I’m holding out for the Tin T4 “Pro”
I see. Is this a confirmed thing? I’m interested in the T4, but if there is a T4 Pro coming out soon, I’ll wait for reviews of it.
No, sorry, it’s not a confirmed thing. Just a snarky comment from your truly.
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I believe there is a T2 Evo and a T3 plus on the way though. Meanwhile my review of the Moondrop Aria is available here:
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Ha, no worries! I can take it lol!
Thanks so much! I’ll check all that out!
I don’t know how much you are affiliated with Audiosolace, but your link drove me there, so you get this feedback. Looking at Audiosolace I stumbled upon this remark under the “IEM Buying Guide”:
The planar magnetic drivers consist of an ultra-thin diaphragm and wire coil suspended between magnetized plates. The diaphragm moves forth and back, producing sound when electrical signals move through the coils. These drivers produce spacious sound and clear treble. Most high-end IEMs use this driver.
It is the last sentence I have issues with, as I have seen very few planar magnetic drivers in IEMs and this statement is wrong IMO. I gladly stand corrected, but if not then Audiosolace should change this.
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Hi Gordon,
You are quite right in that very few high end IEMs use planar magnetic technology. Thanks for the spot, has been amended. On this note, we will be reviewing a high end planar magnetic IEM in the near future. Keep an eye out.
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An interesting new IEM has been released from a new company, CCZ. It is called the Plume. I have been invited to test it and here is my review:
CCZ Plume
I would like to thank Ann at Keep Hifi for providing this unit for review.
Introduction
The Plume is the debut product from a new company on the IEM scene, CCZ. It is an ambitious design retailing for around $200 so faces stiff competition from the established brands in this price sector.
The Plume is a 5-driver hybrid, 1DD + 4BA. The drivers are as follows: 10mm dual magnetic DD for the bass (diaphragm material not specified), 2 x CCZ IF-A midrange BAs and 2 X CCZ HI-A HF BAs for the upper frequencies. All the drivers are designed by CCZ.
Description
The packaging is premium. The large chunky box has a full colour sleeve featuring Chinese characters and golden birds. Removing the sleeve reveals a plain black box which opens with a hinged lid. Inside, the IEMs nestle in a foam insert along with the spare eartips. Below this you will find the leather case with accessories inside and a black box containing the cable and cleaning brush.
The contents include:
- CCZ Plume IEMs
- 6N OCC cable, 2.5mm termination
- 3 pairs standard silicone tips
- 5 pairs of silicone tips with coloured bore
- 4.4mm balanced adaptor
- 3.5mm single ended adaptor
- Leather case
- Cleaning cloth
- Cleaning brush
- Manual
It is an impressive, generous and sumptuous presentation.
The IEMs themselves have a shiny gold finish and there is a large grille on the faceplate above which a CCZ logo is incised. There is a small vent below the nozzle and another behind the fin-like extension on the rear of the earpiece. The 2 pin sockets project just above the surface.
The supplied cable is a 2-core braided design with a fabric wrap and the conductor is single crystal copper. The 2.5mm balanced plug is straight and has a carbon fibre finish which matches the Y split. There is a black spherical chin slider and the 2 pin connectors are angled, formed from black plastic and feature channel identification.
First Impressions
An Xduoo X20 DAP was used as the principal source via both the 2.5mm balanced output and via line out with a Topping NX1a amplifier. A burn-in period of 100 hours was carried out. The Plume was tested using the stock cable and pre-fitted stock silicone tips which provided an excellent fit and seal and provided very good isolation. The earpieces were secure and very comfortable; the fin design was very effective.
The Plume immediately impressed with the size of its soundstage which was very extensive in all three dimensions and displayed notable layering, separation and imaging. The overall profile was V shaped with a bass emphasis, the low frequencies being powerful and well-textured with an impressive sub-bass. The mids had good timbre although they were a little recessed and the treble was smooth and gentle with no noticeable peaks or harshness. The tuning favoured musicality over technical prowess. Output was robust with no need for further amplification although when augmented with a Topping NX1a via line out, single-ended, there was an improvement in the tightness of the low end. I did find the Plume to be source sensitive, as, when played via a smartphone and then a CD player, the bass was more dominant and a little loose but via a DAP it was much tighter and more controlled.
Bass
The Plume’s bass was powerful and visceral with a prominent sub-bass. Mid bass was also strong with good impact but it did intrude into the midrange a little. Texture was good but I felt the resolution was just a little blunted by the warm tonality.
“Silencium” is the theme from “Silent Witness”. John Harle’s arrangement features ethereal female vocals sung in Latin supported by solo violin and strings and a prominent part for bass drum. This had plenty of impact on the Plume with a believable timbre and a slow decay, but the initial strike could have been more incisive.
The flowing synthesiser chords and mysterious atmosphere in the title track from Meg Bowles’s “Evensong” are supported by deep sub bass elements which swell and subside. The Plume produced an evocative rendition with plenty of depth and power and a healthy dose of rumble in the lower frequencies whilst preserving the lyrical qualities of the music.
In “Something Inside so Strong” by Labi Siffre, bass synth, bass guitar and drums all combine to produce an impressive backdrop to the inspiring and heartfelt lyrics in this seminal anthem to tolerance. The disparate elements in the bass were nicely differentiated by the Plume and once again displayed impressive depth and power whilst allowing the message to be clearly conveyed.
Midrange
The Plume’s midrange was smooth and well articulated and possessed a somewhat warm tonality due to the influence of the bass. It was a little recessed, as befits a V shaped profile, but still retained reasonable levels of detail. Male vocals were warm and female vocals perhaps a little softer than ideal. The transition into the treble was seamless with no harshness or sibilance in evidence.
The introduction to “Venus” from Holst’s “The Planets” by the Montreal Symphony under Charles Dutoit was handled beautifully. Solo horn floated effortlessly over hushed strings and harp and each concertante instrument was reproduced with a timbre which was good for a BA driver. I did, however, feel that the smooth nature of the performance occasionally lacked a little bit of detail and could have been a bit more assertive.
