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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Thanks again, Paul. I’m pleased you enjoyed reading it.
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The TinHiFi T2 Plus is an in-ear monitor (IEM) using a 10mm nickel-zinc alloy dynamic driver. The T2 Plus retails for $59 at Shenzhen Audio. It has a warm U-shaped tuning with a mid-bass emphasis.
The $50–75 segment is something of a desert. IEMs in this segment typically have at least one crippling flaw or do not adequately justify their price premium over products in the $40–50 price range. I am happy to say this is not the case with the TinHiFi T2 Plus. While there is technical performance to be gained from IEMs in the $75–100 range, the T2 Plus stands out in its price range for its near-universal competency. My one nitpick is that there is a sense of ringing with some cymbal crashes.
My full review is available on my blog: https://medium.com/bedrock-reviews/tinhifi-t2-plus-review-426fc694fd95
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I was pretty happy with the universal version of theThieaudio Legacy 3 three-driver hybrid IEM, but given that the cost of getting the Legacy 3 in a Custom IEM form-factor was incredibly inexpensive, at just $179 starting up to $219 depending on design choices, I had to give it a shot. I have owned 2 other custom in-ear monitors before, as well as have had custom ear tips made for the Campfire Solaris, and so I knew what I was getting into for the most part.
I reviewed the Universal Legacy 3 a few weeks back and that can be found here: Thieaudio Legacy 3 and Voyager 3 Review
While I do review products sold and sent by Linsoul from time to time, both universal and custom versions of the Legacy 3 were purchased out of my own pocket at regular price. I ordered these just like any normal person would, so my process of going buying these may be useful.
The Process
Normally to get a CIEM, you start with getting ear impressions made typically by an audiologist, or someone who knows what they’re doing. They will take a 2-part mixture of special ear impression silicone material and mix it around and put it into a syringe and inject the material into your ear cavity and create a nice clean mold of your ear. This can then be sent off to the manufacturer to use as a mold to cast the CIEM shell from. In my case, I’ve actually learned how to do the impressions on my own, but I highly recommend getting it done by an audiologist.
In the case of the Legacy 3, Thieaudio has an option to just send a 3D file of your ear impressions if you have that available. Luckily, I actually had a 3D scanned file (STL format) of a previous ear impression I made last year available, and so I sent that off to Thieaudio for creating my IEM. This is possible because the Legacy 3 and the Voyager 3 are 3D printed designs, so having a compatible 3D printing file will expedite this process significantly, especially during our COVID-19 lockdown times.
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The actual fabrication process took about 2 weeks and I was received the CIEM within 3 weeks of my order placement, which was pretty fast turnaround for a CIEM. Some can take 3-4 weeks to make before shipment, and some can take several months. When they arrived, they looked quite nice and finished well. The packaging was different than the universal sets I received as well. It does seem like Linsoul and Thieaudio changed the package presentation on the newest sets of both universal and custom Legacy 3s.
Packaging/Accessories
The box design was different with a more luxurious, green, look to it. Inside was an even larger, but more nicely put together fake-leather carrying case with the IEM, cable, metal tip for changing switches, and ironically, a set of tips. Tips for a CIEM? This must be an oversight or a pre-packaged set.
The cable is the same cable that is found on all Legacy 3 units, however it seems that if you go with a custom version, no matter if its customized design universal or an actual custom CIEM, the connector type is different. On the standard models, c-pin connectors, also known as qdc-style, are used, which are raised from the shell, and the cable actually fits around it with 2-pins inserting into this raised part. Once attached, the connect covers up the raised portion and becomes very clean fitting.
The custom versions, however, use a more traditional 2-pin connector, which is flush with the shell and the normal 2-pin cables will sit above the shell, with the connectors slotting in below the shell surface. Either way is fine for me, but just keep that in mind if you are planning on getting a new cable to go with it. The universal style c-pin will work with any 2-pin cable-type, however the recessed/flush 2-pin will not work with c-pin cables.
This cable has a nice appearance to it and I like its lightweight and easy to move does not tangle much. It also has some shiny connectors and splitter, which are stylish and attractive. It doesn’t feel quite as nice as it looks, but keeping the weight down is more important to me than looks in the long run.
As a quick recap, the Legacy 3 is a hybrid IEM with a single dynamic driver and 2 balance armatures. The CIEM has a single vent near the connectors on the shell, and does not have one near the nozzle. The CIEM is very lightweight and looks fabulous. I picked the AW11 blue sparkle-flakes look with a dark royal blue translucent shell color.
