The recent trend for multi-driver hybrid IEMs continues unabated. Ever since KZ released their quad-driver ZS5, manufacturers have brought out competing models using technology trickling down from high-end designs. Materials have also improved, with high quality metal housings being the order of the day, such as the KZ ZS6, Zodic ET2201, Revonext QT2 and QT3. Some of these have earpieces based on designs by other makers (e.g. Campfire Audio) and the TRN V80 is no exception, with its design clearly resembling the Dunu Falcon C.
The V80s are attractively presented in a sturdy white box featuring a line drawing of the earphones. Inside you will find the earpieces nestling in a white foam insert below which, under a flap, are the detachable 2-pin cable, two pairs of silicone eartips and some literature. One set (medium) of silicone eartips with a red bore is pre-fitted.
The TRN V80 is a quad-driver IEM employing two dynamic drivers and two balanced armatures. Each driver is assigned its own frequency range by means of an electronic crossover network. The bass driver is a dual concentric design with a 10mm dynamic driver covering the lower bass and a 6mm dynamic driver the upper bass. The two balanced armatures cover the midrange and treble. The earpieces are machined from aluminium and are coated in three layers of enamel, giving a smooth glossy finish. The faceplates have three graduated vents which should produce a wide soundstage at the expense of a little isolation. There is another small vent at the base of the nozzle. The cables fit very easily into the sockets and they have a reinforced section for shaping around the ears, which retains its shape very well. There is a nice metal Y-split and a chunky black metal 3.5mm straight plug.
The earpieces are quite compact in dimension, and fit snugly in the ear. The pre-fitted tips were a perfect fit and gave good isolation at the same time as being very comfortable. In fact these are the most comfortable over-ear IEMs I have used so far. There was no problem with microphonics or cable noise although the cable is rather prone to tangling. A chin slider would have helped.
The instruction leaflet recommends 100 hours burn-in before the earphones are at their best so I followed this advice. (I am an advocate of burn-in anyway!). After this, listening was carried out using a HifiWalker H2 DAP and Fiio A5 amplifier. Until recently, the more affordable hybrid designs have been tuned with a pronounced “V-shaped” sound with prominent bass, recessed mids and bright, sometimes aggressive treble. This was certainly not the case with the V80s. I would describe the overall sound signature as well-balanced with no part of the frequency range unduly emphasised.
Bass
The bass on these IEMs is very deep and extended, but does not bleed into the mids. Rather than being boosted in the mid-bass and then rolling off towards the sub-bass, it maintains its level all the way down and has excellent texture and resolution, yet never dominating the overall sound. As a result, recorded ambience is reproduced very well, adding to the realism with orchestral basses and bass drums having great character. In the second movement of Benjamin Britten’s “Simple Symphony” by the English Chamber Orchestra conducted by the composer, the double basses and cellos have a wonderful resonance and timbre with the reverberation in the Snape Maltings coming over beautifully. Electronic music also benefits from this bass quality. Matthew Clifford’s “Accumulus” is a grandiose electronic work using an arsenal of synthesisers and the bass has real impact and depth, providing a wonderful foundation for the music. The bass is agile with great transient attack.
Mids
The mids are prominent and well-articulated, with the balanced character of these IEMs a refreshing change from the popular “V-shaped” profile. Due to the vented design, detail is excellent, separation is clear and soundstage open, deep and wide, with a good impression of height as well. Stereo imagery is very good with vocals standing out clearly over the accompaniment. Moya Brennan’s ethereal vocals in “Newgrange” from Clannad’s “Magical Ring” album shone out above the synthesised background and deep drum effects, producing an appropriate magical performance. In “High Hopes” from Pink Floyd’s “Division Bell” David Gilmour’s voice was clear and expressive with a somewhat menacing quality. Studio reverb was reproduced very well. These are some of the most impressive mids I have heard.
Treble
Some online reviews of these IEMs have mentioned sibilance or an aggressive quality. I did not find this to be the case. I found the treble to be smooth, extended and airy with wonderful detail. The harpsichord continuo and upper strings in Bach’s “Brandenburg Concerto No.3” (Alsace Chamber Orchestra, conducted by Karl Ristenpart) were clear and detailed. The overall effect resembled a live performance with good presence and attack and the rhythmic quality of the piece coming over very attractively with a lively bouncy quality. In Richard Burmer’s classic electronic track, “Across the View” the high synth notes were reproduced very clearly. This added to the character of the piece which had superb coherence. I believe this is due to the dedicated BA drivers for the midrange and treble.