The solo saxophone in the bridge in “First Kiss” by Chris Spheeris sounded great with the character of the instrument very evident and producing an impressive tableau when backed by cascading synth strings and acoustic guitar. Solo guitar also impressed with the deep bass adding a solid foundation. The details in the rhythm guitar and synthesisers were also very well presented.
The vocals in “Father and Son” by Cat Stevens were clearly enunciated and the quality of his voice as he portrayed the different characters was effectively conveyed. The acoustic guitar solo was clear and bright and the backing instruments and vocals were also well defined, drawing you into the music and creating a very immersive result.
Treble
The treble was fairly natural in character with a pleasant timbre, but it was a little subdued and although there was a good amount of detail on offer, I felt that the extension could have been a little better (see below). Transients were slightly soft and I did miss a bit of air and sparkle, but there were no disturbing peaks and it was devoid of sibilance.
“Sunday Morning” is the second movement of the “Four Sea Interludes” from Peter Grimes by Benjamin Britten. Brass and woodwind announce a complex rhythmic theme followed by violins in the high register. The atmosphere of the piece in the beautiful recording by Andre Previn and the LSO came over well with an attractive silky tonality in the strings but the syncopated rhythms lost a little of their immediacy due to the rather safe tuning in the presence region.
“Petite Fleur” is an electronic piece by George Deuter from his album “Land of Enchantment”. This was much more to the Plume’s liking with the music box-like melody possessing a clean timbre and remaining clear above the synthesised accompaniment. Each note was clearly defined and the reverb of the studio recording faithfully reproduced.
“Man Free” by Linton Kwesi Johnson is a dub reggae classic from the album “Dread Beat an’ Blood”. The playing of the superb rhythm section of Sly Dunbar and Robbie Shakespeare received a stirring rendition with the bass suitably deep and the Plume handling the percussion in an incisive fashion with accurate timbre, especially the complex and detailed cymbal and hi-hat work in the instrumental which was supported by some characteristic “skanking” from the keyboards.
Soundstage
The expansive soundstage was its best feature, being amongst the best I have heard so far with impressive levels of separation, layering and imaging.
“Accumulus” is a large-scale symphonic style electronic work by Matthew Clifford. The first part is in sonata form with an “idee fixe” which occurs as a theme and variations. A veritable arsenal of keyboards is brought to bear and all the different elements were clearly differentiated by the Plume within a vast stage in which everything had its place. Different strands were easy to follow and the imaging was excellent. The focus was on musicality throughout.
The Plume’s extensive staging suited film music very well. “Come back to us” by Thomas Newman from the OST to “1917” was a perfect example.
Sustained strings and delicate keyboards introduce the piece. Basses and cellos, augmented by synth bass, form a deep foundation over which a poignant and impassioned cello solo is heard. The Plume recreated a wonderful tableau full of atmosphere and feeling in a broad canvas and when the cello was joined by full orchestra, the effect was thrilling.
“Eve of the War” from “War of the Worlds” by Jeff Wayne is a beautifully produced track. It begins with the imperious voice of Richard Burton describing the start of the invasion. His voice was very well rendered in a resonant acoustic. Following this, synthesisers announce the theme with percussion left and right in the image. More layers are added as the track develops and the Plume kept up admirably, retaining excellent separation and imaging. The whole piece was very excitingly portrayed.
Comparisons
TRI i3
The i3 is an innovative “Tribrid” featuring an 8mm DD, planar driver and BA. Nicely crafted from metal, it, like the Plume, presents a bold and expansive sound picture. The planar unit produces a wonderful midrange timbre, the bass is deep and powerful and the treble deceptively detailed. It does not suffer from bass bleed as the Plume does. It does require amplification to bring out the best in the planar driver but it is more balanced and refined than the Plume and equally as musical in its presentation.
Aiderlot M5
The M5, like the Plume, is a 5-driver IEM but it is an all-BA model using Knowles drivers. It is tuned very differently from the Plume, being very neutral and flat. Bass is not as prominent as may be expected from a BA unit, but it is faster and cleaner. Mids are very clean and detailed and the treble is open and more extended than the Plume. The soundstage is large but not as extensive, though the imaging is very good. The overall sound is open, refined and airy but it does not have the power and depth seen in the Plume.
TRI Starsea
The Starsea is a 3-driver model, 1DD + 2BA. Its USP is the two tuning switches offering four different sound profiles. Comparing it to the Plume, the Starsea was set to the “Amazing Bass” setting which produces the most powerful low end. The result is a mild V shape with solid bass, a very open midrange and extended treble. It is more airy, delicate and detailed than the Plume, and also has a very large soundstage. The Plume is warmer in tonality and more powerful sounding and has a more pronounced V tuning.
Conclusion
The Plume produced a bold, dramatic sound and there was a broad, cinematic sweep to the reproduction. The soundstage was first class and the overriding impression was of a musical and entertaining character. Bass was deep and powerful, though sometimes dominant and the mids were smooth and slightly warm in tonality. This continued into the treble which was conservatively tuned with no harshness or peaks and would suit the treble sensitive amongst us, but I felt there could have been a bit more detail and I often found myself wishing for more air and sparkle, although it was very relaxing to listen to. I did obtain a brighter sound by using a KBEAR Limpid Pro cable and JVC Spiral Dot tips which, for me, brought the sound into a better balance. It may be worthwhile experimenting with cables and tips and a bright or neutral source is recommended.
Beautifully presented, good looking, well made and with a sound which will appeal to many, the Plume is a very impressive debut for CCZ and can be warmly recommended.
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Back with another IEM review, this time it’s the tastily named Kiwi Ears Orchestra! Posted here on the headphones.com reviews page but thought to make a post here as well for discussion.
