked the feel and comfort of them a lot and wanted to use them but eventually had to change them because they sounded too peaky. In the end I settled on Spinfit CP100s.With that out of the way, let’s take i One’s sound in a whole package. They sound fun and engaging. Bass is punchy, no suprises there but also rumbles quite nicely. High level of bass bleeds into lower mids and make them quite warm. Maybe too warm, not my favorite to be honest. Mids are lower than the bass, so get overshadowed easily. Vocals are mostly unaffected but some some instruments, like pianos and electric guitars sound off from time to time.
Upper mids are forward and female vocals sound lovely most of the time. Then again there are some peaks which can make them harsh or sibilant occasionally. These moments are not very often but strangely they occur in the songs or parts I haven’t noticed harshness or sibilance with other IEMs. For example, one song I use to test sibilance is Otherside from Red Hot Chili Peppers. i One doesn’t sound sibilant in this song at all but sibilance occur well mixed songs.
When I shared my first impressions about i Ones, I told whoever tuned these probably didn’t use measurements, instead tuned them by ear. I stand by that statement. Because most of the time they sound OK or enjoyable even. But in the most unexpected times they offended me. Since it is impossible to try an earphone with all the songs on earth, it fails to become an all-rounder. Most of the modern genres are safe to listen to, but if the song you listen to consists of a wide frequency range you may feel they sound off.
Technical Performance
Technically, they are subpar in their price range. Maybe the driver is highly capable but it is really too hard to tell with this amount of bass. In the end I couldn’t pick up fine details I could hear with other IEMs. Maybe my high end headphones spoiled me too much, I don’t know. Anyway, perceived sound stage or head stage is pretty closed too. I’m not bothered by the stage characteristics of IEMs and headphones but I know some of you are. Imaging is alright. Timbre is also concerning because of this peculiar tuning unfortunately.Tri i One vs BQEYZ Autumn with Bass Filter
I decided to compare them against my beloved Autumns as they are my most expensive single DD iems.- Autumns are Harder to Drive, they have bigger drivers (13 mm vs 10 mm) in a smaller shell so they are more comfortable in my ears.
- Autumns have a V shaped sound signature with bass filters but i Ones are even more V.
- When volume matched Autumns have a more satisfying bass with better texture. However, i Ones rumble much more. Autumn doesn’t extend very well into the lowest of lows.
- Autumns sound noticeably warm with bass filter but i One is even warmer. Bass is more prominent on i Ones.
- Most of the mids on i One feels sucked out. Autumns sound more even although it has its own quirks in treble which makes them sound sibilant harsh occasionally. Tri i One also has its own peaky areas. One song sounds harsh on one and relaxed on the other. It really is a coin toss here.
- Upper mids are more forward on i One which benefits female vocals and save them from the being masked by the bass. Autumns don’t have such a problem and you can always change the filters if you want.
- Autumn is mostly pleasant in the treble but upper mids and lower treble becomes harsh more often than Tri i One. Bass level on Tri i One balances out the high treble level.
- Technically Autumns are clearer, airier, deeper and wider even with the bass filter. I think Autumns’ drivers are more capable but it is really hard to assess with i One’s tuning and I wouldn’t open up and mess with an almost 300 USD iems anyway. Imaging is decent on i Ones but, noticably better on Autumns.
Conclusion
TRI iOne misses the mark for a few reasons in my opinion. First of all, with their 279 $ price, they are too expensive. While budget iems are getting better and better with their tuning, it is really hard to justify a single DD with that kind of price even if they sound good. They are similarly priced with very well received Tanchjim Oxygens and more expensive than crowd favorites like Moondrop Kato and Tanchjim Hana 2021. I don’t even want to count the sub 100 $ competitors. While everything in the package feels premium, it fails to deliver where it matters the most; cable. I didn’t use the cable that much; first and foremost it should have been a modular termination one. Much cheaper IEMs come with modular cables these daysAbout the tuning of TRI iOne, it must have gone like this: they probably raised upper frequencies so it sounded bright. They wanted to balance it out by raising the bass but it became too bassy so they raised the upper range more. With a few back and forth they settled on the tuning but in the end, they forgot the mids deep in the chasm. That’s what I hear anyway. They are not offensive as much as I feared, but not very good sounding to be honest. Sometimes I wished bass to be lower, but that would make them too harsh. Sometimes I wanted peaks were not there but they sounded very musical from time to time. If they weren’t expensive, I would at least recommend these to the people looking for an exciting set but, oh well.
Introduction
As many of you already know, TRI is something like KBEAR's premium brand. This time, I am going to review the i ONE, which is the top of the range product using a single dynamic driver. A member of the i-series, this is a product that is over 300€ in price. It uses a powerful N52 NdFeB magnet for its 10mm driver with a PET carbon diaphragm. It has been manufactured in aluminium alloy under a 5-axis CNC machine. Its surface is anodised. It has a galvanised mirror coating and uses a 2.5D curved glass on its outer face. The cable is a TRI Wolfram cable with 4 shielded pure silver OFC cores, which have a thick textile coating. Finally, it is worth mentioning that they come with the new TRI Clarion silicone tips.
