I really like the TRN M10, it’s small size seems to suit my ears, so the NCO’s are now on my radar. I’ve got a birthday coming up, so maybe then. 
Mark Gosdin
2 Likes
It’s not quite so easy to do as the NCO is an IEM and the ST-10s is an earbud and the different fit is a major factor. The NCO is warmer and has a more prominent bass but is still well balanced. It is more energetic and bold in presentation but still largely neutral in Smabat style. The ST-10s is airier and less bass but extremely natural and has that earbud openness. The NCO is definitely one of the finest single DD models I have heard
4 Likes
TRI i3
I received this review sample of the TRI i3 earphone from Sherry of Yinyoo, via Amazon UK.
https://www.amazon.co.uk/Monitor-Musician-Earphone-Magnetic-Headphone-Silver/dp/B0813145L4
Here are my impressions:
Tri i3
TRI is the premier brand of KBEAR and has so far released three models, the i4 (1DD +1 Knowles BA), the top of the range Starlight (1DD, 2BA and 4 Sonion EST) and the model reviewed here, the i3.
The i3 is a triple hybrid with the bass frequencies covered by a composite dynamic driver 8mm in diameter. The midrange transducer is a 10mm Planar magnetic type and treble duties are handled by a balanced armature unit (the type is not specified). The interface is MMCX and the earpieces are all-metal.
The i3 comes presented in a dark grey box with the TRI logo similar to that of the i4. Inside the IEMs are displayed with the cable and tips attached above a handy plush carrying pouch. Under the cut-out you will find the spare tips and documentation.
The contents comprise:
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TRI i3 IEMs
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4-core copper MMCX cable
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Suede effect carrying pouch
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One pair of foam tips (M)
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Three pairs of grey silicone tips (S, M, L)
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Three pairs of white silicone tips (S, M, L)
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Manual
The i3 earpieces are CNC machined from a fairly dense silver-coloured alloy with a shiny reflective surface. They are smoothly contoured and weighty and completely plain with no decoration or writing on them. There is a small circular vent near the base of the MMCX socket.
The MMCX cable is 4-core and tightly braided. The material is OFC copper. The 3.5mm plug has a carbon-fibre effect and the Y-split is a simple metal cylinder with TRI branding. There is a clear plastic bead serving as a chin slider and the MMCX plugs are plain silver with colour coding for channel identification.
The connection was solid with very little rotation. Although the earpieces are quite large and heavy they are well-balanced in weight distribution and I obtained a good comfortable and secure fit and seal with the supplied cable and tips.
The principal source for appraisal was an Xduoo X20 DAP. A smartphone and CD player were also employed but the best results were achieved with a more powerful source, and a Fiio A5 amplifier (via line out) was pressed into service for this purpose. Further improvements were achieved by changing the tips to Spiral Dots, but after trying some other cables (including balanced), I found that the stock cable gave the most pleasing results. A burn-in period of 100 hours was carried out before testing.
First Impressions
From the first notes, the wide expansive staging caught my attention, along with superb separation and layering. Bass reached to the nether regions with excellent texture, the mids were open and neutral but slightly forward and the treble displayed very good detail and extension. The integration of the three disparate drivers was seamless and the overall effect was effortless, with a wonderful sense of musicality.
Bass
The TRI i3’s bass was very powerful and possessed good extension, texture and resolution. The response held up down to the lower tens of Hertz. The delivery was fast and the decay natural.
“Skys” by Mychael Danna is an album of evocative sound pictures inspired by Canadian skyscapes. “Sky 7” features some deep sub-bass elements which create a foundation for the expressive synthesised orchestrations. These were wonderfully reproduced with even the lowest notes coming over with attractive texture and detail and complementing the melodic keyboard themes.
