Chinese Brands - IEMs Discussion

Yea. It started with something constant badgering on crinacle’s discord, then @MCM going to canjam and immediately loving them and letting me know (since we both have equally same tastes in gear and music) and then a random Reddit thread where @jrockwell set me up to meet with a local Anole VX owner and within about a minute of listening, I was sold.

And then when I got home I ordered it within an hour.

I happened to be in a vulnerable position of having recurring fit issues with Solaris. :slight_smile:

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Awesome! Hope you love them! :slight_smile:

On that note, what do you think of qdc as a brand? Tempted to pick up a fusion but I really don’t trust stuff that come from 深圳, would I be better off with a Fearless ACME or FH7/ Moondeop A8/ BGVP Art magic? (My grandpa lives near Fearless’s HQ in 鞍山 so it would be cheaper to get).

This would be my first experience with qdc, but you can buy it from musicteck in the US. The brand makes quality products from what I’ve been told by the online community, especially those in the Singapore and southeast Asia where the iems are very popular and very accessible for demoing.

Many of them rate qdc brand iems quite highly. The fusion was on my radar as a Solaris replacement but some folks I tend to trust said it wasn’t as good in a few technical areas as the Solaris, while still being a good IEM.

The Gemini and Anole VX are very well liked but also the most expensive.

Oh, of your list I haven’t listened to any of them but the Moondrop A8 was on my list as well as the Fearless S6 Pro

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5 posts were merged into an existing topic: Knowledge Zenith (KZ), CCA, Tripowin and Associated Brands Discussion

Hi all, thanks all for the warm welcome.

I bought 2 IEMs at the recent Summer Aliexpress Sale - one was the KZ ZS10 Pro as reviewed above, and the second one was the TFZ No. 3 (regular).
I read many good things about these 2 CHIFI IEMs, so I wanted to give them a try.
I think I will have to survive on scraps for the next few weeks as my wallet is totally empty haha.

This is my TFZ No. 3 review, not sure if there is a TFZ thread in this forum?

Out of the box, my initial impressions of the TFZ No. 3 were not very favourable, I found the bass over boomy and the mids recessed, with some harsh treble, but having burnt it in and listened more extensively, I am really really loving this IEM. So in the future, I have learnt not to make any firm impressions of any audio gear till more extensive listening. Just a few months ago, I was not a believer in burn in, but I am surprised that my initial impressions out of the box was so different after a week of listening. Not sure if it is a psychological brain burn in or there was some true mechanical difference in the equipment with use?

I have a few other CHIFI IEMs that are multi BA or hybrids, and I was wondering how a single DD driver IEM like the TFZ No. 3 can compete with these. So as it turns out, tuning is the more important aspect than the number of drivers. And the TFZ No. 3 is very beautifully and vividly tuned. It has a non fatiguing, warm and slightly dark signature that I can listen to for hours.

Build:
It is made of plastic, but is extremely light.

The stock cable is detachable and quite thick and of good quality with no microphonics. I tried a few different cables, such as the NICEHCK 8 braided cable, but decided to stick with the stock one in the end, due to the sound signature and fit. The stock cable has no chin clinch though.

It comes with many stock tips and after tip rolling a bit, I still found the stock ones to still suit me better.

Isolation/comfort:
These are one of the most comfortable IEMs I have ever used. I can wear it for hours with no issues. It is extremely light and ergonomic.
The isolation is also excellent. I have used it in the subway or crowded areas with good isolation.

Sound:
This IEM is easily drivable from smart phones, and doesn’t really need any amping. I have tested it so far with a HD Sonata and Fiio A3.

My initial impressions was that this was a V shaped tuning, but after extensive listening, it is more of a U shape, with mildly recessed lower mids (and boosted bass and slightly boosted lower treble/higher mids).

Bass:
Excellent bass (midbass and subbass) that is well textured, clear yet well controlled and detailed. The timbre is spot on and has quite fast response. It has no midbass bleed IMHO. The bass is the most emphasized of the entire frequency spectrum, but I never found it overpowering other frequencies so far. I am not a basshead by any means, but of the IEMs I own, these are one of the most bassiest ones, but I won’t quantify this IEM as a basshead IEM. The bass is definitely my most favourite aspect of this IEM.

Mids:
It has slightly recessed lower mids, but a boost in the higher mids. As such, male voices sound softer than female ones to me. Vocals and instrument tonality/timbre is superb and make me feel like I am listening to singing from the first row of a stage.
Resolution is good, but this IEM may not suit those who want a analytical signature for critical listening. Most of the details in the music can still be heard, but IMHO as a single DD Driver, it loses out to some other multi BA drivers in resolution.