Specifications
Packaging
The TRI i ONE comes in a huge box, measuring 240x169x69mm. It is white. The few letters are grey. On the front only i ONE and a slogan. On the back a few specifications in several languages. It opens like a book, but has flaps on one side and the other. On the right flap is a BN photograph of the floor of what could be a band stage, or a studio. The interior colour is bright orange. There is a plate with another photograph, this time in colour, of a deer. Above is the TRI logo. The interior is made of velvet-covered foam. There are several compartments containing the capsules, a couple of orange cardboard boxes with the cable, and other accessories. The tips are in dedicated blister packs and, finally, there is a large orange leather box. The summary of the contents is as follows:
The packaging is very large, living up to its premium status, but it is overkill.
Although the storage box is large, the cable makes it slightly difficult to store the product inside. The pouch to protect the capsules is appreciated, but impractical. Only for those who are very meticulous in this regard.
Construction and Design
TRI wanted to stand out from the crowd and took a risk with the design, especially with the size of the capsule and the protrusion of the rim. But I will discuss this aspect in the next section.
The capsules are made of aluminium alloy and have a shiny micro-sandblasted surface, which is very eye-catching and attractive. The logo is on the rim, next to the 2Pin connection. Nearby, on the outer side there are two holes. There is another hole at the base of the nozzles. These have three levels and are protected by a perforated metal part. The outer face has a 2.5D glass, with a mirror surface. The name of the model is written on the inside and it has a pattern made in one half, with vertical rectangles of different lengths.
The cable is called TRI Wolfram and consists of 4 shielded pure silver OFC cores. It has a textile coating for each strand and is quite thick. The connector is 3.5mm gold-plated. The sleeve is metallic, hexagonal shaped and black. It has the logo and branding in white ink on one side. The divider is the same, but shorter. The pin is a black metal ring. The connectors are black cylinders with bevelled rings in blue and bright red and polished, all metal. The 2Pin 0.78mm connection is mounted on a translucent hard plastic plate.
The shape of the capsules resembles a triangle with rounded corners. The presumed face of the larger cathetus has two flat parts of unequal size. Overall, it is a small but fat capsule. The inner face is neither flat nor rounded. They wanted to make a rising curve that ends in a rim/protrusion that anchors above the fold of the pinna. The problem is that this capsule is small and does not fit my morphology.
I don't understand how a premium cable and product doesn't have a balanced plug option.
Overall, the look is really premium, very neat and very well finished. The design is elegant, but fails in the ergonomics applied to my particular morphology.
Adjustment and Ergonomics
Because of the above mentioned, the anchor protrusion does not reach its destination. In length, it does not go beyond my antihelix. What's more, it bumps directly against it, causing continuous discomfort. On the other hand, the choice of tips has not been easy. I tried to find some tips that would allow a deeper insertion, with the intention that the capsules would "float", to move them far enough away from my ears so that there would be no contact with the antihelix. I was able to find some very large bi-flange tips from the old Rose Mini2 MKII 2.0. With them I got the best sound and the best fit, but this design is not comfortable at all.
The weight of the cable and its thickness don't help the comfort either. So this section has a clear failure, at least, in my particular case. And it's not that I have a special morphology, as normally I almost never have problems in this aspect. To give an example, the Campfire Solaris, due to their large size, I couldn't wear them for more than half an hour. By that I mean that these things happen even in the best houses.
Sound
Profile
The TRI i ONE could be said to have a W-profile because it has three clear peaks in its frequency response. The first is located in the sub-bass, the second above 2.5kHz and the third above the dreaded 5kHz. The conjunction of the last two peaks, which are at the same level, causes the sound to veer towards brightness. An attempt is made to compensate with a powerful sub-bass, but the double excitation of the second V makes the sound predominantly "bright", to say the least.
On the other hand, in my opinion, this profile is not the most suitable for a premium IEMS, which is the reference of the brand. Whenever I think of a flagship model, I always imagine a more balanced, homogeneous and, it must be said, audiophile frequency response.
Bass
You have to admit that TRI has managed to make a good dynamic driver for the bass. Qualitatively speaking, it is very good. It has almost everything you would expect from it: power, punch, depth, sensory response, forcefulness, presence, cleanliness, speed, layering and dynamism. I just miss a little more texture, a little more sensory and a little deeper, if that's possible. It is agile in its execution, quick in its decay, there is hardly any aftertaste, it is clean with the mids and is very capable with complex passages. Its ability shows in bad recordings, with unfiltered bass, with complicated bass lines and difficult to execute. The i One has had no problem dealing with such challenges and has handled them all in an exemplary manner. There is no hint of hesitation, no unwanted rumble, no distortion. Moreover, it is able to cope with a good level of volume without complaining at all. I have put these TRIs through some tough bass tests, where many of my IEMS in my collection suffer greatly. Whereas the i ONE's have always responded in an exemplary manner. It seems like that should be the norm. But mixing high volume, with dirty and almost exaggerated bass, is not always a good combination for IEMS. And that's where I have to rate these TRIs with an excellent grade in this section.
Nor can I forget the level of precision, definition, detail, even the light and clarity of the area. Qualities that undoubtedly confirm the value of a great dynamic bass driver.