Kiwi Ears Orchestra Review: The Quiet Mid-Fi Contender
Introduction
Kiwi Ears is a brand you’ve likely have never heard of. They’re a new addition to the Linsoul store with a single IEM in their lineup: the $500 8 BA Kiwi Ears Orchestra that I have in my hands for today’s review. Despite the typical trappings associated with ChiFi brands, Kiwi Ears is actually an effort by a to-remain-unnamed designer to establish their own brand after having tuned some of the most popular ChiFi IEMs to have come out recently. By way of disclaimer, said designer is someone I have chatted online with before on a casual basis. I will of course strive to remain bias free for this review as much as possible. So without further ado, let’s see how well Kiwi Ears’ debut IEM performs.
What’s in the Box?
The unboxing of the Kiwi Ears Orchestra is an uneventful experience. Inside the cube-shaped box that it comes in lies the IEM shells and a black cardboard box holding the 6 pairs of generic silicon tips. A lower compartment holds a snazzy little navy-blue carry case debossed with the Kiwi Ears name on it and hiding a 2-pin cable wrapped up inside. From the weight and feel of the cable, it’s certainly not the cheap stuff you’d generally see from stock cables. While I think it’s a bit on the heavy side with a bit of cable memory, I’m glad to see that Kiwi Ears didn’t completely cheap out on the cable.
The shell of the IEM itself is a simple light-weight black resin shell. It has a 3D-ish carbon fibre look for its faceplates while the right shell additionally sports the Kiwi Ears logo. Supposedly these faceplates are fluorescent and turn blue under absorbing UV light. I haven’t actually seen this happening on my unit, but I have seen it on others. Your mileage may vary. Fit wise, I find them quite comfortable. The nozzle is fairly short with a rather large 6 mm diameter. However thanks the IEM’s overall small size, I haven’t had any issues getting them to seal and hold in place. The ergonomics hold up well here but isolation is average at best.
Sound
As I have come to expect based on the track record of from this designer, the Kiwi Ears Orchestra is a very well tuned, balanced IEM that errs on the safe side. It has a neutral profile with a moderate pinna gain in the upper mids, giving it a reference-style tuning. One aspect of the Orchestra that stood out to me at first listen compared to most of the other IEMs I’ve reviewed was its noticeable upper treble extension. The technical performance of the Orchestra is in-line with what I’d like to see from good mid-fi where resolution and staging are a clear step above IEMs in the <$200 mark. Of note is that stringed instruments perform particularly well with the Orchestra.
Frequency response of the Kiwi Ears Orchestra. Measurement taken with an IEC-711 clone microphone. Comparisons can only be made to other measurements taken by this specific microphone. The peak at about 8-9 kHz is an artifact of the microphone. It likely does not actually exist as depicted here.
Bass
Bass is not the focus of this IEM. There’s sufficient quantity to play a complementary role and satisfy bass presence in the low end but the Orchestra is not a bassy set. Though it does extend down into the subbass and rumbles when called for, like most IEMs, it doesn’t quite have the physicality and control at the lowest registers that I would like. As such, the Orchestra makes its clean midbass its forte. As far as BA bass timbre goes, it isn’t too noticeable on the Orchestra. There’s quite a realistic sense of attack and decay allowing the Orchestra to easily play both deep, booming drum notes or incisive, rapid-fire bass guitar lines without much compromise. Though it’s no dynamic driver, considering that the vast majority of IEMs with DDs for its bass aren’t exactly stellar to start, I don’t really have complaints with the Orchestra here.
Mids
The mids are where the Orchestra shows its strength. But first, the downside. While the transition between bass to low mids doesn’t sound disjointed like some other multi-driver setups do, it has just a touch of fuzziness around it. In some of my less well recorded rock tracks, there’s a small region where at the start of the lower mids that doesn’t sound clearly defined. Not a deal breaker by any means but a minor complaint. The balance between the lower mids and the upper mids is nicely done for the slightly warm neutral tone that the Orchestra strives for. It finds a Goldilocks zone in the upper mids where its relaxed profile still manages great vocal clarity. Combined with the ergonomic fit of the Orchestra, its mids makes it an easy listen that you can get lost in for hours.
All this to say that instrument tone and timbre are excellent on the Orchestra. The smattering of warmth of imparted by the lower mids balanced with the tamed upper mids brings a slightly bodied sound to vocals and other mid-focused instruments. Stringed instruments in particular perform outstandingly on the Orchestra. Acoustic, electric, and bass guitars all have resolution a step above other instruments and a hint of texture arising from a unique combination of definition and decay. All of this comes together to add flavour for an engaging listening experience. Even backing cellos and violins that often get masked in tracks are brought to life with the aptly named Orchestra. It’s honestly been quite a while since I’ve last had a chance to really enjoy the sound of the strings as excellently as the Orchestra portrays them here.
Treble
Like the bass, the treble of the Orchestra takes a backseat to the mids. But as far as IEMs with safe treble tunings go, the Orchestra is comparatively lively thanks to its treble being kept at a fairly consistent level all the way up to the upper treble. There is one small dip in the lower treble at 5.5 kHz that goes a long way towards curbing any sibilance issues for me. Due to the Orchestra’s relatively moderate upper mids, treble presence naturally follows as I turn up the volume to comfortable levels. This has the effect of allowing the upper harmonics of instruments to pop and add clarity to transient attacks, particularly for plucked strings or the crack of the snare head. As such, the Orchestra passes my hats/cymbals test easily and the upper treble extension on the Orchestra brings out a sweet shimmer. Admittedly, the upper treble extension does start to fade out around the 12 kHz mark but for what’s there, it adds a new dimension to the sound that’s missing in most other IEMs.
Presentation
Like many IEMs, the soundstage of the Orchestra isn’t too noteworthy. The stage width is decently wide with a competent amount of depth. Height unfortunately is limited. That said, I do find there is a good sense of spaciousness as instruments are placed within the soundstage. In particular, there’s a clear instrument separation in the way that instruments are layered on top of each other to take advantage of the stage depth. To go along with this are solid imaging chops that goes far beyond the standard left, right, center. Together, they make the Orchestra sound refined and nuanced compared to lower tier IEMs.
