TRN VX

It’s a crazily crowded market down there below the $50 mark and TRN VX compete in that segment. It does it with quite some authority, too: VX is not bad at all.

Actually, its sole real tuning “flaw” is that excessive peak at 8 Khz which I doubt can be considered nice even by die-hard trebleheads (although you never know…). Anyhow… it can be quite effectively tamed down with some simple EQing, thus making the entire presentation more pleasant – at least on my score. It’s worth noting that some users found that applying some micropore tape on the nozzles produces a similar peak-taming effect, which may be worth trying too.

Once that’s taken care of, VX is a bright V-shaped driver which can deliver quite some pleasure to treble lovers looking for a lot of air and detail up there, for an after all modest price.

Taking its tuning as a reference, the most direct competitor I can think of for VX is KBEAR KB04 which for even less money delivers however less coherence amongst the various sections of the presentation (particularly in the passage between mids and trebles) and somewhat poorer technicalities. Simply put, VX can be seen as an upgrade to KB04.

I recently auditioned and reviewed TRN BA8 which, oppositely, can be with good reason considered a direct upgrade to TRN – for twice its price though.

Before getting to the analysys, a dutiful disclaimer: I got this pair of VX from my friends at TRN, entrusting me to an unbiased analysis and openhearted subjective evaluation, which is what I’m reporting here. You can purchase VX at TRN official store.


Test setup

Questyle QP1R / Apogee Groove + Auglamour GR1 or iBasso T3 – stock silicon tips – KBEAR/TRI 4 Core 5N Single Crystal Copper cable – lossless 16-24/44.1-192 FLAC tracks.


Signature analysis

Tonality Treble-inclined V-shape. Timbre is bright, clear and lean-ish.

Sub-Bass Quite extended, not much elevated (less than midbass) but enough to offer some rumble. Not much texture though.

Mid Bass Probably the best part of the product, midbass is good, punchy, fast (in DD terms) and very controlled. No sign of bleeding into the mids, and nice texture and layering. Good job here. When it doesnt come accross as sufficiently elevated, it’s in my opinion more due to over-pushed trebles than depressed bass (which is not).

Mids Recessed and thin, almost hollow. A good attempt has been conducted at making their lowend coherent with the (fuller) bass, with some partial success. On the opposite end, highmids are quite forward and somewhat pretentious at times, but not bad.

Male Vocals Clear in spite of the recession, yet unbodied, too lean.

Female Vocals A tad better than males but still too lean and sharp for my taste. I heard no sibilance.

Highs Crisp, a bit grainy, dominated by an excessive 8KHz peak, and quite rapidly rolled off after that. Taming the 8K peak down by 3-4dB and nudging 16K up by 1dB the situation gets better, revealing a nice (for the price) resolving treble section, which would anyhow benefit of more air.


Technicalities

Soundstage Not bad, decently wide and high, lacks in depth

Imaging Instrument positioning is clear and precise. On the flip side, it’s limited to a left-right effect.

Details Average in the bass in spite of the quite snappy DD tuning. Good on the highmids and trebles, where hihats cymbals and bright brass instruments come out very nicely.

Instrument separation Quite good also in crowded tracks

Driveability Very easy due to a good sensitivity, which however does not generate hiss on my sources. Good.


Physicals

Build Convincingly sturdy metal body, with a nice brushed finish available in green and black variant. Not bad at all.

Fit Not outstanding at least for my conchas: housings are a tad too small for me and tend to move and fall out.

Comfort Very good as long as I avoid moving too much to avoid my fitting limitations (see above). YMMV

Isolation Not great at all, probably also due to the “un-filling” fit (see above)

Cable Shameful: it presented an evident channel unbalance. Swapped it instantly with a spare one I had. By information I collected it looks like my cable is not the sole bad one bundled with TRN VX.


Specifications (declared)

Housing CNC-milled “aerospace”-grade magnesium alloy + reinforced inner structure
Driver(s) 1 x 10mm DD, 3 × Knowles 30095 and 3 × Knowles 50060 BA
Connector 2-pin TFZ
Cable 1.2m 3.5mm terminated
Sensitivity 107 dB
Impedance 22 Ω
Frequency Range 7-40000Hz
Package and accessories 1 sets of S / M / L silicone tips
MSRP at this post time $ 102,37 ($ 45,00 street price)

Introduction

Today I'm going to be looking at the TRN VX, a 6 BA 1 DD hybrid IEM that costs about $70 from HiFiGo. TRN is yet another ChiFi company that has popped up in the last couple of years and seemingly puts out new products ever few months or so. I've had the chance to listen to the TRN V80 and the TRN V90 before. I wasn't a big fan of the V80 but thought the V90 was fairly decent relative to other offerings at the $50 mark at the time. With that, let's see how the TRN VX does. Disclaimer: I received the TRN VX from HiFiGo in exchange for this honest review. I have not been or will be compensated in any other way.

What's in the Box?

The unboxing experience is a very barebones affair. You get a minimalist white box that holds the IEM, cable, and tips. You get a generic set of S, M, and L size tips and a black 2-pin TRN cable. I dislike the cable. It is very tangly and has cable memory such that kinks are ever present. I'd probably swap out the cable if I were to daily drive the TRN VX.

The construction of the TRN VX is solid. It's a full metal shell and aesthetically pleasing with a clean look and tasteful chamfer lines. The TRN VX fits over ear and I find it to be quite comfortable thanks to its reasonably sized nozzle. Isolation is poor. You will hear cars as they pass by, if you still go out.

Sound



My initial impressions of the TRN VX's sound was favorable. It's a bit of a W-shaped IEM as it has a midbass emphasis, an upper mids forwardness, and a bright tilt. I'd consider it fairly well tuned and overall decently balanced. The bass clearly has that DD heritage while the mids don't suffer badly from BA timbre. Its treble energy may be the make-or-break for those looking at this IEM.

Bass:
As seen the graph, the bass is clearly lifted. While not overpowering, it's definitely bassy. The VX has a more midbassy approach to the bass rather than subbass focus and we can see it rolling off, though not too badly. The DD in the VX drives the bass and has a dynamism that gives plenty of energy to the bass. Though it lacks texture, it is responsive and has doesn't feel bloated or sluggish. Compared to the majority of other IEMs in the budget segment, the bass of the VX trades blows or edges out its brethren. You'd have to go to IEMs like the Tin HiFi T4, Moondrop Starfield, and Etymotic ER2 to clearly best it.

Mids:
Interestingly, I don't find the TRN VX to be a warm IEM despite the bass bleed into the lower mids that the graph may suggest. And the reason is fairly obvious: the large amount of pinna gain and upper mids around the 2-4 kHz mark offsets the warmth I'd otherwise expect. Speaking of the seeming bass bleed, I don't find that the VX has an issue there at all. The bass transitions into the low mids without fanfare. But back to the upper mids. Some may find the VX shouty; I don't. Though I will admit that I generally have a higher tolerance than others in this regard. Vocals have an obvious forwardness and is presented with plenty of clarity. There is a bit of an edginess to certain "sss" consonants in the vocals, though not to the point of full blown sibilance.

Treble:
The lower treble around 5-6 kHz is de-emphasized so there isn't too much of the crisp attack from the hats and cymbals. Nor is there harshness in the vocals. But past that is some treble oddities that aren't reflected in the graph (note: the 8 kHz peak is a measurement artifact - take it with a grain of salt). To start, there is a sharpness and some splashiness when it comes to the hats and cymbals. It's not so much the initial attack but the decaying ring that gains a brightness that can be fatiguing to listen to. There's a sense of aggression with the treble, and not in a good way. Generally speaking, I find that most IEMs, regardless of price, struggle to properly render the highly delicate and nuanced sounds of the hats and cymbals. In the case of the VX, this is exacerbated and turns into emphasized incoherence in poorly recorded music. For those sensitive to treble, the VX may not be for you.

Presentation:

Soundstage and imaging are about average for IEMs. It's not claustrophobic or congested but doesn't strive beyond that. Resolution is surprisingly good. Part of it may be due to the forwardness of the mids and aggressiveness of the treble but I felt that, like the bass, it performs better than the majority of other offerings in the price range. Well done here by TRN. Like the staging, instrument separation and layering are fine. Nothing standout about them nor will they be the limiting factor of the overall sound quality.



Select Comparisons

Tin Audio T2 Plus

The T2 Plus is my current budget benchmark as it provides solid tuning and respectable technical performance at the $50 sweet spot. Unfortunately, the T2 Plus pretty much beats the TRN VX in all respects except for the bass. The T2 Plus' bass is a little unconventional; it's not bad per se but is rather unique. I called it "bouncy" in my T2 Plus review. On the other hand, the TRN VX's bass has a more standard, straightforward approach and I'd say is a sidegrade or minor upgrade. The T2 Plus' treble response is much better than the TRN VX. Mids is a toss up. If you like vocal forwardness, get the VX. The T2 Plus' vocals is more subdued in comparison. Technical performance of both IEMs are otherwise on par with each other. For $50, the T2 Plus is just a straight up better price/performance proposal especially when it comes with better accessories.

Thieaudio Legacy 3

To be honest, one of the first thoughts I had when listening to the TRN VX was that it was a cheaper, exaggerated version of the Legacy 3. To an extent, I think that still holds true. The tuning of the VX has more upper mids, more bass, and has treble compared to the relatively treble-weak Legacy 3. A/Bing the two, I think it mostly comes down to a tuning preference issue. The Legacy 3 is noticeably warmer with laid back vocals and the lack of treble is very apparent next to the VX. The Legacy 3 has a slightly better bass response. VX's more midbass focus causes it to fall short when a solid deep note is needed.

TRN V90

The TRN V90 was one of TRN's previous offerings that I reviewed before the VX. At the time, I thought it was pretty decent and on par with the KZ ZSX and BLON BL03. Tuning wise, they're fairly different. V90 has a classic in-your-face V-shape while the VX has a more balanced tuning. Between the two, I'd say the VX is better but honestly the differences aren't night and day. If you already have a V90 or any other decent $50 or so piece of ChiFi, I'd suggest that you look for a bigger upgrade than the VX. At the very least, get the Etymotic ER2/Tin Audio T4/Moondrop Starfield.


Should You Buy It?

Not really. The TRN VX is a very solid budget offering. The challenge lies in its competition. For $50, the T2 Plus exists. For $80 or so, you can sometimes find the Tin Audio T4 or Etymotic ER2 on sale and those pretty much blow the VX out of the water. The only reason you should buy the TRN VX in my view is if you've heard the T2 Plus and crave more upper mids forwardness and treble presence. At the end of the day, if you already own a TRN VX or for some reason really want to buy one, be happy with it. It's a fine IEM and not every IEM can be a contender for the price/performance crown. The TRN VX has been a commendable effort and I look forward to what TRN does next.

Reason for 4 star rating: I wasn't too sure if I was going to give it a 3.5 star or 4 star rating. In the end, I decided that the TRN VX does deserve a 4-star. Despite its shortcomings and stiff competition, I believe the VX sounds good enough to be worthy of it.

The driver wars have not died down on the budget side of things. Witness as TRN stuffs as many drivers as they can into a compact earpiece, while keeping prices crazily low for their new hybrid flagship, the VX. And you know what, they sound pretty good.

I’m neck-deep in the portable audio hobby, and shamelessly so. If a support group like “Earphones Anonymous” existed I’d probably sign up just to share recommendations and prevent others from quitting. There is just too much to buy and hear, and missing out is the real problem!

I kid, I kid. Of course, sometimes my wife would ask, in a serious tone, exactly when enough is enough. My curt reply was simply, once I have every in-ear monitor (IEM) in the color palette. Technically that’s 16 million colors, heh. Today, we cross dark green off the list. This marks the only time I’ve agreed to review something based on the product color alone, and I feel lucky.




TRN is a drop in the sea of Chi-fi companies with comical, astronomical, acronymical names like BLON, TFZ, KZ, BGVP, and CCA. Founded in 2017 by Dongguan Zuo Du Acoustic Technology Co. Ltd, TRN is a brand that unites their ODM and OEM arms under one name, specializing in wired IEMs, Bluetooth/TWS IEMs and cables.

Having ex-KZ engineers among their ranks, TRN are fittingly known for their rock-bottom prices and value-centric approach. Simply put, more drivers (and wires) for less. Today, we are looking at the VX, their new seven-driver hybrid flagship containing a 10mm dual-neodymium magnet dynamic driver (DD) and six balanced armatures (BAs) per side, all for a sub-$100 price. Like Marty McFly would say, “get out of town!”

The VX is currently available in dark green and black via Linsoul and Amazon. But why would you choose black? I’d like to extend my sincere thanks to Linsoul for the review unit and the fast, reliable shipping despite that danged virus grinding the world to a halt.

This review was first published in Headphonesty.