Treble:
Lower treble is slightly boosted. Overall it is non fatiguing, with no silibance and very airy. There is a slight roll off in the higher frequencies, so maybe treble heads may not appreciate it. But nevertheless, most of the details are there and I can listen to the IEM for hours without fatigue. I never found the treble vocals harsh or shouty either.

Soundstage:
Above average as per most IEMs compared to open backed headphones.

Conclusions:
I initially wasn’t impressed with TFZ No.3 out of the box, but after listening for almost a week, it has steadily grown on me and I love it now. The excellent bass, great warm tonality, non fatiguing highs, and comfortable fit, can let me listen to it for hours.
Definitely at its price point of about $100, I would recommend it to anyone who wants a warm, non fatiguing, vivid signature. I would say this is not the IEM for those who prefer critical listening and an analytical signature.
I have not listened to the Kansas Moondrop Pro, but it seems for a single DD IEM, the Kansas Pro is the main competitor for the TFZ No. 3. So maybe some of you guys can enlighten me if you have the Kansas Pro?
I’ll still be using the ZS10 Pro as my daily driver, but the TFZ No. 3 has a totally more warm and laid back signature that is more suited for chilling and relaxing.

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Nice review.

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Peacock P1

They look better than they sound unfortunately. This is a V-Shaped IEM that is a tad bright.

Highly calibrated Measurements (analog)

Digital Measurements

First Impressions

Peacock P1

General

  • Beautiful and stunning design.
  • Great fit, and packed with accessories.
  • Comes with a bluetooth cable!

Sound

  • Big punchy bass, a little smeared
  • Mids are lacking detail
  • Treble is a little harsh and can be pretty bright
  • V-Shaped Sound Signature
  • A little generic sounding, but more detailed than brick & mortar store headphones
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@TylersEclectic I’m just going to put this here: https://www.aliexpress.com/item/33057691771.html?spm=a2g0s.9042311.0.0.4f0c4c4dfdrP6x

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Ooh, lavender purple!

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Ordered lol

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PEACOCK P1

Peacock Audio: Who are they? Where did they come from? Never heard of them and I couldn’t find any information on them besides the Linsoul.com listing for their new P1 in-ear monitor earphone. This single dynamic driver earphone is absolutely beautiful though, and these guys must have experience doing work before to make something as detailed and beautiful as how the shells on the P1 look.

This review unit was provided to me by Lillian of Linsoul. If you are interested in purchasing this, please visit the Linsoul Official Store or LSR-Direct on Amazon.com.

When I opened the package, I was greeted with layers and layers of stuff. The first layer had a nice fake leather case, similar to ones I already own. Then the IEMs are present in their beautiful gold, silver and black “peacock” feather design. They look like sand-art, with just great texturing and a look like no other universal IEM I’ve seen yet.

Once you hit the cables and tips, there’s another layer, which includes a Bluetooth cable! That’s a surprise. The cable that comes with the IEM is nice, white and thick. It handles pretty well and looks nice, and matches the aesthetics of the P1.

The shells have a custom-universal type fit but smaller than many of these types of shell designs that have been released recently, such as ones from BGVP, qdc, and others. This smaller shape really fits nicely for a deep, snug fit in my ears and I never felt any discomfort with them.

Sound

The P1 has a gentle V-shape sound signature that doesn’t sound quite as good as they look, but isn’t bad either. There’s boosted bass, a recessed mid-range and a peak in the 8K area that I am sometimes sensitive to, but I didn’t fit these to bother me as much as I normally would, most likely due to the upper-mids being boosted as well.

The P1 bass is elevated. They have quite a bit of rumble, and punch. Bass is presented a little muddy and flabby at times. It’s a little slower than I would like, and the fact that mid-range drops off quite a bit does cause some signs of muddy lower midrange behavior. W

The mid-range does sound a tad flat. The bass brings a lot of warmth, but also recession here, which makes the lower mids and central mid-range area not quite as defined and standing out. There’s a little bit of bloat in the lower-midrange, but I only find it distracting on songs that are bass heavy.

Luckily, the upper mid-range, which I find important, is done well, with a nice smooth curve with upper treble air that presents a decent spacious sound, though I still find this IEM to be rather forward and intimate sounding. It would be very congested if not for the airy treble, which borders on harshness and fatigue.