As mentioned above, resolution on guitars, electric and bass guitars especially, is outstanding. But for the other instruments, the Orchestra doesn’t have that “next-level” resolution and detail retrieval I generally look for. It’s in line with what I’d consider competitive for a mid-fi IEM but not beyond that. The dynamics of this IEM are respectable for the price. Crescendos have room to build into and drum notes land with commendable impact.
Comparison to the DUNU SA6
At $550, the all-BA DUNU SA6 is the perfect comparator to the Kiwi Ears Orchestra. The major difference is in the SA6’s coloured tuning versus to the Orchestra’s more reference-neutral style. Specifically, the bass and lower mids of the SA6 are elevated. There is greater impact and control with subbass notes while vocals and acoustic guitars have a richer, lusher tone within the mids. The significant treble dip of the SA6 does sound awkward in comparison to the Orchestra’s consistent treble response. Hats and cymbal notes don’t sound whole on the SA6 as certain harmonics are missed with its uneven treble. Overall, while the Orchestra does sound more “right” to me, individual preferences will decide if you want the comparatively “fun” SA6 tuning. Note that the SA6 is ergonomically more comfortable the Orchestra.
On a technical level, the Orchestra edges out the SA6 for me. BA timbre comes off a little stronger on the SA6 in exchange for having increased subbass impact. The Orchestra has better soundstage presentation and instrument definition that manifests in greater layering prowess. The richer lower mids of the SA6 does mask some resolution in that area and the edge in upper treble extension of the Orchestra that provides clarity to upper harmonics is a welcome addition. That said, the SA6 does sound more dynamic to me, in line with the “fun” aspect of it.
Comparison to the MoonDrop Blessing 2 Dusk
I wrote about the Dusk previously and to make a long story short, I think it is the gold standard for mid-fi IEMs and is competitive with all but the very best IEMs in the market. Unfortunately, the Kiwi Ears Orchestra isn’t capable of challenging the throne. The Dusk remains one of the most tonally accurate IEMs I’ve ever heard with class-leading resolution to go along with it.
But like most consumer products, horizontal differentiation is the name of the game. So what does the Orchestra do differently enough to make someone potentially consider it over the Dusk? I can think of three reasons. The first is its relaxed upper mids. If you find the Dusk’s vocals shouty, the Orchestra would be an ideal next choice. The second is its treble extension. Hats and cymbals on the Dusk don’t shimmer as sweetly as they do on the Orchestra. Finally, electric guitar grit and texture. The Orchestra makes stringed instruments sound great. If you love rock tracks with crunchy electric guitars along all sorts of accompanying strings, I think you’ll find the Orchestra to be a nice little treat. Oh and of course, there’s a good chance that the Orchestra’s fit and comfort will be superior to the Dusk.
Should You Buy It?
Yes. At $500, I can recommend Kiwi Ears Orchestra as a solid choice especially if you’re looking for something with more moderate upper mids in a market with few options for those with that preference. I’d say it performs competitively in the mid-fi segment but doesn’t really go above and beyond its asking price like the B2/Dusk do. Personally, between the SA6 and Orchestra that I now own, I’ll likely use the SA6 on public transport and the Orchestra for desk listening at work. The Orchestra shines in quiet listening environments while the SA6’s performance is less affected by external noise. With the release of the MoonDrop Variations and Thieaudio Oracle and Excalibur, it seems like the mid-fi market is having a bit of a moment in the spotlight. The Orchestra is a fine addition to these potential options and a strong debut to the Kiwi Ears brand. I look forward to seeing more from Kiwi Ears in the future and as its creator becomes ever more skilled at IEM craftsmanship.
Review written by @Fc-Construct
Review unit provided by Linsoul
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Another excellent Review @Fc-Construct. I still haven’t had chance to listen to the B2 Dusk. So I will have to make sure I do.
I was invited by Ann from Keep Hifi to review the new TRI i3 Pro, supplied via Amazon.co.uk. Amazon ASIN No. B09F9CNPF6.
TRI i3 Pro
The TRI i3 Pro is the new redesigned version of the original i3. Like the first model, it sports an 8mm dynamic driver for the bass, a 10mm planar magnetic unit for the midrange and a custom balanced armature for the treble region. The size has been reduced by more than a quarter and the MMCX connection has been changed to a 2 pin interface. The price at Amazon.co.uk is £190.
The i3 Pro comes attractively packaged in a rectangular box with a colour sleeve featuring a graphic recalling a time-lapse picture of the sky. It features circular star-trails with an iridescent effect set against a starry background with the model name “TRI i3 Pro” in the centre. The reverse is printed with specifications. Removing the sleeve reveals a plain black box inside which the earpieces are displayed above the leather case.
In all the package contains:
- TRI i3 IEMs
- 8-core 5N OFC cable with 3.5mm plug
- Leather case
- 3 pairs white silicone tips
- 5 pairs KBEAR 07 silicone tips
- Cleaning brush
- Polishing cloth
- Documentation
This is a generous accessory set similar to that supplied with the TRI Starsea and KBEAR Believe.
The earpieces are crafted from polished CNC formed alloy and are similarly shaped to the original with subtle contouring but are significantly smaller. The 2-pin sockets are recessed and accept standard connectors. There is a row of four small vents for the dynamic driver on the rear of the earpiece. Although I had no problem with the fit of the original i3, the newer model fits very well and I think would suit more users.
The supplied cable is an 8-core single crystal copper type with 2 pin connectors and a red mark on the right plug for channel identification. The 3.5mm plug is in shiny metal and has TRI branding, and the metal Y-split has a trident logo. A metal ring serves as a chin slider but is not as easy to use as the bead type. The cable is supple in use and the ear guides are not too stiff, resulting in a high level of comfort.