Equipment Used

DAP

1. FiiO M15

IEMs

1. TRN VX
2. BLON BL-05
3. Moondrop Starfield

Albums

1. Amber Rubarth – Sessions from the 17th Ward
2. Bruno Mars – 24K Magic
3. Daft Punk – Random Access Memories
4. Dua Lipa – Future Nostalgia
5. Fleetwood Mac – Rumours
6. Kendrick Lamar – DAMN.
7. Lana Del Rey – Born To Die
8. Melissa Menago – Little Crimes
9. The Eagles – Hell Freezes Over
10. The Weeknd – After Hours

Technical Specifications

• Driver: 1x10mm dual-neodymium magnet DD, 3×30095 BAs, 3×50060 BAs
• Impedance: 22Ω
• Sensitivity: 107dB/mW
• Frequency Response: 7-40000Hz
• Plug Type: 3.5mm Straight Plug
• Cable Length: 1.25m
• Earphone Interface: 2-pin 0.75mm

The prettier medium-sized tips is active discrimination.

Packaging and Accessories
Like walking into a fake Apple store, the box and packaging resembled KZ so much that I was taken aback. This won’t help TRN, who are trying to establish themselves as an entirely different entity. You get a cardboard sleeve with a drawing of the VX on it. Slide that out to reveal a simple white box, with a transparent PVC sheet in front proudly displaying the green gems.

Besides the VX, you get only the barest, starkest essentials, sorry to say. A cable, 3 pairs of ear tips in varied sizes, manual, warranty, inspection certificate, and that’s it. My biggest problem is the absence of a case, not even a pouch which the much cheaper BLONs were able to provide. For over $70, the packaging is a travesty.

The included cable is soft, lightweight, and classy in black. However much I try to like it, it is prone to tangling, kinking, and the dreaded memory effect. Straightening or coiling will result in the cable attempting to return to its previous state. Further insults are the pre-bent ear-hooks which curl too much and get in the way when wearing the IEMs. Let’s just assume that this is TRN’s lowest-end cable that’s an alternative to Plastics One.


When you’re dark green, hoity-toity designy colors like mint green and cyan don’t make sense.

Design and Build Quality
Now aren’t you a handsome devil. Delivering shades of the Green Hornet, Lantern and Goblin (you get the picture), the color choice is, in my opinion, a masterstroke to generate interest. There’s only so many black or silver IEMs you can collect until it gets boring. Not only that, the seashell motif, curvy lines and light reflecting off the metallic surface makes it especially alluring. This is a charmer.

Looking closer, the earpieces are made of CNC magnesium alloy, consisting of an outer shell, inner shell, and an aluminium nozzle. The nozzle has tiny perforations that direct sound evenly and prevents ear gunk from going into the earpiece. The inner shell has two vents to accommodate the dynamic driver. The 2-pin socket has an extruded design which anchors the cable securely and protects the fragile pins from accidental damage.

There is some driver flex while fitting the VX into my ears. It doesn’t bother me, but some believe it will shorten the DD’s life. If you’re hung up about that, you’ll have to look elsewhere. Otherwise, the VX is well-designed and well-constructed. And, despite its stuffed internals and metal shell, manages to remain small and lightweight. It’s only slightly larger than the single-driver Moondrop Starfield, like turducken to your turkey.


Thriving in its natural habitat.

Fit, Isolation, and Comfort
The seashell design reminds me of an old Stallone movie where seashells replaced toilet paper. Yeah, it scarred my childhood. It was never revealed how they worked, but I guess ergonomics played a big part. The VX’s smooth curves adhere very well to my ear canal and conchas (which, fact fans, also means “shell” in Spanish). The fit is brilliant, aided by the lightweight shells, petite size and angle of the nozzles.

Not only that, the sleek, flush edges provide fantastic comfort. I wore them for hours without feeling much of their weight. Isolation is below average however, thanks to the two vents on the inner shell. The holes may seem tiny, but the effect is immediately felt, or rather heard. I could hear external noise like fans or chatter within the same room. You won’t be able to take this to commute unless you like ambient noise.


There’s book-smart and street-smart, how ’bout a book of streets?

Sound Quality
This ragtag gang of seven varied drivers combine their powers to form a uh, mega sound-producing machine. But just how good or bad is it?

Overall Sound Signature
In a case of putting your best foot forward, the VX admits it has three feet. The VX possesses a W-shaped signature, with elevated bass, lifted treble, and slightly forward mids. The good thing about this signature is, the sonic information (and infatuation) is immediate, and you hear macrodetails and dynamics easily, presented on a silver platter. You will be able to tell, within a song or two, if the VX sound is for you.

Taken apart and judged individually, they make a worthy sales pitch. The bass is powerful and deep, the mids are clear and detailed, while the treble is crispy and sparkly. It’s a marketing agent’s dream to be able to describe something so succinctly and precisely. A mass-market IEM designed to maximize wow factor with the “buy now” button suspiciously nearby.

However, not all is rosy. The VX is all about the flash and bang, and thus lacks subtlety, delicacy and nuance. A feminine touch, if you will. Moments of quiet introspection and reflection are lost to the unrelenting sonic assault. It’s no fun uncovering layers of musical mystery when everything is already laid bare for you. Like watching a comedy with someone explaining the jokes right after the punchlines.

Listening Conditions
Critical listening was done after 75 hours of burn-in, because I have no idea now neodymium magnets work but 75 sounds like a solid number. I didn’t hear a difference afterwards, but the magnets were able to attract more metal. The main review rig is FiiO’s M15 player, with the stock cable and stock medium tips. I didn’t really have to tip-roll because the provided ones are already good.

\
In the era of keeping safe distances, hiding behind lampposts help.

Bass
One part of the company profile that I failed to translate, copy and paste was their house sound, which is, spoiler alert, bass-elevated. Listening to the VX’s bass, it was immediately clear that they’re all about that bass, ‘bout that bass. And it’s expertly executed, equal parts warm and punchy, yet nimble. The midbass is the focal point here, delivering full, rounded, impactful notes with a clean finish and no bleed.

The sub-bass, although tamer, has a thing or two to say too, reaching deep and displaying some rumbly, thumpy physicality without being too boomy. The best part of the bass is the balance between fun and technicality, making its presence known and felt, but still maintaining good layering and texture. The effortlessly natural tone makes this the most organic-sounding part of the whole spectrum, rounding off a rather accomplished bass section.


Hmm… Mickey Mouse clogs.

Mids
Like catching Clark Kent in a phone booth halfway changing to Superman, the transition from bass to mids isn’t smooth sailing. To throw in another travel analogy, it’s a rough landing. The smooth and rounded upper bass contours make way for the detailed-to-a-fault and super-textured lower mids. The mids go for the jugular in terms of detail retrieval, making it their primary objective for better or worse.

The mids sound thin and brittle next to the wholesome bass, to the point of dryness. It can’t be argued that for the price, VX’s clarity and detail levels are in a class of its own, showcasing superb dynamics, air, texture and layering. Notes are well-spaced and lucidly defined from attack to decay. What’s more, its slightly forward placement means you wouldn’t miss a beat of what’s going on.

The biggest sacrifice though, lies in the timbre. Instruments have a bright, slightly hollow skew, while voices both male and female, take on a nasally, breathy character, as if begging for a sip of water. It’s a technically astute, but not emotionally engaging experience. A bit more heat and moisture (warmth and wetness, I mean) would improve the mids section significantly. Or an “add melted butter” switch.


Let’s go save Ryan’s privates!

Treble
The treble is the unmistakable, formulaic sequel to the mids, and depending on where you stand, it can mean either Terminator 2 or Speed 2. It continues the absurd transparency and speed of the mids, but at least here, timbre and tone is not the absolute priority, and technical terms like air and extension start to make sense. The VX treble soars towards the stratosphere like a jet, navigating the skies with finesse and ease.

Extension is very good, and detail-heads will be happy to note that every facet of the treble is covered thoroughly, like how you check out someone hot from top to bottom in da club. Notes attack with a sharp leading edge and finish smoothly, displaying remarkable refinement and stopping just short of sibilance and harshness.

There’s lots of excitement and sparkle to be had and enjoyed from the lower to mid-treble, before rolling off entirely. This is the most spacious and airiest part of the spectrum, but my complaints are similar to the mids. I’d like more meat in the bones. The treble can sound overly crispy and snappy, and decay too rapidly, where some note thickness and roundness would do more good.

Soundstage and Imaging
The VX soundstage is akin to being stuck in the lift with Debbie Downer, who can’t wait to tell you in excruciating detail how bad her day has been. It’s closed in, intimate and can get a bit uncomfortable. The stage dimensions are wider than deep, with no height to speak of. Coupled with the forward presentation, sometimes it got so intense I had to remove the VX for some breathing space.

But giving credit where it’s due, the VX possesses some excellent, awe-inspiring imaging and separation. Despite the small stage, layering is very perceptible, perhaps aided by the thin notes and rapid decay. Dominant basslines from EDM don’t congest the stage, for example Daft Punk’s Giorgio by Moroder is a welcome treat that envelopes my head-space with giddy futuristic goodness.


Inspired by the Jonas Bros, this all-green ensemble will form a boyband soon.

Comparisons

BLON BL-05
Before splurging over $70 on something, you might ask is there something similar for cheaper? I believe the answer lies in the BL-05, but would also argue that you get what you pay for. At about $42 meet the unrefined, borderline uncouth little brother of the VX. What struck me after a few back-and-forth comparisons was how similar the mids are tuned, although not meant as a compliment for either.
Both have thin, tinny mids, with an emphasis on clarity, sacrificing timbre and realism. On the BL-05, the mids are shoutier and grainier, a more unpleasant listen than the VX. The same story is told in the treble, where BL-05’s sharpness and tendency to over-accent the ‘t’ and ‘s’ intonations becomes fatiguing over time. VX has a better treble, mustering equal amounts of detail but in a smoother and more relaxed fashion.

Both do best in the bass, delivering strong authority and slam while staying clean, although BL-05 is sub-bass focused with more rumble in the jungle. VX manages to best BL-05 in soundstage, sounding wider and airier, although it’s really a matter of which is less boxy and cramped. As I’ve said, BL-05 is like a cheaper VX, but be prepared for a sound downgrade.


Bob Dylan’s Blonde on Blonde this is not.

Moondrop Starfield
Let’s try to get one over the darling of Chi-fi this year, the expertly-tuned Starfield. The VX surges ahead in the technical departments that leave Starfield panting behind. Running down the list, the VX has a tighter, speedier bass response, airier and more intricate mids, higher resolution treble, better-spaced notes and imaging accuracy, overall a more dynamic and immediate signature. So that’s that eh?

But the Starfield isn’t taking this lying down, and absolutely pummels the VX in sheer musicality and haunting realism. The bass is heavier and slower, but some prefer a weighted and bloomy approach. The mids and treble put the VX to the sword with its tonal accuracy and timbre naturalness, with notes that flow effortlessly from note to note for a uber-coherent, whimsical aural experience.

What’s more, the Starfield like its namesake expands wider and deeper than VX, leading to relaxed, fancy-free yet immersive listening sessions. You could say VX and Starfield complement each other depending on the mood. Even from the names you can tell, one is robotic while the other is human. While VX brings about jubilation and excitement, Starfield provides healing, calm and blissful elation.


Much like when you mush your hands together to make a face.

Final Words
The road is long and your legs are tired. In the world of Chi-fi, you are thrust in the limelight for the briefest of moments, before making way for the upgrade, the sequel, or the competitor. Unless you have an angle or a chief selling point, being replaced is part of the life cycle of budget Chinese IEMs. Cue Lion King references.

The VX though, is giving this game a good go. While many competitors boast a similar bass and treble-enhanced sound profile, what gives the VX an edge is its amazing value, and shockingly good levels of detail. Not all IEMs are bred to be all-rounders, and VX carves a special niche in the audiophile’s collection by being surgically incisive, but maintaining a sense of vibrancy and fun. He’s going for the long haul.

Intro


Disclaimer: I received the TRN VX from TRN free of charge in exchange for an honest review. My thoughts here are all my own and are in no way being influenced by TRN. For more reviews like this, do check out our website www.perrivanaudio.com

This is a review of the TRN VX. It is a driver-packed IEM with a small factor. This is supposed to be a flagship of the V series, which brought us hits like the V80 and V90. We shall see if the VX lives up to expectations.

Packaging and Accessories (Score: 5/10)



This has got to be the most spartan of packaging and accessories I have seen at this price point. Without opening it up, I would never have guessed that the TRN VX was a flagship earphone with a planned RTP of $100. However, I am all for minimalistic packaging for our environment’s sake, so I am willing to look past this.

Opening the packaging reveals the IEMs themselves, some ear tips and the typical no-frills TRN stock cable. The cable is very frankly a no-go at this price point and was honestly quite a let-down. Fortunately, TRN seems to recognise this and sent us the VX together with their T2 upgrade cable. The T2 cable is indeed a significant upgrade in terms of durability and handling.