Mids
The steep W tuning is not the best way to represent the midrange. After a noticeable drop from the sub-bass, the inequality between the lowest part of the first half and the highest part of the upper-mids is about 14db according to my own measurement. The first part of the midrange suffers from these consequences and the remoteness of its presentation is noticeable. This is particularly evident in the male vocals and the instrumentation in this area. The drums, some of the guitars, brass instruments and some other string instruments, as well as the male vocals, can sound a little soft, light, distant, lacking in physicality and body. They have a bright timbre, lacking sedimentation. However, they are very well articulated and when they are on their own they are remarkably well executed, with good nuance, detail, even texture. But they lack a denser base and a more emancipated projection. The female voices can become piercing and sharp, as can the upper frequencies of these instruments, as well as the rest. Something that causes fatigue, even discomfort, at times. These are not IEMS that I would choose for long listening.
On the other hand, the overexposure of the upper mids and first highs means that when these come into play, the micro details of the lower mids are left behind and are lost. This is a technical driver, with very good resolution, which makes the mids very detailed. But the tuning does not allow it to reach excellence, nor to extract all the potential it possesses. Thus, depending on the genre or even the song played, the i ONE can be very good or sound hollow, due to the remoteness of the first part of the midrange and the higher presence of bass, upper-mids and first treble. In this way, the great work done by the driver is diluted by an unbalanced and focused profile in certain frequency ranges.
Despite all this, this is not an IEM that emphasises detail over substance. In this case, despite the low density of the midrange presentation, it is not a clearly analytical IEM, although it is remarkable technically speaking, in terms of precision, speed, agility and dynamics. But the low homogeneity of this range prevents a greater brilliance and a more balanced exposition of all the music.
Treble
The treble is preceded by an excited upper-mid range and has a high initial sparkle. Then there is a relatively clear decay, a classic manner of controlling the zone. In this way, the presentation is flashy, bright, crisp, becoming sharp and marked at times. The sibilance remains on the edge, at the limit of what is acceptable. But it makes the sound fatiguing and exposed. The extension is simply good, although the airy feel is not very high. Thus the treble is penetrating, powerful, but focused on the first part. It loses delicacy, again because of this particular presence and affects the rest of the centre frequencies, because it overpowers them.
Again, technically very competent, the treble details are present, although they mask those midrange nuances, because of their higher level of exposure and closeness.
Soundstage, Separation
The soundstage is wide, has good height, but is average for its price. The depth struggles with the closeness of the upper-mids and first highs. These anchor the scene, bringing it too close. Details that should be more volatile are presented in the foreground, very close to the listener. While some of the instrumentation and vocals are in a middle distance that is not real. A sense of air is lost because of this attachment of nuances and the logical/natural order of the presentation is reversed. The staging feels somewhat forced in that sense, although the clarity is very high, as is the level of transparency. Technically very good, in aspects of resolution and definition, nuances are lost depending on the frequency ranges, by superimposing those frequencies on others. The separation is also noticeable, but the second half of the upper-mids and the first highs concentrate and concentrate the information, generating a somewhat uneven exposure. Again, depending on the song, everything can vary, so they are not good all-rounders. These IEMS are selective with musical styles and songs.
Comparisons
TFZ Tequila PRO
I like to compare similar profiles in order to be able to determine differences between IEMS and to be able to evaluate them better. In this case, I have nothing more similar than the TFZ Tequila PROs. Their frequency response is very similar. While the TFZs can be found for $179, the TRIs can be found for $249.
Starting with the design and construction issues, I like the TFZs very much and they are completely made of metal. It is a cylindrical design of a good diameter, with sloping nozzles. It is also not without controversy in its ergonomics, but I have to say that they fit me perfectly. However, the TRIs, as I have already mentioned, have much worse ergonomics for me, more uncomfortable and less compatible with my anatomy. Despite the beauty of the i ONE, I prefer the mix of simplicity and elegance of the TFZ.
The profile is remarkably similar, both are W-tuned, both have dynamic drivers. The TFZs house a dynamic driver with a Tesla magnetic group and 11.4mm diamond diaphragm. On the other hand, the TRI i ONE have an external magnetic circuit with 10mm dynamic driver, N52 NdFeB magnet and PET carbon diaphragm. The TFZs are characterised by the fact that they require very little power to deliver great sound performance. The i ONEs are harder to move, but not too hard either. But the differences are clear in this respect.
If there was one thing TFZ knew how to do well, it was dynamic bass drivers. In that sense, TFZ has always been a reference. And it makes things very difficult for a great low end like the i ONE. To be honest and after many tests and quick comparisons, I could say that the TFZ are slightly superior. The bass is more concise and tighter, while the TRIs are subtly more rubbery. Both have a very similar demeanour, presence, execution and timbre, but I think the TFZs sound a little more sensory and the i ONEs sound more rounded. But there are far more similarities than differences. At the limit, the i ONEs have a superior technical point, with a bit more control, precision and resolution. While the TFZs have a more visceral, punchy feel, moving more air, but also booming more.
The technical competence of the TRIs shows in the mids. The TFZs sound a bit muddier and more shaded, something that can be felt in male vocals. While the TRIs always maintain a lot of clarity, transparency and definition, the TFZs feel less resolved, although the timbre is more pleasant, comparatively warmer and not as bright. Despite the technical loss, it is more musical and enjoyable. It also has a little more body and density. In the upper-mids it's the same: I still find the TRIs more penetrating. Being more analytical, having more definition and resolution, their notes are thinner, more separated, but also more piercing. In that sense, they are more demanding and harder in a particularly sensitive area. With more technical expertise, being more suitable for monitoring, the TFZs are a little more homogeneous and permissive.
