Tri x HBB Kai

𝑻𝑹𝑰 𝒙 𝑯𝑩𝑩 𝑲𝒂𝒊: 𝑴𝒊𝒅𝒂’𝒔 𝑷𝒖𝒏𝒄𝒉


|| 𝗜𝗻𝘁𝗿𝗼𝗱𝘂𝗰𝘁𝗶𝗼𝗻 ||

TRI Audio is an IEM company that seems to be in the limelight of releases as of late. Together with a well known audio reviewer Bad Guy Good Audio Reviews, they released a new set sporting a Diamond-like Carbon(DLC) Dynamic Driver, a shiny exterior and a sub $100 price tag.
Derived from the Hawaiian word “Kai” which means the ocean or sea, the Kai is appropriately named with a distinct Hawaiian origin akin to its tuner and with its tuning being ranges from smooth and calm to a crashing wake.


|| 𝗗𝗶𝘀𝗰𝗹𝗮𝗶𝗺𝗲𝗿𝘀 ||

I don’t consider myself as an audiophile or an enthusiast, therefore the terminology and the overall review will be more mainstream.

We prefer to keep our reviews simple without too much confusing lingo and terminologies

This review set is a part of a review tour and was sent free of charge in exchange for an honest review. There is no material or financial incentive for us to do this review.

We guarantee no exchange has been done by both parties to influence or sway our opinions on this product.

My thoughts and opinions are of my own. My experience will entirely differ from everybody else. The contents of this review should not be considered factual as this hobby heavily leans on subjectivity. YMMV.

** 𝐇𝐮𝐠𝐞 𝐭𝐡𝐚𝐧𝐤𝐬 𝐭𝐨 𝐒𝐢𝐫 𝐄𝐢𝐣𝐢 𝐙𝐞𝐫𝐬𝐭𝐨𝐫𝐞𝐫 𝐑𝐨𝐦𝐞𝐫𝐨 𝐚𝐧𝐝 Keephifi 𝐟𝐨𝐫 𝐠𝐢𝐯𝐢𝐧𝐠 𝐦𝐞 𝐭𝐡𝐞 𝐨𝐩𝐩𝐨𝐫𝐭𝐮𝐧𝐢𝐭𝐲 𝐭𝐨 𝐭𝐫𝐲 𝐨𝐮𝐭 𝐭𝐡𝐢𝐬 𝐬𝐞𝐭 𝐚𝐧𝐝 𝐩𝐮𝐭 𝐢𝐭 𝐢𝐧 𝐢𝐭𝐬 𝐩𝐚𝐜𝐞𝐬. 𝐊𝐢𝐧𝐝𝐥𝐲 𝐜𝐡𝐞𝐜𝐤 𝐨𝐮𝐭 𝐒𝐢𝐫 𝐄𝐢𝐣𝐢’𝐬 𝐫𝐞𝐯𝐢𝐞𝐰𝐬 𝐚𝐧𝐝 𝐨𝐭𝐡𝐞𝐫 𝐰𝐫𝐢𝐭𝐭𝐞𝐧 𝐚𝐫𝐭𝐢𝐜𝐥𝐞𝐬 𝐨𝐧 𝐡𝐢𝐬 𝐛𝐥𝐨𝐠 𝐬𝐢𝐭𝐞 𝐚𝐭 𝐞𝐮𝐩𝐡𝐨𝐧𝐢𝐚𝐫𝐞𝐯𝐢𝐞𝐰𝐬.𝐛𝐥𝐨𝐠𝐬𝐩𝐨𝐭.𝐜𝐨𝐦 **


| 𝗣𝗮𝗰𝗸𝗮𝗴𝗶𝗻𝗴 |

It comes with a vibrant blue small box with simple typography of the product and branding of both HBB and TRI on the front. Specifications are listed behind the with additional information from the manufacturer.

| 𝗨𝗻𝗯𝗼𝘅𝗶𝗻𝗴 & 𝗔𝗰𝗰𝗲𝘀𝘀𝗼𝗿𝗶𝗲𝘀 |

The unboxing experience is as straightforward as it gets. Removing all the covers greets you with a small card with a “Kai” typography in gold and the manual/warranty card along with the included faux-leather case that contains all of the items included in the product.
The case contains both IEM drivers packed in a zip lock bag, stock 2-pin cable, some ear tips, a cleaning brush and a microfiber cloth.

𝗜𝘁𝗲𝗺 𝗕𝗿𝗲𝗮𝗸𝗱𝗼𝘄𝗻:

Paperwork
normal bore and wide bore ear tips(S,M,L)
Silver-plated OFC 0.78mm 2-pin 4-core cable in 3.5mm termination
Cleaning brush tool
Microfiber cloth

TRI stays consistent with the inclusions on their offering around and under $100 which is nice to see. Not all manufacturers provide cleaning tools for IEMs in their accessories.


| 𝗕𝘂𝗶𝗹𝗱 & 𝗗𝗿𝗶𝘃𝗲𝗿 𝗖𝗼𝗻𝗳𝗶𝗴𝘂𝗿𝗮𝘁𝗶𝗼𝗻 |

The Kai is made out of aviation-grade 7 series aluminum alloy material with a shiny coat of glossy gold and blue. The construction feels nice in hand with a good balance of heft and in-hand feel albeit a bit too much of a fingerprint magnet.

The overall design of the IEM is quite flashy with it being majority gold color but it does look nice for a showroom set. The faceplate has a blue cutaway to generate interest along with TRI and HBB branding on both sides of the IEM Drivers.

Contours on the Kai are quite safe with it not having a protruding wing that can deter some people and an overall universal fit. Two vents are present with one being at the top and one sitting near the nozzle. Speaking of the nozzle, it has a ridge to help the ear tip stay in place and the filter inside is made out of metal.

Drivers are composed of a diamond like carbon dynamic drive, that is commonly used by the likes of KBear and TRI and is also a highly regarded driver.

| 𝗜𝘀𝗼𝗹𝗮𝘁𝗶𝗼𝗻 |

The passive isolation here is average, with it being such a universal fit, deeper insertion is very limiting and results in a bog average isolation. If you’re looking for something to block the noise, ANC devices are definitely the way to go


| 𝗖𝗼𝗺𝗳𝗼𝗿𝘁 |

I find this fits very snugly in my ear and doesn’t get fatiguing for longer periods of time. Like I said earlier no extreme protrusion/wing is present, hence a person like myself who finds those things uncomfortable finds them nice to wear. The occlusion effect on this is nothing noteworthy as it is just as occlusive as most IEMs


**𝑻𝒆𝒔𝒕𝒆𝒅 𝒘𝒊𝒕𝒉 𝒂 𝑴𝒐𝒐𝒏𝒅𝒓𝒐𝒑 𝑺𝒑𝒓𝒊𝒏𝒈 𝒕𝒊𝒑𝒔(𝑺𝒎𝒂𝒍𝒍) 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒕𝒉𝒆 𝒁𝒊𝒔𝒉𝒂𝒏 𝑼1 𝒕𝒉𝒆𝒏 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒎𝒚 𝒅𝒆𝒔𝒌𝒕𝒐𝒑**


|| 𝗦𝗼𝘂𝗻𝗱 ||

The sound overall is obviously warm yet still sounds balanced and coherent. I find using these on more modern music is quite satisfying, partly to the great bass response that is definitely the highlight of this set.

| 𝗗𝗿𝗶𝘃𝗮𝗯𝗶𝗹𝗶𝘁𝘆 |

This is a pretty efficient set and doesn’t require much power, albeit I did find I pushed the volume knob on this a bit higher than other hybrids, but not too demanding that it needs a power source.


| 𝗕𝗮𝘀𝘀 |

As the highlight of this HBB tuned set, the bass is forward punchy and is full bodied. Bleed is very minimal if not non-existent in some tracks. Grit and texture is also executed really well.

Mid-bass is more present than the Sub-bass but rumble is still there and is in ample amounts to feel enveloped. An amazing experience overall.


| 𝗠𝗶𝗱𝘀 |

Despite the bass being really forward, the mids doesn’t feel drowned out and actually very distinct from the lows with male vocals particularly more forward and bodied than their female counterparts.

The early rise in the gain results in a great performance of the mids without cutting back with the bass to avoid bleeding, not to mention instruments sound full and complete without sounding dark


| 𝗛𝗶𝗴𝗵𝘀 |

With such a warm set one can only assume the Highs must’ve taken a toll, in this case however it still performs quite decently. Transients sound natural and don't feel cut off. Details are average but enough. Cymbal strikes can sound a bit thin though and lack a bit of sparkle to the top in some instances but still a decent performance overall.

I do like to highlight that this set doesn't probe to my sensitivity in the 8khz region and sibilance being very minimal, which is a huge plus in my book. This makes this IEM very comfortable for me to use for higher volumes.


| 𝗧𝗲𝗰𝗵𝗻𝗶𝗰𝗮𝗹𝗶𝘁𝗶𝗲𝘀 |

Again despite this set being quite warm, Imaging, staging, and layering are all great. I can easily pinpoint the source of sound with relative ease.

I find this set great for activities such as movie watching and gaming as the warm signature envelopes the user making them more immersive


|| 𝗖𝗼𝗻𝗰𝗹𝘂𝘀𝗶𝗼𝗻𝘀 ||

Another banger of a release coming from TRI and Bad Guy Good Audio Reviews. After trying out the Zetian Wu: Heyday Edition of which HBB also tuned, I’ve never been disappointed by any of the IEMs tuned by HBB and the Kai continues that impression of mine.

The great mix of warmth and clean sound makes this a great set. I’ll happily recommend this to someone looking for a bassy or a warm set that doesn’t want any bleed and still sound concise, or to someone looking for something that they want to feel enveloped by the lows and just anyone wanting anything under $100 that is okay with the downsides stated.

Not much to say about this one. It's very flashy in looks. It's one of the IEMs in the world. Cable and fit okay.

Introduction

You could say that TRI is KBEAR's premium brand. It is true that the parent company has relatively high-priced models, such as the Aurora or the Ormosia. But it is TRI that puts the high-end designs on the market. These include the Starlight, Starshine, Starsea, I3 Pro, Meteor and TK2. Their latest release is the TRI i ONE. In between, there is this collaboration between TRI and HBB (HawaiiBadBoy), called KAI x HBB. It's an IEMS with a 9.8mm dynamic driver and DLC diaphragm, all inside a golden capsule, almost completely, except for a part of its outer face, which is a medium-bright blue, reminiscent of the sea, in honour of their collaborator from Hawaii. The gold is meant to be reminiscent of the sand on the beach…
Constructed from aviation grade 7 aluminium alloy, the capsules have been manufactured on a 5-axis CNC machine to provide a highly polished and delicate surface.
In Hawaiian, "KAI" means water. And the tuning has been consistent with the name, with powerful bass and a mid-range suited to naturally reproduce the sound of vocals and instruments. The treble has been adjusted so that it is balanced, without being too harsh, and does not disappear too quickly.
Leaving aside the considerations that come from the brand itself, there are always three things that can happen when I have to review a product: I like it, I don't like it or I am relatively indifferent to it. It is also true that these three options are not always absolute and there is a big gap between them all. On this occasion, KAI are on the fun side of IEMS and are the kind of models I like to have around to enjoy the music. Now we will see why this is so.



Specifications

• Driver Type: Dynamic with third generation 9.8mm DLC diaphragm.
• Frequency Response: 20Hz-40kHz.
• Sensitivity: 114dB @ 1kHz.
• Impedance: 36Ω.
• Jack Connector: 3.5mm gold plated.
• Cartridge Connection Type: 2Pin 0.78mm.
• Cartridge Material: Aluminium alloy.
• Cable Material: 4 cores of high quality OFC cable, silver plated. Each core has 24 strands of 0.05mm diameter, 96 strands in total.

