Chinese Brands - IEMs Discussion

Thanks. It’s the best build quality I have seen so far, immaculate. I’m really enjoying them. Next up is the TRN ST1 and after that the KZ BA10!

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The ThieAudio Voyager 3 is an in-ear monitor (IEM) utilizing three balanced armature drivers per side. The Voyager 3 uses a three-way crossover with two separate sound bores. It also has low and high tuning switches which allow the user to adjust the level of bass and treble. The ThieAudio Voyager 3 is a strong effort in terms of physical design and build quality. However, I do not feel its tuning is competitive at this price point. The inclusion of tuning switches at its price point is novel, but I recommend future efforts by the company incorporate switches which target narrower frequency bands instead of splitting the frequency response down the middle.

My full review is up on my blog: https://medium.com/bedrock-reviews/thieaudio-voyager-3-review-7dc97c42e848

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My newest acquisition is the CVJ CSN hybrid IEM. I received this from Aimee at IZ POP via Amazon.com for review. Below is my review of it.

The CSN IEM is the second recent release from the CVJ company. It is a more ambitious design than the earlier dual hybrid CSA, and features six drivers per channel (1DD + 5BA). The driver complement comprises one 10mm dynamic driver for the bass region, featuring a double magnetic design using N52 neodymium. Two 50060 balanced armatures cover the midrange and three 30095 BA units are employed for the treble.

Like the earlier model, the IEMs are presented in a sturdy hardboard box in a black crackle finish with silver writing. Lifting the lid reveals the earpieces fitted in a card cutout along with two sets of black and red medium bore tips. A third set of tips is pre-fitted to the IEMs. The earpieces are finished in an attractive metallic light blue and are constructed of a magnesium and aluminium alloy. They are very well made. There is a small vent in the centre of the faceplate which has four triangular sections meeting in the middle and resembles the BA5 and ST1 models by TRN. Another small vent is placed at the base of the nozzle. The faceplate features the CVJ logo and the words “12 hybrid” in a small font on the lower edge.

The connection is standard 2-pin and the cable is a 4-core braided type identical to that supplied with the CSA model and similar to that supplied by TRN or BQEYZ. The black metal 3.5mm plug bears the CVJ logo and the Y-split is also metal. The run between the Y split and plug is quite long and there is no chin slider so the cable is a little prone to tangling. Also included in the box were three sets of silicone tips (also similar to those supplied by TRN), a brown carrying pouch, a velcro cable tie and documentation. All in all, a good presentation. However, being a more premium model, I would have liked to have seen a better quality cable at this higher price level.

I followed my usual practice of burning in the IEMs for 100 hours to settle down the components, after which they were evaluated using an Xduoo X20 DAP. The stock cable was of acceptable quality but I wanted to maximise the potential and so used a high quality hybrid balanced cable. The pre-fitted medium silicone tips were used.

After being impressed by their earlier CSA model (especially with regard to the largely neutral sound profile), I was hoping for great things from the more premium model. I have to say that I was not disappointed. The CSN similarly displayed a neutral character with a touch of extra brightness. Detail retrieval was excellent and transient response snappy and immediate. The bass region was somewhat sub-bass focused with a neutral mid-bass, the midrange was a little forward and the treble clean and well-extended.

Bass

There was a mild emphasis in the sub-bass which transitioned smoothly into the mid-bass, which was largely neutral in character and resulted in a very clean and detailed presentation. Texture and resolution were first class, as evidenced in Richard Souther’s “The Long Riders” where the deep synth bass and bass guitar formed a weighty and solid foundation for the cello’s lead melody. Throughout the complex production, the bass maintained its focus and definition. Phamie Gow’s “Regreso a Chile” similarly impressed with the lowest notes of her piano possessing excellent timbre and a natural decay. The reproduction of the harmonics here was impressive, and preserved the character of the instrument perfectly. In Rachmaninov’s “Symphonic Dance No.1” performed by the Minnesota Orchestra under Eiji Oue, double basses, bass drum and timpani impressed in equal measure with an immediacy which was testament to the fast transient response of the dynamic driver. Due to its speed, it was more reminiscent of a BA driver. The verve and life in this superb 88KHz Reference Recordings production was thrilling.