Some Select Listening

Fleetwood Mac’s The Chain

The very beginning of the track features a little bit of fiddling around and breathing and it’s barely audible on the P1. When the kick drum settles in, it’s the star of the show, standing in front and center, while the guitar string plucks ring in with good precision. I was surprised that the guitar strings in this track didn’t cause my fatiguing, and cymbals seemed well controlled.

The vocals of the band seem a tad more distant than I would prefer, and missing a little bit of it’s magic. When 2:13 rolls around, the drums again, take over the show. At around the 3 minute mark, the bassline has a nice rumble to it, while the snare drum seems well controlled. Once the guitar solo begins, and the track becomes a bit more busy, the P1 doesn’t seem to really struggle too much with this busy passage. There’s just enough distance between instruments and width to keep things from being congested.

Haelos’s Pray

This is a nice electro-rock song with a lot of ambience and bass hits. The P1 is well suited for these heavy bass strikes that crash in throughout the song. Each transition is met with a good amount of rumble and feeling, and drums seemed to be controlled relatively well. On a song like this, the advantage of having the vocals a little further back is that it does not become shouty, which I do find on headphones with a more mid-forward sound.

Mazzy Star’s Flowers in December

This acoustic classic from the early 90’s is one of my favorite songs. While it may seem like a sweet and gentle track, the bass guitar on this song is quite powerful and the P1 may overly emphasize it a bit, as it drowns out Hope Sandoval’s already quiet voice a bit more. That’s unfortunately, because her strained and breathy vocals are so full of raw emotion and feelings that it seems a like a sin to have it buried behind heavy bass notes. The harmonica featured on this song seems slightly muted and missing some of it’s dynamics, however it doesn’t fatigue like it may on some other headphones and earphones.

Comparisons

BGVP DM7

The DM7 is another warm-tuned earphone, but is more balanced in nature. It’s mid-range isn’t as far recessed, nor is it’s bass as elevated. The DM7 does lack a bit of treble extension and air that the P1 has though and may sound intimate and congested in relation to the P1.

BGVP DM6

The DM6 is also V-shaped, but I felt it was beyond my threshold for brightness leading to a very fatiguing and unappetizing listen. It’s very detailed and beats the P1 in that department, and also seems to be a bit faster, due to it’s BA configuration. I find the P1 a much more natural sounding IEM.

Moondrop KXXS

The KXXS shares many similarities in tuning to the P1, however the KXXS is just a tad brighter than I like and I ended up hearing some little bits of edgy brightness. The P1 is also more bass heavy and it’s definitely apparent when A-Bing between the two. This ends up being fatiguing to me. I do like the KXXS’s less bass-heavy presentation however, and picking it as my preferred normal listen.

Conclusion

In the end, I think the P1 is a decent sounding IEM, but I feel like the majority of the money and value goes into the excellent shell design, appearance, and comfort. The sound leaves a bit to be desired for the price tag and this is mostly because I find the tuning not overly exciting, but also doesn’t do anything particularly wrong either. It’s a little more elevated in the bass department than I would like, but it’s not so much that I find obnoxious. The mid-range is a little boring, and that’s very important to me, and that’s most of the reason why I find that the P1 is just missing an X-Factor in terms of sound.

That said however, I find the overall package of this P1 a pretty good investment. It does come in a beautifully designed shell that fits well, a nice carrying case, and the added bonus of Bluetooth cables to swap out for a semi-wireless experience.

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They do look pretty, however you rate the sound.

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Great review.

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The TRN V90 is a great-sounding budget hybrid (4BA +1DD) IEM. It has a bassy V-shaped tuning with surprisingly smooth treble. It is very comfortable but has an annoying venting issue.
Besides the venting issue, its biggest flaw is that the bass has average speed and articulation and can become confused and indistinct during fast and complex passages. The bass may be too much for listeners who prefer a more neutral sound.
All things considered, it replaces the CCA-C10 as my consumer-friendly budget hybrid IEM recommendation.

My full review, with measurements, pictures, and comparisons with the Blon BL-03 and KZ ZSX can be found on my blog: TRN V90

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I just posted my review of the TFZ S2 Pro on my blog.

The TFZ S2 Pro is a good if unremarkable in-ear monitor with a single 11.4mm graphene-diaphragm per side. It has fast, well-articulated bass. It can be sibilant and has a potentially harsh lower treble peak. The cable and accessory set is much nicer than its competitors but there are other options at this price point with more refined tunings.