Build Quality and Fit (Score: 8/10)



The TRN is fully built with a matte aluminium shell and comes in a few colourways which all give off a premium vibe. The form factor is very small for the number of drivers it packs and should fit most ears. However, the overall comfort isn’t the best. The overall ergonomics is a little weird and the IEMs do not sit as snugly as I would have wished.

Sound (Score: 7.2/10)

Sources used

• Shanling M3s
• Hiby R5
• Hiby R6

Albums and Tracks tested with

• NEEDTOBREATHE – Out of Body
• Niall Horan – Flicker
• AVICII-Avīci (01)
• Postmodern Jukebox – The New Classics (Recorded Live!)
• Tchaikovsky's "The Nutcracker" by Boston Symphony Orchestra & Seiji Ozawa
• McFly – Memory Lane
• MAMA MIA Soundtrack
• Little Mermaid Broadway Recording
• My Chemical Romance – The Black Parade
• Fountains of Wayne – Stacy’s Mom

Bass (Score: 7.5/10)

The Bass on the TRN VX is quite mature. It is very controlled yet prominent enough to provide good stability to the music. However, it isn’t exactly stellar either. It does not have exceptional width or layering. It has decent texture and speed and can articulate basslines without getting muddy. On Pop & EDM tracks like Avicii's "Without You", the bass has sufficient authority and a very tasteful quantity. It never attempts to overpower the other frequencies or bleed into the mids. In this aspect of the tuning, TRN did a good job in engineering a bass that has a nice quantity and fits right into the sound signature. What I would say could be improved would be the quality of the bass.

The bass doesn't extend that well and hence is a little lacking in the sub-bass department. It also could use a little more punch and breadth, to bring more life to sounds like the kick drum, which sounds a little lifeless now.

Mids (Score: 6.5/10)

The mids of the TRN VX is not the star of the show and takes a back seat. This shouldn’t come as a surprise given the V-shaped sound signature the VX has. This tuning is somewhat a TRN house tuning and is characteristic of the V-series thus far (pun intended?). The mids begin to pick up presence going into the upper mids, at times making the sound a little top-heavy at times, without enough body in the lower mids to support the sound. This is especially the case for instrumental tracks where violins feel as though they could use a little more body.

Overall, the mids possesses quite good clarity and smoothness. On MAMA MIA's “Thank You for the Music”, vocals were pretty enjoyable and managed to avoid sounding too thin. The upper mids were quite smooth and enjoyable and it never got shouty.

Treble (Score: 7/10)

The treble on the TRN VX is noticeably pronounced. It is quite forward, and it may get a little too aggressive especially on Pop songs. What I appreciate most from the treble tuning was that the treble doesn't sound overly harsh or sibilant, which was a problem with earlier TRN models. Still, some may find it helpful to do the micropore tape mod on the nozzle to help tame the highs a little.

On Niall Horan’s “On the Loose”, there are traces of a slight metallic sound and sharpness to the Cymbals and Hi Hats. It is not too severe and not as harsh as the V80s. However, it does give the sound a certain unnaturalness. This problem was also heard on Fountains of Wayne's " Stacey's Mom", where the timbre of the drum set was slightly off.

Overall

The TRN VX has above average soundstage width and imaging. It manages to put out a coherent overall sound and does many things decently well. It doesn't have an especially strong suit and comes across more of a "Jack of most trades". The V-shape tuning is not exactly my preferred sound signature so some of you may appreciate the tuning a little more to me. I find myself having to listen to these at a lower volume or I may experience fatigue after prolonged listening sessions.

Comparisons

TRN VX vs Tin T2 plus (Review here)

A current competitor that I would rank closely with the TRN VX is the Tin T2 plus. These 2 IEMs have a lot in common at first glance, both featuring a brushed metal shell. Comparing RTPs, the TRN VX is significantly pricier than the Tin T2 Plus, although the price of the TRN VXs have dropped slightly such that they are now similarly priced at around $60.

I would have to give the winner for fit, accessories and cable quality to the Tin T2 Plus. In terms of sound, the Tin T2 Plus has much better bass and detail retrieval. The Tin T2 Plus has overall significantly better technicalities. However, it is much more aggressive in tuning and I personally find the T2 Plus slightly more fatiguing than the VX.

Conclusion

The TRN VX is by no means a bad sounding earphone. Objectively speaking, it is in fact a well-built earphone that sounds not bad. However, my main gripe is its pricing. The greatest criticism I have would be that it just doesn't sound good enough. Its current RTP is grossly overpriced and puts it in a range where so many other offerings trounce it in value. I would think of the VX as a slight upgrade or a refresh of the TRN V80, the model that brought TRN into the spotlight for its ability to put out quality-sounding and quality-built earphones whilst retaining the budget price tag.

Yes, these can be thought of as the "V80 Pros" if you like. These should be at the price point that matches that of the original V80s (around $40). This would definitely be a durable and enjoyable pair of IEMs for casual listening at that price point.

disclaimer: I was sent the Trn VX for review and honestly cannot find the information on which company forwarded them. I apologize for this and if you were the sender, please notify me and I will update this with your information. I have no financial interest in TRN nor have they had any input in this review. If you are interested in the TRN Vx, visit their facebook for more details or their webstore to purchase.


Unboxing / Packaging:

The VX arrived in the standard TRN packaging of white box with line drawing on the front and specs on the reverse. Inside the earpieces sit in a foam tray with all other items tucked neatly beneath it out of view. The total kit consists of earpieces, cable, three sets of silicone tips in small, medium and large, and the instructions. For an $80 retail item, this needed to include some form of case at the very least and probably a better tip selection and some foam tips as well. The lack of a cable tie, shirt clip, foam tips, and case for an item at this price point is going to draw fire from many. If TRN put every dime of that money into the drivers, electronics, and shells, then this may still be a good investment, but initial impressions are somewhat flat for the expenditure involved.




Build/Fit:

Build partially redeems the VX as the shells are high quality machined aluminum with a nice even green anodized finish and a pleasant scalloped pattern to the exterior. Shells are a 3 part design with the faceplate and inner shell anodized green and the nozzles a satin black. The inner shell has 2 vents one positioned behind the nozzle and the other near the bi-pin connector. I found I could obstruct the top vent depending on the position in my ear and it does impact sound quality so some adjustment may be required to get the right fit. Nozzles have a lip for tip retention and a slight upward rake so the bulk of the earpiece sits behind the nozzles in the ear. Connectors exit the top of the front and are the raised bi-pin style that has become the norm in recent years. Earpieces are clearly marked L/R on the inner shells for ease of indexing. Shells are fairly thin so sit in the ear rather than on it and comfort for me was quite good. The build feels more premium than the packaging, but the cable detracts as it is the same TRN cable packaged with all their budget models so again there seems to be some identity crisis for the VX is it a budget model or is it a flagship?




Internals:

Inside the VX, you’ll find a 10mm Dynamic driver, and 6 balanced armature drivers (Three each of 30095 and 50060) per ear. All of the 50060 mid-range drivers are housed in the body while 2 of the 30095 high frequency drivers are housed in the nozzle. Nominal impedance is listed as 22Ω with a sensitivity of 107 dB/mW which one would expect to be easy to drive. The VX is easily driven with a phone or tablet and does not gain a lot with higher powered sources. I found some high power sources produced higher distortion in low-end so the dynamic driver seems to prefer the lower powered source devices. Also as power is increased some hiss can be detected at normal listening levels. I found the Cayin N3 to be a good pairing with its lower than standard output as it kept the noise floor black and had adequate power to get more than enough volume from the VX when called for.




Cable:

This is one place the budget nature of the VX is on full display. The lightweight cable is a 4 strand double twist from the straight jack to the splitter. Both jack and splitter are polished metal barrel shaped housings in a satin black finish and both have a very short strain relief. Above the splitter, twisted pairs head toward the earpieces. No chin-slider is provided even though my cable did not have the mic/remote that normally results in deletion of the slider. The northern end has pre-formed hooks followed by QDC style .75mm bi-pin connectors in clear housings. There are R/L designators on the housings, but they can be very difficult to see. No cable tie or box is provided with the VX making storage a bit awkward so plan on picking up some cable management or a small case should you decide to purchase the VX.




Sound:



Bass:
Sub-bass is elevated with a focus on the 50-75Hz range before dropping back slightly in the mid-bass. Extension is good with roll-off not becoming evident until the low 20s. The VX is capable of producing some rumble when called upon but lacks the potency of some other current offerings (Ca-16) in this department. The dynamic driver is faster than average on attack, but not on decay so transients have a good leading edge then kind of trail off a bit more slowly. This can make the mid-bass sound a bit thick at times as a result. Mid-bass does have good detail and texture despite the slightly slower decay. If anything, the mid-bass could use a bit more speed and a bit more emphasis to help balance the top end a bit more.

Mids:
There is a dip as we move into the mids but not so much as to seem particularly recessed and honestly to my ear the mids are probably the best feature of the VX. Lower mids have good details with very little bass-bleed to obscure them and a natural tonality to lower vocals. True mids follow the same pattern, clean, detailed, and very present in the mix with a push forward that brings vocals out in front and gives electric guitar good growl. Gone is the lazy decay of the dynamic and instead if anything mids are a touch aggressive. Strings have good energy and are well voiced as well. Upper-mids are definitely forward and give the Vx is bright signature when combined with the lower treble as they are the most dominant element of the sound. Here I think they do push a bit further forward than I prefer and can be a bit fatiguing as a result. I did find some tendency to get strident if track leans that way as well.

Treble:
As previously mentioned, the upper-mids/lower-treble are the focal point of the signature. Luckily, the lower-treble is well-defined with good clarity and detail, un-luckily, it can be a bit too much at times. The true treble drops back and is considerably more polite which keeps the Vx from being piercing. Snare rattle is very good with sharp edges and well defined middle. Cymbals are a touch metallic but still quite believable and crisp. There is a bit of a push around 11kHz that adds back some air at the top end before final roll off somewhere above the limits of my hearing (14 or so). The issue here comes back to that lower treble that gives the VX a shouty nature to vocals that just can’t be ignored. I was able to tune it out with a bit of parametric EQ in the 3-4kHz range but know that this will be needed to keep the VX from reading as extremely bright.

Soundstage / Imaging:
If treble was the weak point, Soundstage is one of the strong points. I has good dimensions with a bit more width than depth and a good sense of height. On tracks that really stress it (Trinity Sessions), the stage sounds very 3D and well shaped. Seating the orchestra is fairly straight forward as well as instrument separation is quite good and leaves adequate space between parts to prevent overlap or slurring between parts. Imaging is very good as well with positioned being tightly defined in space and movements easily tracked and pinpoint precise. The dynamic driver does show some compression as tracks get overly busy, so that is weakest point as far as instrument separation and it does get a bit thick when fed really fast, complex lows.

Comparisons:
So how does the VX compare to other current offerings in the same range? I chose to compare the TRN V90 (as the VX predecessor), the CCA Ca16 (direct competitor), the BGVP Zero (price competitive) and Moondrop Starfield (best in class at <$100)

TRN v90
To my mind, the v90 was the predecessor of the VX although I,m not sure how 90 to 10(X) is considered an upgrade. The v90 is a 4+1 arrangement and is roughly 50% of the price tag of the Vx as well. Shell wise the Vx is more refined and more comfortable while the v90 feels a bit chunky by comparison. Sound wise the Vx has less sub-bass, more refined mid-bass and a bit less of it, more definition and detail in the mids. Highs are close on both with the Vx and the v90 sharing a bright overall signature and abundant energy in the lower treble. Stage and imaging are both improved on the Vx so I’d say moves in the right direction but still some work to be done.

CCA Ca16
These two duke it out in the same price space and in the great driver race 6+1 (VX) vs 7+1 (Ca16). The construction definitely favors the Vx as the plastic shell of the Ca16 looks cheap by comparison. Cables are a wash on both as neither provides something fitting of the quality of the earpieces. Sound wise, the Vx is bright and somewhat aggressive while the Ca16 comes across as a bit more relaxed and cooler. Detail may be slightly better on the Vx, but it is fairly close and not a knockout blow for either. Signatures are enough different that most will have a clear preference with the Vx being a bit more V shaped and lively and the Ca16 a bit closer to neutral and a touch more subdued.

BGVP Zero
The Zero is also a hybrid, but eschews the “How many drivers can you fit in the shell” model used by TRN in favor of a single dynamic driver and an electret (electrostatic) tweeter. Shells are similar as both are anodized CNC milled aluminum. The Zero is thinner and slightly larger in circumference while the VX is almost twice as thick, but somewhat smaller around. Weight is roughly equal with the Zero feeling a bit lighter in hand. Accessories definitely favor the Zero as it feels like premium kit vs the Vx feeling considerably more budget in this regard. Sound wise, both have great detail, but the Zero sounds cleaner and has a more polite treble while the Vx has a bit more sub-bass energy and more treble energy in its bag of tricks. Again, what separates these two is signature and those preferring a bright energetic signature will gravitate to the Vx while those looking for something a bit closer to neutral will prefer the Zero.