Midrange

Like its little brother, the CSA, the mids displayed a neutral, or slightly bright, tonality which was a touch forward in comparison to the bass and treble. Clarity and detail were the watchwords here and instruments sounded very natural. However, I did, sometimes, wish for just a little more warmth. The timbre of the solo cello in Holst’s beautiful “Invocation”, performed by Julian Lloyd Webber, was full of subtlety and wonderfully rich, with every nuance precisely etched. The imaging in this recording was very evident, allowing the cello’s relationship with the orchestral accompaniment to be fully appreciated. Shostakovich’s Second Piano Concerto was another perfect example in the recording by I Musici de Montreal with the composer’s grandson at the keyboard. The solo instrument was presented clearly above the orchestra and once again, showed a very natural timbre. The sweep of the supporting orchestral strings was very impressive. As a consequence of this midrange clarity, vocals were clean and articulate, allowing lyrics to be heard perfectly. Cat Stevens’s “Father and Son” was very enjoyable, with the contrast between his portrayal of the father’s voice and then the son’s, an octave above, really telling the story. The varying tonality of Cat Stevens’s voice was easy to discern above the bright and detailed guitar accompaniment.

Treble

The bright and clean nature of the CSN’s treble was enhanced by excellent transient performance and good extension, which delivered “air” and detail in spades. This region was largely free of peaks and sibilance only occurred when present in the recording. The immediacy of the digital piano in Rick Erlien’s introduction to “Yosemite” was striking. The impact and attack drove the piece along in style with animation and life. Gerald Finzi’s “Introit” is a piece for solo violin and orchestra. Lesley Hatfield’s violin sounded clear and expressive and the subtle high harmonics at the conclusion of the piece were beautifully rendered, once more displaying the natural timbre on offer. Vangelis’s “Rosetta” is an electronic work inspired by the comet probe of the same name. “Exogenesis” sounded superb with synthesised woodwind, percussion and a fast-paced complex bass line combining to great effect. The tonality of the cymbal-like effects had a wonderful metallic quality with intricate detail adding to the enjoyment.

Soundstage

The CSN’s soundstage possessed equal dimensions in width and depth and a little extra in height which lent a very spacious quality to the sound. Emmanuel Chabrier’s “Espana” rhapsody, in a version by the Minnesota Orchestra, took the listener direct to the concert hall with a rich and full presentation of an orchestra in full flow. Basses, percussion and strings occupied their assigned positions and brass shone brightly above them. Climaxes were dynamic and powerful yet retained detail and balance. The ambience of the recording venue was nicely reproduced. Robert Aeolus Myers’s “On Angels becoming Human” is a complex electronic soundscape with subtle woodwind-like figurings entwining with electronic effects, and underlain by a bass drone. The CSN managed to sort all this out and display all the elements separately yet at the same time integrated into a musical whole. The characterful, husky voice of Anne Murray in “You Needed Me” was nicely positioned centre and slightly high above the guitar and bass accompaniment. String sections added depth and harmony and the whole image was very well balanced whilst still presenting the solo voice in a prominent position with the well-defined reverb adding space.

Conclusion

The CSN enters a very crowded sector with the KZ ZSX and CCA’s C12 already well-known and respected. Joined recently by TRN’s VX and CCA’s latest CA16, the multi-driver arena is now more competitive than ever. However, with its neutral/bright tuning and excellent clarity, the CSN really does offer an interesting alternative. With a sound profile similar to Tin Hifi’s T3 and T4, it bucks the trend of V-shaped IEMs commonly found in this sector. The CSN possessed excellent coherence with the transition between the various drivers seamless. In comparison, the CCA C12 is more V-shaped, with a bright emphasis in the upper mids/lower treble. It does have a little more warmth due to the mid bass rise. KZ’s ZSX, on the other hand, has a warmer, more friendly tonality and is very smooth, but occasionally lacks definition. The CSN majors on detail and accuracy, rather in the manner of an all-BA set such as the CCA C16 or A10 but with a less incisive top end and a more powerful DD bass. It does sound quite similar to TRN’s BA5 (and resembles it in appearance), so will appeal to those seeking a mid-centric well-balanced IEM. Bassheads, of course, will have to look elsewhere. CVJ’s first two releases have been very successful and they seem to have established a neutral “house sound”. Their next model is awaited with anticipation.

Product link: https://www.amazon.com/CVJ-Earphones-Magnesium-Detachable-Audiophile/dp/B087D7KRTJ





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Great review again @Nimweth

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Thanks, Paul. I am very impressed with CVJ’s offerings so far. I am a fan of their neutral or mid-centric sound profile. I think the CSN is one of the best multi-hybrids in my collection.

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4 posts were merged into an existing topic: Thieaudio In-Ear Monitors

Audiosense T800 : some impressions and a lot of pictures.