“Asturias” from the classic Decca recording of Albeniz’s “Suite Espanola” conducted by Rafael Fruhbeck de Burgos features a prominent percussion section supporting the lively orchestral scoring full of traditional Spanish rhythms. The five bass drum strikes in the final bars of the main theme displayed impressive power with a natural timbre and decay and an authentic reproduction of the hall ambience. The transient capability of the i3 really shone in this piece with the xylophone clearly audible above the powerful bass and the rich metallic sound of the tubas in the brass chorale a joy to hear.
The i3 displayed excellent speed and transient attack in the bass. A perfect example of this was in “Sailplane”, a 1981 single by the late Peter Bardens of Camel. Recording under the name OBX, referring to the Oberheim synthesiser of that name used on the record, the impact of the drum sounds on this track was extraordinary, with amazing depth and “slam”. Accompanied by smooth, lyrical string synth and evocative vocal work, the i3’s performance of this piece left an indelible mark on the memory.
Mids
The mids displayed extraordinary transparency and clarity which allowed every detail to come through with excellent separation. The response was even throughout the range with no bass bleed. The planar driver really showed its quality here.
In the vintage 1960 recording of Bach’s Brandenburg Concerto No.3 conducted by Karl Ristenpart, it was as though the recording had been remastered. The section where the basses take the principal melody, the concertante parts for cello, viola and violin and the intricate details of the counterpoint: all these were reproduced in extreme clarity with the beauty of Bach’s orchestration being revealed in the exuberant and lively performance by the Saar Chamber Orchestra. Even during the most complex passages the harpsichord continuo remained clear in the spacious resonant acoustic.
Arvo Part’s beautiful and concentrated
“Spiegel im Spiegel” received a very impressive rendition from Tamsin Little and Martin Roscoe with the micro-detail adding to the realism and the details of the fingering, bowing and piano treatments all clearly audible. The ambience of the recording space sounded very natural and listening to this on the i3 was almost like a meditation.
Unsurprisingly, given the superb performance of the planar driver, vocal performance was of the highest quality. “The best is yet to come” is a gentle ballad by Clifford T. Ward. The warm and romantic character of his voice was portrayed beautifully by the i3 allowing the emotional message of the lyrics to come through unalloyed. The tonality of the piano and string accompaniment was very natural and was perfectly balanced with the vocals.
Treble
The i3’s treble was open, clear and well-extended with no harshness or discernible peaks. There was a mild lift in the lower range and another rise in the extreme HF but these were handled very smoothly. Detail and micro-detail were very evident. Like the mids, the treble displayed excellent transparency. The BA was very well tuned.
This clarity came to the fore in Rossini’s entertaining “String Sonata No.1” performed by the Age of Enlightenment Orchestra. The interplay between the lead violins and accompaniment was very effective with musicality being the priority. Owing to the i3’s quick transient response, the rhythmic quality of the piece was preserved perfectly, demanding the listener’s attention and delivering a delightfully entertaining result.
Isao Tomita’s exciting transcription of Grieg’s “Solveig’s Song” was the perfect choice for the i3 to demonstrate its high frequency performance and superb dynamic range. The cascading arpeggios of synth strings swelled and subsided in impressive fashion with a clean and crisp crystalline quality in the upper registers. Set against a foreboding bass foundation, the stately melody swept along majestically, producing a thrilling effect.
The detail and attack of the percussion in “Walking in the rain” by Grace Jones was dramatic and immediate. There are multiple percussion instruments playing here as well as the incisive guitar work and on lesser equipment it can become confused and merged together. This was not the case with the i3. Everything was nicely separated enabling all the different elements to be differentiated, while at the same time allowing Ms Jones’s somewhat menacing vocals to come over clearly.
Soundstage
The i3’s staging was amongst the best I have heard with an effect expansive in all three dimensions. Layering and separation were first-class and imaging very precise.
The Minuet from John Ireland’s “Downland Suite” is a light, airy piece with a bright and sprightly melody. In the version by the English String Orchestra conducted by William Boughton, the transparency of the i3’s delivery allowed the delicate counterpoint to be clearly depicted with the various string sections spread out convincingly across the image, wonderfully detailed and displaying an almost conversational quality between them. The studio ambience in this recording was particularly well portrayed adding to the realism.