The CIEM is not quite as tight-fitting as some other ones I’ve seen as well as my Hidition Viento CIEM. The Viento is very tight around the ear as it fills up the entire cavity and extends further into the ear canal than the Legacy 3 does. Instead, the Legacy 3 is smaller and fits extremely comfortably, without any adjustment time for me. It’s slightly larger than the universal, but not nearly as drastic of a change as it was for the Viento to the custom Viento, which was over double the size.
When I first got the Legacy 3 CIEM, I was actually unsure about it, since it fit so comfortable and was a little shallow and didn’t feel like it sealed very well. I actually resorted to trying to apply more material to the canal by using nail polish which didn’t work well for this case, and then using medical tape, which did. But it wasn’t super comfortable. I was thinking of ordering comply wrap, but I decided to just try it bare again, but this time with some Oto-Ease ear lubricant.
Oto-Ease is a lubricant that is used for hearing aids and CIEMs and recommended for use when you are first getting new CIEMs or hearing aids. It helps slip them in easier, and also can help couple the shell to your ear. In my case, the CIEM was small, so putting them on was a breeze without the gel, but adding it as a coupling agent to my ear made a world of difference. Seal was tight and the bass response was shaking.
I had actually read on a site that over a few days of using the lubricant and with your natural wax build-up, the shell can start to seal better. There is some truth to this because over a few days, I actually didn’t even need to use the lubricant to obtain a nice seal and get the bass impact I was lacking when I first received the CIEM. This may go away if I wipe the residuals from the CIEM and I’ll have to couple it again with lubricant of course, but it does beat using medical tape or perhaps resorting to using Comply’s Soft Wrap foam material specifically made for improving leaks in CIEMs and Hearing Aids.
I was also still able to get it refitted and reworked from Linsoul and I have been in contact with them about it, however I am currently thinking this shouldn’t be a problem moving forward. I do think that a slightly deeper nozzle length would provide better seal in general though.
Sound
I don’t want to completely go over the sound profile of the Legacy 3 again, as I covered some of it in my previous review, however there are some significant changes with the CIEM. The first thing I noticed was two-fold, both relating to treble response.
On these measurements shown for the CIEM version, I did my best to position it and get it to be as close as I could given the challenges of measuring a custom IEM shape on the IEC711 coupler. This required the use of a bored out foam tip, silicone putty, and minimal manual finger force applied to the top of the CIEM to keep it in place and to minimize bass leakage. This is why there are some jittery bass response in these graphs. The graphs have also been smoothed out a little more than normal, however this mostly cleaned up the bass response, and didn’t really alter the rest of the frequency spectrum.
With the universal set, I felt the upper treble was lacking. In some of my test tracks, like “Dreams” by Fleetwood Mac or “Restless” by Alison Krauss, there’s quite a bit of cymbal splashes and stringed instruments in these songs. I always felt there was just a little bit of resonance missing, and some of the instruments sounded dull and lacking life with the Legacy 3 universal. This isn’t totally surprising given its measurements, and comparing it to its competitors in this price range. The Moondrop Kanas Pro and KXXS, for example, also have a laid-back treble region and a muted upper treble. I had corrected this by adding 3dB at 12KHz in PEQ or adding 5dB at 16KHz on a 10-band EQ.
The CIEM version, with its deeper fit, brings clarity and shimmering treble back. The same complaints I had on my acoustic tracks, including jazz, orchestral, and bluegrass music, are no longer complaints. The music sounds full and alive again, and without EQ usage. This made me smile a bit.
On the same song, “Dreams”, I also found that the lower treble sounded much smoother and clean. My first song I use when I test new gear is typically this track, as there’s a variety of different instruments at once, and I just love Stevie Nick’s voice and lyrics in this song. The album in general is well recorded, mastered, and features a variety of singers with different styles and the album spans a wide range of sound. Anyway, the smoother and cleaner sound seemed to show up in my measurements as well, as the range lacks any significant dips and peaks, although slightly more recessed, and smooth.
I also found the CIEM is less shouty. There’s not as large of a pinna gain in this version, which in some cases may make some vocals not quite as exciting and forward, but it does make this IEM very fatigue-free. Again, the key word here is smooth. That’s not to say it’s not a little shouty, but I don’t find it bothersome personally.
The mid-range is very balanced and warm. I also think that this version sounds a little more refined here, and while it still lacks superior resolution and depth and imaging chops, it is improved a bit over it universal, but not competing against my Viento CIEM or other top tier IEMs. It still performs well for its price, even with the additional cost of getting the custom model.
