I have been evaluating the TRI X HBB Kai. Here are my impressions:
TRI x HBB Kai
I would like to thank Ann from Keephifi.com for supplying this sample for review.
Product link :
【TRI x HBB KAI】3rd Generation DLC Diaphragm Dynamic In-ear Earphone
Description
The TRI Kai is an IEM produced in collaboration with respected online reviewer Hawaiian Bad Boy (HBB) also known as BGGAR (Bad Guy Good Audio Reviews). It has been tuned to follow HBB’s preferred frequency graph which is a somewhat modified version of the Harman tuning. Collaborations with online reviewers are a new trend in IEMs. We have seen CCA, KZ and Tripowin, amongst others, releasing models in conjunction with Crinacle and HBB. This is the first such model from TRI and also its first single DD model.
The Kai employs a 9.8mm dynamic driver featuring a DLC (Diamond Like Carbon) diaphragm, 2-pin connection and all-metal construction. It has an impedance of 36Ω, a sensitivity: 114dB@1KHz and a frequency response of 20Hz - 40kHz.
The Kai comes in a compact white box with a full colour slip cover decorated with a swirl pattern in blue and the product name “Kai” in a script font in white, below which are TRI and HBB logos. Opening the box there is a white card with Kai branding in gold, under which there is a faux leather case inside with the generous contents stored inside which comprise:
- TRI x HBB Kai IEMs
- 4 core OFC silver plated 2 pin cable
- 6 pairs of white silicone tips in different sizes
- Cleaning cloth
- Cleaning brush
It is a very nice presentation.
The IEMs are very well made in CNC formed aluminium alloy. They are smoothly contoured and are finished in a attractive blue and gold colour scheme with three triangular facets. The legend “TRI x HBB Kai” is printed in blue on the gold facet and there is a gold TRI logo on the lower blue facet. The fairly long nozzle has a gold mesh and a pinhole vent near the base. There is another pinhole vent alongside the 2-pin socket. The cable is made of 4 core OFC copper and is silver plated. The 3.5mm plug, Y-split and 2-pin plugs are all finished in gold and the loosely braided cable is silver in colour. There is no chin slider and also no channel identification on the cable or the IEMs.
The Kai was tested with Hidizs AP80 Pro X and Xduoo X20 DAPs, a smartphone and a CD player and a burn in period of 100 hours was carried out to run in the components. I found the pre-fitted tips a little too small and used the next largest size which produced a comfortable fit and good isolation. There was plenty of volume on tap, with a healthy level from all devices and no need for additional amplification.
Sound Quality
The Kai immediately impressed with its deep well textured bass, open and forward mids and detailed, smooth treble. The soundstage possessed good width and height but there was a little less depth. Timbre was warm and natural and vocal presentation was excellent while detail retrieval was deceptively high with layering and separation of a good standard.
Bass
The sub-bass was fairly neutral with good texture, and there was a lively elevated mid bass with good impact. The tonality was on the warm side of neutral, with just a little softness in the transients and a minor amount of bleed into the mids. The mid bass did occasionally become dominant on certain material.
“Skys” is a colourful and imaginative electronic album by Canadian musician Mychael Danna. “Sky 10” begins quietly with gentle chords and gradually builds to a climax in which the Kai delivered a solid bass with impressive weight and good extension. At the end of the piece the atmosphere was very well portrayed as the deep tones subsided.
“The Kentish Suite” is a colourful and varied set of pieces by Hubert Clifford. In the version by the BBC Symphony Orchestra conducted by Martin Brabbyns, the prominent orchestral bass drum in the fifth part, “Greenwich”, displayed excellent timbre, good weight and a natural decay, underpinning the lively melody very effectively. The ambience of the hall was well rendered, which added to the enjoyment.
Mids
The Kai projected the mids very nicely, being just a little forward and also very clear. The lower mids received some warmth from the bass while the upper region was brighter with a clean delivery, showcasing vocals and solo instruments. The timbre was largely very authentic.
Linda Ronstadt’s pure voice was clearly presented in “Lo Siento mi Vida” from her album “Hasten down the Wind”. Accompanied by acoustic guitars and Dobro on each side, her voice was placed precisely in the centre with perfect diction. In the bridge, when she sings in English, the emotion of her performance was beautifully conveyed.