In the upper range, a few things remain the same: the treble of the TFZs is rounder, a bit more linear and extended. Whereas in the TRIs they are thinner, sound sharper, crisper, brighter and slimmer. Again, the pattern of technicality vs. musicality is maintained, if this analogy can be allowed in a clearly exalted W-profile.
The i ONEs, being technically superior, are able to go a step further in the recreation of detail, reaching a more micro point. Comparatively speaking, the TFZs are a notch rounder, but the fact that they are less penetrating and somewhat more "balanced" allows them to offer a palette of detail at other frequencies where the TRIs overlap.
At the price point of the i ONE, I demand a higher amount of scenery from them. In this respect, both are similar. But the greater separation, volatility and finesse of the notes offer a freer feel in the TRIs. Although there seems to be more depth in the TFZs. Compared one to one, the TRIs are better on stage, in separation, clarity and transparency, offering a sense of taking up more space. The TFZ's seem more conjoined and dense, their better homogeneity softening the exposure, reducing it comparatively speaking.
Having the profile covered with the Tequila Pro, I wouldn't buy the TRI and ONE, unless I really liked the profile and I was looking for a technical superiority, taking into account that their ergonomics may or may not fit the morphology of each one of us.
Conclusion
Previously, I have reviewed TRI products that I really liked, such as the Meteor, the KAI and the TK-2 DAC/AMP. And I really expected the new i ONE to be a great product, living up to its price and top of the range status. But I think TRI has taken a risk. First, because the i ONE's design means that its ergonomics are not universal. I will have tried about 100 IEMS and only a few units have not fit me well. The TRI i ONE has been one of them. Secondly, they have a very pronounced W-profile, which takes them away from the balance and homogeneity that I would expect from a reference IEMS.
The TRI i ONE are technically very good, I would say excellent. With a performance, definition and resolution fully in line with their price, even higher. But I think that their profile detracts from the true potential of the driver they have and leaves me wondering how far they could have gone, with a more homogeneous and balanced tuning in their central range. On the other hand, all this is just a personal opinion, because if the profile of the i ONE fits any enthusiast, it would be difficult to find something better.
Sources Used During the Analysis
Ratings
Purchase Link
https://keephifi.com/products/tri-ione
https://es.aliexpress.com/item/1005004910383965.html
You can read the full review in Spanish here:
https://hiendportable.com/2022/12/12/tri-i-one-review/
As many of you already know, TRI is something like KBEAR's premium brand. This time, I am going to review the i ONE, which is the top of the range product using a single dynamic driver. A member of the i-series, this is a product that is over 300€ in price. It uses a powerful N52 NdFeB magnet for its 10mm driver with a PET carbon diaphragm. It has been manufactured in aluminium alloy under a 5-axis CNC machine. Its surface is anodised. It has a galvanised mirror coating and uses a 2.5D curved glass on its outer face. The cable is a TRI Wolfram cable with 4 shielded pure silver OFC cores, which have a thick textile coating. Finally, it is worth mentioning that they come with the new TRI Clarion silicone tips.
Specifications
- Driver Type: External magnetic circuit with 10mm dynamic driver, N52 NdFeB magnet and PET carbon diaphragm.
- Frequency Response: 20Hz - 40kHz
- Sensitivity: 108dB@1kHz
- Impedance: 24Ω
- Jack connector: 3.5mm gold-plated
- Capsule Connection Type: 2Pin 0.78mm
- Capsule Material: Aluminium alloy.
- Cable length 120cm ± 3cm.
- Cable Material: 4 shielded pure silver OFC cores.
Packaging
The TRI i ONE comes in a huge box, measuring 240x169x69mm. It is white. The few letters are grey. On the front only i ONE and a slogan. On the back a few specifications in several languages. It opens like a book, but has flaps on one side and the other. On the right flap is a BN photograph of the floor of what could be a band stage, or a studio. The interior colour is bright orange. There is a plate with another photograph, this time in colour, of a deer. Above is the TRI logo. The interior is made of velvet-covered foam. There are several compartments containing the capsules, a couple of orange cardboard boxes with the cable, and other accessories. The tips are in dedicated blister packs and, finally, there is a large orange leather box. The summary of the contents is as follows:
- The 2 TRI i One capsules.
- 1 cable.
- 1 brush.
- 1 green cloth.
- 1 blister pack with Clarion Tips, sizes SxMxL.
- 1 blister pack with Balanced Tips, sizes SxMxL.
- 1 leather case.
- 1 cloth bag to protect the capsules.
The packaging is very large, living up to its premium status, but it is overkill.
Although the storage box is large, the cable makes it slightly difficult to store the product inside. The pouch to protect the capsules is appreciated, but impractical. Only for those who are very meticulous in this regard.
Construction and Design
TRI wanted to stand out from the crowd and took a risk with the design, especially with the size of the capsule and the protrusion of the rim. But I will discuss this aspect in the next section.
The capsules are made of aluminium alloy and have a shiny micro-sandblasted surface, which is very eye-catching and attractive. The logo is on the rim, next to the 2Pin connection. Nearby, on the outer side there are two holes. There is another hole at the base of the nozzles. These have three levels and are protected by a perforated metal part. The outer face has a 2.5D glass, with a mirror surface. The name of the model is written on the inside and it has a pattern made in one half, with vertical rectangles of different lengths.