These TRN V80s are an unqualified success. The balanced and neutral character of the presentation suits all genres equally and the use of separate drivers for the different frequency ranges really works, with no evidence of any crossover artefacts during listening. They improve on other recent multi-driver designs such as the KZ ZS10 and Revonext QT2 due to their more balanced presentation, good isolation, superb build quality and excellent comfort. Feed them with high quality music and you will be very impressed.
The V80s are attractively presented in a sturdy white box featuring a line drawing of the earphones. Inside you will find the earpieces nestling in a white foam insert below which, under a flap, are the detachable 2-pin cable, two pairs of silicone eartips and some literature. One set (medium) of silicone eartips with a red bore is pre-fitted.
The TRN V80 is a quad-driver IEM employing two dynamic drivers and two balanced armatures. Each driver is assigned its own frequency range by means of an electronic crossover network. The bass driver is a dual concentric design with a 10mm dynamic driver covering the lower bass and a 6mm dynamic driver the upper bass. The two balanced armatures cover the midrange and treble. The earpieces are machined from aluminium and are coated in three layers of enamel, giving a smooth glossy finish. The faceplates have three graduated vents which should produce a wide soundstage at the expense of a little isolation. There is another small vent at the base of the nozzle. The cables fit very easily into the sockets and they have a reinforced section for shaping around the ears, which retains its shape very well. There is a nice metal Y-split and a chunky black metal 3.5mm straight plug.
The earpieces are quite compact in dimension, and fit snugly in the ear. The pre-fitted tips were a perfect fit and gave good isolation at the same time as being very comfortable. In fact these are the most comfortable over-ear IEMs I have used so far. There was no problem with microphonics or cable noise although the cable is rather prone to tangling. A chin slider would have helped.
The instruction leaflet recommends 100 hours burn-in before the earphones are at their best so I followed this advice. (I am an advocate of burn-in anyway!). After this, listening was carried out using a HifiWalker H2 DAP and Fiio A5 amplifier. Until recently, the more affordable hybrid designs have been tuned with a pronounced “V-shaped” sound with prominent bass, recessed mids and bright, sometimes aggressive treble. This was certainly not the case with the V80s. I would describe the overall sound signature as well-balanced with no part of the frequency range unduly emphasised.
Bass
The bass on these IEMs is very deep and extended, but does not bleed into the mids. Rather than being boosted in the mid-bass and then rolling off towards the sub-bass, it maintains its level all the way down and has excellent texture and resolution, yet never dominating the overall sound. As a result, recorded ambience is reproduced very well, adding to the realism with orchestral basses and bass drums having great character. In the second movement of Benjamin Britten’s “Simple Symphony” by the English Chamber Orchestra conducted by the composer, the double basses and cellos have a wonderful resonance and timbre with the reverberation in the Snape Maltings coming over beautifully. Electronic music also benefits from this bass quality. Matthew Clifford’s “Accumulus” is a grandiose electronic work using an arsenal of synthesisers and the bass has real impact and depth, providing a wonderful foundation for the music. The bass is agile with great transient attack.
Mids
The mids are prominent and well-articulated, with the balanced character of these IEMs a refreshing change from the popular “V-shaped” profile. Due to the vented design, detail is excellent, separation is clear and soundstage open, deep and wide, with a good impression of height as well. Stereo imagery is very good with vocals standing out clearly over the accompaniment. Moya Brennan’s ethereal vocals in “Newgrange” from Clannad’s “Magical Ring” album shone out above the synthesised background and deep drum effects, producing an appropriate magical performance. In “High Hopes” from Pink Floyd’s “Division Bell” David Gilmour’s voice was clear and expressive with a somewhat menacing quality. Studio reverb was reproduced very well. These are some of the most impressive mids I have heard.
Treble
Some online reviews of these IEMs have mentioned sibilance or an aggressive quality. I did not find this to be the case. I found the treble to be smooth, extended and airy with wonderful detail. The harpsichord continuo and upper strings in Bach’s “Brandenburg Concerto No.3” (Alsace Chamber Orchestra, conducted by Karl Ristenpart) were clear and detailed. The overall effect resembled a live performance with good presence and attack and the rhythmic quality of the piece coming over very attractively with a lively bouncy quality. In Richard Burmer’s classic electronic track, “Across the View” the high synth notes were reproduced very clearly. This added to the character of the piece which had superb coherence. I believe this is due to the dedicated BA drivers for the midrange and treble.
These TRN V80s are an unqualified success. The balanced and neutral character of the presentation suits all genres equally and the use of separate drivers for the different frequency ranges really works, with no evidence of any crossover artefacts during listening. They improve on other recent multi-driver designs such as the KZ ZS10 and Revonext QT2 due to their more balanced presentation, good isolation, superb build quality and excellent comfort. Feed them with high quality music and you will be very impressed.