Packaging

The TRI KAI x HBB come in a small rectangular box, dimensions 95x80x44mm. It is painted with a blue flowing motif, with yellow, even greenish strokes. On the main side, in the centre is the model name, simulating handwriting, in white. Underneath is a stripe, then the model logo, the model name, the HBB logo and these initials. Behind it are the specifications, in Chinese and English, as well as the brand name. After removing the cardboard, a white box can be seen. On its upper side is a lid with the same symbol as the model name, this time in gold. Removed from the lid is a soft brown leather case with the TRI logo. Underneath is a manual. Inside the case are all the accessories, cable and capsules. In a nutshell:

• The 2 TRI KAI x HBB capsules.
• 1 silver plated OFC 4-core cable.
• 1 cleaning cloth.
• 1 cleaning brush.
• 3 pairs of translucent white narrow core silicone tips, sizes SxMxL.
• 3 pairs of wide-core translucent white silicone tips, sizes SxMxL.

The capsules come in a zip pouch. In addition, they have a plastic protector on the outside. The gold-plated 3.5mm SE connector is protected by a plastic sleeve. The cable has a white velcro strip for safe storage.
The contents of the box are sparse in terms of tips, there are no foam tips. But it comes with a cleaning cloth, which is of a very acceptable quality, and a small brush. These are accessories that are not very common. On the other hand, I would like to point out the tight packaging size, the leather case with magnetic closure and the double protection of the capsules. Sometimes you don't need a very large size to have a high level of packaging. Very good.



Construction and Design

The capsules are made of aviation grade 7 aluminium alloy and manufactured on a 5-axis CNC machine. Their surface is highly polished and delicate, a real magnet for fingerprints, which is why they come with a chamois cloth as an accessory. That's a nice touch. They have a semi-custom shape, resembling a triangle-rectangle with fully rounded corners. At the upper vertex of the supposed hypotenuse, there is the 2PIN 0.78mm connector. At the bottom, there is the TRI logo. The outer face has two parts, let's say that 70% is occupied by a dark turquoise blue L and the remaining part is gold. On it is the HBB logo and the full name of the model, in the same blue colour. The inner side is completely gold-plated. Near the 2Pin surface connection there is a hole. There is another one near the base of the nozzles. The inner face stretches towards the nozzles and the nozzles start from a step to its edge, measuring only 4mm. The outer crown measures 6mm, while the neck measures 5.3mm. There is a perforated opaque metal grille. The inner face has a small bulge on the side opposite the mouthpieces, but the whole is very rounded. The capsules are medium sized, but it has a good thickness and the mouthpieces are not very long. You could say that the weight is noticeable, but not annoying.
The cable consists of 4 high quality silver plated OFC cores. Each core has 24 strands of 0.05mm diameter, 96 strands in total. The cores are wound together. All parts are cylindrical and gold-plated, there is no adjustment pin. The cable has over-ear guides. The 2Pin 0.78mm are mounted on a plastic base which integrates very well over the capsules. There is a coloured dot, red or blue, on the short side of the plastic base containing the 2Pin, to indicate the channel. The design, the shape, is not bad at all. But I don't like the gold colour, so that aspect is a minus point. On the other hand, the blue is nice and the design of the outer side has its point, with that mix of two parts and their open L-shaped separation. The logos drawn on these sides accentuate the quality of the finish, which is extremely smooth and soft, but still susceptible to fingerprints. The weight, due to the metal construction, is noticeable, but not excessive. I do miss an adjustment pin on the cable.
The case is made of leather, it looks real, it even smells. It has an oval edge and the logo is marked on the flap. It has visible stitching, a closure with two small magnets on the flap and a black velvet lined interior. Very nice case.



Adjustment and Ergonomics

Due to the size of the nozzles, the insertion is shallow. The adjustment is simple and free, it allows a slight movement, because the lateral protuberance is light and does not touch the ear, at least in my case. This effect has a double consequence, it doesn't bother but it doesn't anchor either, hence the possibility of a slight twist inside the ear. The over-ear cable is perhaps a little more twisted than it should be and when I have been wearing them for more than an hour, they don't make contact behind the ear, which is slightly annoying.
Although I mentioned that the weight is noticeable in the hand, it is not very noticeable in the ears, thanks to the firm and durable fit. It is suitable for everyday use, for walking and strolling at a good pace, it doesn't fall off or move around.
The insulation, with my foam-filled silicone tips, is quite good. The thickness of the tips makes the pressure against the ear canals a bit higher and the occlusion level is higher.



Sound

Profile

I don't always enjoy the IEMS I review. There are times when I have to be strict with myself and review the product from a more neutral and aseptic point of view. Clearly, this can influence the final assessment, but I think readers will forgive the bias of each reviewer. But, in this case, it's the other way around, because I liked these IEMS from the first listen. It is true that I would prefer a little more extension in the treble, as the TRI Meteor or the Letshuoer S12 do have. But it is also true that both are more expensive.
The TRI KAI x HBB are IEMS with a light, tiny U-profile, as I like to say. They have focused low end bass and subtly emphasised mid-highs. The treble control roll-off is subtle, but the overall package is neutral and smooth, pleasant and well presented. This is a model that has a tuning I like, whose low-mids are not too deep and can be enjoyed from 1kHz upwards with confidence and for hours on end. The emphasis on sub-bass makes them a lot of fun to use with electronic music, but I wouldn't call this a bass-head set, it's more ambitious in this respect, but without the extension or greater balance of the Meteors.



Bass

Of course, the bass comes from a large dynamic driver, with all that that entails. The DLC diaphragm has some great virtues and the rest is the work of accurate, focused tuning in the lower range. It's not the most compact or precise bass there is, nor is it the fastest, but it is truly deep, dark and expansive. Despite its predominance and extension, it is relatively clean in the midrange, thanks to its emphasis on the extreme sub-bass and descending towards the centre, without stopping in the mid-bass. I notice a slight rubberiness in its execution, but it's nothing alarming, it just adds a little more body, a not so fleeting decay and a little more punch, an enjoyable aftertaste, by the way. You can tell that the driver has been tuned more for fun than to be technical. In this way, the hit is powerful, but not completely tight or dry, but there is a point of excitement and juice. Most of the time one prefers to have fun, enjoy and forget about it. And the KAI is the perfect ally for this, but without losing sight of the other frequencies, not just a good quality level.
Texturally they have a good middle ground, not the roughest bass I've seen. But it does have a mixture of descriptive darkness, mixed with a certain thickness, which gives that physical, corporeal touch to the surface of the bass. In this way, the lines are easy to follow, thanks to the physicality of which I speak. But they also have the ability not to blend together and to stay in place. All this contributes to create distinguishable layers. They also have the ability to handle complicated, complex, swollen and muddy bass passages with skill. The only thing I would argue is that their presence in time and space may be limiting for fans who don't like that amount of bass. But, for me, they are just fine.



Mids

Despite the emphasis on the sub-bass, I notice a point of warmth in the first half of the mids. The bass is bigger and more present than the mids, that should be clear. But it is not a recessed or distant midrange. There is a good presence on its own, much more than a more pronounced tuning could give. So, that's why I like to call it a lower case U-profile. And that initial warmth benefits male voices more than female voices. Both are full-bodied, but the female voices are drier, have less sparkle and shine. It is noticeable that there is not so much humidity here, nor is the presence of the female voices very prominent, remaining at a middle distance, which does not possess such descriptive capacity, nor such complex, rich or nuanced behaviour, as the male voices or the instrumentation of the first half. Not that this first part is far superior, but I notice that qualitative distinction. Something similar happens with the timbre of the instruments that require more harmonics, they lack that point of vivacity to sound more complete. It seems that this more secure tuning has also influenced the second half of the mids. In this way, the central range has a more accentuated neutrality, which is adequate if not too much is demanded of it. And I speak of neutrality in terms of restraint, rather than homogeneity, balance or naturalness. In that respect, the timbre is more sparse, less complex or complete. On the other hand, that doesn't detract from its enjoyability either, most of the time. With neutral or analytical sources, the ensemble is very pleasant, harmonious and attractive, even with a point of organic euphony. As long as I have been enjoying the KAI I have had no problems with the mids in any case. But the moment I have moved on to analysing them and being stricter, I have discovered that this tuning benefits the bass more than the mids and forgets, a little, certain abilities that would have favoured the central range to a greater extent, to make it more exciting, luminous and skilful.



Treble

The trebles are presented in a way that may seem simplistic. They do their job well, but without being overly lavish. They seem to be infected by the complacent air that the midrange possesses. There is initial sparkle, the control decay is adequate, enough so that the treble does not seem sloppy, but, rather, smooth and pleasing. The emphasis is just right, on the gentle side of things, but without taking risks. While safety and smoothness is its plus point, that unwillingness to take risks and be more ambitious limits the potential of these IEMS. It is a permissive and sufficient tuning, which does not want to go further in its boldness. Thus, the treble is drawn with a thickness that is also average, not too sharp, its emphasis is limited and its brightness restrained. This is how the area is covered with a good initial attractiveness, which allows the notes to be executed with a good sufficiency, but without a rich or more necessary extension, appreciating, also, a lack of air in the upper end. In the same way, I am again strict with some IEMS that I like. But it happens that sometimes you get more out of the things you like the most than the things that matter the least.



Soundstage, Separation

The scene is characterised by a good level of depth, laterality and average height. It is not a very gaseous environment, nor is it a diffuse scene. The level of expansion is not very high. Thus, the presentation is relatively natural, without forcing. Frontal perception predominates, because the sound is not very surrounding. The positioning of the elements is adequate, not too specific, but it has an acceptable location, even if it is frontal.
The level of resolution is quite decent, although they are not the most detailed IEMS in this price range. I perceive that there are hidden nuances that I know in key songs, which try to resurface, which is quite positive. There are similar alternatives that don't even get to that point. But I have to conclude that it is not a matter of enviable technique or very high exposure.
The level of separation is good, the sound is clean, but not crystal clear. Being a bit dry and warm, with a thickness of notes tending to medium, the cohesion of the elements is higher. Nor is the sound analytical or too neat. There is transparency, but neither the background nor the separation is stellar. Everything is in keeping with the price and the tuning, as well as the level of air it possesses. I should make it clear that these are not muddy IEMS, far from it. But the set of technical skills and sound signature contribute to a more harmonious, musical, cohesive and smooth sound, more suitable for the enjoyment of music than for monitoring.