The cable is called TRI Wolfram and consists of 4 shielded pure silver OFC cores. It has a textile coating for each strand and is quite thick. The connector is 3.5mm gold-plated. The sleeve is metallic, hexagonal shaped and black. It has the logo and branding in white ink on one side. The divider is the same, but shorter. The pin is a black metal ring. The connectors are black cylinders with bevelled rings in blue and bright red and polished, all metal. The 2Pin 0.78mm connection is mounted on a translucent hard plastic plate.
The shape of the capsules resembles a triangle with rounded corners. The presumed face of the larger cathetus has two flat parts of unequal size. Overall, it is a small but fat capsule. The inner face is neither flat nor rounded. They wanted to make a rising curve that ends in a rim/protrusion that anchors above the fold of the pinna. The problem is that this capsule is small and does not fit my morphology.
I don't understand how a premium cable and product doesn't have a balanced plug option.
Overall, the look is really premium, very neat and very well finished. The design is elegant, but fails in the ergonomics applied to my particular morphology.
Adjustment and Ergonomics
Because of the above mentioned, the anchor protrusion does not reach its destination. In length, it does not go beyond my antihelix. What's more, it bumps directly against it, causing continuous discomfort. On the other hand, the choice of tips has not been easy. I tried to find some tips that would allow a deeper insertion, with the intention that the capsules would "float", to move them far enough away from my ears so that there would be no contact with the antihelix. I was able to find some very large bi-flange tips from the old Rose Mini2 MKII 2.0. With them I got the best sound and the best fit, but this design is not comfortable at all.
The weight of the cable and its thickness don't help the comfort either. So this section has a clear failure, at least, in my particular case. And it's not that I have a special morphology, as normally I almost never have problems in this aspect. To give an example, the Campfire Solaris, due to their large size, I couldn't wear them for more than half an hour. By that I mean that these things happen even in the best houses.
Sound
Profile
The TRI i ONE could be said to have a W-profile because it has three clear peaks in its frequency response. The first is located in the sub-bass, the second above 2.5kHz and the third above the dreaded 5kHz. The conjunction of the last two peaks, which are at the same level, causes the sound to veer towards brightness. An attempt is made to compensate with a powerful sub-bass, but the double excitation of the second V makes the sound predominantly "bright", to say the least.
On the other hand, in my opinion, this profile is not the most suitable for a premium IEMS, which is the reference of the brand. Whenever I think of a flagship model, I always imagine a more balanced, homogeneous and, it must be said, audiophile frequency response.
Bass
You have to admit that TRI has managed to make a good dynamic driver for the bass. Qualitatively speaking, it is very good. It has almost everything you would expect from it: power, punch, depth, sensory response, forcefulness, presence, cleanliness, speed, layering and dynamism. I just miss a little more texture, a little more sensory and a little deeper, if that's possible. It is agile in its execution, quick in its decay, there is hardly any aftertaste, it is clean with the mids and is very capable with complex passages. Its ability shows in bad recordings, with unfiltered bass, with complicated bass lines and difficult to execute. The i One has had no problem dealing with such challenges and has handled them all in an exemplary manner. There is no hint of hesitation, no unwanted rumble, no distortion. Moreover, it is able to cope with a good level of volume without complaining at all. I have put these TRIs through some tough bass tests, where many of my IEMS in my collection suffer greatly. Whereas the i ONE's have always responded in an exemplary manner. It seems like that should be the norm. But mixing high volume, with dirty and almost exaggerated bass, is not always a good combination for IEMS. And that's where I have to rate these TRIs with an excellent grade in this section.
Nor can I forget the level of precision, definition, detail, even the light and clarity of the area. Qualities that undoubtedly confirm the value of a great dynamic bass driver.
Mids
The steep W tuning is not the best way to represent the midrange. After a noticeable drop from the sub-bass, the inequality between the lowest part of the first half and the highest part of the upper-mids is about 14db according to my own measurement. The first part of the midrange suffers from these consequences and the remoteness of its presentation is noticeable. This is particularly evident in the male vocals and the instrumentation in this area. The drums, some of the guitars, brass instruments and some other string instruments, as well as the male vocals, can sound a little soft, light, distant, lacking in physicality and body. They have a bright timbre, lacking sedimentation. However, they are very well articulated and when they are on their own they are remarkably well executed, with good nuance, detail, even texture. But they lack a denser base and a more emancipated projection. The female voices can become piercing and sharp, as can the upper frequencies of these instruments, as well as the rest. Something that causes fatigue, even discomfort, at times. These are not IEMS that I would choose for long listening.
On the other hand, the overexposure of the upper mids and first highs means that when these come into play, the micro details of the lower mids are left behind and are lost. This is a technical driver, with very good resolution, which makes the mids very detailed. But the tuning does not allow it to reach excellence, nor to extract all the potential it possesses. Thus, depending on the genre or even the song played, the i ONE can be very good or sound hollow, due to the remoteness of the first part of the midrange and the higher presence of bass, upper-mids and first treble. In this way, the great work done by the driver is diluted by an unbalanced and focused profile in certain frequency ranges.
Despite all this, this is not an IEM that emphasises detail over substance. In this case, despite the low density of the midrange presentation, it is not a clearly analytical IEM, although it is remarkable technically speaking, in terms of precision, speed, agility and dynamics. But the low homogeneity of this range prevents a greater brilliance and a more balanced exposition of all the music.