Debussy’s “Claire de Lune” is perhaps the best known piece from the “Suite Bergamasque”. Ikuyo Nakamichi’s performance in a beautiful JVC K2 recording really shone. The timbre of the piano was accurate and the dynamic shading in the piece was very well handled. In the more percussive passages a little more bite would have been perfect but nevertheless the whole piece was very enjoyable.
Treble
The treble was smooth, clear and free of peaks and sibilance (unless present in the recording). It was deceptively detailed, having a somewhat reserved quality but displaying good extension and delicacy.
Mark Dwane is a master of the MIDI guitar synthesiser. His albums on mystical themes are always beautifully recorded in audiophile quality. “Paragons” is a track from “Martian Apparitions” and features incisive electric guitar chords in each channel supporting the lead synth voices. With a good sense of movement the clarity and resolution here was excellent. The accompanying electronic effects and percussion were precise and clean with a believable timbre.
Soundstage
The Kai displayed a stage with good width and average height, but there was some lack of depth, most likely due to the forward nature of the midrange.
Ray Lynch’s “Deep Breakfast” is a classic of the New Age genre. The intricate electronic effects in “Tiny Geometries” were very clearly depicted by the Kai with the various tonalities nicely differentiated as they danced across the stereo image. The treble was well balanced against the uplifting synth melody and was always audible, even in the most delicate parts, with a good sense of layering.
The Kai produced an authentic picture of the concert hall in Liadov’s beautiful “The Enchanted Lake”. Bass trombones and tuba in the background created a menacing atmosphere overlaid by the delicate strings and clear brass parts. The rise and fall of the dynamics in the performance by the Philharmonic Symphony Orchestra of London under Charles Gerhardt were very realistically portrayed with only a little more depth in the staging required to make it perfect.
Comparisons
Fiio FD3
The Fiio FD3 is a single DD IEM with MMCX interface. It has a 12mm “Flagship-level” DLC (diamond-like carbon) diaphragm, front acoustic prism, semi-open acoustic design, interchangeable sound tubes and a 2.5D film coating glass faceplate.
The FD3 regales us with its broad cinematic delivery and rich, vibrant presentation and has a natural sound majoring on enjoyment and entertainment. With a mild V shape, the mids are somewhat recessed but still have good presence. The tonality is natural and the delivery exciting and lively. The Kai is warmer in nature and more U shaped with a more prominent bass, more forward mids and a smoother treble although the FD3 is a little brighter and more extended here.
Moondrop Aria
The Aria employs a 10mm dynamic driver with a liquid crystal polymer (LCP) diaphragm, N52 Neodymium magnet and CCAW voice coil. There is also a dual-cavity brass chamber and high frequency waveguide. It has been tuned to Moondrop’s own VDSF curve which is a version of the Harman tuning. With its even-handed presentation it suits multiple genres and it is particularly impressive with classical music. The Aria possesses an attractive musicality which encourages further listening. It has a well balanced, near-neutral shaping with a clean and airy presentation, natural timbre and exceptional clarity. It has unsurprisingly become a frequent recommendation in its price range.
The Kai is quite similar in character with a warm well balanced profile, authentic timbre and smooth treble. Its bass is more extended, the midrange is more forward and the treble is softer but with no appreciable loss of detail. The Aria’s bass is more linear and its midrange is slightly recessed, with a deeper staging. The Kai is more exciting to listen to than the Aria which can sometimes sound “safe” and a little more urgency would be preferable.
Whizzer Kylin HE01
The HE01 has a 10.2mm DD with a 1.2 Tesla magnet. The general profile is V shaped and it has a clean, very transparent sound with excellent detail. The bass is impactful, the mids are clear and the treble is detailed and extended. There is a large, spacious and open soundstage. A notable feature is the “dynamic shading” or ability to display subtle changes in volume.
The Kai is warmer in tonality with a more prominent midrange and a smoother treble response. The bass is more powerful and occasionally becomes dominant and has a less expansive staging but its vocal performance is superior. Dynamic performance is comparable but the HE01 has faster transients with a more immediate sound.
Conclusion
In my experience, TRI earphones have always been tuned very well. The Starsea, i3, i3 Pro and i4 all display a natural tonality and well balanced profiles. The Kai is no exception with a warm, inviting sound, solid build and generous accessories. There is a bit of additional warmth in the low frequencies which could be snappier, the staging does lack depth and sub bass could be improved, but overall, it equals or exceeds the performance of most of its competitors and therefore should be high on your short list if you are seeking the best single DD model in this price range.