The i3 Pro was principally tested with an Xduoo X20 DAP and the stock cable and the pre-fitted medium white tips were used. I also used a Grace-S balanced cable during testing. A burn-in period of 100 hours was allowed to stabilise the components. Like the original, I found the i3 Pro sounded at its best with additional power so drafted in a Fiio A5 amplifier for this purpose.
First Impressions
The i3 Pro displayed a well-balanced mild W profile with powerful sub-bass. The mid bass was lower in level and transitioned gently into the mids. The mids themselves were slightly forward and well-resolved with a natural timbre. The treble was clean and clear and fairly well-extended with a moderate peak before rolling off smoothly although perhaps a little early. The soundstage was expansive with a little more depth and height than width and separation and imaging were excellent.
Bass
The i3 Pro’s bass was powerful and visceral with a good sub-bass presence and satisfying rumble. Mid bass was dialled back and gradually became near neutral as it approached the midrange. Transient attack and speed were on point and texture was also very good with a touch of extra warmth.
“Nuvole a Colori” appears on the album “Stagioni de Venezia” by Rondo Veneziano. It begins with a deep and powerful synth bass chord accompanied by descending diminished chords in the minor key. Percussion elements are added and a meandering violin solo plays arpeggios over the top. The bass was very impactful with good weight and depth, providing a perfect foundation for the solo instrument and showcasing the dramatic quality of the piece.
“In Church” is a part of the “Slovak Suite” by Viteslav Novak and features a prominent part for organ. In the version by the Royal Liverpool Philharmonic conducted by Libor Pesek, the depth, texture and power of the instrument was presented realistically and the lowest notes possessed good extension and natural timbre with a good reproduction of decay. The balance of the organ and orchestra was handled very well.
“Rock On” by David Essex has a superb production by Jeff Wayne (“War of the Worlds”). Founded on double-tracked bass guitars in each channel, they plumb the depths and growl menacingly while remaining clearly separated from the kick drum playing simultaneously. The texture and impact of the bass realised by the i3 Pro really impressed and brought the production to life.
Midrange
The i3 Pro continued where the original left off with excellent timbre from the planar driver but this time it was a little more forward and lively. As a result, clarity was improved and details were easier to discern but there was the impression of a narrower or more intimate stage.
Kevin Kern’s brand of gentle piano music always enchants with its attractive melodies. “Through the Veil”, from the album “The Winding Path”, is a perfect example. A solo acoustic guitar plays a simple theme accompanied by the sound of a rain stick and then, after a deep bass drum the piano enters with the beautiful main theme. The timbre of the piano was very well realised as was the warm woody tone of the guitar. The resolution of the individual sounds of the rain stick was notable and the whole piece demonstrated the superb separation and imaging of the i3 Pro’s midrange which was testament to the tuning of the planar driver.
“Bring him Home”, from “Les Miserables” received a heartfelt rendition from The Piano Guys. The timbre of the cello and piano was very natural and authentic and the i3 accurately reproduced the subtle changes in dynamics which convey emotion, allowing the feeling of the performance to come through. The details of the bowing and of the decay and harmonics of the piano were very well portrayed.
Rafael Fruhbeck de Burgos’s colourful transcription of the “Suite Espanola” demonstrated the excellent timbre of the i3 Pro. Performed by the New Philharmonic Orchestra directed by de Burgos himself, the superb vintage Decca recording sounded fresh and full of life. In “Sevilla” the concertante woodwind parts in the central section were clearly depicted with believable timbre. Bright incisive brass and percussion provided an effective contrast while the lively and infectious rhythm drove the piece along in great style.
Treble
The treble on the i3 perhaps displayed the greatest difference from the original, being quite a bit brighter and possessing more detail. There was a gradual rise with frequency up to a moderate peak in the upper region after which there was a gentle roll-off. There was plenty of sparkle and life and the BA timbre was generally very good.
“Natural Light” is the title track from the album by Steven Halpern and Dallas Smith featuring Halpern’s keyboards and the latter’s delicate Lyricon work. Sustained electric piano tones underpin hypnotic swirling figurations from the Lyricon wind synthesiser embellished by crystalline electronic effects. On the i3 Pro the finest details were delivered with good treble extension and separation, fine resolution and a clean and natural tonality. The meditative feeling of the track was conveyed admirably.
Jacques Loussier’s album “Play Bach No.1” was first released in 1959. The superb French Decca remaster from 2000 sounds fresh with remarkable fidelity. In the “Aria” from Suite No.3 in D Major, the subtleties of the brush work and the metallic quality of the cymbals were clearly audible on the i3 Pro although perhaps a little softer than ideal. The highest notes of the piano sounded natural and bright with the atmosphere of the intimate acoustic adding to the experience.
In the classic 1960 Archiv recording by Helmut Walcha, J. S. Bach’s famous “Toccata and fugue in D minor” received an impressive display from the i3 Pro. There was a remarkably clean and etched quality to the high notes from the Silbermann organ which were reproduced with accuracy and immediacy. The tonality remained clear and crisp even during the most energetic passages and when accompanied by the powerful pedal tones the reverberation in the St Laurenskerk at Alkmaar was realised very effectively.
Soundstage
The original i3 possessed a very expansive stage and the Pro’s was similar in depth and height but it was a little narrower. This derived from the more lively and forward mids or possibly an acoustic effect due to the reduction in size of the earpieces.
Sibelius’s “The Swan of Tuonela” is a moody evocation of a Finnish legend. In the superbly recorded version by the Minnesota Orchestra under Eiji Oue, the orchestra was laid out convincingly with the cor anglais solo placed clearly in the centre and the distant bass drums rumbling menacingly in the background producing a feeling of uneasy serenity. The cello solo was very effectively portrayed and the atmosphere of the concert hall reproduced very faithfully.