Comparisons

Letshuoer D13 Silver Filter

Priced, as of the writing of this review, at 118€, compared to 87€ for the TRI KAI (you can tell that 11.11 is coming), the D13s have a tuning with the silver filter, which is very close to the KAI. At first glance, the D13s have a bit more mid-high end and the treble is not as restrained. Although the amount of air is similar. It is clear that a very favourable point of the D13s is that they can change their profile, especially in the second half of the frequency range, thanks to their screw-in filters. With the gold filter you get more sparkle, light and joy. While with the silver filter it is closer to the KAI tuning, although they are not the same. For this test I have used the Silver filters, so that everything is as close as possible.
Going back to the beginning and comparing the shape of each, the KAI's use a larger and slightly heavier capsule. The ergonomics of the D13s are very good and the comparison is immediate in this respect. The Letshuoers adapt like a glove, they are smaller and the fit is immediate.
Speaking of sound, testing with my bass-rated tracks, the first thing I feel is that the D13s are lighter and have a more concise punch. The KAI's are darker, harder to move and a bit more opaque. The sub bass of the TRIs seems more rubbery, but also a point deeper. You get the feeling that the amount of air moved by the D13s is superior. But even with that, the punch is faster, drier and more restrained. There is a clear difference in the bass colour of each model. The D13s seem slightly more coloured, with a more noticeable kick drum punch. The darkness I'm talking about in the KAI offers a more sensory bass, with a timbre more shifted to the sub-bass. There seems to be a bit of a mid-bass shift in the D13s, which makes them rounder, but also more decongested and cleaner. The bass lines are different in both. I think I see a little better technical quality in the D13s, being easier to follow and execute more complex and bass-heavy passages.
In the middle zone, the first half of the KAI is more physical and corporeal, carrying warmth, density and a hint of darkness from the lower zone. The D13s are cleaner and lighter, possessing a lower physicality, which makes them clearer and more transparent, but also thinner. This is noticeable in passages with strings and male voices. There is a higher presence in this first half in those of D13. In this way, the mids are more perceptible, clearer and more pleasing, becoming more exciting, detailed, richer, even more exciting. What is achieved with the D13s is attempted with the KAIs by turning up the volume, but this part is not as evocative as in the D13s. This is how, despite being thinner, the tone is more complex and the timbre more realistic. The level of detail and clarity of the D13s also plays a role. That point of elevation in the high-mids provides more than just light, because the driver feels more technical, precise and resolute. In the KAI's it feels like something is lost due to its mid-light, mid-distance and greater opacity/warmth. I don't find either to be the IEMS for female voices. But, instead, the KAI's present those voices in a thinner form, as a counterpoint to the male voices. In D13, they are closer and that richness of nuance is felt more blatantly. The same is true of the instrumentation. The KAI, with that middle distance, offer an exposition in the same way. Hence the enjoyment feels curtailed, in pursuit of a more sparse, less descriptive and slightly more distant presentation.
Even with the Silver filters, the initial punch and treble extension of the D13s is superior. On a prolonged and extended treble hit, you feel the comparative limitation of the KAIs, which offer a simpler, less extended and smoother treble exposure. The high notes climb higher, are thinner, but also more prolonged. There is more sparkle, brilliance, sharpness and finesse in these Letshuoer treble notes, gaining in resolution, detail, nuance and transparency. In air quantity things are equal, but the better inertia of the D13s helps them.
The warmth, the dark point, the depth, the lower rate of transparency and separation, offer a more frontal and intimate scene in the KAI. The greater amount of air and luminosity of the D13s gives you a more visible separation, a better laterality and stereo effect, a more open and expansive sound. While also no prodigy of detail, openness and stage size, the D13s offer a larger, more expansive soundstage.
In the end, the €30 extra for the D13s is noticeable, but also the similar tuning, but brighter at key points, helps the Letshuoer cost the difference. Meanwhile, the KAI performs very well in its range offering many virtues, great packaging, construction and fittings, with a warmer and smoother tuning. And this has to be taken into account.



Conclusion

The TRI KAI x HBB are very well built IEMS, with a gold and blue (thankfully) design that has its own symbology (sand and sea), in homage to its tuner (Hawaii Bad Boy). They have a tiny U-signature, with emphasised bass at the lower end (sub-bass), it is powerful in this range, slightly thick, yet dark. The midrange is slightly warm, harmonious and musical. It is restrained in its upper part and lacks sibilance. But it has a quite enjoyable presence. The representation of the treble persists in that idea, maintaining the coherence of the smoothness of the central range and a more simplistic expressiveness, in a way that allows the sound to be approached from a point of view more appropriate for enjoyment, rather than for more critical or analytical listening. In this way, I think that the KAIs have been conceived for fun, but without renouncing to a qualitative level that reaches the remarkable. Something that makes them loyal friends, because they provide me with the bass power I usually look for, a midrange that has a good presence and a treble with just the right spark for an enjoyment without too many pretensions, beyond spending many hours together. To all this is added a setting that allows long listening, a concise and contained packaging, with a great leather case. In the end, that's what it's all about, isn't it?



Sources Used During the Analysis

• Hidizs XO.
• Earmen Angel.
• TempoTec Variations V6.
• Hidizs AP80 PRO-X Red Copper Limited Edition.
• ACMEE MF02s.
• xDuoo XD05 BAL.
• S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN.
• Burson Audio Playmate.

Ratings

• Construction and Design: 88
• Adjustment/Ergonomics: 82
• Accessories: 90
• Bass: 85
• Mids: 80
• Treble: 75
• Separation: 78
• Soundstage: 75
• Quality/Price: 87

Purchase Link



You can read the full review in Spanish here

Foreword

1. At the point of this article, my Kai has undergone over 100 hours of runtime
2. I don't do measurements, I just describe what I hear, from my own POV
3. My preferred sound tuning, Diffused Field Neutral (Etymotic)
4. The entirety of my impressions was done with my own Misodiko MIX460 tips
5. Ultimately, my reviews are purely subjective and biased to my personal preference in sound

The Build


Kai is a very fanciful IEM. Comes in duo-toned gradient of gold and blue over chromed undercoat, the alloy aluminum shells are literally eye candy blings. Admirably, being metal shelled, Kai seems to be quite lightweight.

Ergonomically the design is also compliant to my ears, making it quite comfortable to wear even for long period of sessions.

The package as a whole, quite simple. Kai comes accompanied with OFC two pins cable with 3.5mm jack. Quite ordinary just like many others within this price segment. Of course the cable jacks and Y split are encased in gold motif to suit the entire theme. What I find odd is the lack of chin slider as normally would be expected of this type of IEMs. This means it is dangling a bit loose when worn. The chin slider is a small feature but does offer added practicality especially for active lifestyle - of moving around enjoying our music - the lack of chin slider means Kai is more prone to cable microphonics.

I am not a big fan of bling stuffs, for the simple fact that they are fingerprint magnets. Despite the elegant hue and gradient, it will all looked rather mashed up when my oily fingers started to smudge them easily. But then this is highly subjective from my point of view.

Equipment Used
- Xiaomi Mi 9T
- Sony Xperia 1 iV
- Windows 10 with Native USB Drivers
- USB Exclusive Mode with FLAC files
- CEntrance DACport HD
- Cayin RU6
- Ovidius B1
- 7Hz 71
- VE Abigail
- VE Megatron

Test Audio Playlist


Sound Impressions
TRI HBB Kai is an L curved sounding unit. Which means there's pronounced and strong boosting of lower frequency up to Mids and then it started to recess towards upper range of the wavelength. Dynamic range appeared decent especially for the said lower frequency. But audibly rolled off on the upper region - subdued in fact from what my ears telling me.

Dynamic transients of Kai exhibited smooth flow as would be expected of properly tuned single DD. However this smoothness also mean it is a bit lacking with overall attack energy and pace. Which in turn, Kai is suitable for listeners who prefer their listening device being less euphonic and non offensive. Subjectively, and personally I prefer a more pacey presentation - Kai sounds borderline sluggish to my senses. Perhaps because I am so used to speed demons like Etymotic ER4SR and otherworldly Electrostatics speed of Shure KSE1500. Like I said, highly subjective. The silver lining of this, Kai works quite well for Jazz, Ballad and Folk music, that languid dynamic transients imparting sense of velvety warmth to the auditory senses. But, no, not for Rock/Metal genre, where speed is needed.

Timbre and tonal balance of Kai is organic with some hint of Midrange and Lowrange coloration. Yes it is warm and lush - perhaps lacking some element of transparency due to the warming of overall tonal balance.

Mids of Kai can best be described as bold and upfront. The proximity of instruments staging felt closely quartered to each other. It is definitely more audible in comparison of Mids presentation of most V or U curved IEMs. The good part, Kai Midrange seems to offer good texture and depth while at it. In alignment with the overall theme, attack and decays of instruments are moderately paced and relaxing - hence why I mentioned earlier that Kai works really well for Jazz, Ballad and Folk music.

Vocals wise, I would say Kai suits well for both male and female singers. It has ample resolution to impart good sense of emotions for different type of vocals. Even to most peaky of Soprano-Alto to low key Contralto-Baritone, Kai admirably presented them with proper density and weight. The imaging may appear slightly dull edged due to smoothing element - it is warm basically. But most importantly, it is very unlikely for Kai to exhibit upper Mids sibilance - the tuning for this segment is practically on the safe side of things.

The reason I mentioned Kai may not be suitable for Rock/Metal, aside from the lack of pace, Kai Midrange also seemingly lacked the bite and crispness especially for Electric guitars - edge resolution of guitar riffs seemingly dulled and rounded. Well at least this also means the output will be less edgy and sharp - so it depends on the preference of the listeners.

Bass, now this is perhaps the highlight of Kai. There's plenty of Bass. Frankly it was a bit too much for my senses the first time I listened to it. But with over 100 hours of burn-in, and then swapping out the stock tips for Misodiko MIX460, Kai Bass seemed to have settled down just about right. No more booming reverbs and resonance as would be heard when used with silicone tips. Being a traditional single DD configuration, Kai Midbass is presented in spades. It has strong impact and slam, and rumbles strongly especially when subjected to listening to Electronic music. Pre burn-in period and with silicone tips, I can audibly hear that Midbass was in fact quite capable of bleeding into lower Mids and overshadowing the transition to Subbass - but at later stages this was no longer the case.
Subbass on the other hand, I must credit Kai for exhibiting good extension of decays that is smooth with edge dispersal. It is Harman sort of decay that will appeal a lot to those loving elongated Subbass performances.
As would be expected, Kai truly excel with Electronic Bass, Dance music and Drum Machines. Kai will not fail to impress Bassheads.

Moving to the upper frequency, I am hearing prominent roll off for Treble extension - with the decays seemingly receded short and prompt. Kai does offer good amount of air with mild sparkle and shimmer, it has good balance of Treble timbre to not sound outright metallic or plasticky. However I must note that on certain music and recording type, I am hearing a bit of granular texture which suggests Kai being picky with mixing quality of the original sources. Simply put, playing Kai with Lo-Fi or lossy format is not something I would recommend.
Again, as noted earlier, being an L curved unit - it is only fair to not expect stellar performances from Kai with Treble presentation. It was tuned to appease the need for more reserved upper frequency output that will work great for Treble sensitive listeners - my 2 cents.

Technicalities
Kai is average with technicalities. The headstage is amply good to project enough space for perceived soundstage - but still sort of a bit clustered a bit too close for my liking - the staging of instruments especially for complex composition appeared crowded. The good thing is, separation lines and layering is clean enough to not sounding outright muddy or blurred.
The overall resolution of Kai is good, especially when subjected to playing high quality recording and mixing. Just lacking some element of transparency since the overall theme is not to achieve neutral accuracy. Kai is meant for fun and casual use - so I can understand that this focus will impart some element that can be detrimental to those wanting a bit of precision with imaging and resolution.
On the other hand, I am actually impressed that Kai has good sense of holographic spatial presentation. Normally a single DD like this tend to exhibit bias towards Left/Right orientation, but Kai seemingly able to portray holographic enough staging that will sound great with some recording especially the binaural type.
Speed is just average for Kai, in fact it is slower than what I am used to. It is perhaps on par to the likes of HZSOUND Heart Mirror Pro, but definitely slower than TIN HiFi T2 DLC or LETSHUOER D13. This means Kai will exhibit some tendency to sound borderline cramped (but not outright muddy) when subjected to handling complex or speed above 150 BPM - so again Kai not suitable for Rock/Metal or highly complex Orchestra.


Scalability
With 114db sensitivity and 36 Ohm of Impedance, Kai proved to be fairly easy to drive. I am getting good performances with the pairing directly to my Sony Xperia 1 iV, with the volume hovering around 60%. Pushing it further with 2-4 Vrms, I would say that Kai is scalable enough to exhibit richer density and more open sound. However, being a bassy unit, it also mean Kai will get even thicker with lower frequency output which to me, subjectively I am not fond of.

Final Words
TRI x HBB Kai is a specialty IEM for very specific sort of preference. That Bass focused performances will unlikely be appealing to those preferring neutral or bright sound. For the intended purposes, I would say Kai is suitable for Bassheads and those wanting a bit more reserved Treble characteristics. Not forgetting the bling element which will not fail to grab your attention.