Moondrop Starfield
The Starfield is my current standard’s bearer for the sub-$100 class and shares little with the Vx other than a metal shell and a near $100 price. The Starfield uses a painted shell instead of the anodizing on the Vx. One could argue the Vx should hold up better, but with reasonable care, this is likely a tie. The Starfield uses a single dynamic driver instead of the Hybrid model of the VX which gives the Starfield an advantage in coherency but a disadvantage in extension comparability. The Starfield sounds considerably closer to neutral when compared to the VX, but the Vx may have an edge in detail retrieval, but the starfield has better imaging. Stage is roughly equal between the two. Again, signature will decide the winner here with both offering a lot of detail, good build, and good stage. How bright do you like it?


Thoughts / Conclusion:

Well the driver race certainly continues with budget models packing more drivers into a shell than many would have thought economically feasible if physically possible a few years ago. The downside of this arms race has been that in many cases tuning is almost an after-thought. Luckily, TRN does seem to have paid a bit more attention to the tuning than the ill-fated X6 and the Vx is a much stronger offering as a result. The Vx has a lot going for it, it is easy to drive well, has good bass both in quantity and control, and great mids. The place it falls short for me is the upper-mid / lower-treble tuning that is overly energetic and makes the vx brighter than need be. Some will like that tuning, so treble-heads should definitely try this one out. Others will find that with a bit of experimentation they can mod these to their satisfaction, and yet another group will find that with a bit of EQ placed in the right spots, they can be a very good listen. A couple years back these would have been a game changer but with the recent releases upping the bar, these unfortunately for TRN are middle of the pack for the asking price.

This review originally appeared on my blog: https://medium.com/10hztech/trn-vx-review-2d24fdfd1065

They often say: don’t fix what’s not broken.

How about refusing to fix something and always going back to square one, that too willingly? TRN can likely say a thing or two about that…

My first encounter with TRN IEMs were with their TRN V80. It received rave reviews, positivity galore. I ordered one with high hopes and it almost pierced my eardrums. The bass was juicy, thick — rest of it sharp as a tack. Later on I got a TRN V90 and while I never got around to reviewing it, well, it’s alright. The bass was as good as the V80 but the upper ranges were tamed quite a bit. There was still glare in the upper-mids and lower treble and it sounded metallic/harsh/thin but at least they were listenable.

Enter TRN VX, TRN’s latest weapon in the “driver-count” war. This thing costs ~$70 and has 7 drivers per side.

Seven.

In my discussions with many IEM manufacturers they’ve often expressed how difficult it is to tune just two driver configurations. Seven of them? At that price? How was the Research and Development (R&D) recuperated? Was there even any R&D involved? Are we all living in the Matrix?


Note: the ratings given will be subjective to the price tier. Nappoler Hu of HiFigo was kind enough to send out the review unit of the TRN VX along with the TRN T4 upgrade cable. Disclaimer

Sources used: Questyle QP1R, Cayin N6 II+E01, LG G7

Price, while reviewed: $72. Can be bought from HiFiGo (unaffiliated). Check out their AliExpress store as well.


Build: The overall build quality is rather nice. It doesn’t have the heft of certain peers but the finish is exquisite especially in the emerald green shade. Many called the design a rip-off of the Meze Rai Penta but I disagree. These look markedly different when you see both in person.

The entire shell is made of Aluminium, with raised geometric patterns on the back of the shell that makes keeping things in focus while taking a close-up shot of these quite a bit of a challenge. On the inner-side, you’ll see the two vents and the embossed channel-markings. The nozzle itself seems to be metal with a raised lip to keep tips in place. The 2-pin connectors are raised from the shell which I’m not a big fan of. Around the connector you can see the driver configuration written down as well. A bit like how they announce megapixel count on the back of megapixel-war phones…

Pretty solid build, but that raised 2-pin port is a slight concern.
4.5/5




Accessories: The accessory set doesn’t befit that of a $70+ IEM. Heck, certain $25 IEMs come with better accessory set. The stock cable is rather poor with flimsy strands and an awful memory hook. HiFiGo sent me a replacement/upgrade cable (TRN T4) and thankfully that sorted things out. Nonetheless, prepare yourself for a cable-change.

The eartips are decent, nothing to write home about. They didn’t even give you any foam tips to tame the highs (more on that later). No carrying case as well.

Cutting corners taken to extreme.
1.5/5



Comfort: Once you’ve changed the cable to something passable and got the right eartips on (I’m using Symbio Peel) these are very comfortable. They are surprisingly lightweight for a seven driver earphone and so doesn’t lose the comfort factor over extended periods of usage. There’s no driver flex as well.
4.5/5

Now, onto the sound.

The TRN VX is a seven-driver hybrid, with a 10mm dual-magnetic circuit, three mid-range BA drivers (50060) and three treble BA drivers (30095). There doesn’t seem to be any physical cross-over so I suspect it is one of those “divide frequencies via circuit and then YOLO arrangement of drivers in the housing, also put one in the nozzle while we’re at it”. Also check out this animated cross-section of the IEMs. The funky BA driver animation is dope I tell ya.

The general sound signature is an aggressive V-shape where the bass is turned up to 10 and the treble is turned up to 11. The upper-mids get a healthy boost and lower-mids are somewhere behind the queue. It’s as on-your-face as things get, so you’ll be either very much into the signature or…

Bass: Bass response is definitely the best part of the VX’s signature. The mid-bass is boosted but not overly so and sub-bass has good rumble until 29Hz. It doesn’t extend super-deep but there’s a nice impact to bass drums and the bass in general is fast for a dynamic driver. American Football’s Where Are We Now showcases this as the bass never overshadows or bleeds into the mids while never losing the rhythm.

I’m quite pleased with the bass performance in fact, but certain competing IEMs have even better extension.
4/5

Mids: The midrange is where the TRN VX starts doing its… thing. The lower-mids are very recessed compared to the massive spike of the upper mids. This ends up masking the nuances of the lower-midrange, so baritone vocals no longer sound like baritone vocals. Colin Hay’s I Just Don’t Think I’ll Ever Get Over You is a very strange listen as the depth of Hay’s voice is completely absent here. It’s the same story with vocalists like Chris Cornell, Damien Rice and such. So if your library consists mainly of male vocals — here’s a flashing emergency light.

Female vocals fare much better and are put in the forefront, perhaps a bit too much. Nonetheless, it’s enjoyable and in some cases I preferred the forward presentation as the original mix had the vocals a bit too behind in the track, case in point: Alanis Morissette’s Ironic.

Midrange timbre meanwhile is all wrong. It’s a very colored presentation and is quite a bit away from a neutral presentation. Micro-detail retrieval is above-average but with the caveat of missing low-midrange information. Also the boosted upper-mids can result in shoutiness in many tracks, e.g. Avril Lavigne’s Complicated.

TRN is still going for their usual “high-contrast” between low and upper mids and I suspect this is just their thing at this point. If you love it, great. For me — it’s just disappointing.
3/5

Treble: The treble just picks up where the upper-mids leave off. Yes, there is the dreaded S word: sibilance. It’s not too prevalent, but it’s there (check out The Midnight’s Sunset to have a feel for it). Upper harmonics are also quite noticeable due to the lower-treble emphasis (though fortunately TRN cuts down somewhat around 6KHz, my most problematic region).

The treble has plenty of energy and will definitely grab your attention. Upper-treble reach is also quite decent for a budget IEM though it’s not as extended as Tin T4. Cymbals are sharp with a very exaggerated attack and can sound good on tracks where the cymbals are muted in the original mix, while being overdone on others (e.g. Filter’s Hey Man Nice Shot). Cymbal strikes sound splashy as is typical of this particular BA model (30095).

The biggest issue with this kind of hyper-energetic treble response is how fatiguing it gets after some time. If you can handle the added energy — great, but for me it was too much. Another issue with the VX is that when there are a lot of instruments they all smear into one-another.
3/5

Soundstage: The soundstage is pretty wide with good stage depth and height. It’s not class leading but it won’t feel congested or especially lacking in any aspect.
4/5

Imaging: Imaging is mostly left-right with no apparent sense of directions in-between. Cheaper IEMs can do this much better so it’s a disappointing performance here.
2.5/5

Bang-for-buck: The competition is extreme at the <$100 price point and the TRN VX doens’t really excel at any aspect. Tin T4 is ahead in detail retrieval, KBEar Diamond has better, more textured bass; whereas Moondrop Starfield and Final E3000 has far better midrange tonality with a more relaxing and engaging listen and the latter especially has class-leading imaging/instrument separation and soundstage. The VX throws everything but the kitchen sink and the output is a half-cooked amalgamation of drivers that look great on spec-sheet but fails to impress from there on. It isn’t awful, but it ain’t anything special either, at any aspect.
2.5/5

Source and Amplification: The TRN VX runs off of anything and is adequately sensitive at 107dB/mW. It didn’t generate much hiss either, so I guess even regular phone dongles will get the job done.




Select Comparisons

vs Tin T4 ($100): The T4 is a detail-retrieval monster and definitely out-resolves the TRN VX. Bass is good on both of them but T4 has more impact and slightly faster decay. Lower-mids are less recessed on T4 but recessed nonetheless and upper-mids are just a few dB lower than that of the VX. Nonetheless, I’ll give the midrange to the T4. Lower-treble is more pronounced on the T4 thus making it more fatiguing than the VX in comparison. T4 is less sibilant however. Upper-treble reach is slightly better on the T4. Soundstage is better on the VX whereas imaging is similarly poor on both of them.

If you need the most amount of detail, T4 is worth the extra $20 or so. Be mindful of the QC issues, however.

vs KBEar Diamond ($68-70): KBEar Diamond is quite bassy and dark — opposite to that of the TRN VX. While Diamond lacks some of the more apparent detail of the VX, it has a more agreeable midrange tonality and doesn’t cause listening fatigue. Timbre is also more accurate on the Diamond. Soundstage goes to the VX whereas imaging and other aspects (build quality, accessories) are squarely in the Diamond’s camp.

vs KZ ZSX ($45): The ZSX also has a lot of drivers — 10 of them in fact. It also costs quite a bit less so makes for a nice comparison. The bass is much better on the VX. Unfortunately, to my ears the midrange tuning is better on the ZSX and same applies to treble. I’ve always criticized KZ for their tuning decisions but compared to the VX I’m praising them so do the math.

Treble is more reigned in on the KZ IEM but still resolves nearly as much information as the VX. Sounstage is slightly wider on the VX whereas imaging is much better on the ZSX.




Conclusion

TRN has turned formulaic, with similar releases across the board that have similar characteristics: good bass, thin/shouty mids and of course boosted, peaky treble. I wish they did something less formulaic but their apparent flagship is the amalgamation of all that we’ve seen before.

The TRN VX is average at best. It’s not a bad IEM per se but it does nothing to stand out either.

TRN VX: Another face in the crowd, another opportunity lost.

Overall rating: 2/5
You can probably do better at this price point

https://tidal.com/browse/playlist/04350ebe-1582-4785-9984-ff050d80d2b7

The Company

TRN is an audio company from China that uses almost identical marketing strategy with the Knowledge Zenith (KZ). If my memory serves me right, the first product released by TRN was the V10 then it was quickly followed by the V20 which became much more popular than the former. They unceasingly released products that usually use hybrid driver configuration (BA + DD). Their most successful item was the TRN V90 and I hope that they can be more consistent with their products.

The TRN VX





The TRN VX’s housing is made out of metal which is quite heavier than the T2 Plus and SSR but is slightly lighter than the Starfield. The came in 3 colors which are black, green and the newly released navy blue. It uses 6 BA drivers and 1 DD driver that will handle the bass. As far as I know, it is the successor of their big hit – the TRN V90, which means it is their current top of the line IEM.

Technical Specifications:

• Impedance: 22Ω
• Sensitivity: 107dB/mW
• Frequency range: 7 – 40000Hz
• Connector type: 3.5mm 2 pin
• Driver unit: 6BA+1DD hybrid driver unit (Super-sized 10mm Diaphragm + Customized BA)

Packaging




Despite tagging the VX as their flagship IEM, it still uses their dusty packaging style, a small white box with the IEM outline printed on the front, their silicone ear-tips that is accented with red color and their braided plastic-y cable. I wish that they revamp their packaging as cheaper IEMs from MOONDROP, KBEAR and TinHifi ships it with better accessories and packaging. Nonetheless it contains the essentials but there’s nothing note worthy here.