“Desert Vision” is an album by David Lanz and Paul Speer celebrating the natural wonders of the American South-West. “Carlsbad” showcases Lanz’s lead piano accompanied by elaborations from Speer’s guitar. Supported by George Deuter’s woodwind cameos and Jonn Serrie’s lush synth backgrounds, the complex arrangement of the piece was expansively recreated on the i3 Pro with a huge stage and pinpoint imaging and exhibited excellent layering enabling the listener to appreciate the intricacies of the production.
In Clannad’s “Theme from Harry’s Game”, Moya Brennan’s ethereal voice is supported by banks of synths and augmented by vocal sections in the chorus. The i3 Pro made the most of this with an atmospheric and spacious delivery presenting the lead vocal clearly and effectively. The central part features powerful keyboards which showed good layering and the whole piece was set in a broad acoustic with impressive reverb and an attractive airy quality.
Change of cable
After thoroughly auditioning the i3 Pro in stock form, I changed to a TRI Grace-S silver plated cable. There was an immediate improvement in resolution in the mids and the treble appeared more extended with a silky quality and an increase in “air”. The soundstage expanded, matching that of the original i3, the bass was tighter and cleaner and the background was “blacker”. In this configuration I found the Pro preferable to the original i3. I also used the KBEAR Limpid Pro pure silver cable and obtained similar results so would recommend cable rolling to any owners of the new model.
Comparisons
TRI i3 (Original)
The i3 Pro does sound different from the original. Its profile tends more towards neutral with a somewhat forward midrange, a bass which is slightly less prominent and a well-behaved treble with good detail and extension, resulting in a somewhat brighter presentation and good technical ability. The original is warmer and more U-shaped with slightly recessed mids and a polite treble although the excellent planar tonality and timbre shine through in the same way as in the newer model, endowing it with a particularly musical and “cinematic” character. The soundstage on the original appears larger in size and more spacious with the newer model possessing a slightly narrower presentation and imparting a more intimate feeling but at the same time possessing a little more depth. These differences are subtle but audible and the choice between them is a matter of preference rather than anything else.
BQEYZ Summer
The Summer is a tribrid which has a large 13mm dynamic driver for the low frequencies, a proprietary BA covering the mids and a 5-layer piezoelectric unit handling the treble, all housed in a resin shell with 2-pin connection. It has a warm, well-balanced mild W or U-shaped profile with high resolution and expansive staging. Bass is deep, firm and well-textured with a powerful mid bass which sometimes dominates. It has a midrange which is clear and nicely detailed with good BA timbre and an extended treble courtesy of the well-tuned piezo driver. The musical quality is an outstanding feature and music is displayed in a bold “cinematic” fashion, similar to that of the original i3. The treble occasionally displays a thin tonality on certain material. The i3 Pro has a smoother treble, is better balanced across the frequency spectrum and has superior imaging and separation and there is more “weight” in the sub bass, whereas the Summer is faster and more snappy in its delivery with a brighter treble.
MT300
The MT300 is an innovative tribrid. It is beautifully made with a shell-like alloy housing and MMCX interface, and also includes a unique locking cable connection. It features a 10mm carbon DD for the bass, a Knowles 29689 BA covering the midrange and a TDK EST unit for the high frequencies. Its presentation is unashamedly bold and romantic and highly entertaining. It is a V-shaped profile but its resolution and impact are notable. The full-on sound does resemble the original i3 but there is a deeper sub-bass and more prominent mid bass, a recessed midrange which still has excellent timbre and presence courtesy of the Knowles driver, and a very extended, delicate treble with that EST magical tonality. The i3 Pro is more balanced in character with a superior midrange, but the treble is not as impressive as that of the MT300. In bass, it is honours even with the i3 Pro being tighter and more textured and the MT300 majoring on impact and depth.
Conclusion
Thei3 Pro has a slightly different character from the original i3. The emphasis has been shifted subtly from a warm U shaping to a more neutral and technically adept presentation. The bass has been dialled down a touch, midrange has been brought forward and the treble brightened resulting in a “flatter” response whilst still retaining most of the character and musicality of the original. The expansive and spacious quality of the former model has been generally retained with a more accurate profile being created and a change of cable did restore most of the qualities of the original. Add to this the smaller size, more comfortable fit and generous accessories and you have the recipe for a winner. With its unique driver configuration and high quality musical sound, the i3 Pro occupies a special place in the IEM market and is highly recommended.
7 Likes
I read down to where you start talking about the sound, then I stopped and scrolled back and forth, to try and find the price. It may be me, but I couldn’t find it, so I didn’t read your review in detail.
A small advice: place the price of an IEM in the beginning, it gives a lot of context for the rest of the review.
(Yes I could google the price and did it ($189,00), but it does bother me, that it is not in the review)
5 Likes
I will remember to include the price in future. I have now added the price to my review.
3 Likes
@Gordon_Freeman is right, a review always seems incomplete without mention of the price. It helps to put things in context.
Mark Gosdin
1 Like
Hey everyone! Mired in school work but I had to get this review out just in time for some Nov 11 sales. Here’s my 7Hz Timeless review - I hear this IEM has garnered quite a bit of attention lately!
7Hz Timeless Review: Uncovering a Genuine Hidden Gem
Review written by @Fc-Construct
Introduction
Hands up if you’ve ever heard of 7Hz. No? No one? Well, you’d be forgiven for not knowing of their existence. 7Hz is (or was) yet another obscure Chinese brand that makes unpronounceable IEMs that I’m not sure who buys. The only reason I know of them was through a short peek in the Linsoul catalogue looking for IEMs with spurious marketing claims of Beryllium drivers.
But lo and behold, I have before me a 7Hz IEM. It’s called the 7Hz Timeless and it is a $220 planar IEM with a 14.2 mm driver. Yes, that’s right. We’ll be looking at a planar IEM today, one with a big ol’ driver. For those unfamiliar to the scene, planar IEMs are a rarity in the market. Almost none of them are any good. So a no-name ChiFi brand with an unproven IEM driver technology – sounds like a recipe for disaster. Yet as we will see in this review, the 7Hz Timeless is quite the achievement, one that truly fits the infamous cliché of a hidden gem.