Ultimately, Kai is best used for casual music indulgence on the move. That dense Bass presence will work wonders to offset ambience noise especially when commuting in a crowded train or outdoors. Kai is an efficient unit to drive and will serve as good music companion for a very portable setup - anywhere, anytime.

TRI HBB Kai is available at:
https://keephifi.com/products/tri-x-hbb-kai

Pleasantly Fun IEM (my own person score 7/10)

You know what? The ”Sound Signature” is pretty same as the old Tin Hifi T2 with better bass and treble details.
Of all the songs tested I heard bass was good but one particular track bass was crazy punchy and heavy but I love it hahahaha, August - Intelligency https://songwhip.com/intelligency/august


Listening Session Highlights
https://songwhip.com/weezer/weezer1994
Weezer’s Blue Album ️️️️️
Alternative Garage Album - consist of fat thick buzzing raw guitar distortions and old skool drum kicks.
“Perfect” match IEM for the old Weezer sounds.

https://songwhip.com/youngmc/bust-a-move2000
Bust A Move - Young MC ️️️️
Good old skool bass, the vocal raps still stays clear as the leads.

https://songwhip.com/salt-n-pepa/push-it
Push It - Salt-N-Pepa ️️️️️
Lots of details in this track yet hard kicking bass grooving thru.

https://songwhip.com/the-bar-kays/freakshow-on-the-dance-floor
Freakshow On The Dance Floor - The Bar-Kays ️️️️
80’s break dance music evolving from cassette tapes and mini-compo.
Kai does perform well sounding balance between fun and analogue just like the old days.

https://songwhip.com/red-hot-chili-peppers/blood-sugar-sex-magik
Blood Sugar Sex Magik - Red Hot Chili Pepper ️️️️️
Dynamic rocking drum kicks & snares while Flea’s bass guitar grooving thru.
Being a bass IEM Anthony Kiedis manly husky voice on the verse sounds so close right beside ears.

So far I am enjoying Kai so much fun but can’t be all rainbows and candies, I need to find some tracks that does not perform in excellent.

Classical Music ️️️
Piano sound a little warm and thicker at times, instruments separation however sound good enough.

Vocal focus music ️️️
Just like the exotic fruit durian, You either love it or hate it.
Love it - better weight on the notes. Deeper depth sounding.
Hate it - if you care about how natural & accurate the vocal suppose to sound.

https://songwhip.com/radiohead/packt-like-sardines-in-a-crushd-tin-box
Radiohead - Packt Like Sardine In A Crushd Tin Box ️️️️️
Kai performs excellent in all areas throughout this track.
A great tripping electronic track for details and bass sounding kicks accompanied Modular Synths floating in a wide open space.
This song starts with a supple percussion then comes in a VERY heavy deep bass kicks, bass wasn’t to fast to recess and not too slow to linger around, it’s just the right amount.
Throughout the track trippy sound sample placed all over in wide space sounded good enough for Kai‘s sound separation.
(this is my “highly recommended” track for testing)


Kai sounds signature does reminds me of KZ ZES hence I did a head to head comparison.

Kai vs KZ ZES (bass comparison)
Both bass quantity almost the same.
Kai better resolution & detail, mid bass more.
ZES more treble, more v-shape tuning, lower bass more.

Kai vs CCA CA10
CA10 harder punching bass.
CA10 more treble.
CA10 trebles could sound a little digital.
Kai sound more open wider sound stage.
Kai more clean resolving sounding.
Kai better sound slightly more natural.
Tuning wise Kai more balance than CA10 v-shape signature.
These two IEMs really have similar “sound signature”, CA10 is cheaper half its price, Kai of course you are paying for the quality build, design and “technicalities” compared.


Pairing recommendations. (Doesn’t goes well with dark/warm DAC)

On the go - simple dongle DAC like CX-Pro (31993 ChipSet) on a phone is sufficient for enjoyment. However if you want to get more out of Kai you can bring it to the next level to a so-called desktop setup.

Scaling-Up / Making the best out of it. (Please take note it’s just my humble setup as I am kind of OCD and a minimalist and don’t do big expensive audio setups)

• Balance KBEAR Cable (rhyme 8 core UPOCC single crystal copper silver coil cable).
• iFi Zen DAC v1 Balance Output (Tidal MQA) - put KAI in a balance output definitely benefits as it already carried enough bass to open up the rest widening the sound.
• Windows Laptop, Tidal MQA
• Eartip Moondrop Spring (if you feel there too much bass, this is the way to go), sound opens up and better sound separation and clearing any cluster at the mid upper bass and overall improve sound stage.
• Drastic Improvement to Score:8/10

Who will love it?
People who love energetic bass genre like EDM, HipHop, R&B, Rock, Synth, Reggae, Electro Samples.
Personal note: I do enjoy very much on genre like trip-hop, psychedelic electronic newage music.

Who would probably not like it?
People who prefers neutral tuning and non elevate bass/mid bass.


Conclusions.

Kai is a fun IEM with a hint of detail definition.
It’s sound signature falls between mainstream and hifi sounds.
A beautifully crafted metal design which favors most people.

Recommend it to people who love David Guetta & the mainstream brands like Beats, Bose etc earphone and have money to splash on a cool unique impressive lifestyle looking earphone that stands out, you can recommend this to them and they would super love it.


Gear involved
Devices: iPhone 11, IPad (usb-c) & Laptop(Windows)
Streamer: Tidal & Apple Music.
DAC: CX-Pro, Avani, Odyssey HD, iFi Zen DAC, Hidizs S3 Pro.


The usually part of my courtesy for KeepHifi, (Thanks for sending this unit to me for my write-up)
https://keephifi.com/products/tri-x-hbb-kai


Quick note about me: I started this hobby about 2 years ago when I was intrigued stomping upon low price IEMs performing impressively over the mainstream popular brands.
In short, I fell into a rabbit hole hence I am here, been doing write-up on social media platforms ever since.
I decided to still do my write-up in manner non-audiophile would understands, trying my best to use more general terms, trying not to dive too deep in technical specs (I don’t do graph, numbers & charts), reasons mainly to introduce more mainstream target audience to the Chi-Fi IEM world.

Lastly, I love taking macro shots with my old iPhone as a hobby, I am not a professional photographer (hence don’t judge). I love various genre of music, I love bass (who doesn’t) and I am doing all these purely as a part time hobby.

The TRI x HBB KAI have been sent to me by KeepHifi in exchange for the publication of this review. There have been no specific requests, therefore, I will do my best to be as sincere and unbiased as possible, but it is always good to consider the fact that these IEMs have not actually cost me anything.

I will leave a non-affiliate link to the KAI via KeepHiFi in the version of this review published on my blog (link available at the end of this review).



Intro…

I think that at this point, most people in the IEM world have heard of HBB (Hawaiian Bad Boy), the person behind the YouTube channel, Bad Guy Good Audio Reviews. Apart from a large following of his reviews, he has increased his presence in recent times with quite a few collaborations. The TRI x HBB KAI is another of these collaborations and if I remember correctly (someone will certainly let me know if I don’t), it is his first collaboration with TRI and it is also the first single dynamic driver offering by the brand.

Strangely enough, while I have consumed a lot of content by HBB over the years, and discussed a few things, I have never actually tried any of his collaborations (unless we count the KZ fiasco, which I am not going to).

There really isn’t a specific reason behind not trying out his collabs, the ocasion just didn’t arise. I actually got a feeling for HBB’s preferences quite some time ago, when comparing his opinion to mine on specific sets, and while we may not share the same tuning preferences (depending on the music), there is no doubt that his input to the IEM world has been quite notable, whether you like his style of doing so or not.

Anyways, as some of his collaborations are not only recommended time and time again in their price brackets, they are also models that I get asked about regularly, to which I always have to respond “sorry, I haven’t heard them”. I guess that is something I need to work on fixing, and the KAI is as good a place to start as any.



Presentation…

I have to start this section with praise for what is almost the perfect presentation for me personally. I don’t mean perfect because of what is or isn’t included, I mean the actual way things are packed.

Inside the products box, which is quite compact, we get the storage/travel case (which is the same size as the box). Inside this case are all the contents included with the KAI. That is, the IEMs, the cable, 6 sets of tips (wide and narrow bore), a cleaning tool and a microfiber cloth, along with the usual user manual etc.

For a set of IEMs that come in at around 80€, I really don’t think there is anything to complain about here, you have everything you could need to enjoy the IEMs. Yes, there are always “wishes” that some people would like to see (like specific tips, etc) but seriously, the contents are more than enough in my opinion.

And my praise for the way things are packed is because there isn’t a ton of packaging that needs to be thrown away (or thrown in a drawer). There are still plastics used for the small bags that contain the tips and microfibre cloth etc. but these are minimal and I feel that more manufacturers should take note.



Build and aesthetics…

I have to say that I am not someone who favours anything gold coloured (as I have mentioned in past reviews of gold items), I find that it just seems to make things look cheap. In the case of the KAI, while it is still not a colour scheme that I would pick personally, they actually don’t look too “tacky”. Combining a light gold colour with a light blue faceplate, overall aesthetics work well together and I can see many people liking them.

The build is all metal, seemingly well assembled (although time is the only true test as far as build quality), with the small text and logos on the faceplate being discrete enough to not stand out but also done well enough to stand up to close inspection.

The included cable is also of good quality, with hardware that matches the IEMs, and while nothing extraordinary, it is better than so many other cables that are included with other sets. Swapping out the cable is something that each person will decide for themselves but I honestly don’t see any need in this case.

Finally, the storage/travel case is also of good quality. It is of a style that is included with a few brands and works well. I have quite a few similar cases and I have absolutely no issues with it, it is more than adequate for a set of IEMs, regardless of their price.



Sound…

*As always, all tracks mentioned are clickable links that will allow you to reference the track in the streaming service of your choice

As I said in the intro, I don’t always share the tuning preferences of HBB but that depends a lot on what music we are referencing. I do listen to a lot of the same music that he does, although probably not as often, and from past references, his tuning does work well for a lot of that music (actually, it works well for all of that music, it is just personal preferences that change).

Where our tastes usually differ are in the midbass area, with HBB preferring more warmth in these regions. This extra warmth is something that I also enjoy a lot with genres like rock, where it works well to give the bass guitar and lower end of electric guitars a little more warmth and roundness, especially with some of the older 70’s and 80’s recordings.

But anyway, let’s get on with it, here is the comparison of the KAI against my own personal preference. Let me say again, something that I have repeated in many of my reviews, that the preference target is just a guide, I don’t need things to stick to the target to enjoy them, and I also don’t always enjoy sets that do stick to it.



Starting off with the lowest frequencies, as I usually do, there is plenty of extension and rumble down there. It is also presented in a way that keeps things fairly clean and defined. I find that there is more than enough to enjoy things like “Royals”, or to make a decent job of my usual “Chameleon” test track.

Moving into the mid bass, the presence does reduce as we move through them towards the bottom end of the mids. Although there is more midbass (and subbass) than I would usually pick, I must say that I am a fan of this style of tuning, where the amount ramps up the lower we go. This is something that I find works very well to keep the low end impressive but non-invasive in regards to the mids.

There is enough midbass to give classic rock some warmth (such as “Whole Lotta Love”, to name a track from my test list), make the low hits of hip-hop impressive and yet not get in the way with more relaxed acoustical tracks.

I don’t think that details are the strong part of the KAI, even in the lower ranges, yet I really can’t fault the tuning at all in these low ranges.

Moving into the mids, there is no real sense of anything being pushed back, with things like the fretless bass of “Diamonds on the Soles of her Shoes” (which is highly dependent on those mid frequencies) being present enough to easily appreciate the great bass playing of Bakithi Kumalo.