Fit and Comfort


Despite having a quite heavy shell, it fits nicely to my ears without severe fatigue even when used for hours, it doesn’t fit as flush as the T2 Plus or the SSR but still it doesn’t have a poor fit and comfort, it is average at the very least. Isolation and seal is pretty decent too, it reduces outside noise and I can say that cause it is usable when I’m walking inside the Industrial Plant I’m working with.

Sound
I love gears with midcentric to flat sound signature as I really love listening to vocals rather than instruments. My genre ranges from heavy rock, alternative rock, pop rock, acoustic, pop, jazz and folk. Majority of my test tracks are in 16 bit – 44 khz and 24 bit – 48 khz FLAC file and here is the list of my commom test tracks.

1. Reese Lansangan – For the Fickle (Background, female vocals and upper mids)
2. Billie Eilish – bad guy (Imaging, Layering, Coherence, Sub bass and Mid bass, Mids, Micro details)
3. Arthur Nery – Higa (Mid Bass, Lower Mids)
4. Taylor Swift ft. Bon Iver – Exile (Lower Mids, Upper Mids and Instrments)
5. Reese Lansangan– My Sweet Hometown (Upper Mids and Instruments)
6. Polyphia – Goose (Imaging, Layering, Coherence, Sub bass and Mid bass, Mids, Treble)
7. Utada Hikaru ft. Skrillex – Face My Fears (Imaging Layering, Bass, Mids, Treble, Coherence, Quickness)
8. Polyphia – 40 oz. (Imaging, Layering, Coherence, Sub bass and Mid bass, Mids, Treble)
9. Polyphia – GOAT (Imaging, Layering, Coherence, Sub bass and Mid bass, Mids, Treble)
10. Ariana Grande – Raindrops (Background, Upper mids)

Bass
Tight, deep and fast that’s how I would describe the bass of TRN VX, it is probably the second most commendable part of this IEM among the three major frequencies. It is slightly hollow sounding it doesn’t have the best tonality in its price tier (which belongs to the BL03 and T2 Plus). It goes fairly deep matched with commendable resolution, rumbles and texture are presented cleanly. The mid bass is surprisingly fast making the bass presentation coherent, it handles complex tracks with ease. The VX isn’t a bass canon but it has moderate amount of it that can still please some bass heads out there, it is quick and detailed which made the bass of VX respectable for the price, adding a little more body would’ve made its bass quite formidable.

Mid-range
Right off the bat, I noticed the trademark of KZ and TRN products-dry and hollow mid-range, I listened to Arthur Nery’s “Higa” and it does sound hollow especially when paired with Cayin N5 mk2 and with Topping D10s + Periodic Audio Ni, vocals sounded weird but it packs a lot of texture and details, it has a quite commendable separation, no bass bleed or whatsoever. The upper mid-range is more forward compared to the lower mid-range and it is noticeably sibilant as “s” and “ts” are emphasized. Vocals and instruments have the same timbre as with the lower mid-range, it is definitely not one of the most natural sounding pair in the price tier. Details and separation is still top notch here, I think that they intend to retain such timbre based on their market but for me, I honestly prefer a natural timbre than resolution and imaging.

Treble

The strength of the VX is its airy, resolving and fast treble, yes there’s a noticeable peak but it is very source dependent for example it doesn’t sound harsh with my iFi Hip Dac and Topping D10s + Periodic Audio Ni but it is quite noticeable when paired with my Cayin N5 mk2. Using “40oz” by Polyphia, the amount of details matched with respectable attack and decay speed is just satisfying. I tend to mention a lot of tracks when talking about treble since I’m far from being a treble head thus I’m being really careful when criticizing treble region of anything that I review, I played “Asphyxia” by Co Shu Nie and there’s also sufficient air giving the VX a very good sound stage depth and height. To further support my findings, I finally played “Hard Times” by Paramore, there’s a very good amount of sparkle and it doesn’t linger long due to fast transient response rendering complex tracks without a sweat.

Sound Stage and Resolution
The stage of the VX is slightly deeper and wider than the T2 plus and is on par with the SSR, I think its nicely done treble helped a lot in this manner, imaging and layering is very good as well, I can properly pinpoint instruments when listening properly. Resolution is definitely the strongest part of the VX, nuances and textures are rendered nicely from bass to treble, the mid range is the weakest part IMO not because it is the least detailed part of the spectrum but rather it is the most unnatural sounding among the 3 major frequencies.

Sound Signature and Synergy
The TRN VX has a U to V shaped sound signature (leans toward cold than warm) which is not surprising from TRN since almost all of their releases adapts this kind of signature. I wouldn’t say that it has an elevated and warm bass but it is definitely more forward than the mid-range especially the lower ones. Lower mid-range is kinda recessed while the upper mid-range is slightly more forward than the former. Treble is forward yet detailed and well extended, it doesn’t sound too harsh but it is noticeable with selected tracks. I would love to pair it with warm (in terms of timbre) or mid-centric sources such as the Hip Dac cause it may add more weight to the mid-range which the VX really lacks.



Ifi Hip Dac, Cayin N5ii and Topping D10s + Periodic Audio Ni
Despite being warm, it doesn’t complement the VX as much as my favorite pairing (Topping D10s + Periodic Audio Ni). There’s added body but I can’t say that it sounded more natural compared to when I’m using the VX straight out of my phone. Bass is a bit more present and decays quite longer compared to Cayin N5ii and the Topping D10s. Treble was slightly tamed but it the sparkle and presence was reduced as well which I don’t like. Details aren’t as strong and present as with the N5ii or the D10s.

The Cayin n5ii has the worst synergy among the three due to its lean sounding mid-range that further thin out the mid-range of the VX. Bass became less present too but it is faster. Treble is detailed but it is not as relaxed as when paired with the Hip Dac or the D10s. Detail retrieval is nice, it is very revealing but this combo doesn’t have a pleasing timbre.

Finally my favorite pairing which basically make every IEM that I plug sound better, There’s no added body to the sound of the VX but somehow it sounds more natural with this pair even it is still quite thin. Bass is extremely clean but not as anemic and thin as with tha N5ii. Mid-range sounds more acceptable here, it sounds closer to neutral and lower mid-range especially male vocals sounded cleaner without sounding artificial. Treble still retained excellent details, speed and extension. It is the most detailed and layered pairing among the three as well.

Comparison


TinHifi T2 Plus
The VX and T2 Plus shares the same price which is around 2500 Php (50 USD), they have sligh similarities in terms of tuning since the former is a V shaped IEM while the other one tends to be a mild U shaped, they definitely differs with other aspects. I’d say that we have a faster bass in the VX but it sounds way thinner than the T2 Plus. In the mid-range department, we can get more details with the VX but we are losing timbre and it is more laid back compared to the T2 Plus. The treble department goes to the VX, there’s a noticeable peak compared to the more relaxed tuning of T2 Plus but it is fast, detailed and well extended. Sound stage size goes is on par while layering and imaging goes to the VX.

BLON BL03
The Blon BL03 is one of the best budget IEMs of 2019 and can still fight its way in 2020. The VX is obviously more detailed and sounds more agile than the BL03, on the other hand the BL03 is miles away in terms of timbre. The bass of the 2 IEMs doesn’t sound alike at all, one is thin and fast while the other one lingers longer and has more weight with better depth as well. Midrange goes to the BL03 it is smoother, more velvet-y which made it sound way more natural than the VX’s artificial sounding mid-range. Treble is a lot smoother in the BL03 too, it inferior in terms of speed, resolution and extension so there’s no doubt, I’m picking the VX here. Details obviously goes to the VX, it resolves more details across the spectrum than the BL03, the BL03 sounded more spacious but it is not as good as the VX in terms of layering and imaging.

MOONDROP SSR
The VX and the SSR has slight peaks, treble for the former and upper mid-range for the latter, despite that they sound really different from each other. SSR has more subtle bass presentation yet it sounds less thin and has better timbre than the VX, both are fast and well resolving. The SSR serves the mid-range in a forward manner, it is very clean and detailed yet still retains natural timbre across the board, well if you hate upper mid-range peak then pick the VX nonetheless the SSR is technically better in this department. SSR offers equally detailed,airy, fast and well extended treble but without the noticeable peak. Both are very detailed and has good layering and imaging capabilities (TRN VX is slightly better though), but if you value timbre then you’ll know which one to get.

Conclusion

TRN has been serving us almost identical tuning with each iteration, treble peak is always present along with their never changing packaging and accessories. Can they still compete in 2020? Yes they are still pretty competitive but unlike in 2018, there are lots of competitive option now which will make you think twice to get a TRN since there are BL05, T2 Plus and SSR that are priced pretty much the same as the VX. Well if you prefer this kind of tuning and is thirsty of monstrous resolution then the VX will definitely quench your thirst with its 7 hybrid driver design that pulls out plenty of details from your tracks – at the expense of timbre.

The VX name seems to be popular amongst Chinese brands for earphones. This is now the third VX-named product in the past couple years – the Moondrop VX earbuds, the qdc Anole VX, and now this, the TRN VX.

While the qdc Anole VX is the flagship and my favorite IEM on the market that I’ve tried so far and retails for over $2200 USD, this VX from TRN comes in at a much more budget-friendly price of around $75 USD and comes in black and green shell options.

The TRN VX was provided to me for review by Linsoul and can be found on the Linsoul site directly at http://www.linsoul.com.

The VX is a 7-driver hybrid featuring a single dynamic driver and six balance armature drivers. Like some other TRN IEMs I’ve tried in the past, the shell is a nice feeling metal design that also fits very cleanly and well in my ears without any pain or discomfort. The box is rather simple and only contains the standard TRN cable which isn’t really great, and a few tip options.

For this review, I opted to use the default silicone tips along with a 4.4mm cable made by Kinboofi. The connectors used on the VX are 2-pin 0.75mm style and is quite common and easily replaced.

Sound
Like many other TRN IEMs I have tried, the VX is somewhat of a V-shaped IEM with a brighter treble range. The VX itself is probably a bit more balanced and perhaps closer to a U-shape than other iterations.

In general, the VX has a nice tuning with a warm lower mid-range, bass that doesn’t overly muddy anything and is elevated but not too bloated, and a nice pinna gain, however its biggest flaw lies heavily in the treble region, where there’s a spike past 8KHz that can be rather sharp, fatiguing, and just unpleasant in music that has some emphasis there.

The problem definitely shows its ugly head in watching YouTube videos, especially ones where recordings are not well done, and likewise, shows up in poorly recorded music too. For the most part, it’s not noticeable in most rock music, but there are exceptions.

Song Selections
In Pearl Jam’s “Breath”, which appears in the fantastic early 90’s soundtrack, “Singles”, as well as later re-issue of Ten, the cymbal crashes have this tingy character to it that can have a sharp attack that can be abrasive. Unfortunately, that sound is scattered and littered throughout the entire track. Eddie Vedder’s powerful voice seems a little tamed down, and the basslines are missing a tad of power, but the VX does come across otherwise reasonably ok.

In “Kora”, a new track from GoGo Penguin, the VX seems to excel a bit more. Bass notes have good power and punch, while the drum hits have good weight to them. It’s a song that doesn’t focus too heavily on the cymbals which can be fatiguing, and really stays towards the lower end of the mid-range. Piano notes sound nice and generally accurate, and performs well in the VX.

A song with a more mixed result is “20 Years” by The Civil Wars. The guitar rifts by John Paul White sound really nice and full of detail, but the duet vocal of White and co-singer Joy Williams, are a bit too forward and there’s this edgy sibilance to many of their words that can be jarring.

A song that features a lot of hi-hat strikes that didn’t sound totally wrong was “Ceremony”, the first track from New Order, following the death of Ian Curtis and the end of their prior band, Joy Division. Stephen Morris’s constant drum attack doesn’t come across as fatiguing in this track for whatever reason, and Peter Hook’s melodic signature bass carries the song with authority. This is another track where I feel like the VX’s sound signature shines, though it still does sound a small bit on the bright side.

Overall
Name conventions aside, I think the VX is a modest IEM with an almost ideal warm balanced sound signature that is really broken by its upper treble sharpness. This, in some ways, ruins the tonality and smoothness on many songs I listen to, despite having a very pleasing sound signature, otherwise.
Just to answer any snarky questions in the future, the VX from TRN does not trump the VX from qdc. Not even close. They actually do sure some similarities in sound, but are miles apart in overall smoothness and technical performance.
The TRN VX is probably my favorite TRN IEM to date, and they seem to get better with each iteration, so I am hoping the next set cleans up the harsh treble that is inherent in each TRN set to date.