A few weeks ago I got the Audiosense T800 as a result of my hunt for a better IEM. The new and uncomfortable turn my work is having since de beginning of this year and COVID making it worst is keeping me away from my desktop rig and forcing me to use more and more portable solutions . Some times the chance to use my IFI Micro allow me to enjoy again my over the ears cans, but most of the time my choices are limited to Fiio BTR5 and ES100 as a dac/amp and due to lack of isolation my beloved LCD i3 are not ideal.

T800 is an incredible resolving ,clear and detailed IEM with an extended and energic deep bass for a BA. Treble is extremely detailed and instruments separation is phenomenal as well as soundstage, very fast and musical , very good imaging ,but before I start spreading my hype like a virus it is fair to confess that my experience with IEM was confined to a bunch of cheap KZ’s being ZS10 pro and CCA C16 my best ones

Build of resin, T800 feels amazing and they look very nice, comes with two cables one 8 cores OCC and 4 cores SPC the second ,ending both of them in 3.5mm and it uses MMCX connectors. Also 3 pairs of silicone and 3 of foam tips are included. The T800s use 8 BA per earpiece.
Isolation is the best of all my IEM. Size is on the big side, I believe my ears are average for an almost 6f guy and they are on the limit I can handle without discomfort. My longest session so far was of about two hours straight and no discomfort or pressure of any kind and also no treble fatigue. The reason I’m making a point on size of the earpieces and bright treble is because these two things are the only I can think of being a problem for people , especially people with small ears and/or treble sensitivity.

They use Knowles drivers and come with a pair of Knowles dampers preinstalled, those filters are removable. There are like a hundred post on Head-Fi about the changes on the sound you can archive by removing the installed ones and putting others or even by installing the new ones over the factory dampers. Most of the users claim the dampers affect more the bass and treble, depending the one you are using, but the mids get little change if none( it is a V shaped sound by the way).I got the whole set of dampers and the tool for the work on AE just in case I need to do some adjustment, but T800 sound fine and don’t need more than a better pair of silicone tips for my taste. I’m waiting for a balanced cable and that’s it. Maybe in the future, since I already have the dampers, I play with the sound a little bit.

I included some pictures next to my ZS10 pro and C16 for size reference.
Sorry for these some how weak impressions, but the T800 are extremely impressive performers and there was nothing about them here and I was felling that I should post something .

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Great writeup. Nice photos too.

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Thanks @prfallon69!! They are impressive on detail and clarity !!

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My full review of the TRN VX, with measurements and in-depth comparisons with the TRN V90 and the KB EAR Diamond is available on my blog: https://medium.com/bedrock-reviews/trn-vx-review-b7f8b0e8d16a
The TRN VX is a bright-sounding hybrid (6BA+1DD) in-ear monitor that retails for around $73. It is the successor to the TRN V90, which I had previously reviewed and found to be a safe recommendation for bass heads and general consumers. 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.
The TRN VX sounds like the TRN V90 with less overwhelming bass, and while the overall presentation is undeniably clearer, the upper half of the VX’s frequency response remains nearly as intense as that of the V90. I do not feel the VX’s technical performance is sufficiently improved to justify more than double the purchase price of the V90, and it has such a different tonal emphasis than the V90 that it doesn’t make sense as a direct upgrade anyway.

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Already posted in the Ultra Cheap IEM thread and the Discovery one. Thought I’d post here too (in case somebody doesn’t follow the other two):

TL;DR I like them. Amazing choice, but underrated

I have been testing the new CA16 from CCA. Here is my review:

Introduction

The CA16 is the latest model from KZ’s sister company CCA (Clear Concept Audio) and is their first product for about 9 months. It is a hybrid design featuring eight drivers per side (1DD + 7BA). The dynamic driver is a new design with a 7mm diaphragm and dual Neodymium magnet and covers the bass region. The midrange is handled by two sets of the new dual BA type 50024 (four BAs in total). Whether these are the same as the DWEK units in the previous C12 model is not clear, though published illustrations of the two units are very similar. Three 30095 BAs are used for the treble frequencies in a configuration previously seen in two other recent multi-driver hybrids, TRN’s VX (1DD + 6BA) and the CVJ CSN (1DD + 5BA) but was actually first used in the all-BA TRN BA5. There are no BA drivers placed within the nozzle as in previous designs.