As the mids start climbing towards their higher frequencies, the ramp up to bring vocals (and other mid centric instruments) starts to appear quite early yet it is not overdone. In fact, the KAI has the upper mids tuning that I said I would have liked the D13 to have, in other words, they aren’t as exaggerated as the D13 and don’t fall away as quickly, bringing vocals forwards without making them seem harsh.

Another positive is that they start to drop off before hitting my dreaded 5kHz range, although, with the ramp and presence between 1kHz and 4kHz, I probably wouldn’t have found the 5kHz mark too irritating even if the presence had extended a little further. However, as they ramp down before then, it’s a mute point anyway.

Moving into the higher frequencies, the KAI do roll away quite a bit, as is the case with so many single dynamic driver sets. While I would like a bit more in these upper ranges, I find that it does work well with the overall tuning, making the KAI more of a fun listening set than something you would pick to focus on details and nuances.

To be honest, I feel that the details are the weakest point of the KAI. Not that they are terrible, far from it, but they are not a highly detailed set of IEMs either. But, again, this does work in favour of the general vibe that they are aiming for (in my opinion of course). I am not saying that I wouldn’t have preferred more detail from these IEMs, I am saying that they way they present music does not put the focus on detail, so it is not something that is missed too much.



The isolation of the KAI is also pretty good, better than the average, meaning that, together with their additional bass presence, they do make for a good set to use while on public transport or just out and about in general.



Conclusion…

As I said at the start of this review, this is the first HBB tuning that I have listened to and I must say it’s pretty darn good. These are certainly IEMs that are focused on having fun listening to music and not sitting down to dissect the nuances of the reverb in the background of “All Your Love” (not that dissecting music isn’t fun also, depending on personal preferences).

They are not a tuning that I would personally pick as my daily driver but that is due to my personal preferences and not because these IEMs do anything wrong. In fact, they do a very good job of what they are aimed at, without even taking into consideration price to performance. Yes, there are things that can be improved upon, no doubt at much higher cost, but I think that these are something that most people could just pick up and enjoy.

I hope to try out a few more of the HBB collabs in the near future and if the KAI are anything to go by, then I’m sure I will enjoy reviewing them.

*As always, this review is also available in Spanish both on my blog, www.achoreviews.com, and on www.youtube.com/achoreviews

TRI Audio X HBB KAI- "Immerse"


DISCLAIMER:

This was sent by our friends at Keephifi . I want to thank Ms. Weiyan for sending me a pair. Yeah the usual disclaimer, you know I am not paid for this right? Haha.

You can check keep hifi's website for promos and discounts, they have interesting sets too. Yes this is an AD sorry. It is the least I can do for them. Wouldn’t you do the same?

But here comes the interesting part. They do not hold any of my opinions. And I think they respect that. They didn’t even say anything as to how I would do my reviews.

Be guided that I consider this review my subjective diary. I layout my listening impressions with KAI as objective as possible. Uhmm, let me correct that. I will be reviewing these being in the shoes of HBB fans. So this impression is very very SUS. But it makes sense for me, because why would you buy this if you don’t like his tuning to begin with. So yeah, since the KAI is tuned to a specific library, this impression is also targeted to a specific audience. If you are not one of them, you can scroll down for other posts in this group haha. Let us begin.

FOREWORD:

This is an important part of my review. I have to internalize how is it being a fan of HBB tuning. I have to have the library to appreciate his work. Good thing is, I have some tracks to test his preferences.
Why should I act like a fan of his tuning? Simple. If I have to be a normal reviewer writing CONS, and not even a fan of this signature to begin with, it will not make sense. Why would a non-fan buy his products? You get my point? Haha.

I would sound like a total mess blabbering about its misses if I bought his product, and me being bass shy. So, I hope this is clear.
So, I will be reviewing this in the perspective of me acting or at least listening to his preferences. It's not that hard for me tho, I used to be in a show band so theres that..

SOUND PROFILE:


Warm L shaped with emphasis in bass details.

Bass. The highlight of this set. It is so well done on these. They don’t particularly come across the boomy type. They have good details not because they are boosted in the lower region, but because of the reduction in treble. Check squigs, heck KZ releases are even bassier in quantity than the KAI. Kai’s bass has very good definition and texture that can resolve notes that are satisfying and sweet. It’s clean, with subbass emphasis and with a good mix of midbass. It is complete for my ears, the rumble of bass guitars with the right amount of fundamentals. It also gets better with use. The melding of subbass and midbass fits like a condom, ready for thrusting the….. ears..haha

Mids are organic and warm in tone color. They are pleasing. I am listening to Polyphia’s “YAS” while writing this and it took me the whole song to finish this one sentence.. hahaha. The KAI just stops me from being analytical. Focused in music. And then the next song comes in, Jamming by Bob. Chill. Clean. Vocals have good definition and space. There is magic in the vocals with the KAI. This is presence dip done right paired with the capability of the DLC driver. The vocals are warm yet nuanced.

Treble. Okay the part where the non-fans should avoid. Well I don’t really think so. Yes I understand the lack of sparkle in this one. But after reviewing the AS16pros, it kinda gave me a new perspective that the amount of treble defines the number of hours you will be listening to a set. They are smooth. Non fatiguing. They are actually thin sounding and far. It feels like they are detached from the bass and mids. It seems that cymbals lack the body even with the warmth from the bass. Probably this is because of the driver. But it is not particularly bad personally. It is different in way that, the treble does not distract you. There are enough details for me, albiet softer in presentation. Similar to BQEYZ’s Topaz.

Technicalities is one of the things I Iike about this pair. It is not overdone. I just like how Kai extracts emotions in a song. It presents a wide stage even without treble air. It is almost 3d in pyschoacoustics. Good layering and decent imaging. They are just very immersive and it is really easy to get lost in music. Detail retrieval is in the lower region. This is the opposite of bright sets where you get lots of details in treble. For the Kai, you get lots of details in the bass and mids. “Pardon me” is the track now, and nothing wrong with instrument separation. It is decent. Good timbre and tone to male and even female vocals. And now its “Nice to know you”, that bass intro? Very good details without overpowering the whole frequency. Because again, this is bass focused by not boosting the lower region, but in lowering treble.

PROS

Clean and well resolved bass. It is not about the quantity but the quality. It is not even much in db, but it is the focus of the signature. 25 minutes by MLTR was very pleasant to listen to and the bass drum had enough “kick” haha.

Great soundstage, almost 3d in presentation. Listening to “making love out of nothing at all” was so spacious.

It is emphasizing bass without boosting it, so it gives me a very musical experience.

Drop D was a breeze on Creed’s “higher”. Bass guitar was so meaty and the notes are well resolved. Kai was not even trying lol. Surprisingly, the snares also sounded tight and I love the playback of it.

I love how this DLC driver is tuned. It has a character different from CNT. It is not as sharp as CNT but still manages to make instruments edgy enough.

“Are you in” bass guitar is so well textured. It is just clean, non-elevated bass with a lot of resolution in the low end. If there are signatures with sparkly highs, this signature has wagyu quality lows. It is just tasteful and meaty.

Sad but true riff was so grungy. Vocals also got good space and definition. Stage was wide as well.

“Circles” by Incubus was so heavy in a clean way. I cant help but make an ugly face haha. Yes you can imagine how heavy it was. Bass wasn’t muddying the whole track that much and it was very engaging.

“So strange” by Polyphia was not strange at all. It replayed it quite nice with good amount of oomph and musicality. Also the track “Nasty” was so nasty in the first 58 seconds y’all! That riff was so good.

Mids are legit good on the KAI, especially electric guitars. The harmonic cut works so well in this set.

The vocals in the track “the warmth” has so much presence. Good space between instruments without affecting vocal timbre.

CONS

female vocals may not sound heavenly. I mean they are not bad, but it definitely has lesser energy in exchange for being emotional sounding. Tested it with Taylor, Olivia and some Jpop like Yoasobi

bass might be a bit loose. The opposite of tight. But they are not that muddy in anyway. I think it is because of the harmonic cut.

thin sounding cymbals. They are not particularly recessed, but thin sounding and lacking body in the track “under my umbrella”.

In the track “cebuana” by urbandub, cymbals were a bit far sounding.

this signature could use a bit of air in upper treble, especially past 10k. I don’t know if it is the limitation of driver or just some dampening. But I am pretty sure this will sound much better if it has some extension up top.

vocals may not be forward. I mean I understand that this is HBB tuning, but with DQ6s, the vocals were actually quite forward.

COMPARISONS:
I don’t have much to compare with other HBB collabs really. I only have the DQ6s and KAI and of course the latte is way better. Probably the closest I can compare these would be the Topaz and AS16 pro. All three gives you a long listening, fatigue free and relaxed session. But the signature of the three are different.

I give Topaz the smoothest treble response and a linear bass.
AS16 pro for technicalities and layering.
Kai for musicality and quality of bass.

FINAL THOUGHTS:

Phew! It was fun reviewing these. Please do take note that I was trying my best to be on the shoes of HBB fans who appreciate his tuning. I can suggest Kai if you share the same library as his. This is a good set.

And say what if I review this Vs. my own preference? Well, it is still a good set, there is really nothing wrong with it apart from the treble extension and unless the person is really bass shy. I think it can still be in my rotation when assessing bass quality, and if I want a chill listening session.

I read Kai means “Sea” in Hawaiian? It is a good name. It is summer here, and I really want to immerse my self in the sea and the KAI..

WHAT’S IN THE BOX?

Well these are packaged well for the price. You get a good amount of accessories for the money you pay for. In the box you have:

-the IEM
-SPC cable. Good looking cable actually. The gold pin really matches the gold color of the iem.
-narrow bore tips in SML
-Wide bore tips in SML
-iem cleaner
-iem case
-fabric cloth

Quite generous right? You really feel that you get a good value from your purchase

BUILD and COMFORT

Build is beautiful. At first, I thought they share the same shell as Tangzu Shiminli. But they don’t. they just look similar. In fact, Kai is lighter in weight and built pretty solid as well. I cant really comment on the colorway haha. Maybe because I already have a gold set?(Shimnli). It’s not something I dislike, nor is it something I adore.

Even with the mentioned similarity on shiminli shell, the Kai actually fits better in my ears. They are comfortable and fits perfectly. I have no issues wearing them for a long time.

SETUP:
-Shanling M3X using UAPP, Hiby ang stock player

-I used sedna shorts in this review. The stock tips gave me a headache with how much bass it produced haha.. but yeah, they also dont work well for my ears, it doesnt seal well with long use because the material is kinda slippery when wet..ehem..

-stock cable

-Volume measured and listened at 75-78 dbs.

MY LIBRARY:
I grew up listening to 90’s music. Alternative, punk-rock, screamo, rap, Philippine OPM, Anime songs, JPOP, KPOP, metal, reggae and a lot more.
The artists I regularly listen to are:

Rock-Alternative-Metal
Incubus, 311, BMTH, Matchbox 20, The Goo Goo Dolls, Paramore, Polyphia, The Calling,, Babymetal, Metallica, Slipknot, Bon Jovi, Coheed and Cambria, Deftones, Red Hot, Green day,

OPM(Original Pinoy Music):
E-heads, Slapshock, Parokya, Urbanddub, Up Dharma Down, Bamboo, IV of spade, Kamikazee, Rivermaya

POP:
IU, Yoasobi, Yorushika, Milet, Reona, Maroon 5, Coldplay, Bruno Mars, Ed Sheeran, Taylor, Dua Lipa, Oliva Rodrigo, Billie Eilish

OTHERS:
Carpenters, Micheal Learns to Rock, Celine Dion, Bob Marley, Sitti, Daft Punk, Pink Floyed, Earth wind and fire, Amber rubarth, Sia, Yosi Horikawa

I listen to more, but I can’t just list them all here.haha. Just giving you an idea on what I listen.