Treble
The treble is preceded by an excited upper-mid range and has a high initial sparkle. Then there is a relatively clear decay, a classic manner of controlling the zone. In this way, the presentation is flashy, bright, crisp, becoming sharp and marked at times. The sibilance remains on the edge, at the limit of what is acceptable. But it makes the sound fatiguing and exposed. The extension is simply good, although the airy feel is not very high. Thus the treble is penetrating, powerful, but focused on the first part. It loses delicacy, again because of this particular presence and affects the rest of the centre frequencies, because it overpowers them.
Again, technically very competent, the treble details are present, although they mask those midrange nuances, because of their higher level of exposure and closeness.
Soundstage, Separation
The soundstage is wide, has good height, but is average for its price. The depth struggles with the closeness of the upper-mids and first highs. These anchor the scene, bringing it too close. Details that should be more volatile are presented in the foreground, very close to the listener. While some of the instrumentation and vocals are in a middle distance that is not real. A sense of air is lost because of this attachment of nuances and the logical/natural order of the presentation is reversed. The staging feels somewhat forced in that sense, although the clarity is very high, as is the level of transparency. Technically very good, in aspects of resolution and definition, nuances are lost depending on the frequency ranges, by superimposing those frequencies on others. The separation is also noticeable, but the second half of the upper-mids and the first highs concentrate and concentrate the information, generating a somewhat uneven exposure. Again, depending on the song, everything can vary, so they are not good all-rounders. These IEMS are selective with musical styles and songs.
Comparisons
TFZ Tequila PRO
I like to compare similar profiles in order to be able to determine differences between IEMS and to be able to evaluate them better. In this case, I have nothing more similar than the TFZ Tequila PROs. Their frequency response is very similar. While the TFZs can be found for $179, the TRIs can be found for $249.
Starting with the design and construction issues, I like the TFZs very much and they are completely made of metal. It is a cylindrical design of a good diameter, with sloping nozzles. It is also not without controversy in its ergonomics, but I have to say that they fit me perfectly. However, the TRIs, as I have already mentioned, have much worse ergonomics for me, more uncomfortable and less compatible with my anatomy. Despite the beauty of the i ONE, I prefer the mix of simplicity and elegance of the TFZ.
The profile is remarkably similar, both are W-tuned, both have dynamic drivers. The TFZs house a dynamic driver with a Tesla magnetic group and 11.4mm diamond diaphragm. On the other hand, the TRI i ONE have an external magnetic circuit with 10mm dynamic driver, N52 NdFeB magnet and PET carbon diaphragm. The TFZs are characterised by the fact that they require very little power to deliver great sound performance. The i ONEs are harder to move, but not too hard either. But the differences are clear in this respect.
If there was one thing TFZ knew how to do well, it was dynamic bass drivers. In that sense, TFZ has always been a reference. And it makes things very difficult for a great low end like the i ONE. To be honest and after many tests and quick comparisons, I could say that the TFZ are slightly superior. The bass is more concise and tighter, while the TRIs are subtly more rubbery. Both have a very similar demeanour, presence, execution and timbre, but I think the TFZs sound a little more sensory and the i ONEs sound more rounded. But there are far more similarities than differences. At the limit, the i ONEs have a superior technical point, with a bit more control, precision and resolution. While the TFZs have a more visceral, punchy feel, moving more air, but also booming more.
The technical competence of the TRIs shows in the mids. The TFZs sound a bit muddier and more shaded, something that can be felt in male vocals. While the TRIs always maintain a lot of clarity, transparency and definition, the TFZs feel less resolved, although the timbre is more pleasant, comparatively warmer and not as bright. Despite the technical loss, it is more musical and enjoyable. It also has a little more body and density. In the upper-mids it's the same: I still find the TRIs more penetrating. Being more analytical, having more definition and resolution, their notes are thinner, more separated, but also more piercing. In that sense, they are more demanding and harder in a particularly sensitive area. With more technical expertise, being more suitable for monitoring, the TFZs are a little more homogeneous and permissive.
In the upper range, a few things remain the same: the treble of the TFZs is rounder, a bit more linear and extended. Whereas in the TRIs they are thinner, sound sharper, crisper, brighter and slimmer. Again, the pattern of technicality vs. musicality is maintained, if this analogy can be allowed in a clearly exalted W-profile.
The i ONEs, being technically superior, are able to go a step further in the recreation of detail, reaching a more micro point. Comparatively speaking, the TFZs are a notch rounder, but the fact that they are less penetrating and somewhat more "balanced" allows them to offer a palette of detail at other frequencies where the TRIs overlap.
At the price point of the i ONE, I demand a higher amount of scenery from them. In this respect, both are similar. But the greater separation, volatility and finesse of the notes offer a freer feel in the TRIs. Although there seems to be more depth in the TFZs. Compared one to one, the TRIs are better on stage, in separation, clarity and transparency, offering a sense of taking up more space. The TFZ's seem more conjoined and dense, their better homogeneity softening the exposure, reducing it comparatively speaking.
Having the profile covered with the Tequila Pro, I wouldn't buy the TRI and ONE, unless I really liked the profile and I was looking for a technical superiority, taking into account that their ergonomics may or may not fit the morphology of each one of us.