Description

The earphones come in a sturdy white box with a linen finish, somewhat more substantial than the traditional CCA/KZ packaging we are used to, and similar to, though smaller than, that supplied with the Senfer DT6 Pro. Opening the box the earphones are presented in a cardboard cut-out below a small envelope containing the documentation. Below this is another small box in which there are the spare eartips and the 2-pin cable. There are some specifications printed on the back. At this price this was a little disappointing, considering that the CVJ CSA at $17 comes in a wooden box and includes a better cable and a carrying pouch.

The earpieces are formed from a glossy black plastic material and bear a prominent CCA logo. They are light in weight and do seem a little cheaply made compared to those of the C12 and C16 which feature metal faceplates. Considering that the CA16 is their flagship model, I would have expected a more substantial construction. The nozzle is gold-coloured with a silver mesh and there is a small pinhole vent at the base and another similar vent in the centre of the rear of the earpiece. The words “16 hybrid technology” are written on the side along with discreet channel identification. The shape is quite complex, resembling KZ’s ZS4, and they are a little bulky but surprisingly comfortable to wear, not protruding very much from the ears. The supplied eartips are made of a white translucent silicone and have a fairly wide bore and parallel sides. The medium size is pre-fitted to the earpieces and I also found these very comfortable.

The supplied cable is the usual 4-core braided type seen on various CCA and KZ models. There is a long run from the chunky Y-split to the QDC connectors and no chin slider and it tangles very easily. The ear guides are quite tightly curved but fit snugly round the ear.

The earphones were auditioned using a variety of sources, across a wide selection of musical genres, primarily my Xduoo X20 but also a Sony NWZ-A15, a Huawei smartphone and a CD player. The supplied cable and tips were used and a burn-in period of 100 hours was carried out. The CA16 proved slightly power-hungry, with my Huawei smartphone needing to be at 100% volume for an acceptable level and my Xduoo X20 DAP volume at around 50% compared to an average of 33%. The C16 scales well and benefits from using an improved cable (preferably balanced) which brought out extra detail and improved the staging as well as providing an enhanced volume level. Adding amplification (I used a Fiio A5) tightened the bass and improved impact and transient attack.

First Impressions

Initial impressions were very positive. It was clear that with the CA16, CCA had a more neutral or “audiophile” tuning in mind. Bass was firm, well-extended and possessed good resolution and texture. Midrange was free from bass bleed, open, expressive and clear and not noticeably recessed. Treble was sweet with good detail and extension, sounding airy and clean. The soundstage was expansive with precise imaging.

Bass

The new 7mm bass driver delivered an excellent performance with depth, resolution and texture all first class. The emphasis was well-judged, being set somewhere between the sub- and mid-bass and delivered both sub-bass rumble and mid-bass punch in equal measure. The integration with the other drivers was seamless.

In Richard Burmer’s “A story from the Rain” the powerful drum strikes following the calm introduction hit hard with an impressive attack and decay while the percussive and woodwind elements remained clearly audible. The agility, speed and clarity in the fast paced sub-bass riff in “Siren’s Song” from Mark Dwane’s “Archives 2” was astounding with each note possessing depth and slam and being precisely defined while supporting wordless female vocals and incisive rhythmic elements. Everything was presented in perfect balance. A wonderful performance.

The beautiful recording of Symphony No. 3 by Saint-Saens with the CBSO conducted by Louis Fremaux and Christopher Robinson at the keyboard was another good example. In the second movement the organ returns to accompany the main melody after the bridge. At the 6:40 mark the organ is at its deepest with the 32’ pedal notes firm and powerful, superbly reproduced with depth, weight and wonderful timbre and forming a perfect foundation for the smooth string accompaniment.

David Essex’s “Rock On” features double-tracked bass guitar and drums in a complex production by Jeff Wayne. Drums had good impact and speed whilst the bass guitar displayed impressive “growl” and texture even on the lowest notes.

Midrange

Openness and transparency were the keywords here with layering, imaging and separation clear and precise. The timbre was very natural. Andy Dragazis’s “Figure Ground” from his album “Afterimages” presents solo cello against imaginative electronic and acoustic backgrounds. The timbre of the solo instrument was very natural with the accompaniment clear and delicately detailed and the choral effects at the conclusion soaring above the instrumentation to great effect.

Benny Andersson’s “Piano” is an album of solo piano pieces. “En skrift I snoen” has a lovely plaintive melody and the CA16’s natural timbre portrayed Benny Andersson’s Fazioli instrument accurately and with great musicality, depicting the subtle harmonics which defined the character of the instrument through attack, decay, sustain and release. The atmosphere and ambience of Linn Fajal’s superb recording was captured perfectly.