Thanks for reaching here.

WHERE TO BUY:

Non-affiliate link

https://keephifi.com/products/tri-x-hbb-kai

https://a.co/d/6iDDfPW

￥ 11,739 | KEEPHIFI TRI x HBB KAI In-ear Monitor DLC Diaphragm Dynamic Earphone HiFi Headphone 2Pin Wired Earbud Music Sports DJ Headset
https://a.aliexpress.com/_EIqs4GX

TRI x HBB Kai Review

Intro
Kai is a collaboration between TRI and HBB which is also known as Hawaii Bad Boy which I'm sure most of you would have been familiar with already. According to HBB, KAI means water in Hawaii and the reason behind the naming is so that the music flows like water and just enjoys the flow (from the marketing material). Kai is a single dynamic driver with DLC.

Build/Packaging/Comfort
Build quality on Kai is solid and is made out of alloy and feels very premium and there are no sharp edges around it. The packaging coming from a TRI brand is a little underwhelmed to me this time around, i expected the packaging to be on par with usual TRI products, this time around, it came with a rather minimal packaging, a box consisting the IEM,cable,eartips all shoved within the carrying case.



The shell size is medium, not too small or big and fits very well on my ears. No discomfort even after a long listening session, however, do take into consideration that not everyone’s ear shape is the same so your experience might vary, but in my personal opinion, it should fit well on most people.

Source
Macbook Air M2 Apple Music/Tidal -> Kaei HP100s -> Kai
Tempotec V6 -> Kai
Macbook Air M2 Apple Music/Tidal -> Dunu DTC 500 -> Kai

Sound
I have no prior experience in collabs products from HBB, but knowing his preference and library, I kind of have a little expectation on how the tuning turns out to be. In terms of tonality, it is definitely leaning towards the warmer side with a very good note weight and emphasis on the low end. The timbre does sound very natural to me.

Bass

• The bass has got a very good texture to it, warm thick and well controlled in my opinion
• Sub bass does rumble when it is called for, but i wouldn’t say it is subwoofer like, but it is definitely very enjoyable
• Mid bass is thumpy and elevated to provide the extra impact, but occasionally it does bleed into the mids
• I like how the bass is done overall, the fun factor it provided and it is quality bass rather than just out right bass quantity

Mids

• The mids are a little forward and lush to my ears
• The warmth carried over from the bass transitioned nicely to the lower mids giving a good and nice texture
• Upper mids never fatiguing and clean, instruments sounds very clean and never harsh
• Vocal positioning as how would i picture it is a few steps away from you, male and female vocal both has got very nice texture to them, never thin sounding

Treble

• Not the most detailed set nor it set out aiming to be a detail monster, but generally the treble blend in very well with the overall tuning in the sense of being smooth and pleasant, not sibilant nor harsh
• A little lacking in terms of air and sparkle is evident
• Detail retrieval is not Kai’s strong point, detail retrieval average for the asking price, can be better but i guess it will ruin the tuning if they make adjustment for this

Soundstage/Imaging

• Soundstage portrayed by Kai shows a good sense of width and height, nothing exceptional but good for the asking price
• Imaging is good on most of the tracks but it does suffers a little on some metal tracks such as Slipknot’s People = crap

Driveability
Kai is not hard to drive, but when paired with a better source, it does have better control in terms of bass response and better separation. From my observation, it doesn’t really benefit from additional power

Comparison (Letshuoer D13)

• In terms of tuning, D13 is leaning towards the slight U shaped leaning towards the slightly brighter side
• Bass reproduction is more enjoyable on the Kai while D13’s bass is lesser in terms of quantity
• Detail retrieval capability D13 is way ahead of Kai, that is not to say that Kai is bad in any way, it is just tuned differently
• D13 itself comes with interchangeable nozzle that allows user to fine tune their treble preference, a plus point in my opinion
• In terms of note weight, Kai has thicker note weight and a warmer timbre to my ears, D13’s note weight is just slightly thinner to my ears but nothing bad as both of them are tuned differently

Final Thoughts
In my opinion, Kai is a well executed IEM as it brings unconventional tuning to the masses in the midst of many which strive for harman or even neutral tuning. Kai is for you if you’re looking for an iem which is analytical or neutral, Kai is for those who are looking for musicality instead of analysing the music. Kai is also not an all rounder as it excels on a certain genre but doesn’t do so well on a certain genre.

As for me personally, Kai works well with my library and I like them. I have no problem recommending them to anyone who is looking for an iem that’s not analytical and laid back but also musical, but if you’re looking for something that’s analytical, this is not for you.

*A big thanks to TRI for sending this over in exchange for this review. I received no compensation nor was I influenced in any way in producing this review.

If you are interested in getting a pair, head over to TRI’s store to get one as they’re currently having a sale right now!

TRI x HBB Kai - Aliexpress Store

TRI x HBB Kai
I would like to thank Ann from Keephifi.com for supplying this sample for review.
Product link :
https://keephifi.com/products/tri-x-hbb-kai

Description
The TRI Kai is an IEM produced in collaboration with respected online reviewer Hawaiian Bad Boy (HBB) also known as BGGAR (Bad Guy Good Audio Reviews). It has been tuned to follow HBB's preferred frequency graph which is a somewhat modified version of the Harman tuning. Collaborations with online reviewers are a new trend in IEMs. We have seen CCA, KZ and Tripowin, amongst others, releasing models in conjunction with Crinacle and HBB. This is the first such model from TRI and also its first single DD model.

The Kai employs a 9.8mm dynamic driver featuring a DLC (Diamond Like Carbon) diaphragm, 2-pin connection and all-metal construction. It has an impedance of 36Ω, a sensitivity: 114dB@1KHz and a frequency response of 20Hz - 40kHz.

The Kai comes in a compact white box with a full colour slip cover decorated with a swirl pattern in blue and the product name "Kai" in a script font in white, below which are TRI and HBB logos. Opening the box there is a white card with Kai branding in gold, under which there is a faux leather case inside with the generous contents stored inside which comprise:

* TRI x HBB Kai IEMs
* 4 core OFC silver plated 2 pin cable
* 6 pairs of white silicone tips in different sizes
* Cleaning cloth
* Cleaning brush

It is a very nice presentation.

The IEMs are very well made in CNC formed aluminium alloy. They are smoothly contoured and are finished in a attractive blue and gold colour scheme with three triangular facets. The legend "TRI x HBB Kai" is printed in blue on the gold facet and there is a gold TRI logo on the lower blue facet. The fairly long nozzle has a gold mesh and a pinhole vent near the base. There is another pinhole vent alongside the 2-pin socket. The cable is made of 4 core OFC copper and is silver plated. The 3.5mm plug, Y-split and 2-pin plugs are all finished in gold and the loosely braided cable is silver in colour. There is no chin slider and also no channel identification on the cable or the IEMs.

The Kai was tested with Hidizs AP80 Pro X and Xduoo X20 DAPs, a smartphone and a CD player and a burn in period of 100 hours was carried out to run in the components. I found the pre-fitted tips a little too small and used the next largest size which produced a comfortable fit and good isolation. There was plenty of volume on tap, with a healthy level from all devices and no need for additional amplification.

Sound Quality
The Kai immediately impressed with its deep well textured bass, open and forward mids and detailed, smooth treble. The soundstage possessed good width and height but there was a little less depth. Timbre was warm and natural and vocal presentation was excellent while detail retrieval was deceptively high with layering and separation of a good standard.

Bass
The sub-bass was fairly neutral with good texture, and there was a lively elevated mid bass with good impact. The tonality was on the warm side of neutral, with just a little softness in the transients and a minor amount of bleed into the mids. The mid bass did occasionally become dominant on certain material.

"Skys" is a colourful and imaginative electronic album by Canadian musician Mychael Danna. "Sky 10" begins quietly with gentle chords and gradually builds to a climax in which the Kai delivered a solid bass with impressive weight and good extension. At the end of the piece the atmosphere was very well portrayed as the deep tones subsided.

"The Kentish Suite" is a colourful and varied set of pieces by Hubert Clifford. In the version by the BBC Symphony Orchestra conducted by Martin Brabbyns, the prominent orchestral bass drum in the fifth part, "Greenwich", displayed excellent timbre, good weight and a natural decay, underpinning the lively melody very effectively. The ambience of the hall was well rendered, which added to the enjoyment.

Mids
The Kai projected the mids very nicely, being just a little forward and also very clear. The lower mids received some warmth from the bass while the upper region was brighter with a clean delivery, showcasing vocals and solo instruments. The timbre was largely very authentic.

Linda Ronstadt's pure voice was clearly presented in "Lo Siento mi Vida" from her album "Hasten down the Wind". Accompanied by acoustic guitars and Dobro on each side, her voice was placed precisely in the centre with perfect diction. In the bridge, when she sings in English, the emotion of her performance was beautifully conveyed.

Debussy's "Claire de Lune" is perhaps the best known piece from the "Suite Bergamasque". Ikuyo Nakamichi's performance in a beautiful JVC K2 recording really shone. The timbre of the piano was accurate and the dynamic shading in the piece was very well handled. In the more percussive passages a little more bite would have been perfect but nevertheless the whole piece was very enjoyable.

Treble
The treble was smooth, clear and free of peaks and sibilance (unless present in the recording). It was deceptively detailed, having a somewhat reserved quality but displaying good extension and delicacy.

Mark Dwane is a master of the MIDI guitar synthesiser. His albums on mystical themes are always beautifully recorded in audiophile quality. "Paragons" is a track from "Martian Apparitions" and features incisive electric guitar chords in each channel supporting the lead synth voices. With a good sense of movement the clarity and resolution here was excellent. The accompanying electronic effects and percussion were precise and clean with a believable timbre.

Soundstage
The Kai displayed a stage with good width and average height, but there was some lack of depth, most likely due to the forward nature of the midrange.

Ray Lynch's "Deep Breakfast" is a classic of the New Age genre. The intricate electronic effects in "Tiny Geometries" were very clearly depicted by the Kai with the various tonalities nicely differentiated as they danced across the stereo image. The treble was well balanced against the uplifting synth melody and was always audible, even in the most delicate parts, with a good sense of layering.

The Kai produced an authentic picture of the concert hall in Liadov's beautiful "The Enchanted Lake". Bass trombones and tuba in the background created a menacing atmosphere overlaid by the delicate strings and clear brass parts. The rise and fall of the dynamics in the performance by the Philharmonic Symphony Orchestra of London under Charles Gerhardt were very realistically portrayed with only a little more depth in the staging required to make it perfect.

Comparisons

Fiio FD3
The Fiio FD3 is a single DD IEM with MMCX interface. It has a 12mm “Flagship-level” DLC (diamond-like carbon) diaphragm, front acoustic prism, semi-open acoustic design, interchangeable sound tubes and a 2.5D film coating glass faceplate.

The FD3 regales us with its broad cinematic delivery and rich, vibrant presentation and has a natural sound majoring on enjoyment and entertainment. With a mild V shape, the mids are somewhat recessed but still have good presence. The tonality is natural and the delivery exciting and lively. The Kai is warmer in nature and more U shaped with a more prominent bass, more forward mids and a smoother treble although the FD3 is a little brighter and more extended here.

Moondrop Aria
The Aria employs a 10mm dynamic driver with a liquid crystal polymer (LCP) diaphragm, N52 Neodymium magnet and CCAW voice coil. There is also a dual-cavity brass chamber and high frequency waveguide. It has been tuned to Moondrop's own VDSF curve which is a version of the Harman tuning. With its even-handed presentation it suits multiple genres and it is particularly impressive with classical music. The Aria possesses an attractive musicality which encourages further listening. It has a well balanced, near-neutral shaping with a clean and airy presentation, natural timbre and exceptional clarity. It has unsurprisingly become a frequent recommendation in its price range.