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Nice review. I haven’t tried the BL-03 yet, but I found that the V90 has a much smoother presentation than the ZSX. ZSX tended to have overly forward / sharp lower treble / upper mids, to the point where high vocals sounded somewhat jarring. The V90 is really scooped in the mids but somehow managed to sound pleasant and not regressed.

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I have recently received the Shuoer Tape IEM from Sunny at Better Audio US,at Amazon. I feel it seta a new standard in its field. Here is my review:

The Shuoer Tape is an innovative IEM featuring new technology. It employs two drivers, a 10mm “nanotechnology” dynamic driver (presumably carbon nanotube) and a “low-voltage electrostatic unit”. There is some uncertainty about the driver complement as the dividing network is described as “three-way frequency distribution” and this would require an extra drive unit.

The packaging, too, is unusual, being drum-shaped and bright orange with a design of piano keys encircling the lower part of the container. Removing the lid, the IEMs are displayed in a foam holder, below which there is a green metal tin shaped like a UFO. Unscrewing this reveals the cable, five sets of silicone tips (one is pre-fitted on the IEMs) and some documentation.

The cable is an MMCX four-core loosely-braided copper type terminated with a 2.5mm balanced connector. A 90 degree 3.5mm adapter is included and there is a cylindrical metal Y-split and a small silver-coloured chin slider.

The IEMs themselves are solidly constructed from CNC machined aluminium and are finished in anodised black. The faceplates feature two large bolts which are designed to resemble cassette tape spools (hence the name, “Shuoer Tape”), with a silver mesh grille between them. It is not clear whether this acts as a vent for the dynamic driver. There is clear channel identification on the earpieces, which are rectangular in shape with angled corners and are surprisingly comfortable to wear. Using the pre-fitted tips, I obtained an excellent fit and seal.

Before testing, I completed a burn-in period of 100 hours, after which the IEMs were evaluated using an Xduoo X20 DAP via line-out with a Topping NX1a amplifier. I did try the balanced output of the DAP but discovered that the advantages of this were outweighed by the improvement gained by the extra power, which is when the Tape really came to life.

The benefits of the electrostatic driver were immediately apparent, with the Tape displaying superb speed and transient attack, impressive levels of detail and excellent timbre. Moreover, the character of the dynamic driver possessed a similar clean and immediate quality which blended perfectly with the treble unit, resulting in a seamless transition across the frequencies. The overall balance was neutral with well-extended bass, a slightly forward midrange and a bright and airy upper register.

Bass

The superb transient capability of the Tape endowed the bass with wonderful clarity and impact. Extension was also very good whilst avoiding boominess and colouration. The powerful percussion in Aaron Copland’s “Fanfare for the Common Man” performed by the Eos Orchestra was a perfect example. Timpani and bass drums sounded clean and potent with a great sense of weight behind them. This contrasted very well with the incisive trumpet solo, providing a perfect backdrop for the rest of the orchestra. Jonn Serrie’s “On a Frontier of Fables” is a large scale space music epic from his album “Planetary Chronicles Vol.2”. It is an episodic piece containing some deep synthesised tones which reach far down into the sub-bass. The timbre and texture here were maintained at the same time as delivering serious depth and power and remaining musical at all times. The electronic interpretaion of Faure’s “Libera Me” by Schonherz and Scott was another instance with the rhythmic bass line plumbing the depths while complementing the beautiful flowing melody.

Midrange

The clean delivery and low colouration extended from the bass into the mids, which were free from bass bleed. This produced a very transparent presentation. Benny Andersson’s “Piano” album consists of solo renditions of his compositions. Linn Fajal’s wonderful recording is clear and open and the Tape really shone here. “The Day before You Came” explores the whole range of Andersson’s Fazioli instrument and the authentic timbre was very impressive. The reproduction of the overtones and the natural decay of the notes added to the realism of the performance and took you right into the studio with the artist, drawing you in to the music. Hennie Bekker is an accomplished electronic musician and on his “Mirage” album he displays his prowess with the Synclavier. “On and on and on” features a cyclic motif with the principal voice resembling a harpsichord. This came over with clarity and precision and excellent timbre accompanied by woodwind samples and sweeping string synth patches, which all combined to magical effect.