What’s in the Box?
The box of the Timeless just screams Chinese sensibilities. Not a lick of English. I love it. Inside is a block of aluminum that doubles as a case. It’s heavy and totally impractical and feels like 7Hz could saved $20 from not having this. Aside from that oddity, the Timeless comes with a variety of generic IEM tips, a pair of replaceable filters, an MMCX cable, and the IEM itself. I quite like the cable. It’s soft, supple, ergonomic, with little cable noise and memory. Oh and did I mention the handsome red/black aesthetic on the connects? Any attempt at a cable “upgrade” from this might just be a downgrade.
The shell of the Timeless is made out of solid metal and surprisingly, its fit is actually quite good. It has an angled nozzle that fits well into my ear with little issues. Though the seal is bit shallow and not super tight with the stock tips, I find that it actually sounds the best like this. The large circular outer shell isn’t an issue at all as it turns out since it sits comfortably outside of the nozzle area. Additionally, there’s a few large vents on the IEM itself that provides a perception of openness. Personally, that adds to the overall comfort of the Timeless and I can have it in for hours on end without any issue. The trade-off is that it doesn’t isolate very well.
Sound
First impressions are very good. I’d classify the tuning as bassy balanced with great midrange tone. For the most part, the Timeless has clean sound but the bass can occasionally overpower the music given the right note. On the technical front, it’s no slouch either. It has strong resolution, instrument separation, and staging characteristics that elevate it beyond other IEMs that merely have good tuning.
Frequency response of the 7Hz Timeless. Measurement taken with an IEC-711 clone microphone. Comparisons can only be made to other measurements taken by this specific microphone. A peak at about 8 – 10 kHz is likely an artifact of the microphone. It likely does not actually exist as depicted here.
Yea, the channel matching is not the best in the upper mids and treble region. I’ve seen a few other units that don’t measure super well either, so I don’t think it’s just a one-off issue. That said, I don’t really notice this imbalance when listening to music nor does it affect my enjoyment of the Timeless. Maybe it contributes to some of the flaws in the treble that I’ll describe later but there’s no way to tell for certain.
Bass
The bass of the Timeless is certainly elevated. It can be quite the boomy IEM when a track calls for it. At times, it can be overbearing and momentarily bloomy. This downside is exaggerated by the fact that the Timeless’ bass is on the softer side and without definition in the subbass. This means the Timeless isn’t the most dynamic of IEMs, despite having plenty of quantity. I hear this the most in the room-filling notes of a floor tom where they can start lose control. These complaints aside, I find that the bass of the Timeless generally takes on more of a nimble character that allows it able to cleanly resolve notes in the upper bass. Bass lines from a bass guitar or a double bass are nicely rendered and fun to listen to. As a whole, I like the bass of the Timeless. While not perfect, it does a lot right here and its flaws are relatively minor when compared to other IEMs in the market. A little bit EQ to tame the bass might just be the way to go here.
Mids
The mids of the Timeless is by far the best part of its tuning. It’s extremely well balanced and with a great purity of tone, especially for vocals. Midrange focused instruments are excellent on the Timeless, with a very natural voicing all around. Vocal harmonies are standout. The Timeless has the ability to effortlessly highlight both vocal harmony and melody at the same time, clearly separating individual vocalists while seamlessly blending their voices together in chorus. I can’t recall the last time I heard an IEM in this lower price class strike me as so enjoyable in the mids right out of the box.
Treble
I’d describe the treble as “almost there”. On the surface, it checks a lot of boxes. It’s crisp, lively, has an airy sparkle, and comes with treble extension. Despite the bumpy looking graph, the Timeless has a fairly even sounding lower/mid treble response. There aren’t any major holes in the treble response that make notes sound off. Nor do I get any form of sibilance with the Timeless, thought that does depend on your music and treble sensitivity. Unfortunately, I do have a complaint about its timbre. There is a brittle tizziness to the hats and cymbals, as if the notes are artificially overly sharpened. It’s reminiscent of what I noted in the treble of the Sundara, but to a much lesser extent. Perhaps it’s a result of the channel imbalance in the treble as seen in the graph. Regardless, the treble of the Timeless is still enjoyable to me and is far from a dealbreaker by any means.
Presentation
The staging of the 7Hz Timeless is a highlight for me, coming under its midrange performance. And truth be told, I think the reason I like the mids so much is precisely because of how well the staging of the Timeless works for it. While the soundstage itself is not the largest in absolute terms, the open and spacious feeling I get as a result of the vents on its shell goes a long way towards my personal enjoyment. Stage width is comfortably large here, though there is a distinct lack of stage depth. Imaging is similarly strong, with plenty of granularity across the horizontal soundstage.
Resolution and instrument separation is definitely a strong point of the Timeless, mostly due to the strength of its midrange. While it doesn’t quite reach the levels of the best of the best, it does put up a hard fight against a lot of great IEMs double or even triple its price. One major piece that holds it back is the aforementioned lack of stage depth. Without it, you don’t quite get the layering effect that often accompanies and enhances instrument separation.
As a whole, the sound presentation of the Timeless is what truly separates it from other IEMs that are simply well tuned. Whenever I review IEMs like that, I often think “yea this is a good sounding IEM, if a little generic” then put it down and move on. Not the Timeless. I genuinely enjoy listening to music with it and exploring what else it is capable of. To me, that’s the hallmark of a great IEM.
Comparison to MoonDrop Blessing 2 Dusk
Of course, what everyone really wants to know is how the 7Hz Timeless holds up against the stalwart MoonDrop Dusk. Right off the bat, I will say that I would recommend the Timeless over the Dusk. Not because it’s actually better from a sound quality perspective, but because it is cheaper by about $100, fits much more comfortably, and comes close enough to the Dusk that I don’t think the extra cost is warranted.