Conclusion
Previously, I have reviewed TRI products that I really liked, such as the Meteor, the KAI and the TK-2 DAC/AMP. And I really expected the new i ONE to be a great product, living up to its price and top of the range status. But I think TRI has taken a risk. First, because the i ONE's design means that its ergonomics are not universal. I will have tried about 100 IEMS and only a few units have not fit me well. The TRI i ONE has been one of them. Secondly, they have a very pronounced W-profile, which takes them away from the balance and homogeneity that I would expect from a reference IEMS.
The TRI i ONE are technically very good, I would say excellent. With a performance, definition and resolution fully in line with their price, even higher. But I think that their profile detracts from the true potential of the driver they have and leaves me wondering how far they could have gone, with a more homogeneous and balanced tuning in their central range. On the other hand, all this is just a personal opinion, because if the profile of the i ONE fits any enthusiast, it would be difficult to find something better.
Sources Used During the Analysis
- Aune Flamingo.
- Earmen Angel.
- TempoTec Variations V6.
- Hidizs AP80 PRO-X Red Copper Limited Edition.
- ACMEE MF02s.
Ratings
- Construction and Design: 60
- Adjustment/Ergonomics: 45
- Accessories: 85
- Bass: 90
- Mids: 82
- Treble: 87
- Separation: 90
- Soundstage: 87
- Quality/Price: 70
I want to thank KeepHiFi for making this review possible and especially SenyorC from the blog:
https://espanol.achoreviews.com/
Thanks to him I have been able to review this exclusive product.
https://espanol.achoreviews.com/
Thanks to him I have been able to review this exclusive product.
Purchase Link
https://keephifi.com/products/tri-ione
https://es.aliexpress.com/item/1005004910383965.html
You can read the full review in Spanish here:
https://hiendportable.com/2022/12/12/tri-i-one-review/
The Tri i One have been sent to me by KeepHifi for me to try out and share my opinions on them. The only request from KeepHifi was that I reviewed them in a short time frame as they are a new launch and there is not much in the way of reviews out there just yet, or at least there weren’t when they sent them to me, I haven’t checked since.
I was happy to accommodate their request, I always am when the request is a fair one and doesn’t become a habit, as long as they are happy with my opinions being honest about what I think about them, which is something that KeepHifi has always respected.
You can find the Tri i One via KeepHifi by visiting the link I have published on my blog (link to my blog at the end of this review).
As always, it is a non-affiliate link, I do not benefit in any way by people clicking or buying via the link.
Intro…
As I said a moment ago, these are a new launch from Tri and were only released very recently. I promised to review them as quickly as I could and I have had these IEMs a little over 2 weeks, which is basically the minimum I like to spend with a set to be able to review them coherently, 1 week for burn-in and 1 week for listening and testing etc.
The i One are classed as the flagship model of Tri, using a single Carbon PET dynamic driver and coming in at around 250€ at the time of writing this review. This means that they are certainly not a budget set of IEMs but they are still way more economic than “flagship” models from other brands.
I have to say that my experience with them over the last week has been a bit of a roller coaster, going from dislike to like and back again on various occasions, which is one of the main reasons that I like to spend at least 4 or 5 days of continuous use before actually putting together impressions.
Now let’s get on with what those impressions actually are and what my conclusions are regarding the Tri i One.
Presentation…
I have to say that the unboxing of the i One’s was quite an unexpected experience. They arrive in a large box which is white and simply shows the name and not much more. However, once the box is open, everything turns orange!
The box extends both to the left and the right, with the whole interior being orange, I mean, just look at the photos that speak a thousand words.
Everything is neatly packed and they have really put some care and effort into the presentation of these IEMs. For some reason there is a picture of a deer included that, combined with the orange, sort of reminds me of a hunting store, but I would rather have the deer than some of the anime art that appears with so many other sets.
As far as contents, it is also a very respectable amount. We get the IEMs, the cable, 3 sets of “balanced” silicone tips, 3 sets of “Clarion” silicon tips, a cleaning tool, the user manual, a small net storage bag and a very nice storage case in orange to match the box.
I really can’t complain about the contents as I feel they are more than acceptable for a set of 250€. Ok, they could have included a balanced cable also to really surpass expectations, but I feel that they have covered everything that is needed.
Build and aesthetics…
All of the contents seem to be well made and of good quality but let’s focus as usual on the IEMs and the cable, starting off with the IEMs.
Using Aluminium alloy shells, they opted for a shape that is quite simple but at the same time, uses small curves and deviations to what would have probably been quite boring. The faceplate uses a mirror like insert with the model name and a simple block design, however, the way the mirror finish is done, it changes from light to dark depending on the angle (and makes it rather difficult to photograph, at least for someone like me who isn’t really well versed in photography).
The TRI logo also appears on the forward part of the shells and in general, they do look fairly elegant and I feel they live up to their price as far as aesthetics and build goes.
The cable is a bit on the large size for me personally, as I am someone who prefers thinner cables for IEMs (within reason) but there is no denying that it is a well built cable. According to Tri it is a “OFC shielded pure silver wire”, which is individually wrapped in a cloth type material using a quadruple twist that then splits to two double twists.
Sound…
Here is where I couldn’t make up my mind with the i One. I did graph these IEMs before listening to them, so let’s start there:
.png)
So, straight away we see how far the frequency response of these IEMs is from my preferred target and we can also see a huge peak at 5kHz, my dreaded frequency for peaks. In fact, in the next graph we can see how it compares to two IEMs that I have also tried recently and disliked quite a bit, the Rhombus and the Cencibel (which I believe I haven’t actually published the review for yet, so I guess this counts as a spoiler).