“Caverna Magica” is the second album by Swiss electric harp maestro Andreas Vollenweider. At the beginning two people encounter a cave and they walk round inside. The echo of their footsteps was beautifully captured and sounded amazingly real on the i3. A little later there is the sound of a bat flying from right to left which was very effectively reproduced. Water drips form a rhythm and the harp’s resonant tones enter the picture with the main theme. The whole effect was extremely spacious and entertaining.
“Exogenesis” from “Rosetta” by Vangelis features a host of electronic and percussive effects, deep sub-bass elements and anthemic string synth themes. The i3 managed to present all this very clearly with a huge sense of space which allowed all the disparate sounds to breathe. Width, depth and height were all abundantly evident and the detail and imaging were pin-sharp. The tonality of the various metallic percussion sounds was very clean and accurate.
Conclusion
The i3 impressed in all areas. It is technically adept with powerful, fast bass, transparent natural mids and clean extended treble. The integration of the three drive units was most coherent with no discernible crossover artefacts. Added to this must be mentioned excellent detail retrieval and dynamic range and musical expression. Subtle changes in volume and micro-details enabled the artists’ interpretations to be realised and the i3 was particularly successful at this while at the same time possessing a very natural timbre. There was a further improvement with extra amplification when the soundstage widened and detail became even clearer.
Well-constructed and presented, and delivering a well-balanced response of high quality, the i3 recommends itself. The innovative driver arrangement was really successful, making the most of the different technologies and producing a highly cohesive, musical and natural sound which was very addictive. On many occasions I was listening critically and ended up lost in the music. That’s a good sign and the highest compliment I can give!
9 Likes
The KZ ZAX is a hybrid in-ear monitor (IEM) with a 10mm PEK spring diaphragm dynamic driver (DD) and seven balanced armatures (BAs) on each side. KZ is one of the biggest names in ChiFi, and I thought highly of the ZSX “Terminator,” KZ’s last major wired hybrid IEM release. However, following the release of the ZSX, KZ’s previously frenetic release schedule slowed to trickle, and what new products they did announce fell mostly into the total wireless stereo (TWS) category. The release of the ZAX comes as a surprise and relief to those that feared KZ had, in fact, “terminated” their hybrid endeavors.
The KZ ZAX has a more balanced sound signature than what I expect from KZ IEMs. The ZAX is U-shaped rather than V-shaped. It has a more aggressive bass response than can be defended as “neutral,” but the bass is less elevated than most other IEMs I have reviewed. In addition, the upper midrange and lower treble are restrained by Chi-Fi standards. The ZAX has rock-solid technical performance across the board. Overall, the ZAX is a great IEM.
The KZ ZAX retails for $60, which is appreciably more expensive than the ZSX, which retailed at the lower end of the $40–50 price bracket at release. However, the The KZ ZAX meaningfully improves over the ZSX and is competitive with the other heavy hitter at the $60 price point, the TinHifi T2 Plus. If you are beginning your IEM journey, there’s never been a better time to start (shipping delays excepted).
My full review is available on my blog: https://medium.com/bedrock-reviews/kz-zax-review-a2a2924d2c5e
8 Likes
The LZ A7 is a new in-ear monitor from this brand who put out a series of A-named IEMs with tuning filters that screw-on the nozzles of the IEM chambers. The tuning filters change the sound signature by adding or decreasing bass, mids, and treble by the screens used internally, and the A7 comes with 5 different sets of filters in a colorful array.
First off, the A7 was sent to me by Linsoul for my opinions. They can be purchased directly from Linsoul’s store at http://www.linsoul.com for $338 USD.
The A7 has a driver arrangement of 1 dynamic driver, 4 balanced armatures, and 2 piezoelectric ceramic drivers in each side. There is also a tuning switch on the outer-face of each shell that dips or raises the mid-range. They are aptly tuned “Pop” or “Monitor” modes.