Treble

Perhaps the highlight of the Tape’s sound, the treble possessed superb clarity, resolution and precision, with a wealth of detail on offer and often allowing me to hear subtle details I had not noticed before, even in familiar music. Listening to Grace Jones’s “Private Life” resembled sitting in front of the monitors in a recording studio, with everything precise, clear and well-defined, enabling me to hear every detail of the track as the producer intended. Percussion was snappy and incisive and Ms Jones’s voice clear and articulate even above the complex many-stranded production. Kevin Kendle is a British electronic music artist and his latest album “Terra” explores the landscapes of the earth. “Ice” portrays the polar regions and the shimmering crystalline sound effects recalled frozen snowy vistas, with the high string voices complementing the percussive elements beautifully, producing a very atmospheric scene. Pachelbel’s “Canon in D major” in a stately interpretation by the J. Paillard Orchestra featured a bright harpsichord continuo backing graceful strings. The harpsichord solo was very well-defined and the rhythm of the piece was attractively rendered.

Soundstage

The Shuoer Tape managed to reproduce three-dimensional elements very accurately. Where the production demanded it, the presentation was either intimate or wide-ranging. Trevor Horn’s vocals in “I am a Camera” by The Buggles stood out beautifully from Geoffrey Downes’s atmospheric synth accompaniment, with studio reverb and other spatial effects perfectly rendered. The sense of depth in this track was particularly notable. “Elesewhere” from Vangelis’s album “Direct” contains a wealth of electronic effects dancing around the stereo image, creating a perfect foil for the anthemic melody line. Electronic woodwind and deep resonant bass filled out the production and it was all contained within an expansive acoustic. “Aragon” is the third movement of Albeniz’s “Suite Espanola”. In a colourful and vibrant orchestral transcription by Rafael Fruhbeck de Burgos, the position of the various instruments was accurately portrayed, taking the listener direct to the concert hall which was laid out impressively before me. The quality of the vintage Decca recording shone through.

Conclusion

There have been a number of new driver types appearing recently. Piezoelectric units (BQEYZ Spring 1 and NiceHCK NX7), Planar drivers (Tin Hifi P1 and TRI i3) and now electrostatic drivers. The Shuoer Tape has remarkable speed and clarity with excellent fine detail. It is tempting to ascribe this to the electrostatic unit but we must not forget its partnering dynamic driver which keeps up in terms of speed and resolution. The crossover is also well designed, delivering a smooth transition from bass to treble whilst maintaining a timbre across the frequency range. Being a new type of hybrid, it is difficult to make like-for-like comparisons, but of the earphones in my collection the sound of the Tape most resembles the Senfer DT6 Pro (1DD + 2BA + Piezo). The treble tonality does resemble that of a piezoelectric driver but adds a crystalline quality which is very appealing. Listening to the Tape is like dusting off all your music tracks and hearing them sounding shiny and new! With a wide frequency response, excellent accuracy and detail, the Tape manages to combine a crisp analytical quality with entertainment and musicality. It does it all, and could be described as the Swiss Army Knife of IEMs.


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The iBasso IT04 is a hybrid in-ear monitor with one graphene diaphragm dynamic driver and three balanced armatures on each side. The IT04 retails for $499. I received the IT04 through Headphones.com’s Community Preview Program and will ship the IT04 back shortly after this review goes live.

This review can also be read on my blog: iBasso IT04 Review

SOURCES :

I have used the iBasso IT04 with the following sources:

  • JDS Labs The Element
  • Apple USB-C to 3.5mm dongle

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 iBasso IT04 comes in a rectangular black box with a white slipcover. The IT04 is pictured on the front of the slip cover. The back panel of the slipcover lists the IT04’s technical specifications in eight different languages. Inside the box is a large round screw-top metal case containing the IT04 earpieces, a black cardboard box containing a braided detachable cable with MMCX connectors and a 2.5mm balanced termination, a 2.5mm balanced to 3.5mm single-ended adapter, five sets of silicone eartips in varying colors and bore sizes (S, M, L), and 1 set of foam eartips (M, L). The metal screw-top case will not fit the IT04 unless one removes the foam insert.

BUILD QUALITY / DESIGN:

The iBasso IT04’s teardrop-shaped, pseudo-custom fit earpieces are made of glossy black plastic with blue-grey carbon-fiber patterned face-plates behind a clear laminate coating. The faceplates are marked with the text “InTune” in silver script and “iBasso Audio L/R” is printed in white text on each shell. The shells are likely the largest of any IEM I’ve worn. The shells have two circular vents on the ear-facing side, one at the base of the nozzle and one in the center of the shell. The IT04’s nozzles are plastic with metal mesh protective grills. The nozzles do not have a lip for securing eartips, but I did not have any issues with tips coming loose in my ears while using the IT04. The right side earpiece had significantly worse driver flex than the left side earpiece.