.png)
So, let’s just say that I went into this with expectations of suffering that peak. I have to say that upon first listen, that was exactly what I experienced. I was listening to some indy style rock and found that the electric guitars were just piercing in the 5kHz range, along with certain parts of the percussion. This straight away put me in the “I don’t want to spend a week with these” frame of mind.
However, I do know that spending more time with something will sometimes make it grow on me (and sometimes bring me to dislike things that I initially liked), so I persevered and the next day I put on the included grey tips (the Balance tips) and sat down at my desk, hitting play on a jazz playlist while focusing on my work load. After a while I realized that I was enjoying the music and I started paying a bit more attention. I found that some of the brass instruments in the specific tracks I was listening to were actually rather smooth and not coming across as harsh and unpleasant as I expected things like saxophones and trumpets to do.
So, for the next few days, I spent time with the i One and found that they would go from unpleasant to very enjoyable depending totally on my music selection, something that we often forget when talking about IEMs (or headphones), someone's experience will vary wildly depending on the kind of music they listen to.
But anyway, let’s try and give this review some kind of organization and focus on my test list that I always use for final impressions and opinions. It’s been a while since I mentioned it but you can find the full test track list that I use here: https://english.achoreviews.com/p/list-of-test-tracks.html Also, each of the tracks mentioned here is a clickable link that will allow you to open the track in the streaming service of your choice.
Starting off with the lowest notes and using my usual test of “Chameleon” for the subbass performance, there is no shortage of rumble in the low end. The performance of these IEMs in the subbass notes is impressive, giving enough of that lowest presence for any subbass lover to be happy without actually being too overpowering. They also do a good job of keeping the subbass clean and defined, even when trying out a track like “Royals” which has a subbass that is not as clean and controlled as it could be, the i One do a good job of presenting it without it taking over the song.
With something like “No Sanctuary Here” or “Sun Is Shining”, which are tracks that focus more on the midbass side of things, the i One does a good job but there can be just a little too much in the lower end of the midbass (the crossover point between subbass and midbass you could say) which can make it feel sometimes like the bass is not quite working together with the rest of the frequencies. This is something that is difficult to explain but think of it like a speaker set up where the crossovers between subs and midrange drivers are not quite set up correctly. This is something that I experience on things like the DT1770 Pro and while it is not terrible, it can just sound a little “off”.
With tracks that use instruments rather than electronic created bass, such as “Bombtrack”, on the heavier side of things, or “Back It Up” which is more of a double bass track, I do feel that there is a little too much presence. This gives a nice round edge to the low end but it does detract from the actual sound of the instruments, or at least the timbre I would expect.
The mids are the point that I most find I changed my mind about. Depending on vocals, some of them can seem a little too recessed. This is mainly in the case of male vocals but I did experience it also with Caro Emerald in “Back It Up” that I just mentioned, or Sade in “No Ordinary Love”, where the voices lose out to the bass playing due to increased midbass and the dip in the mids.
The upper mids are even more of a lottery depending on music though, at least in my opinion. I would find that certain tracks would be extremely exaggerated in those upper mids (with that 5kHz peak stabbing me), such as the upper mids of “Killing in the name of" by RATM or “Light Years Away” by Oliver, whereas other tracks would come across as smooth in those areas such as “Don’t Start Now” by Dua Lipa or "Breezeblocks" by alt-J (a track that can be very aggressive in the upper mids).
Up into the higher regions, I find the extension to be pretty good, giving a nice sensation of openness and air in those ranges. Sibilance is also not bad, with Patricia Barber being just a little hotter than her usual “on the verge” in “Code Cool”. It is not overly exaggerated as far as sibilance goes, but it certainly doesn’t tame it down either.
Details I feel are a strong point of the i One. They are not the most detailed IEMs I have ever heard but they do portray a lot of the smaller details of music very well, without the need to focus on them to appreciate them, yet not pushing them forcefully towards you either.
Soundstage I also find to be above average, with things seeming to be nicely spread out and well placed across the stage. I never really find IEMs to be overly spacious in this regard (at least in comparison to open back over ear headphones) but I must say I was pleasantly surprised by the i One.
.png)
The i One do a decent job of isolation in the upper mid and higher ranges. The lower frequencies do leak through a little more but are still better isolated than the average of the IEMs I have measured so far.
Conclusion…
The i One are a set of IEMs that are going to depend very much on the music preferences of the listener. I feel that if someone was to try out these IEMs with just a song or two, they would either love them or hate them (again, depending on the choice of those songs). After trying all kinds of music through them, I have to say that my opinion on them literally changed from track to track (when listening to a random playlist).
I have tried to relay some of the information while focusing just on my test tracks but I feel that a different review of these could probably be written on a track by track basis.
In the rest of the categories I have no doubts I would recommend them, the build is good, the aesthetics (very personal I know) are good, comfort is good, presentation is good, details are good, performance is good… it’s just the actual tuning and the way it reacts with difference music that will be the polarizing part for people.
I have to say before I finish this review that I have heard a lot (too many?) of IEMs with a very similar tuning to this set recently and the i One are the only ones that I found to be so different depending on music, the others have just been something that I have not enjoyed.
I you can get your ears on a set, I highly recommend you do so, as they might be something that fits you perfectly, or they may not.
As always, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