INTRODUCTION AND DISCLAIMER:
The TRN VX is a hybrid (6 BA+1 DD) in-ear monitor (IEM) which retails for around $73. I received the VX and the TRN-T4 upgrade cable directly from TRN.
This review is also available on my blog: https://medium.com/bedrock-reviews/trn-vx-review-b7f8b0e8d16a

SOURCES:
I have used the TRN VX with the following sources:

• JDS Labs The Element
• Apple USB-C to 3.5mm dongle
• Meizu HiFi Pro dongle
• Fiio BTR1K Apt-X Bluetooth Receiver

I have tested these headphones with local FLAC and Spotify Premium. Visit my last.fm page to get an idea of what I listen to.
PACKAGING AND ACCESSORIES:


The TRN VX comes in a small rectangular white box with a black and white slipcover. Technical specifications for the VX are provided in Chinese and English on the back of the slipcover. The package includes a detachable 2-pin cable, three silicone eartips (small, medium, large), a quality control pass chit, a warranty card, and a user manual. Given the price, I would have liked to have seen a carry case and a greater variety of eartips included.
BUILD QUALITY / DESIGN:

The TRN VX has magnesium alloy housings with a gorgeous but understated emerald green anodized finish. The faceplates are machined with a scalloped pattern. “VX-DDx1BAx6” is printed on the side of each housing in line with the 2-pin connector and the inner faces of the housings are marked with “L” and “R” in white. The inner face of each housing also has two small circular vents. The nozzles are black with silver grilles and have a sizable lip to secure eartips. The 2-pin connectors protrude slightly from the surface of the housing and are compatible with QDC-type cable connections.
The included cable is a simple 4-strand braided design with pre-formed transparent plastic earguides. The Y-split and 3.5mm jack housing hardware is anodized black metal with rubber strain relief below the Y-split and above the jack. The jack hardware is marked with the TRN logo in white. There is no chin-adjustment choker and the cable is moderately tangle-prone. The cable is mildly microphonic. The 2-pin connectors have raised markings to indicate left and right, but the markings are so faint that they require scrutiny to distinguish.
COMFORT / FIT / ISOLATION:
The TRN VX is intended to be worn cable-up only. The earpieces have a shallow-ish insertion depth and are comfortable. Secureness of fit is very good, but isolation is average. The VX does not have driver flex.
MEASUREMENTS:

My measurements were conducted with a Dayton iMM-6 microphone using a vinyl tubing coupler and a calibrated USB sound interface. The headphones are driven using my Element, which has an output impedance of no more than 1 ohm. The measurements use a compensation file derived from relating my raw measurements to published measurements from Crinacle and Antdroid. The measurements are presented with 1/24th smoothing. There is a resonant peak at 8k. Measurements above 10k are not reliable.
SOUND:
The TRN VX is a bright-sounding IEM.
The TRN VX emphasizes mid-bass over sub-bass. The bass has very good speed and articulation but average texture. There is a good amount of slam and adequate rumble. The bass is surprisingly resolving and there is little in the way of mid-bass bleed.
The lower midrange is slightly recessed compared to the bass and very recessed compared with the frequency response above 1 kHz. Vocal intelligibility is good, although female vocals are significantly forward of male vocals. Clarity is excellent but body is lacking. Though not sibilant, female vocals sound a little overcooked. While free of plasticky BA timbre the midrange sounds cold due to the intense upper-midrange emphasis.
There is a pronounced lower-treble emphasis, which while not fatiguing gives cymbal splashes a diffuse quality. The upper treble is slightly less prominent but is well extended. Detail retrieval is excellent. The width of the soundstage is fair, but its depth is limited. Instrument separation is good, but imaging is poor.
COMPARISONS:
TRN VX vs TRN V90

The TRN V90 is a hybrid (4BA+1DD) IEM which currently retails around $35. The TRN VX sounds like the TRN V90 with less overwhelming bass, and the overall presentation is undeniably clearer. The V90 has better sub-bass extension and remains the obvious choice for bass heads between the two IEMs. That said, the upper half of the VX’s frequency response remains nearly as most as intense as that of the V90. The two IEMs have similarly sized soundstages. The VX has slightly better imaging and improved instrument separation. The VX does not have driver flex or the V90’s infuriating venting issue.
TRN VX vs KBEAR Diamond

The KB EAR Diamond, which can be found on AliExpress for as low as $71 at the time of the writing of this review, uses a single diamond-like carbon-coated PET-diaphragm dynamic driver. The Diamond, though quite V-shaped in its sound signature, sounds more balanced than the VX due to the roughly equal prominence of its bass response and top end. The biggest issue with the Diamond is the overly elevated presence region. The Diamond has better imaging and instrument separation and is competitive with the VX in terms of soundstage. The Diamond has a more premium build and a much more generous accessory selection.
AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:
The TRN VX can be easily driven to a comfortable listening volume with a competent dongle. I did not notice hiss with any of my sources.
CLOSING WORDS:

Rather than refining the V90, TRN seems to have shot for a different target altogether with the VX, and the audience that the V90 found may not want to follow along. At this price point, I still recommend the KBEAR Diamond if you are willing to use EQ or to save up for the Moondrop Starfield if you are not.

This sample was provided for review by Gina at Senlee, through Amazon UK.

Product link:
https://www.amazon.co.uk/Earphones-...hicle=117-1576&replacementKeywords=trn&sr=8-2

Introduction
The VX is the new flagship model from TRN and is their most ambitious design to date. It is a hybrid IEM featuring 7 drivers per channel (1DD + 6BA). It enters a competitive market with CCA's CA16 (1 DD + 7BA) and the CSN from CVJ (1 DD + 5BA) also being recent rivals. The dynamic driver is a dual magnet unit with a 10mm diaphragm. Three 50060 BAs are employed for the midrange and three 30095 armatures cover the treble, with two of these placed within the nozzle.

Description
The VX comes in traditional TRN packaging, a small rectangular box similar to that used by KZ and CCA. There is a red TRN logo and an outline image of the IEMs on the front and specifications on the back. Sliding off the cover reveals the earpieces set in a card cut-out, under which you will find the 2-pin cable, two sets of black silicone eartips with a medium red-coloured bore (the medium size is pre-fitted) and documentation. At $75 this basic presentation was disappointing for a top of the range model and is very similar to that supplied with the $15 ST1. KBEAR's Diamond at approximately the same price as the VX comes in sumptuous packaging and includes a quality case and accessories.

The earpieces are very well made from CNC machined magnesium alloy. They are attractively contoured, with the face featuring three radiating sculpted lines and are somewhat shell-like (pun intended). My particular sample was finished in an attractive dark metallic green and looked very stylish. It is also available in "Knight Black". There are two small vents on the inner surface and the legend "VX DDx1 BAx6" is written on the top edge and there is channel identification on the inner surface. The nozzles are black and have a silver mesh grille.

The cable is a black 4-core braided type with QDC connectors and is similar to that supplied with the BA5 and V90, being terminated by a straight 3.5mm plug bearing a white TRN logo. There is a metal Y-split but no chin slider and the cable is prone to tangling.

First Impressions
The earphones were auditioned using a variety of sources, primarily a Sony NWZ-A15 DAP. I found the sound with my Xduoo X20 unsuitable as its clean and neutral character compounded the bright nature of the VX. I also used a Huawei smartphone and a CD player during testing. After a burn-in period of 100 hours was carried out, I began my evaluation.

In stock form, the sound was bright, both in the mids, which were forward, and in the treble, which was clean and incisive. Along with a tight, fast bass with a cool tonality, this produced an exciting and detailed sound with extreme clarity, but emphased the high frequencies. I am not particularly treble-sensitive and enjoyed the detail and precision on offer, but the overall balance was a little too treble-focused. Changing the tips to KZ Starlines improved the balance with the bass being warmer and deeper and the top end smoothed out a little, without losing the excellent detail and resolution. Having tested the supplied cable with the CCA CA16 I found that too sounded bright so replaced it with a Senlee hybrid cable. This brought things more into balance and this was the configuration used for testing. Used like this, they were light and comfortable to wear and isolation was good. Sensitivity was good on all sources, being far more easily driven than the CCA CA16, for example.

Bass
The VX's bass displayed superb resolution and definition, each note being reproduced with precision and impressive transient attack, and free of overhang. The focus was on the sub-bass with mid-bass more reserved. The general level of the bass was a little light compared to the CA16 and CVJ CSN and could benefit from some augmentation.

Davol's "Another Land" from the album "Paradox" begins with deep bass synthesiser. Accompanied by electronic and percussive elements, the reverberant effects were very powerful and effective. The deep string synth parts later in the piece displayed excellent texture.

"In Church" from Viteslav Novak's "Slovak Suite" features a prominent part for organ. The firm and resonant timbre of the pedal notes was very well presented and formed a perfect backdrop for the cascading strings and harp accompaniment by the RLPO under Libor Pesek. A little more depth would have been welcome here to give the organ more weight.

The texture and timbre of the bass guitar in Bob Marley's "One Love" came over very well. This fell just in the VX's sweet spot of the lower bass and sounded perfectly balanced with the drums and vocals. The clarity here once more showed its quality with everything being in sharp focus.

Midrange
The midrange was slightly forward and somewhat brighter than neutral. With an absence of bass bleed, this emphasised the detail and provided a clean and open sound enabling individual instruments to be pinpointed. Occasionally I found myself wishing for a little more warmth.

In Frank Bridge's beautiful tone poem "There is a Willow grows aslant a Brook" the character of each concertante instrument was clearly depicted. Clarinet, cello, flute and bassoon all stood out clearly from the accompaniment thanks to the excellent clarity and separation. The ambience of the recording venue was particularly well-rendered.

ABBA's "Slipping through my fingers" has a lead vocal by Agnetha and the character of her clear voice came over very authentically and was nicely highlighted over the guitar and synth production. The lyrics in the backing vocals were clearly audible. Via the sound of a ticking clock, this track then segues into "Like an Angel passing through my room" which features vocals by Annifrid. The husky quality of her contralto voice was most noticeable in the intimate acoustic and the classical-style synth chords in the middle section sounded beautiful. The different qualities of the girls' voices were well differentiated.

The solo cello in "The Cold Sea's Embrace" from "So flows the Current" by Patrick O'Hearn displayed excellent timbre with just the right amount of "bite". Set against a deep plucked bass, it produced an almost 3-D effect which threw the solo instrument into clear focus with the moody atmosphere of the piece perfectly preserved.

Treble
The treble was somewhat brighter than neutral but at the same time full of detail and energy. Micro-detail was class-leading.
This came to the fore in "Dreams of Fair Women" by Canadian synth duo Exchange. The arpeggiated guitar accompaniment was clean and clear and the high synth accents beautifully etched. The sense of openness was palpable.

Bach's Brandenburg Concerto No. 4 performed by the Saar Chamber Orchestra showcased alto recorder with harpsichord and string continuo. The solo instrument was clearly defined with the VX's bright timbre suiting the harpsichord and flute parts very well. The rhythmic nature of the piece was excitingly portrayed.

"I Robot", the title track from the Alan Parsons Project album begins with a bass drone and wordless female vocals. Next comes a sequenced synth bass line and percussion. Guitars and choral effects join in and a resonant cimbalom solo plays over the top. Everything remained clear and separate with the sharp tones of the solo instrument clearly focused above the complex production.

Soundstage
The VX produced a large stage which was oval in shape, being wider than deep and with a decent impression of height. Due to the bright tonality, positioning of instruments within the image was very precise with layering and separation defects very well-defined.

Hamish McCunn's "Land of the Mountain and Flood" is an orchestral evocation of the Scottish landscape. In the version by the BBC Scottish Symphony the orchestra was laid out most convincingly. As horn, oboe and brass quoted parts of the main theme it was easy to discern their various locations within the image.

"Beautiful Attractor" is an electronic piece by Robert Carty from his album "In Neptune's Wake". Swirling electronic effects and crystalline percussive elements populated the stage, while other effects circled around it. The meandering synth lead was supported by a richly-textured bass drone and all was placed within a wonderfully spacious acoustic. This was a perfect piece for the VX, and highlighted its best qualities.

"You Raise me Up" in the original version by Secret Garden features a beautiful violin solo by Fionnula Sherry and an expressive lead vocal by Brian Kennedy. It was clearly reproduced and placed within a resonant acoustic. In the central part he is accompanied by the Irish choir Anuna. Bolstered by full orchestra and Uilleann pipes, the whole effect was breathtaking and filled all the available space in the stage. The conclusion returned to the intimate solo vocal and was full of emotion.

Conclusion
For some time the Chi-fi multi-driver roost has been ruled by KZ's ZSX and ZS7 and the CCA C12. It has now been supplanted by a new triumvirate of the CCA CA16, the CSN from CVJ and now, the TRN VX. Which is best very much depends on your sound preference. The CSN is the most neutral of the three with a linear bass, slightly forward mids and an extended, clean treble. The tonality is slightly cool. The CA16 is warmer in tone and has a mild U or V shape. The midrange timbre is excellent and the treble is silky and open. Bass is deep and well-resolved from the new 7mm driver.