The IT04 comes with a beautiful mixed silver and copper MMCX cable. The MMCX connector housings, chin slider, Y-split, and 2.5mm jack housing are all metal. The MMCX connector housings are labeled “L/R.” The braided cable does not have pre-formed ear-guides or memory wire. The cable is not tangle-prone or microphonic. There is strain-relief above the straight 2.5mm jack and below the MMCX connectors but none at the Y-split. The 2.5mm to 3.5mm adapter uses the same cabling and hardware materials and has strain relief above both terminations.

COMFORT / FIT / ISOLATION:

The iBasso IT04 is intended to be worn cable-up only. The large size of the shells makes them uncomfortable for me to wear for more than an hour or two. The nozzles provide a deep enough insertion depth to facilitate a good seal with all of the included eartips. Secureness of fit and isolation are both above average.

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. The magnitude of the valley around 7k is a coupler artifact. There is a resonant peak around 8k. Measurements above 10k are not reliable.

I have measured the iBasso IT04 under two test conditions. The blue line is a measurement taken with the vent closest to the nozzle taped over, while the green line is a measurement taken with the vent uncovered. As shown, the IT04’s frequency response varies wildly depending on the degree to which the vent closest to the nozzle is covered. Depending on the tip used, the insertion depth, and one’s ear anatomy, one can get a completely different sounding IEM depending on the degree to which the vent is blocked.

Below is a measurement under ideal conditions, where the nozzle-adjacent vent on each IEM is completely taped over:

I think it is a poor design to require the nozzle-adjacent vent to be completely covered to get what I assume is the intended, non-anemic bass response and an uncompromised upper midrange. Even putting that aside, I expect better channel matching from a $500 IEM.

SOUND:

Under the ideal conditions described above, the iBasso IT04 has a U-shaped tuning with a strong lower treble emphasis.

The iBasso IT04 has excellent sub-bass extension. The lowest sub-bass is more prominent than the mid-bass. There is a fair amount of impact, slam, and rumble. The bass has very good speed and articulation but does not sound as effortlessly quick as more recent offerings utilizing diamond-like carbon diaphragm dynamic drivers. The IT04 has excellent bass resolution. Bass texture is good but not stellar.

The midrange has a slightly cool tonality. Instruments in the lower midrange have adequate body but clarity is emphasized over warmth. Female vocals are a tiny bit more forward than male vocals. Male vocals are conveyed with grit but are slightly dry. Female vocals are rich and vibrant without being sibilant or overemphasized. There is a healthy amount of presence.

The treble prioritizes sparkle and detail retrieval over spaciousness. This lower treble emphasis can be too pronounced depending on the recording but is not usually harsh. Treble transients are quick and do not smear. There is limited air.

Soundstage is larger than average. Imaging and instrument separation are very good. Timbre is mostly realistic if cool and slightly dry.

AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING:

The iBasso IT04 can easily be driven to comfortable listening volumes with a smartphone or dongle. I did not notice hiss with either of my sources.

COMPARISONS:

iBasso IT04 vs Tanchjim Oxygen

The Tanchjim Oxygen uses a single diamond-like carbon diaphragm dynamic driver. The IT04 has more prominent sub-bass than the Oxygen, with greater rumble. Impact and slam are roughly comparable between the two IEMs. The Oxygen has a faster, better-articulated bass with slightly greater texture. The two IEMs have similar bass resolution. Female vocals sound slightly more vibrant on the Oxygen. The Oxygen has a more even treble presentation with a more restrained lower treble region and more air in the upper treble. The Oxygen has a much smaller shell size and is more comfortable for me to wear for long periods, but requires extensive aftermarket tip rolling to get a secure fit. The Oxygen has a slightly larger soundstage and better imaging. The Oxygen is harder to drive. The IT04 comes with a much nicer cable and a more impressive set of accessories. The Oxygen uses slightly recessed 2-pin connectors instead of MMCX.

CLOSING WORDS:

Under ideal conditions, the iBasso IT04 is a highly detailed and resolving IEM but its shell design may not be comfortable for all listeners. However, I do not feel it is a reasonable design assumption to rely on the nozzle-adjacent vent to be completely blocked by variable ear anatomy in order to get the intended frequency response. Not recommended.

9 Likes

Excellent review. As always full of information and fine detail.

1 Like