LZ have also included a gunmetal-colored braided cable with mmcx connectors, as well as a green leather (?) round case with their logo and branding embossed into the top lid. The tuning filters are screw on and come in a metal holder that has threaded holes to attach the filters into for storage and transport.
Impressions
This will be a general impression of the LZ A7 in-ear monitor. I was considering whether or not to do a full review of every possible setting there was on this IEM, but that’s 10 different configurations and to be honest, I don’t like this product enough to give it that much time away from other products.
First off, I think the LZ A7 has pretty solid technical chops, especially at this price range. I found the resolution to be good, and the sound stage to be open and imaging and separation to be on par with others in its price range. I have no qualms with this aspect of it.
The bass in the monitor mode is nicely tuned and elevated slightly just the way I like it, and the mid-range is generally flat and smooth through the lower mid-range giving the A7 a nice warm and uncolored sound. In Pop mode, the bass is a bit more elevated and the mid-range dipped to provide a more V-Shaped tuning. This mode isn’t my preferred tuning though, and I primarily stuck with the monitor-mode for most of my time with the A7.
In general, I found the gold filter my favorite of the bunch, and that paired with the Studio switch setting. The others seemed too shouty or bright, or just too recessed and dark (red filter) for my liking.
My main concern with them is it’s treble tuning. Of all the tuning switches, none of them fix the gaping hole between 4.5-6KHz that is present on the A7. For me, that is an area that I am accustomed to having present and sometimes even emphasized. Instead, no matter the filter, I found strings and female vocals to sound veiled, lacking life and quite subdued to the point where it could come across as low-resolution.
This was quickly a problem in one of my test tracks, which unfortunately for the A7, emphasizes female vocals and an array of stringed instruments – Alison Krauss & Union Stations’ “Restless”. This bluegrass-pop track sounded quite nice, except that area of emphasis, which for me, sucks the life out of the song.
That said, some people may like this more laid-back and darker presentation. The A7 isn’t necessarily dark – its got a Mangird Tea-type presentation where it has a major dip in the treble, but then extends quite well in the upper registers and this gives its presentation a somewhat open and airy, while having the upper harmonics sounding present and accurate. I just can’t really get past the suppressed lower treble though, much like I found problematic on the Tea – though in this case the A7 doubles down and dips even further.
Wrap-Up
I am not a huge fan of switches being used and I think I’m even less of a fan with screw-on filters. Even in this case, with each filter and switch making a big change, it’s still seems like it can be a lot of wasted effort. But alas, I think some people will like the ability to find an option that works for them. In this case, despite having 10 available options, I am not really enjoying any of them personally.
I do find the technical performance of the A7 to be at least alright and on-par with other similarly priced items, but the tuning just isn’t what I prefer. Maybe those who like the darker sound signature will like this one.
11 Likes
Nice writeup. It’s a shame this iem doesn’t cut the mustard. The ideas behind it seem great but alas the implementation would seem not so great. Thats a pity. I quite like the tuning filter idea.
1 Like
I was recently invited to test the latest IEM from TRI, the Starsea. This unit was supplied by Sherry from EEAudio at Amazon.co.uk. Product link:
https://www.amazon.co.uk/Starsea-Triple-Drivers-Hybrid-Earphone-Colorful/dp/B08LB3HTMW/ref=mp_s_a_1_1?dchild=1&keywords=tri+starsea&qid=1605978862&sprefix=Tri+starsea&sr=8-1
TRI is the premier brand of KBEAR and has previously released the i4 (1DD + 1 Knowles BA), the i3 (1DD + Planar + 1BA) and the Starlight (1DD + 2BA + 4EST). The latest model is the Starsea.
It is a triple hybrid featuring a 10mm dynamic driver with a ‘silicon crystal biological diaphragm’ covering the bass, one Knowles ED29689 BA for the mid/high frequencies and TRI’s own TRI-Hi-A BA unit acting as a super-tweeter. The interface is 0.78mm 2-pin.