Bass has similar quantity and quality. There’s a great deal of slam and punch when you get a good seal, just like I felt with the universal and finding the right tip to prevent any leakage. In Daft Punk’s “Doing It Right”, the bass absolutely hits hard with punch, a nice decay and has plenty of body and rumble with minimal bleed. Some may complain it hits a little fast, but I find it a nice balance. Again, I feel like it does the job well, but does lack a little bit of resolution and some needed texturing in some songs, but I am not asking for the world at this price range. I think it outdoes a lot of stuff here but there are times where I find the bass a little smeared.
Switches
I didn’t discuss much about the switches, because I feel like they are unnecessary on this IEM. The changes are very subtle. They change about 1 decibel across the bass and lower mid-range and 1 decibel across the treble range depending on which switch you use. This is almost inaudible to an extent, with the “biggest” change being all on or all off. Even then, it’s rather hard to distinguish the differences. For reference sake, here’s my best attempt at measuring the switch changes:
Final Remarks
In general, I think the CIEM is a great deal for under $200. I can’t think of many CIEMs that are priced this low, with quick turnaround to boot. I think the CIEM fit makes this tonality better, and the technical performance improved over the universal. My biggest gripe with the universal, treble extension, was resolved with this version, and on top of that, I find the overall treble and pinna compensation region to be smoother and more refined.
Overall, I think this CIEM is a good recommendation for anyone who wants to give CIEMs a shot but do not want to spend a lot of money like most CIEMs cost. It’s a budget way to give customs a try and see if you can live a world without tips. I highly recommend CIEMs myself, but it isn’t for everyone and re-sale value takes a big hit if you do change your mind later. But that said, the Legacy 3 CIEM is a very welcome addition to the market and I am looking forward to more products like this.
Video Review
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Great stuff @antdroid. I especially like your background to whole the CIEM process.
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Yes, great info, thanks for sharing @antdroid
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Looking forward to the reviews @Nimweth . The NCO looks like an intriguing design, something different.
Mark Gosdin
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Yes, it is very compact, I am not sure but suspect it utilises the Maze bass enhancement system like the M1 Pro earbud. Nice to have a cable down IEM, so comfortable!
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I have been evaluating the Smabat NCO earphone for the last week and here are my impressions:
Smabat NCO
Smabat are best known for their series of high quality earbuds, ST-10, M1 Pro and ST-10s, featuring large diameter dynamic drivers and their USP, the Maze bass enhancement system (coiled-up acoustic) which utilises an extended path for the low frequencies inspired by transmission line speakers.
The NCO is the first IEM from the company. It comes in a small white box similar to that of the M1 Pro. Inside the earpieces are displayed in a cardboard tray along with the spare tips (one pair of silicone each in S and M sizes and one pair of medium foams). A further pair of medium silicone tips is pre-fitted.
Lifting out the tray reveals the MMCX 4-core copper cable which has a plastic right-angled 3.5mm plug and clear plastic Y split. There is no chin slider. A brief instruction manual is also supplied.
The earpieces are very compact, measuring 10mm in length and closely resemble those of the M1 Pro. On the top of the earpieces there are two slots which appear to be the outlet for the Maze bass enhancement system (although no mention is made of this, it looks identical to the M1 Pro). Attached to the front of this is the driver housing which has a medium length black nozzle with the words “Smabat HD driver unit” in white surrounding it. There are three chevron stripes on one side of the barrel along with channel identification.
The IEMs were auditioned using an Xduoo X20 DAP as the primary source and a Huawei smartphone and a CD player were also employed. The supplied cable and tips were used. A burn-in period of 100 hours was carried out before testing.
First Impressions
Initially the NCO displayed a warm profile which was mildly L-shaped. After the burn-in period the balance became more neutral though still possessing an attractive warmth. There was copious detail and excellent imaging and the soundstage was very spacious. The bass was powerful and possessed good extension, the mids were not recessed and the timbre was very natural. This continued into the treble which was smooth and detailed with great delicacy and finesse. Rhythm and timing were very adept and projection excellent. Sensitivity was good with adequate volume achieved with all sources and an amplifier not being required. It was impressive to hear such a big sound from such small earpieces!
Bass
The bass was very powerful and possessed good extension and impact. Sub-bass reached deep and was well-textured. The mid-bass displayed attack and punch but did not bleed into the mids. The emphasis was between the mid- and sub-bass. Only very occasionally on certain material did the bass become dominant.