The Kai is quite similar in character with a warm well balanced profile, authentic timbre and smooth treble. Its bass is more extended, the midrange is more forward and the treble is softer but with no appreciable loss of detail. The Aria's bass is more linear and its midrange is slightly recessed, with a deeper staging. The Kai is more exciting to listen to than the Aria which can sometimes sound "safe" and a little more urgency would be preferable.

Whizzer Kylin HE01
The HE01 has a 10.2mm DD with a 1.2 Tesla magnet. The general profile is V shaped and it has a clean, very transparent sound with excellent detail. The bass is impactful, the mids are clear and the treble is detailed and extended. There is a large, spacious and open soundstage. A notable feature is the “dynamic shading” or ability to display subtle changes in volume.

The Kai is warmer in tonality with a more prominent midrange and a smoother treble response. The bass is more powerful and occasionally becomes dominant and has a less expansive staging but its vocal performance is superior. Dynamic performance is comparable but the HE01 has faster transients with a more immediate sound.

Conclusion
In my experience, TRI earphones have always been tuned very well. The Starsea, i3, i3 Pro and i4 all display a natural tonality and well balanced profiles. The Kai is no exception with a warm, inviting sound, solid build and generous accessories. There is a bit of additional warmth in the low frequencies which could be snappier, the staging does lack depth and sub bass could be improved, but overall, it equals or exceeds the performance of most of its competitors and therefore should be high on your short list if you are seeking the best single DD model in this price range.

Introduction

The Kai are the most recent release from TRI and for the first time TRI has produced earphones as part of a collaboration.

The Kai are a collaboration between TRI and Hawaii Bad Boy (HBB) a popular YouTube audio reviewer) hence the moniker, HBB. I rather like the name Kai. The Kai are a single dynamic set of In Ear Monitors (IEMs) for ease of reference I set out the detailed specifications of the Kai below:

Specifications:

Driver Type : 9.8mm Single Dynamic Driver.
Diaphragm Type : 3rd Generation Diamond Like Carbon (DLC) Diaphragm.
Frequency Response : 20Hz -40kHz.
Impedance : 36Ω
Sensitivity : 114dB @1kHz.
Interface : 0.78mm diameter 2-Pin earpiece Connection and 3.5mm gold plated single-ended plug.
Cavity material: Aluminium Alloy

Disclosure and Note:

This set was kindly sent to me by TRI free of charge for review, for which I am grateful.

All opinions I express here are my own with no influence from anyone. No one has editorial control or influence over the contents of this review. I make an effort to ensure that I give the reader factual information. I appreciate your feedback.

Form, Fit and Function

The package: The package is a small cardboard box, which seems to have been chosen to fit the usual but presentable TRI mid brown faux leather case. I believe it not only reduces the cost to the end user but it is also environmentally sustainable in these times of ecological awareness.

List of contents of the package:
The IEMs;
A gold plated 3.5mm single-ended silver plated OFC cable;
A beautiful faux leather case;
A selection of tips,
A cleaning brush; and
A cleaning cloth;
A Warranty leaflet and a card with Kai written on it.



Form: The earphones are made of aluminium shells with the section which fits into the ear gently contoured, but without a wing, leading to a wide nozzle. The outer faceplate appears to be made of two pieces and two colour design, maintaining the bold golden colouring of the IEMs gentle sloped pyramid like mound. The entire ear piece is plated in gold, except the face plate which is glazed in gold and blue.



Fit: To my ears the fit is good, but not perfect, in that, the medium sized nozzle with no inner wing allows the earpieces to slip out ever so slowly and I have to adjust for better insertion occasionally. I have not experimented with ear tips other than those which came with the package. No doubt a change of tips might keep the earpieces in place more securely.

Finish: The blue part has the TRI logo in gold and the blue has HBB inscription with an anchor logo the words, “TRI x HBB Kai” written on it.
Despite the abundance of gold plating, I must say, it is tastefully done, just on the right side of tasteful. The Kai looks and feels solidly built, of course time will tell, but in as far as it is visually possible to tell, they look solid.

My setup for this review

As my source, I paired the KAI with Samsung galaxy note 10 plus, Mi Mix and Shanling M7, various Music player Applications used with my local media library and via Bluetooth and wired. For amplification I used the Xduoo MT604 and Rod Rain DAC/Amp, as a DAC/Preamp,, a Samsung dongle, Fiio BTR5, the HA FEE HA11, TRI TK-2 and the Littlebear B4X tube amplifier with portable Taotronics DAC, mostly balanced 2.5 mm and on high gain.

Synergy

The Kai paired well with all my sources and DAC/Amps. I used the wide bore stock tips, as they came out of the box. It is also relatively easy to drive.



The sound

The Kai once in my ears sounded almost balanced and could be described as mild U-shape sound signature, here, I use U-shape to mean a shallow dip in the midrange. Although the tuning does not seem extreme or radical in anyway, the extension at either end of the frequency spectrum is more generous that you would ordinarily find in earphones in $70 to $80 price range. That to my ears and for my sonic preference makes the Kai a pleasure to listen to.

Bass

In general the bass is not over-emphasised or dominant, which means the bass you call on, is what your recording delivers, no increase in bass delivery.

Sub-bass: As alluded to earlier the low end runs deep, so although your recording determines what is called for, the bass runs deep and when the track demands you get deep bass. The tuning is such that when your recording calls fort sub-bass you get a rich and visceral reproduction of the music.

It does not only go to great depths it also renders a well defined sub-bass. Notes are full and you can clearly tell the individual notes, not a congealed mess. A bit more forward sub-bass would have been nice....but that is a personal preference.

Mid-bass: As with the sub-bass, the mid-bass is not ever-present, and when called for it delivers notes with precision, the notes are well defined and discernable. Bass is fast enough not to smear the mids, and for my taste, the decay on the bass is natural, so that I get what I would hear on stage, not a falsely curtailed decay, simply to give the impression of fast bass.

Zhao Cong - Moonlight On Sring River:



This recording displays the beauty of the Kai in all aspects across the frequency spectrum, but, here I focus on the sub-bass, at 0.54, the sub-bass kicks in, and the Kai lets you know it. Where other earphones fail. Again, credit to my friend, @Poganin who introduced me to this track.

Nicolas Cole and Vincent Ingala - Snap:



“Snap”, plays back with viseral punch of the bass line, and the Kai does not fail to express it in full with each bass note well defined bass is delivered, so there is no doubt about the bass quality on this set of earphones.

Midrange

Great delight here, on the midrange, you get the impression the driver is tuned to quietly go about its business, you get the impression the driver can do more. In any case, what has been done here is to tune, not to fit the price but to deliver the goods.

My point remains that the tuning of the midrange is measured and delightfully so. What you get is a satisfying reproduction of vocal notes, guitars notes, piano notes, even a blurting horn seems measured, not set to blast your ears, just to deliver the recording well.

Peter White “In Rainbows” - Smile:



Treble
I generally avoid reading or watching reviews of a device which I intend to reviews but I watched HBB’s introduction (not a review) of the Kai. Here is something a friend said about the high notes on the Kai (and I note my friend’s comment, “it is not the TRI Starlights”, and I agree).

Electrets and electrostatics aside, the treble on the K|ai, is incredibly appealing to my ears. It seems to me what HBB stated on his introductory video about being influenced by the treble on the Dark Magician…...has clearly been implemented, and well implemented at that. A guitar string can deliver some delicate highs, but the sound differs, and depending on tuning, earphones can have the sound of a guitar string pushed to its limit and just about to snap.The treble tuning on the Kai can extend to the delicate notes but do not sound strained, like a guitar string just about to snap.

The treble is a joy to listen to, especially on in their rendition of cymbals, high hats and violins. It it firm, bold and a satisfyingly realistic replication of what I have heard on stage.

Mascagni - Cavelleria Rusticana - Intermezzo - Giacomo Aragall:



Instrument Separation, Stage and
Timbral Accuracy

The Kai does instrument separation and imaging they are very well. However, stage, although perceptible and has some width, it is not particularly expansive. For me where the Kai excel, in this categoy oft referred to as “technicalities”, is in timbral accuracy.

I am sure most would agree that all monitors are music reproduction instruments, and the Kai deliver authentic reproduction of the tone of most musical instruments, and , to my ears, excels at it. My one experience is of a bit of spiciness on a Classical piece. I have not heard it elsewhere.

Comparisons with other single dynamic drivers earphones

Dunu Titan S - [My review coming up in the near future] Compared to the Titan S, the Kai leans more towards treble, while the Dunu leans towards the bass. Both Sub-bass and Mid-bass on the Titan S is good quality, rich and mature sounding. The kai displays a more revealing tuning which gives the impression of being more balanced than the Titan S. Midrange on the Kai is full and delivers an open and spacious sound. The Titan hits back with worthy midrange, although only slightly less revealing.

This is, for me a like for like comparison, it is very difficult to say, I prefer one over the other. To my ears, they are quite similar, but the question is whether your preference is for the quantity in the bass, which goes to the Titan S, or in the quantity at the treble end, which for me goes to the Kai. I must say in terms of quality they both deliver, it is a question of quantity relative to other parts of the frequency spectrum. I cannot even give the technicalities to either, they are both that good. All I can say is that I am fortunate to have heard both.

Meze Rai Solo - I think Meze has a lot to be proud of, but my disappointment remains in the Rai Solo, one of the most beautiful earphones made. On sound, competent, but could have been much better. To my ears he Kai blows the Rai solo out of the water, despite the price difference. The Kai comes out in front in all aspects. However, it must be noted that they are a couple of years apart, and a lot has changed in audio.

Venture Electronics VE BIE Pro - I have heard some say, the VE BIE Pros are bassy set of earphones, and, I say, yes, to an extent, but you cannot ignore the fact that unlike those above, they are a touch more difficult to drive. Increase the power going to them, and the treble takes its rightful place. That is not to say the bass is not prominent, the VE BIE Pros are certainly more bass biased than the two other earphones above. Compared to the Kai, I would have to say the Kai certainly comes out on top to my ears. The Kai may not deliver as much Sub-bass abd mid-bass, but the quality of the bass the Kai delivers outshines the VE BIE Pros to my ears. The same goes for the mids and highs. The Kai, to my ears is stands proud across the frequency spectrum. In addition, my view is that the Kai are more technically accomplished.

In Conclusion
I have ask the question whether this is the sign of the future, where every manufacturer has to raise their level if they are to compete in this highly competitive audio market. The Kai deliver good quality sound, well beyond my expectations and even more, above what you would usually expect at this price. Simply wonderful.

Enjoy Your Music!

TONALITY: 7.8/10
TECHNICALITIES: 7/10
CONSTRUCTION: 9/10
SOUND VALUE: 7/10

TRI is the sister company of KBear, and it try to offer higher end audio product with more audacious tuning. It’s a touch everything company too, since they have launch a DAC-AMP lately, call TRI TK2, which I adore and review here. TRi is known for hybrid and tribrid IEM like the TRI Meteor 1DD+1BA or I3pro 1DD+1planar+1ba IEM which get good praise, including mine here.
Today I will review their last release, the TRI KAI, which is a collaboration with HBB aka BGGA aka Bad guy Good audio, a famous reviewer that mostly listen to Aerosmith and Tupac Shakur as well as other old rock bands. He’s know for being a basshead too. It’s the second IEM collab from this guy that I will review, first one being the Tripowin Olina, an excellent earphones I review here.

The TRI KAI is a single dynamic driver IEM, using 3rd generation 9.2mm DLC (diamond-like-coated) diaphragm.

Let’s see in this review if all these IEM that HBB tuned pay off in term of refinement and experience in tonal balance, timbre and accessible musicality.