It comes sumptuously packaged in a large box. A printed slip cover features a colour image of the IEMs with specifications on the reverse. Removing the cover reveals a black linen finished box with a gold TRI logo. Inside, the IEMs sit in a plastic tray along with a grey textured case containing the accessories and two pairs of foam tips. The generous contents include:
- TRI Starsea IEMs
- 4-core silver plated cable
- Three pairs pale grey silicone tips, yellow bore
- Three pairs dark grey silicone tips, red bore
- Three pairs soft black wide bore tips
- Two pairs foam tips, red and black
- Grey textured carrying case
- Pink microfibre cloth
- Switch pin
- Instruction leaflet
The resin shells are nicely crafted and feature a swirling pattern of blue, pink, purple and black with metallic accents. The nozzle is gold with a silver mesh. They are smoothly contoured and highly polished with a silver trident logo in the centre and look beautiful. The 2-pin socket is recessed and there is a small vent for the DD unit.
The supplied cable is a 4-core silver plated type terminated in a straight silver-coloured metal 3.5mm plug with a TRI logo. The 2-pin connectors are colour coded for channel identification and the Y-split and chin slider are also made from a silver coloured metal.
The Starsea’s USP is the pair of tuning switches located on the back of each earpiece. These can be adjusted to four positions providing four different tunings ranging from V shaped through balanced to bright. The switches are very small and a special pin is provided to adjust them.
Fitted with the medium black wide bore tips and the supplied cable, I found the Starsea very comfortable and achieving above average isolation. The tuning switches were initially set to “standard tuning” and a burn-in period of 100 hours was carried out, after which the sound showed significant improvement. An Xduoo X20 DAP was used for evaluation and adequate volume was achieved without the need for extra amplification.
Sound Quality
Standard Tuning (both switches OFF)
This was bright and well-balanced and the sound was immediate, clear and sparkly, displaying a mild U or W profile with the mids and treble being a little more emphasised. The bass was firm and clean with good impact and reasonable weight. Sub bass was above mid bass in level and there was no bass bleed. The mids were very detailed and slightly forward in the mix and the treble was very extended with an attractive ‘live’ quality. There was a moderate lift in the upper mids and lower treble which did give rise to occasional sharpness, but after burning in this was reduced. The imaging was very clear and the excellent soundstage, separation and layering were immediately apparent. The timbre was slightly bright with lower mids losing a little warmth but the transient response was very impressive and the resolution very good. It was an exciting, high quality and vibrant sound. I really enjoyed my music with this setting and appreciated the laser-like detail which revealed things in an almost hyper-real fashion!
Balanced Tuning (both switches ON).
This produced perhaps the “flattest” response of all the tunings. The soundstage appeared more spacious, and the apparent listening position moved a few rows back. The layering and separation were a little less defined with the imaging not coming through quite so precisely. The mids were less prominent and slightly less bright but at the same time the treble was nicely balanced with the rest of the range or a little above it. A little detail seemed to be missing compared to the first setting. Bass was slightly less powerful with the weight and impact not so strong and it was at around the same level as the mids. In isolation, it is actually a very competent and enjoyable neutral tuning but in comparison to the standard setting it just misses out on the ‘magic’ of which the Starsea is capable.
Amazing Bass (L=ON R=OFF)
In this setting, the bass extension and weight were more evident. Sub-bass was more satisfying with recorded ambience well reproduced and some welcome warmth was added to the mid bass. The timbre was a little more “natural” with a more “airy” feel. The mids kept most of their detail and were a tad warmer in tone. The soundstage expanded, gaining a little more spaciousness. The general profile was more V or L shaped, but the treble retained good extension, detail and clarity. The perspective was similar to the Balanced setting, being set back somewhat. There was a reduction in the sharpness in the upper mids. Layering and separation were good but perhaps not as clear as in the Standard setting. This was a very entertaining sound balance with an overall warmer feel, but with just some of the immediacy of the first setting being lost. Being the most genre-friendly of the settings, this was relaxing to listen to and perhaps more suitable for long-term listening, with a meatier sound approaching that of the i3.