Lee Holdridge’s “Elegy for Harp and Strings”, performed by the Nuremberg Symphony Orchestra proceeded serenely on its way with the solo cello and harp clearly defined and presenting the lovely melody with sensitivity and feeling. The string counterpoint in an ascending and descending major scale was very effectively portrayed.

Treble

The treble was clean, extended and detailed. Slightly brighter than neutral but not tending to harshness or sibilance, it remained smooth and open. The decision not to place drivers in the nozzle has certainly paid off.

Sarah Chang’s performance of Vaughan Williams’s “The Lark Ascending” with the LPO under Bernard Haitink displayed this admirably, with the solo instrument clearly positioned in the stereo image with its timbre realistically depicted and every detail of the bowing authentically realised. The balance between the violin and orchestra was perfect.

Isao Tomita’s “Electronic Realisation” of Grieg’s “Solveig’s Song” from his “Kosmos” album was exciting and powerful with the minor key swirling string figurations supporting the central melody to great effect and imparting an unsettling sense of foreboding. The dynamic range in this piece was thrilling, swelling to an impressive climax.

Supertramp’s “Know who you Are” features acoustic guitars throughout with instruments placed left and right and the clear and distinctive vocals of Roger Hodgson in the centre. Each note of the guitars was well defined with the plectrum sounds easy to discern, even during the conclusion with a full string orchestral accompaniment. Once again the balance was perfectly judged.

Soundstage

The CA16’s soundstage was impressive with excellent width and height, and the superb transparency of the midrange producing an unusually good depiction of depth. A good example of this was in Mychael Danna’s “Sky 10” from his “Skys” album, a collection of electronic pieces inspired by Canadian skyscapes. The various layers of this densely scored synthesiser piece were laid bare and their layering and positioning within the image was very apparent. During the climaxes all the disparate elements retained focus.

The introduction to “Become Ocean” by John Luther Adams, performed by the Seattle Symphony Orchestra, features a deep sub-bass drone accompanied by delicate arpeggiated figuring and higher frequency drones forming a choral effect. It was redolent of rising from the depths, and the expansive nature of the soundstaging filled my head with sound.

Pink Floyd’s “High Hopes” from “The Division Bell” begins with piano chords, tolling bells and nature sounds filling every available space in the image and the CA16 rose to the occasion admirably with all the various sounds occupying their allotted places and producing the intended spacious effect. David Gilmour’s vocals stood out clearly from the background with the reverb on his vocal track very well-rendered.

Conclusion

With the CA16, CCA have delivered a well-balanced IEM with audiophile pretensions and fine musicality. It avoids the bright upper mid/lower treble emphasis of the C12, instead exhibiting a smooth transition between the drivers. The CA16 reminds us what this hobby is all about: the music. There is very little to criticise here and the choice between other competing models in the same price range will largely be a matter of personal preference. The KZ ZSX has a warm/neutral presentation with powerful bass and more reserved upper frequencies, but loses out to the CA16 in terms of detail and resolution. CVJ’s CSN has a similar sound profile but is more neutral and is cooler in tonality, has superior build quality and a better cable. The TRN VX also has a quality alloy construction and is, according to recent reviews, more V-shaped with a bright treble, majoring on detail (I have one on the way!). The CA16 treads a middle path between these extremes, with an accurate timbre, a slightly warm tonality, excellent detail retrieval and expansive staging. It is without doubt, sonically, the best CCA design to date and is highly recommended.

This sample was provided for review by Sunny at Better Audio US, Amazon USA.

Link: https://www.amazon.com/gp/aw/d/B0897BC37V?psc=1&ref=ppx_pop_mob_b_asin_image#immersive-view_159388047613




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Excellent review, as usual, is a pleasure to read!! it looks like a step forward from the BA CCA C16.

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Thank you. It’s always nice to get positive feedback!

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Really great review @Nimweth. Great stuff.

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Thanks Paul. The CA16 is a good one, right up there with the CVJ CSN as a top hybrid. Can’t wait for the TRN VX to see how it compares!

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Yeah, I’ve heard good things about the CA16. I may have to try it out sometime.

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TRN VX is maybe my next review. It actually sounds really good… except theres a treble spike around 8-10K that can be deadly. If they had toned that down, it’d be a very solid iem. Still good, with EQ.

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Here is my review of the TRN VX which I have been listening to for the past week:

Trn VX

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

Product link:

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!




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Great review. Good read.

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