ABOUT ME: It’s important to know that i’m a kind of ”anti-hyper” reviewer, in the sens i’m highly critical and tend to highlight imperfection of sound more than the good side of it. Can’t change that, so I guess i’m a pessimist audiophile when it come to technical aspect of sound even if i’m very open minded in term of tonality flavors. I’ve listen to more than 300 IEM from 5 to 2000$, so i’m rarely impress by new offerings.
I listen to a very wide range of music and tend to favorize good quality recording (ECM label being a benchmark). Classical, jazz, electro and female singers (which include soprano like Arianna Savall as well as soul, rap or R&B singers) are main music style I listen too. I care alot about tonal balance too, which should feel natural and cohesive. Timbre too is something I cherrish and I don’t like it too thin or too bright. I’m not treble sensitive, but can’t handle bad spiky treble. My ideal signature is a full sounding W shape signature, hint bright, like the Final A8000.
As well, I tend to believe in good amping for demanding IEM or low impedance output for sensitive IEM. All this to say that my harsh critical review style should be take with a grain of salt, especially when it come to tone preference of bass mids or treble.

CONSTRUCTION​

TRI rarely disappoint when it come to construction and both construction and design is very well done here. The housing is made of of alluminium alloy with a beautifully sculpted 2 colors back plate. It’s thick and feel very sturdy, but it’s comfortable too due to organic nozzle shape. Isolation is quite good too and their no sound leakage.


Packaging is very very minimalist, a bit underwhelming if we compare to KBear INK (same company). It’s just a small box with a carrying case in it. You have 5 pairs of eartips, a cleaning clothes and a SPC cable.


The cable is rather underwhelming, especially if we take in account the fact TRI sell big number of nice quality cable. It’s a cheap 4 cores silver plated cable. Better than a KZ cable but not impressive at all.

SOUND IMPRESSIONS​

(Gear used: Questyle M15, Moondrop Dawn and TRI TK2)
TONAL BALANCE follow a smooth V shape approach with thick sub and mid bass, dark but present mid range and understated treble where you have just enough snap and sound info to get part of percussions energy and intriguing micro details.
Dark, bassy and organically balanced with a very polished treble that roll off fast pass 10khz.

BASS tuning of HBB is rather hate or love affair here since it’s very colored and sculpted in a way that immediacy of impact is damped, bit muffled and pillowy in the sens it doesn’t move air fowards, nor have a authoritative thumping to it. The impact of bass feel like it come from another room, muted by a spongy wall, so it’s not a well rounded bass and it’s definition is scooped as well as it’s texture is polished. Still it do have a physical impact to it, just not a tight and well define one. Here it’s all about chunky mid bass slop, it’s heavy yet the energy is restrain and separation with mids lack spacing and proper definition. The lower extension lack flexibility and proper vibrancy and resonance, it’s not linear and can’t render acoustic bass line properly as if it feel hit while the bass string are pulled and should create a linear resonance in 20-40hz section. Kick drum is half cook too and tend to mix at same level as bass instrument, making it harder to properly perceive the attack. While I don’t listen to 2pacs nor Aerosmith, i’m pretty sure the dark sloppy bass response wouldn’t make it sound exciting since i can’t enjoy jazz nor fast complex rock with those, for rock, electric bass will swallow kick drum and make it hard to follow rythm, while for jazz the acoustic bass distract me in a boomy way. With pop, soul and slow beat driven music, the result can be pleasant, let just say the KAI aren’t made for critical listening, but for laid back guilty pleasure.

MIDS are very similar to the KBear INK, an IEM i’m not very affound off due mostly to timbre issue. Thin in upper register yet not sibilant with average clarity and a compressed presentation that lack air and proper sens of separation. Female vocal especially are a bit lean and recessed, with thin dry timbre. Vocal sound smaller than nature here, in the sens it’s not fully open and wide in presence, it doesn’t embrace the listener and feel very static and lifeless. In the other hands, male vocal are well done, thanks to gentle bass bleed into lower mids it sound full bodied and have a lively presence. Note weight is light, making piano sound dull and lacking in both low and high harmonic, piano is a disaster here, tonaly off and hard to follow in single notes definition. I guess HBB never have listen to piano before since both Glenn Gould and Pierre Hantai sound off. Again, post impact lack natural resonance too, this is perhaps explaining why their a boxy feel to mid range and all instrument struggle to open up in the space. One thing sure: the KAI aren’t for mid range lover, nor piano or female vocal lover, nor violin lover nor saxophone or lush natural timbre lover, nor for crisp clarity lover nor…you got my point, better use very simple music with the KAI like ”Heaux Tales” album from Jazmine Sullivan isn’t that bad, it’s a slow hip hop album injected with soul vibe, and the rythm section is very minimalist, still her beautifull voice aren’t magnify here, it’s more off a mix of physical slam with muted resonance and smoothed vocal presentation free of sibilance but of lushness, full bodied presence too.

TREBLE is understated here, as if the tuner struggle to choose between dark and vivid high and decide to tame everything but a little part of highs so you got minimal energy on top and sens of snap in percussions. I can’t say this result in well balanced treble because it extract just a small part of full highs spectrum and make percussions sound off due to favorizing specific region as if the drum have 2 part: Bass drum and one cymbal. Very colored and romantic treble, very subjective in it’s sens of musicality too, which can’t render acoustic guitar nor clavichord properly due to lack of sparkle and natural decay. Pierre Hantai ”Goldberg Variations” on harpsichord is a very strange audio experience where i’m not even sure what instrument i’m listening too…both lead and post impact feel scooped and timber is dry, their no brilliance to this instrument that should sound metallic and resonant with vivid sharp attack, as well, we have a peculiar sustain (with no release) to note presentation that tend to make every note mixed up in their layer so i can’t follow properly the fast playing of each notes. Positive side of this partly dark treble is that it’s not fatiguing.

SOUNDSTAGE is quite wide and open, immersive in it’s grand presentation which is tall enough too, but it lack deepness, especially when bass blur the background.

IMAGING is underwhelming and you will struggle to pin point the instrument position due to lack of clarity and clean spatiality. Muddy and blurry as a whole with compressed sound layers, even somebody with absolute hearing would not be able to find half of the instruments in a symphony or busy track.

So, yes, this isn’t an Olina in term of TECHNICALITIES, in fact, it’s even inferior to the KBear INK in term of attack speed and control, resolution, transparency and imaging. The DLC DD seem overly damped in it’s dynamic here, which affect everything in term of immediacy, accuracy and micro definition.

COMPARISONS​

VS MOONDROP SNOW (1 DLC DD-80$)

The SNOW is more neutral and refined, with greater sens of transparency and clarity as well as notably less boosted bass. KAI is more U shape, with thicker sub bass and more physical slam, warmer and less textured and more prompt to bass bleed than the Snow which offer leaner dryer bass response, less boomy, faster and more articulated in attack.
Mids are clearer-cleaner and more present in definition with the Snow, but leaner in dynamic and bit thinner in vocal timbre, especially male vocal which are more bodied and upfront with the KAI, for female vocal, its a bit more shouty and fatiguing. With fast busy music the Snow keep its clarity and accuracy unlike Kai that can go messy and unbalanced, especially if their heavy bass line or hit.
Treble is fuller with the Snow, and offer more texture nuances and sound info, definition is cleaner and sharper, transparency doesn’t get messy, percussions are more detailed and fuller restored while KAI can pick up part of it and let other part in the dark, swallowed by bass and mids boost.
Soundstage of both is similar in wideness tallness, but notably deeper with the Snow.
Imaging is without a doubt superior with the Snow, more accurate due to more transparent sounds layers and sharper static definition of instrument positioning, as well, separation have cleaner space.
All in all, if you find your Snow boring, the KAI seem a logical sidegrade since it follow similar tonal balance with more bass and more lively dynamic presentation. Technicaly it’s inferior especially in resolution, attack speed and control, treble isn’t as well balanced and lack mature refinement of the Snow.

VS KBEAR INK (1 DLC DD-70$)

The INK offer a brighter V shape signature, making the KAI sound warm U shape. Bass have less rumble and roundness, it’s less thick too and create more resonance after attack, the KAI is less boomy and boosted in mid bass which offer better articulation. Mids are thicker and more natural with the Kai, male vocal especially feel more bodied and present while female vocal are a bit leaner and less prompt to sibilance due to more smoothed upper mids. Treble is sharper and more detailed with the INK, its more textured, snappy and sparkly too and seem more extended, yet it stole more the show of the mids than the darker KAI.
SOUNDSTAGE is wider and more open with the KAI, INK feel compressed and just a bit deeper.
Imaging is slightly better with the INK.
All in all, these 2 are on par in term of technical performance but tonality is more cohesive and balanced with the KAI.

VS BQEYZ TOPAZ (1 LCP DD-80$)

The KAI is warmer and more U shape, bass is less textured and more boomy and heavy in hit. Topaz bass is leaner in extension with better kick drum presence and definition. Mids are notably brighter and more textured with the Topaz, both male and female vocal are smoother with the KAI yet not as well define and resolved, especially in texture and for female it’s more upfront with the Topaz which make it easier to follow lyric properly. Overall timbre, tough brighter, seem more realist and full than the KAI. Treble of both these IEM doesn’t deliver plenty of details, it’s quite similar even if Topaz have a hint more bite in mid highs, KAI seem to offer more sparkle and brilliance here.
Soundstage is wider and deeper with the KAI. Imaging of both is a bit blurry, so i consider them equal.
All in all, technically speaking these 2 are on par while tonality is more energic but still warm with Topaz, I tend to enjoy vocal more with Topaz and feel the more energic mids and less distracting bass make it more maturely tuned and balanced.

CONCLUSION​

I really don’t know why the KAI exist, but it’s there and I review it.
Thats one of this IEM that is fun to listen to for some hours and you get tired of it fast due to it’s technical limitation and not very versatile tonality.
It’s a fun bassy sounding IEM with decent macro resolution and safe but not boring tuning.
All the edge of bass, mids and treble are scooped to permit a safe listening, yet, the bass hit should entertain us gently.
It’s not a disaster in term of balance but versatility isn’t there when it come to anything complex or fast like jazz, classical and instrumental rock.
If you only listen to simple pop, soul, R&B, rap and some indie, the KAI is a good bet, but for all the rest, better go with the Tripowin Olina or Moondrop Snow.

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PS: I wanna thanks TRI and Keephifi for sending me this review sample. As always, i’m not affiliated nor paid to write this review and this is my 100% honest critical audio impressions.

You can buy the TRI KAI for 80$ here: https://keephifi.com/products/tri-x-hbb-kai

For more diversify audio reviews of audio products ranging from 10 to 2000$, please give a look to my No Borders Audiophile website HERE.

The TRI x HBB KAI is a budget IEM just under $80, it comes in an attractive box that is tiny and easy to transport. Inside the tiny box is more accessories than most large box IEM come with, a large selection of tips, and nice cable the KAI and the leather case. The Kai is made well as it is all metal and the shell is only two pieces in construction. The Gold and Blue colors are very sporty and sharp looking in my opinion. It is comfortable and offers good isolation. The stock cable and tips are above average in quality. This IEM was sent to me From KEEPHiFi as usual nothing affects my review but my long-tested opinion.

Sound:

Starting with Bass, it has good weight and control to its Bass , I found the Sub-Bass well controlled with a good extension, Mid-Bass has good presence and is tight punchy and with good speed.
Mids: Have good focus and have a natural tone to them they are too forward or too far back, they have good body to them and details. while lower has a small amount of warmth the uppers have a mild brightness its perfectly in sync and adds to the pleasantries.

Treble: Is relaxed and smooth offering details without harsh spikes and maintains a well done and non-fatiguing extension.

Soundstage: Is open and has both good width and depth with similar height, it has accuracy and separation is above average.

Afterthoughts: The KAI offers one a musical and pleasant IEM for under $100 it is well made, well-tuned and I really like this for now.