Beautiful Vocals (L=OFF R=ON)
This was the brightest of the four settings. Like the Standard setting, the mids were pushed forward, but the bass was less prominent in this case, with some sub-bass presence but a reduced mid-bass. Along with a bright and extended treble, this resulted in a clean presentation with copious detail, especially in the mids, although the occasional sharpness mentioned earlier did recur on certain material. Separation and layering were once again more evident and stereo imaging very good, with solo vocalists and instruments clearly defined above their accompaniments. The resolution was particularly good in this setting and the soundstage was wide and deep with a decent representation of height. Midrange timbre was bright and perhaps not as “natural”, favouring the higher notes of string instruments with the lower notes just a little “cold” in tonality. Allied to the flatter bass response and with an absence of bass bleed, the overall feel was neutral/bright with an emphasis in the upper frequencies.
Comparison
TRI i3
Coming from the same stable as the Starsea and at a slightly higher price, many will be keen to see how the two stack up. Also fed from the X20, the i3 was used with a Fiio A5 amplifier as the planar drivers need more power to give of their best. The stock cable and wide bore tips were employed.
The i3 has a big bold sound with a much deeper sub-bass and a warmer mid bass. Mids are wonderfully neutral and smoothly detailed courtesy of the planar driver with its superb resolution. Treble is more reserved and less prominent but still possesses good levels of detail. Timbre is very natural and there is a notable musical quality. Soundstage is particularly good being very expansive in all three dimensions.
The Starsea’s midrange timbre was also very good, especially for a BA, although a little cool in tonality, but detail retrieval, resolution and separation were superior and the treble more extended and very natural. The mids were more forward and the bass more reserved. The two IEMs are very different and they complement each other.
KBEAR Diamond
This single DD IEM features a DLC diaphragm and, like the Starsea, is well-made and presented. The excellent supplied cable and wide bore tips were used for comparison. Its profile is definitely V shaped with a warm powerful bass and somewhat recessed mids but with excellent DD timbre and a smooth treble. It is not quite as adept as the Starsea in resolving details but is still very good, however, separation, layering and soundstage are not in the same class. It is a very forgiving sound and adapts itself well to different genres.
Conclusion
The Starsea has a lot to offer. With its four different sound profiles, ranging from bright and neutral to balanced and V shaped, all of which are excellent in their own way, it is like getting four high quality IEMs for the price of one. The Starsea was particularly good with classical music and, for example, was able to easily resolve individual voices in choral works and separate individual instruments in a body of strings.
The various switch options add versatility, adapting it well to different styles of music and offer the chance to choose the appropriate setting for a particular genre.
TRI must be congratulated for their proprietary drivers, the silicon bass unit providing a fast and detailed sound and their own TRI-Hi-A BA treble unit the best I have heard so far. The three drivers are perfectly integrated and the transitions are seamless.
Using my preferred “Standard” setting, I found the Starsea to show superb layering, separation, imaging and resolution and it displayed a noticeable “live” quality which I found addictive. It does require a lengthy burn in period after which the initial sharpness fades away, and its unique sound may for some require acclimatisation but believe me when I say it is well worth the wait, just let the magic appear!
Sonically impressive, beautifully made and impressively packaged with an excellent range of accessories, this is another win for TRI.
8 Likes
Really great review @Nimweth. This looks like an interesting iem. There are plenty of features for the price as well.
2 Likes
Yes. It is really special. It reveals so much detail that it requires some acclimatisation but I don’t want to go back afterwards! I’m currently testing the BLON BL-T3 and compared to the Starsea it’s though half the music has gone missing somewhere.
2 Likes
Nice Review. Looks like they go for about $129 US everywhere from Ali Express to Amazon.
1 Like
The TRN V90S is a hybrid in-ear monitor (IEM) with a 1 dynamic driver (DD)+ 5 balanced armature (BA) configuration. The V90S is a direct successor to the TRN V90, which I previously reviewed about a year ago. Although it normally retails for around $50, the V90S will be available for $20 on TRN’s official AliExpress store for just $20.