The VX in stock form is noticeably bright but this can be addressed with a change of tips and cable, and a warm source is recommended. Most of us have some Starline tips and a cable or two knocking about so there need not be too much additional expense.

Thus equipped, the VX delivers an impressive combination of clarity, resolution, speed and detail which is very exciting and entertaining. Although a bit bass-light, I found the VX's sound very addictive and especially effective with electronic music. It is closer to the CVJ CSN in tonality but brighter and with a little less bass, while the CCA CA16 is darker, more natural and more relaxed. Although a little more expensive than its competitors the VX does offer a different presentation and if you value detail, focus and resolution, it represents an interesting alternative and stands out from the host of similar-sounding models on the market. I have dubbed it "The Green Monster" after Art Arfons's land speed record breaking car: fast, powerful and exciting!

TRN has just introduced its latest model to the market and it’s called VX. It comes with whooping 7 drivers and costs around 70 bucks. Ten bucks per driver sounds like a good deal, right? Well, at least in terms of quantity but I was more interested in their quality and skill of producing high fidelity sound. Let’s dig into it and find out.

Build, fit, and cable
TRN VX is made of aluminum and coated with a pint that has a kind of soft-touch feel to it that’s very pleasant. It might not be apparent trough pictures, but there’s a real premium feel to VX. They’re not too chunky as one might expect considering the sheer number of drivers used. Moreover, these are fairly lightweight which definitely helps their ergonomics.

Talking about ergonomics, TRN VX fit great in my ears. Pre-shaped ear-hooks are soft and not too springy, so mounting these is a fuss-free experience. I know that’s a very personal matter but that said and judging by my experience, these deserve high praise for comfort.

Lastly, the cable is a typical braided solution, which means it tangles quite easily but on a positive note it’s not microphonic. It’s detachable too so you can opt for an aftermarket solution if you wish.



Sound
The first thing that hits you with TRN VX is how sharp and fast they sound. Starting with the baseline, it’s fairly decent in weight but definitely not suited for bass-heads or those who like their bass to lend warmth to the rest of the spectrum. This one is reasonably weighty but very fast and agile in return. Going higher you’ll notice a dip in the lower midrange which rips some body and weight from vocals and other tones. Then comes the empathized part of the upper midrange and a portion of high frequencies.

What this type of tuning means for your music is that TRN VX sounds lean and mean. That emphasis on the upper region is lending all the sharp details and leading edges you’d ever want. Now add to that energy and attack these in-ars posses and we get edges and transients presented in a ruthless and very analytical fashion. This character is sure flashy and exciting but definitely not the last word regarding finesse and musicality.

Other than that, the separation of individual instruments is great and the sound is quite spacious for an in-ear model.

EQ-ing
I found the sound signature of TRN VX to be a bit overzealous for longer listening, so I’ve decided to give EQ-ing a chance. I did it solely by ear and ended up with this:

– 3 dB at 4 kHz
– 3 dB at 8 kHz

The result was taming of those dominant regions just enough so I can listen for a longer period of time and actually enjoy the other qualities VX has to offer.

Conclusion
TRN VX possesses some nice and desirable qualities such as great premium build and comfort. Their sound signature is marked by class-leading speed, clarity, and sharp transients that’ll try to claw and bite their way into your heart. This aggressive approach will sure work for some but it will not suit all, especially the ones looking for a full-bodied and musical approach.


I also made a video about it:

Ordering the TRN-VX from the helpful AK Audio store (product link below) was as effortless as usual - the package was swiftly dispatched & arrived in uber quick time.

https://www.aliexpress.com/item/4001050280671.html

I was looking for more compact iems that were close to generating mid-tier performance – in an attempt to emulate my favourite set: Tri-i3....& beloved earbud drivers….DIY PK2 SR2 Pro (16ohm.)

The TRN-VX 6BA+1DD hybrid configuration certainly piqued my interest - to ascertain if they could compete with mid-range sets, whilst I'm waiting for high>mid-end gear to trickle down (without parting with excessive funds.) Out of the box the stock tips & cable are deemed worthless & require instant upgrade to obtain audiophile level results.

It’s a great bonus that with continuing burn-in….they become increasingly nuanced - the sound-stage appearing more & more 3D & spherical as each day passes....imho definitely a pair that are worth investing time in!



I opted for an 8-core pure copper 2.5mm balanced cable & attached JVC Spiral Dot wide bore tips. These tips were modded & added to a pair of supplied tips - inner column cut off to pad them out – which fortunately results in a better grip & perfect seal, providing above average isolation - there are two vents in the front of the housings, alas they generate minimal leakage once placed in-ear. In a future iteration I’d love to see these vents relocated at the top of the housings – this modification would definitely add extra stage “air” making the set redolent of open back phones.

The TRN have somewhat divided opinion – appearing fairly marmite to some reviewers - inferring that the VX are merely a “wow factor” set - in consideration of their extended highs/mids, they also add that VX produce a less full-bodied / thinner note presentation, which results in instruments being rendered in an artificial way. Whilst I admit that percussion such as cymbals can on occasions appear splashy and thus artificial – I would argue that is can be reduced with the application of nozzle micropore tape & may even be deemed beneficial whilst listening to some genres like binaural soundscapes and electronica.



They do require cable/tip rolling – to achieve optimum pairing, coupled with a considerable burn-in period - which is imho essential in order to make this set truly shine. In this regard, out of the box they could be viewed as a very marmite pair, if one is too quick to judge them & bypass any pre-requisite adjustments. I was prepared to stick with them - my gut feeling was that eventually the VX would resolve and smooth out any distractions & artefacts, revealing a more balanced signature.

To my ears, after one weeks burn-in the signature is less artificial & at a higher level sonically – presenting crisper micro details, improved imaging & adding an “airy” 3D stage. Mids totally spring to life & become embellished alongside a tighter, better resolved bass.

I’m currently using my set to mix electronica tracks, that combines layering of analogue synthesizers, with VST plugins, sequenced by iPad apps or DAW via laptop – hence the VX enveloping stage, accurate imaging and layering is appreciated, whether one is actively composing tracks or solely for passive listening.
For this set in particular, the copper cable helps to reduce treble & increase bass quantity – whereby any extra added warmth becomes negated - due to the VX’s already warm tuning.




Build/Fit:
The VX build quality is amazing, sporting an uber stylish shell-like design which is extremely aesthetically pleasing – the emerald green version is especially gorgeous! There is some housing protrusion – but however the circular, conch-like design form is very svelte in-ear, perfectly ergonomically-shaped, as it slots into an exact fit of the ears' tragus. I find that fitting & removing this set to be the easiest, most comfortable set of iems I’ve tried up to now.

Tuning / Sound Signature:
The VX have a very bright, musical, energetic presentation, which is very transparent, maintaining an audiophile refinement. It has been stated that TRN's tuner has overcooked the high upper mids & treble, despite this the current tuning works seamlessly - in consideration of my personal listening preferences!
The 6BA+1DD hybrid configuration is transparent & revealing - not too cold & analytical, managing to retain a warm analogue tonality.
@baskingshark makes a good point: "It seems the VX tuning is catered mostly to their local Asian market, where they prefer boosted upper mids to complement their music, which features a lot of female vocals."

Soundstage:
The VX generates a 3D holophonic stage - in terms of width and depth not just limited to height…. whilst not as deep as it is wide (some rear placement can also be perceived) which results in an all-encompassing sound spectrum. However, the height is not as extensive as it could be. In a way; one gets the feeling that the highs & mids are situated on top off of the rest of the track – especially during instances of virtuoso playing. On an experiential level the multi BA frequency separation can result in making the most complex tracks not overly busy, congested or myopically intimate – sounding akin to “live” binaural recordings!

Highs:
Treble extension is pushed to the forefront right from the first listen. This is eventually smoother post burn-in. The upper frequency BA driver configuration doing an incredible job of eking out micro details, previously not perceived in tracks. Initial reviews posted state the set succumb to being too “shouty”: however any transient peaks can be alleviated using micropore tape on the nozzles - once attached I find them totally non-fatiguing with absolutely zero post-listen ear-ringing.

Mids:
The real show-stopper are the sublime mids – I think the VX are distinguished by having the mids placement, sitting atop of all other frequencies – this allows for virtuoso instrumentation and vocals to rise above the accompaniments of the track. The overall signature, whilst admittedly not totally full-bodied, is particularly appealing when listening to synthesiser/electronic genres of music….result!
This presentation provides an addictive sound signature, specifically for fans of mid-centric iems, whereby the stage, instrument/image separation; placement & layering all combine impressively.

Bass:
A good seal is always easily achieved as the fit is so good….the dynamic driver generating enough quantity of bass/sub-bass underpins the mids, sitting nicely / not too forward in the mix.
Maybe the inclusion of an extra planar driver might emphasise the mid bass - giving it more energy? – helping to boost bass & render percussion more effectively. This would result in improved note weight, portraying a punchier signature without overshadowing the mids & definitely help to improve the authenticity of instruments.
The upgraded 8-core pure copper 2.5mm balanced cable, perceptibly improves bass accuracy & tightness emphasising low end rumble, & helps to reduce susceptibility to “splashy” percussion.



EQ response:
The VX responds well to EQ application using laptop programs or via Ear-Studio ES100 iPad app.
Using Behringer’s Midas pre-amp soundcard as a source whilst running specialist software: Ashampoo Soundstage: different EQ settings can be tweaked / experimented with - in order to enhance the VX signature & boosting frequency responses across all bandwidths.

Amp Scalability:
Brilliant scalability allows them to be amped effectively - no distortion above and beyond the hi-fi “sweet- spot” at greater volume levels - they handle warm/cold sources equally efficiently.

Sources:
The VX work great with two-way Bluetooth devices. FLAC files via balanced output of Sony NW-ZX300a produces sublime “air” & good DAP synergy. With BT receiver mode switched on the vinyl processor, adds extra “analogue” warmth- enabling balanced output from Dell gaming laptop.
SE output: Behringer UMC404HD / iPad Air3 / Cayin N3 & NX4 DAC - gain switch increases all frequencies plus quantity of bass & rumble of sub-bass allows for “sweet spot” volume levels over halfway with no distortion.
Bluetooth mobility is provided by the (Radsone) Ear-Studio ES100 with added EQ via iPad app. Pairing with Xiaomi Mi 9T smartphone & Max Volume Booster also sounds remarkably good.

Listening preferences:
The VX excel especially with tracks that combine a live band sound with studio overdub mixing, multi-layering, for example:

Velvet Universe - Voyager LP (Full) (1981.)



Why? - Ermhoi



Black Boboi - Red Mind



D.A.N. - SSWB



“Shard of Glass” - Fenella



Fuku-Ura



Monochrome Echo



Testing the Binaural capabilities of this set was auditioned with tracks: “Jettison Mind Hatch” by Tipper, “Y Dydd Olaf” by Gwenno. Ambient Internet Radio (NTS) / Soundscapes / Live Gigs, Vocals / Jazz & Classical / Electronica / FLAC LP’s Soundtracks: Andy Dragazis - Afterimages ( - Engaging atmospheres appear visceral, airy and binaural, placing you at the centre of the music, the timbre of strings is wonderful & otherworldly - underpinned by moody, suspenseful cello.)




Comparisons:
Tri-i3: A/B’ing with the VX reveals that the tuning of the 6BA+1DD configuration can compete with the triple hybrid driver configuration of the i3. Alas, Tri- i3 remains unsurpassed at rendering Classical/Electronica - being much better at resolving percussion & timbres of instruments – generating a more authentic, thicker note signature. However, the multi BA configuration of the VX, once fully burned in, oozes excitement & energy by over emphasising the mids.

KBEAR Diamond: The VX’s forward mids complement the full bodied bass-centric signature of the KBEAR’s DLC driver. I found the VX fit much more comfortable, seemingly providing a more secure seal.

Blon BL-05: The Blon in comparison appears to have more smoothed out treble which is less extended & rolls off sharply, and is coupled with similar levels of amp scalability, energy and excitement.

NX7: The VX has similar levels of excitement & energy to the three-way hybrid configuration of NX7 - the piezoelectric of boosting bass, treble & detail retrieval. However they do suffer from transient peaks, generating inauthentic instrument timbres - making percussion seem plastic. The VX matches their energy easily, negating any transients, & adding a more refined 3D stage, plus mid-centric presentation.

Conclusion:

Having no experience of any previous releases by TRN, I’m now a TOTL fan of the TRN-VX. Arguably, they do/don’t compete at the authentic sonic level of high/mid-tier sets....despite this however; imho they still represent a remarkable bargain at their price point! They're an iem that require prolongued burn-in, alas the results can be extremely rewarding!