The final part of Kurt Atterberg’s “Varmlands Rhapsody” combines the main two themes with full orchestra and was powerfully reproduced with the bass drum displaying authentic timbre and natural decay along with a weighty delivery, enabling the power of a symphony orchestra in full flight to be fully appreciated.
The cellos and basses underpinning the finale of the first part of Holst’s “Moorside Suite” once more demonstrated the quality of the NCO’s timbre with a rich, woody tonality contrasting wonderfully with the main melody carried by the violins in the lively and entertaining performance conducted by David Lloyd-Jones.
Georg Deuter’s “Gentle Darkness” from the album “Henon” emerges from silence, builds to a climax and subsides again in an arch-like structure. The beautiful melody is supported by deep bass synthesiser, especially in the middle of the piece and again at the end. The depth and power of the keyboards here was very effective and showed excellent texture whilst complementing the wide and spacious imaging.
Mids
The mids were very natural and open with excellent detail and separation and authentic timbre.
The interplay between the cello and piano in “L’heure exquise” by Reynaldo Hahn was beautifully rendered with the natural timbre of the instruments a pleasure to hear and the delicate details adding to the realism with the space surrounding the players producing a concentrated effect.
“Golden Point” is a cinematic-style orchestral electronic piece by the Canadian synth duo Exchange. The wide, spacious imaging enhanced the direct and melodic quality of the piece with climaxes impressively handled. The rhythm and timing were notable, generating an entertaining and enjoyable performance.
With an open, detailed profile and accurate tonality, it was unsurprising to find vocals sounding expressive and natural. Eva Cassidy’s beautiful “I know you by Heart” was a perfect example, with the character of her voice coming over wonderfully well and reminding me of what a loss her passing has been. All the emotion and feeling of the lovely words was delivered faithfully, accompanied by her bright clean guitar work in a beautifully natural recording.
Treble
The treble was open, smooth and airy, with good detail and timbre, sounding very natural with no discernible peaks or harshness. This confirmed the benefit of a full-range driver with no crossover.
In Bach’s “Toccata and fugue in D minor” performed by Helmut Walcha, the bright and crisp sonorities of the Silbermann organ were reproduced with accuracy and finesse. The forward and lively exciting nature of this unusually bold and assertive reading could be fully appreciated.
“Electromantic” is an album of varied pieces for keyboards by Gabor Presser. “Z Op.1” features delicate arpeggiated figures displaying excellent precision on the NCO. Each of the rapid notes remained clear and separate with an accurate tonality and superb extension yet retaining their musicality.
Gerry Rafferty’s classic “Baker Street” benefited from the NCO’s crisp treble delivery with the celesta ringing out clearly above the powerful bass and saxophone scoring and the character of Gerry Rafferty’s voice preserved faithfully.
Soundstage
The NCO managed to produce a large three-dimensional stage with a particularly good depiction of ambience. The decay of instruments was very natural and the character of recording venues well differentiated.
The layout of orchestral recordings was very well reproduced. In Holst’s “Venus” the placement of the various sections of the orchestra was accurately portrayed with an effective impression of distance which made the experience so much more believable. At the beginning the horn solo floated above the string accompaniment and the basses and lower brass showed good separation.
Vangelis’s synthesiser pieces always impress with their sense of space and “Elsewhere” from his “Direct” album is no exception. In the central climax he brings a whole arsenal of keyboards and special effects to bear and the NCO rose to the occasion admirably with an impressive and entertaining performance full of energy and power covering the whole frequency range and filling the soundstage. The studio ambience was handled very effectively.
The spacious soundstage was perfect with dub reggae. “King Tubby meets the rockers Uptown” by Augustus Pablo sounded great. With bass and percussion on the left, melodica in the centre and vocals on the right and effects occupying all parts of the image it was easy to appreciate the creative work of this Jamaican dub master.
Conclusion
I was very impressed with the NCO. It matches and even outperforms most, if not all, of the recent single DD releases I have heard including the BLON BL-03, BL-05, KBEAR Diamond and Tin Hifi T4. It is a closer call with the Tin Hifi T2 plus but the superior soundstage and authoritative qualities of the NCO just nudge it ahead. I wrote in my review of the T2 plus that there was little to criticise and the same holds true here. With its powerful delivery, superb soundstage and natural timbre the NCO really does earn its stripes!
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How was the fit and comfort? They don’t look like they insert too deeply, making me think you have to cram them in to get a good seal.
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Great review again @Nimweth. These look like a very interesting iem. Form factor is certainly different from the norm.
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They are very comfortable because tgey are so small. Even smaller than the TRN M10. Excellent isolation as well.
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