The TRN V90S has a V-shaped sound signature, though it is less V-shaped than the original TRN V90. It meaningfully improves on the V90 in a number of ways, including its bass presentation, midrange tuning, and venting solution. However, the biggest difference between the V90 and the V90S is the V90S’ exaggerated upper treble emphasis. There is far too much air, which creates an unnaturally airy sheen over the entire presentation. These issues keep me from giving the V90S my recommendation, especially at its original price.
My full review, with measurements, comparisons with the TRN V90 and Moondrop SSR, and additional images, is available on my blog:
5 Likes
I still consider the Kbear TRI i3 one of the best IEMs - probably is eligible to be placed within top 3 IEMs under 200 bucks.
Once these bad boys are properly powered, they are amazing. For me EarMen Sparrow did the job… while EarMen TR-Amp failed because TRI i3 has a higher sensitivity and picked up audible noise.
To me personally it’s a 9/10 or even a 10/10 (price taken into consideration). They are a match to my personal preference, and also a match to my ears (fit).
2 Likes
Very interesting , thanks for the review!
2 Likes
Should have a couple things arriving from Moondrop today.
Blessing 2
Starfield
S6
Excited to finally give these a try and see what all the Chifi hype is all about!
7 Likes
Introduction
I recently had the chance to borrow the FiiO FA1 and Ikko OH1 and thought I might as well do a little impressions write up on them. From what I can tell, these IEMs aren’t too well known but Ikko and certainly FiiO are no strangers to the IEM game. For the FA1, it gets lost in the noise against FiiO’s other IEMs with similarly unpronounceable names while the OH1 looks to be overshadowed by its big brother, the OH10. Both of these IEMs are priced at the hyper competitive <$150 market where the FA1 retails for around $100 and the OH1 at $140.
FiiO FA1
The FA1 is a single BA IEM that’s 3D printed into a resin-type shell. It’s very light and the fit is quite comfortable for me. I get a very good seal which is especially important for the bass response. I’d say that the tuning of it is neutral-ish - there isn’t much exaggeration in the lows and the highs do roll off pretty quickly. Tonally, it’s acceptable but it does falls short when compared to something like the Moondrop Starfield with its idealized (for better or worse) frequency response, especially in the mids.
As expected from a single BA IEM, the resolution is a noticeable step up from you generic budget IEMs and does feel rather nimble especially when it comes to tracking with bass guitar lines. The bass is characteristically BA with a punchy rather than boomy bass and a lacking sense of impact but it gets the job done. Overall, BA timbre didn’t jump out too obviously for me but when I started fiddling around with EQ I started to really hear it. Soundstage and imaging are nothing to write home about but the FA1 doesn’t feel overly closed in. Dynamics are limited and could be better.
The biggest problem with the FA1 is its treble. It’s incoherent. There’s a very strange timbre to it where the splash of the cymbals just sounds flat out wrong. It’s jarring enough to take me out of enjoying music every time I hear it. Which is a shame because other than that, I’d say the FA1 is a decent enough IEM on its own. But as it stands, the FA1 cannot really compete against the rest of the budget market. Unfortunately, from my short impression, the FA1 maintains the same status as all other FiiO gear to me: I can’t bring myself to care about it.
Ikko OH1
The Ikko OH1 is a hybrid IEM with a single BA and single DD. With a rather angular shell made out of metal, it has a rather unique look to it. The stock cable is awful. The fit is a little uncomfortable due to its size and is rather shallow. First thoughts on its tuning was that it has a bombastic, BIG sort of sound centered around a committed focus on the subbass. Energetic and fun would be the way to describe it. The OH1’s solid sense of dynamics complements the overall sound well here. While the bass isn’t the most defined, you can really feel weight of the kick drum with each note. There’s plenty of quantity to satisfy that feeling of oomph without being overbearing. However that come at the price of a slight muddiness to the sound. As far as pure DD bass performance goes, it probably ranks among the top for budget IEMs.