The caveat is that the VX present a very individual tuning - fortunately this signature really does suit my listening preferences, subjectively speaking. I’ve not heard another set that produces a similar tonality, so kudos goes out to TRN on this occasion for sticking to their guns during the tuning process! Being unable to discover what the letters TRN actually mean?....I'll apply my own interpretation of the acronym:
They Redefine Nuanced !

I really look forward to their next iteration which utilises a similar 6BA+1DD configuration - maybe tuned with less treble extension? By implementing a hybrid configuration adding, for example, a planar driver with correct crossover circuitry - could possibly increase the 3D spherical stage. In turn, such a modification could generate a more full bodied, hence thicker note signature, whilst potentially improving upon the imaging and authenticity of instruments in the mix!


Ratings:

Build: 90

Fit: 90

Bass: 85

Mids: 90

Treble: 85

Soundstage: 85

Imaging/Layering: 90

Accessories: 70

Price: 90

Rating: 8
Sound: 7.8

Intro
The CHI-FI world seems endless and overwhelming in its diversity and technical progress.
At first glance this may seem so, but if you take a closer look, you quickly start to get behind the connections and agreements. Above all, the variety of brands reduces quite quickly, especially in the budget area.

Products are constantly being redesigned and re-marketed under new names and with praise, without any noticeable sonic progress or technical innovation. Above all, the number of drivers still seems to tempt many consumers to press the buy-butt, as there is often a consensus that many drivers also mean a better sound. This may even be true in the high-end sector, but then there is a completely different development behind it and especially driver implementation (but there are also negative examples, just not in the same proportion).

CCA and KZ (subsidiaries) show with the CCA C12 > KZ ZS10 Pro and countless other examples, how almost identical products can be sold outrageously simply multiple times without the consumer really noticing. It gets even worse when OEM products are sold to several companies and then the exact same product comes 3 or 4 times on the market (CCA A10, KBEAR K10, TRIPOWIN TP10 and so on) and it is not even a really good product.
Every now and then the usual suspects bring out really small Hi-Fi pearls, but the hit rate is very low and the focus is more on mass than on class.
This is impressively demonstrated by the new releases, where some companies release more new products in one month than some "renowned" companies do throughout the year and beyond.

The fact that the customer is deliberately manipulated is also shown by the many distributors on AliExpresss, who are apparently under the same big cover. Under YOOAUDIO, for example, distributors such as AK Audio, ****, or MISS AUDIO and certainly several others gather.

Finally, I don't care where I get a product from, whether paid, borrowed, or freely provided, as I have no personal relationship with the individual companies or distributors and want to remain objective. Furthermore, I am also convinced that many of the in-ears not only have a right to exist, but that they can also put the "big ones" in their place when it comes to the price/performance ratio!
I just want to raise awareness of the fact that the in-ear market in China is more designed to make a quick profit than to produce sustainably. That's fine, but you shouldn't always fall off your chair, because once again a 6, 7, 8-driver hybrid configuration has come out and the price seems too good to be true, at least if you have the patience to wait until reviews are in circulation and also personally want to do a little sustainable business.

Why am I writing all this anyway?! Maybe I just needed to get out...

This flood of IEMs from China is of course also due to the enormous competition between the individual companies. Be it KZ/CCA, KBEAR/TRI, TRN etc. (I would like to assume that these companies are all independent, even though I know that I am lying to myself). If one of them brings out its new wonder-IEM with 7 drivers, the other one has to follow suit. Currently the phenomenon can be observed with TRN VX (1*DD & 6*BA), CCA CA16 (1*DD & 7*BA), or CVJ CSN (1*DD & 5*BA).

I don't want to say that TRN is an exception in the CHI-FI cosmos and of course the focus is on the fast financial profit, but I have the feeling that TRN sometimes takes a risk and produces their in-ears not only according to Scheme-F. Apart from the design, I can say with a clear conscience that with TRN I always had the feeling of holding a different product in my hands, especially when it comes to sound. TRN also looks beyond the horizon and even includes other reviewers in their developments. That doesn't make their products or the VX any better, but you can see the good will to listen to your consumers.

The TRN VX is an IEM, where it will not spark immediately and one must deal with it more urgently, in order to develop something like a relationship with it. This is astonishing, because the VX is the most expensive in-ear of TRN ever released and they still took a certain risk with it, which I find positive. For me, the VX won't be a friendship for life, but for a fun evening in between, it's always there to take your mind off things and readjust your hearing.



Handling
As with the TRN V90, the new TRN Flagship-In-Ear is not only visually impressive. The workmanship is very successful and has a high-quality feel.

However, when it comes to the cable, one relies on old and proven technology, which is no advantage here. Somewhat fiddly, it deserves the predicate. It serves its purpose.

Knowledge Zenit had once decided to give their more expensive models a more noble look in terms of packaging. TRN does not have this claim, and so the same economy version is used as with many KZ, CCA, KBEAR or whatever products, which brings us back to the introductory topic. Here there is not even the slightest attempt to create an own design, or to please the buyer with a little something in the scope of delivery, like foam tips or something like that. Here you don't even notice that you have just invested 70 €. Cable and silicone tips, that's it!

However, the wearing comfort is really very pleasant (comparable to the V90) and the sound isolation is excellent.



Sound
The TRN VX is an IEM that I put in my ear and immediately have mixed feelings towards it.

The bass is astonishingly well-behaved and tamed for a TRN. For me it's a bit too tame, as the signature generally lacks a bit of warmth and pressure from below. Nevertheless, the bass is really fast, has a good texture and is always on the point. If TRN marketed the VX as a pure BA configuration, I would believe them at first sight, although over time one notices that a dynamic representative is at work here, as the upper bass is usually more pronounced on a BA bass. Really a very good and homogeneous bass, but it should have a bit more gain, but that can be corrected.

I find the mids a bit thin, also due to the lack of bass influence in the lower range, although this makes them appear very transparent and clear. Male voices, however, lack body and natural timbre. They sound brighter and do not have the assertiveness that is the case with female voices. Those can even really convince me, but they also lack some warmth. The mids are given a good presence in the signature, but they are a bit borderline in the upper frequencies. Basically I like to have it a bit more crisp in the mids, so this is partly to my advantage, but here I miss the naturalness, whether in the voices or instruments.

The trebles contribute their part to the fact that the TRN VX has become a rather bright IEM. The sibilants are mostly under control due to a corresponding frequency drop, but the 2kHz peak is a bit too much for me as an intersection between mids and highs. The extension is quite nice, but the high frequency can get a bit tired in the long run. If I wanted to relax, I wouldn't necessarily go for the VX. Even though it can get a bit tinny with cymbals, you really have to praise the VX for its detail reproduction and resolution.
The VX has excellent separation. For me it is almost a bit too sharply separated, as this can look a bit unnatural. The TRN VX also clearly has a plus in terms of spatial representation.



Outro
Although the VX at TRN not only has the most horsepower under the hood and is also an exclamation mark up in price, it is not the most mature and grown-up of all for me. The VX is actually the exact opposite of the V90. Exciting, cool, sparkling, transparent vs. warm, relaxed, a bit grumpy, musical. I can do something with both, although I can keep the V90 in my ears longer. However, the VX has clear advantages in resolution and definition, which certainly makes it more audiophile, but also more exhausting in the long run.

The VX is basically a bright, rather analytically drifting and not always authentic sounding IEM, with a tight and dotted bass, transparent mids and detailed highs. A little more warmth and calmness would do it quite well.
Nevertheless, I see it as a nice change in the IEM shelf, but the price for it is unfortunately not a no-brainer, it certainly wouldn't have needed 7 drivers for the performance and the VX is also not an absolute all-rounder. The lack of pressure from below and the too bright tuning make a small thwart here, although exactly this can be a strength of the VX in some genres. As I said: The TRN VX will split the tastes!


___________________________________________________________
More reviews: CHI-FIEAR
Facebook: https://www.facebook.com/CHIFIEAR/

Disclaimer 1:
The TRN VX is a review sample provided by the TRN Official Store on Aliexpress. My views are my own.


Disclaimer 2:
The product insert recommends 100 - 150 hours burn in, of which I only complied for the first 20 hours LOL. Maybe the next hypetrain CHIFI would have arrived before the burn in period is completed!





Specifications:
Driver Type: 1 DD (10 mm) + 6 BA
Frequency Response: 7 Hz - 40000 Hz
Impedance: 22 ohms
Sensitivity: 107 dB/mW
Cable type: Detachable 2 pin


Accessories:
In addition to the IEM, it comes with:
1) Silicone tips (S/M/L).
2) Stock cable and free TRN T4 copper cable provided by this store.


TRN T4 cable


Stock cable, meh.

Build/comfort:
The TRN VX is of very good build and is much lighter and smaller than what it looks like in pictures. Quite amazing they can squeeze so many drivers inside with such a small profile.

I've generally disliked MMCX connectors in IEMs due to their shorter lifespan so it is good to see the TRN VX uses 2 pin connectors.

There's no driver flex, and it is very comfortable and well fitting.


Isolation:
I brought the TRN VX for a spin on the subway and bus and isolation is about average.


Drivability:
The TRN VX is pretty drivable from lower powered sources like smartphones, and amping isn't truly mandatory, though there is a slight scaling of dynamics, soundstage and details with good amping.


Soundstage:
The TRN VX's soundstage is above average in width and depth. Height is about average.


Sound and Technicalities:
The TRN VX sports a bright V shaped tuning, with the upper mids/lower treble being rather harsh with default stock cables/tips. So this is a treblehead's dream, but treble sensitive folks or those that have fatigue with boosted upper mids may not appreciate it for longer listening sessions. It seems the VX tuning is catered mostly to their local Asian market, where they prefer boosted upper mids to complement their music, which features a lot of female vocals. They even have a term for it: musical poison 毒音, so the VX really lives up to its namesake of being a poison nerve agent! The upper mids/treble frequencies thankfully can be tamed with EQ, warm sources, foam tips/narrow bore tips, or certain tape mods, +/- copper cables (see below).

Technicalities like details, clarity, imaging and instrument placement are very good at the sub $100 range. The TRN VX borders on the analytical side, and is a good budget set for critical listening.

Timbre is good and accurate for BA timbre, but not as realistic as some dedicated DD sets (eg BLON BL-03, KBEAR Diamond) in the timbre for acoustic instruments, though it trumps these DD sets in the technicalities department. Note weight is on the thinner side, especially for the lower mids.


TRN VX graph, courtesy of KopiOKaya from Audioreviews (IEC711 compliant coupler). 8 kHZ area is probably a resonance peak.


Bass:
Bass quantity on the TRN VX is north of neutral, but not at basshead levels. It more or less is a linear bass from the midbass to the subbass. The bass on the VX is one of the speedier DD type bass, yet having a decay and subbass extension typical of DD.

Mids:
Lower mids on the TRN VX are recessed, with a boosted upper mids that may be fatiguing for longer listening sessions. Note weight is on the leaner side.

Treble:
This is a bright and airy set with slight sibilance. It has plenty of detail and clarity to suit trebleheads, but may be fatiguing for longer sessions at the lower treble region, especially with female vocals/horns/trumpets. Cymbals and high hats occasionally sound splashy.

I'm treble and upper mids sensitive, so I think others who aren't may like the default tuning just fine. Thankfully, I found a few ways to tame the upper mids/lower treble, and the TRN VX sounds very good with these methods:
1) Foam tips/narrow bore tips -> different folks have different ear anatomies and the TRN VX is tip sensitive, so u gotta try it to see what works for you.
2) Warm source with the VX helps
3) EQ - specifically to lower the 2, 4 and 8 kHz areas by around 3 dB helps.
4) Micropore mod -> stick a 2.5 mm x 2.5 mm 3M brand Micropore over the centre of the nozzle mesh. Lowers the upper mids. Don't cover entire mesh if not it will sound muffled!
5) Perhaps if u believe in copper cables taming treble (and ain't a cable skeptic), u can try that too, as the stock cable of the VX isn't the best. But I would think that cable changes to sound signature would be very subtle compared to the above methods. YMMV.

My personal favourites to tame the upper mids is via EQ or micropore mod.

Courtesy of KopiOKaya from Audioreviews, graph comparing stock form of TRN VX to micropore modded VX.


Conclusion:
The TRN VX is a technically proficient set, with great build and fit and above average soundstage. It has speedy bass for a DD bass, and has great extension at both ends of the FR.

The upper mids of the set makes it harsh for typical Westernized tuning OOTB, though I would think their own domestic Chinese market that likes boosted upper mids/treble and trebleheads will dig this. But it is actually a good set if u can put in a bit of work with some mods to lower the upper mids region, much like the infamous BLON BL-03 needed a bit of work OOTB for the fit (I would give it 3.5/5 stars for the TRN VX with mods, without mods I would have rated it 2.5/5).

I would be happy if TRN could release a "pro" version with some tamed upper mids, perhaps with a detachable nozzle or something.

Thanks for reading and enjoy the music!