The tuning of the OH1 also focuses heavily on the upper mids which leads to a very forward type of sound. Vocals are placed right front and center. However, the OH1 does lack treble extension as it tapers off quickly starting from the lower treble. While this means the OH1 has a polite treble response, the lack of tonal balance makes you feel squashed for space in the OH1’s already middling soundstage. Resolution is in line with its price tag. Instrument separation could use a little more work to give the sound some more breathing room.
The OH1 is a pretty interesting IEM. Its uniqueness comes from its BIG sounding bass response. As such, Ikko OH1 stands out from the many other generic sounding IEMs in the budget segment. From my impressions, I’d recommend it to those looking specifically for sub-bassy IEMs with plenty of vocal forwardness.
9 Likes
THAT’S a design change of the strong variety 
2 Likes
3 Likes
The Shuoer Tape Pro is the follow-up to the popular Shuoer Tape released a year ago. I have not heard the original model, so this quick review/impressions will be based solely on listening to the newest model from this brand.
The Stuff
The Tape Pro comes with a carrying case, a fancy-looking cable, and a series of tips. In addition, there is a cleaning brush, and a tool to unscrew filters placed flushed within the shell. Let’s talk about teach quickly.
The carrying case.
It’s small and the same case I’ve seen on other Shuoer products I’ve tried. It came in very smelly, and the chemical smell hasn’t worn off yet, though I do admit, I put it right back in the box and don’t want to take it out due to the smell. It’s otherwise a nice case that is simple and functional.
The cable.
It’s nice looking from afar, but I do not like how thick it is, and how easily it tangles and how hard it is to handle. It’s just too heavy and janky to use on a daily basis, and I’d opt for something else. In addition, this cable comes with a 2.5mm connector, but it comes with a 3.5mm adapter, which isn’t too bad. I mainly use 4.4mm for my desktop amp and digital audio player though, but I have several adapters.
The Filter Screws.
Ok this is just a weird design. I just took a look at the VE Erlkonig recently and it had a flat head screw that could be turned to change settings. In the Tape Pro’s case, you physically unscrew two of these and then swap them to change filters and alleged tuning. I say that, because in my measurements, nothing changes! Not to mention that the tool is quickly lost ( I lost it already ), and the screws are small and easily dropped ( I did that three times while trying to swap them ), and this just seems like a lot of work for nothing. ( really, nothing… apparently )
In addition, you can also remove the front nozzle filters too. They unscrew and come off. The filters themselves are very open so I doubt any sonic changes occur, but because you have a different unobstructed insertion depth now, it may increase treble slightly. I measured about 1dB difference.
The Sound
I am not a fan of the Shuoer Tape Pro. That’s the quick version.
The slightly longer version is that I feel that both the tuning, timbre, and technical performance of the Tape Pro is very lacking. While tuning can be subjective, I do think that there is quite a bit of bass bloat, and there’s a severe lack of treble. The large drop-off in sound after 4KHz is evident of this, and this really creates a dark, grainy and super veiled sound. It makes it sound very low-resolution.
The shouty region is quite shouty. And the lack of the treble mentioned above, pushes this way forward, and this totally reduces any dynamics. The mid-range is very recessed in my opinion, with mid-range instruments and vocals sounding very thin and missing and a lot of that has to do with the elevated bass.
That said, I can deal with the bass, and I can somewhat deal with a darker tonality, but the dynamics of this IEM are severely poor, even at $120, and even at half the cost, and perhaps even less, as I’ve listened to a few $50-range IEMs that easily top this one. The IEM sounds flat. I tried several songs across different genres, and outside of the tonality, the flatness of how dynamics came across was totally clear and distinct to me.
I tried the most dynamic songs, and nothing. Everything sounded dull, dead, and just there. Everything was presented in a way that makes music lifeless, and forward, and the energy and soul sucked out of even the most expressive and angelic of voices.
The Tape Pro taped everything shut. Sorry. Move on .
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