The bass of the Dusk is better controlled and less indulgent thanthe Timeless, especially when it comes to large-sounding floor tom and kick notes that become overly bloomy on the Timeless. The midrange on the Dusk is cleaner to me with its purposefully flattened lower mids. Thus, the Timeless is warmer than the Dusk. Vocal performance goes to the Dusk as it just has an unmatched clarity when compared back-to-back. However, the Dusk does come off as sterile vs. the more organic tone of the Timeless. This is most noticeable with acoustic guitars. Treble is a wash. The Dusk has a sharper lower/mid treble attack but falls off in the upper treble and decay. The Timeless treble is less prominent but blends in better with the overall sound.
When it comes to technical performance, I’d say the Dusk edges it out with a slightly more refined, “HD” feel to it. Not sure why I get this feeling as the actual difference in resolution between is nearly negligible. Perhaps it might just be something to do with hybrid multi-BA setup of the Dusk vs. the single planar driver of the Timeless. Or maybe it’s due to how clean the Dusk’s tuning is. Regardless, I would say the soundstage and imaging are about the same for both. The key difference is in the closed in vs. open, spacious feel of the Dusk vs. the Timeless. I much prefer openness of the Timeless and find that it helps the IEM “breathe” so-to-speak, enhancing my perception of instrument separation. On a final note, the Dusk is more dynamic than the Timeless.
Should You Buy It?
Yes. At $220, there are no caveats here that make me hesitate to recommend the 7Hz Timeless. You might even be able to find it on sale for even cheaper if you look around. Fit and comfort works well for me, its tuning is balanced and easy-to-listen to, and the Timeless’ sound presentation is thoroughly enjoyable. Historically, back when KZ was completely synonymous with ChiFi, the lower end market of IEMs had been mocked as consumers declare their findings of so-called “hidden gems”, unheard of IEMs that supposedly punch way above their price class but often fail to stand up to true scrutiny. But if you ask me, the 7Hz Timeless perfectly encapsulates the concept of a hidden gem. I did not expect this level of performance from an unknown Chinese company playing around with a planar driver, especially not one that can rival the Dusk in terms of value proposition. Great job 7Hz. Now lets see if you can improve or if this will be the only shining star in a dead-end lineup.
12 Likes
Well, not Chinese, and not in the same price category, but Audeze LCDi3 and LCDi4 are planar magnetic IEMs with honking big 30mm drivers, and they sound damn good. And they have a fit similar to what you describe for best sound - a bit shallow in the ear and not the tightest fit.
Nice review.
Yup for sure! I do think there’s a bit of room for debate if the iSine series is truly an IEM or not 
they’re uhhh special
1 Like
I was recently invited to test the new IKKO OH1S earphone. Here are my thoughts:
IKKO OH1S
I would like to thank Rebecca from IKKO Audio for supplying this review unit.
The OH1S is the latest model in the OH series from IKKO, following on from the OH1 and OH10. Like the previous models, it is a dual hybrid. It features a new 10mm composite dynamic driver with a carbon nano diaphragm paired with a Knowles 33518 balanced armature. It also has IKKO’s “Separating Vector Acoustics System” (SVAS) technology, which is a unique cavity design which Ikko claims “improves volume, reflection, and diffusion angles". The interface is MMCX. The OH1S retails for $199.
The presentation is superb. The outer cover features an illustration of a cute girl dancing in front of a night-time cityscape while listening to her music. Inside this is another slip cover with a colour image of the IEMs on a graphic background with the name “GEMS” below. Removing this reveals the actual box which is black with a linen finish and a gold block bearing the words “IKKO DESIGN”. Upon opening the box, you are greeted by the IEMs sitting in a card layer with graphics and an IKKO branded metal badge. Below this in a further layer the cable is stored in a simple black box along with the leather storage pouch and nine pairs of eartips.
In all the contents comprise:
- IKKO OH1s IEMs
- Silver plated single crystal copper cable
- 6 pairs of silicone tips
- 3 pairs of foam tips
- Leather storage pouch
- 1 pair replacement filters
- Tweezers for filter replacement
- IKKO branded badge
- Documentation
This is an impressive and comprehensive presentation.
The IEMs themselves are constructed from metal and resin and are available in two colours, purple/grey and blue, which, in the gemstone world might be thought of as “amethyst” and “tanzanite”. I received the purple/grey version. The grey metal faceplates have a textured hammered surface and the inner part is formed from resin and is black. Between these elements there is a layer of a rich amethyst colour resin. There are two vent holes for the dynamic driver, one in the centre of the inner face and another on the top edge. The nozzle is unusual in that it has an oval cross section, which accepts the oval shaped silicone tips.
The cable is a 2-core design. The material is single crystal copper and is silver plated and the strands are decorated with red and blue accents. The 3.5mm plug is straight and in black metal with white graphics and there is a cylindrical Y-split and chin slider in black-coloured alloy.
The OH1s was tested with an Xduoo X20 DAP and a burn in period of 100 hours was allowed to settle down the components. A Huawei smartphone and a CD player were also used during the evaluation. The small foam tips were used which provided a comfortable fit and a good seal. Adequate volume was available from all sources but a higher quality resulted with increased power.
First Impressions
The OH1S displayed an unusually transparent and detailed sound with excellent definition. The bass was firm, well-textured and deep, mids were neutral and expressive and treble was clean, bright and extended. There was a very large, airy and spacious soundstage and the profile was linear tending towards a mild W shape. Music was presented in an exciting fashion with superb dynamic range, fast transients and a lively immediacy. The timbre was very natural and there was an overall feeling of refinement and the coherence between the two drivers was seamless. I did find the OH1S unforgiving of poor recordings and that it performed at its best with high quality material. It was also very revealing of the source and I found the neutral profile of my Xduoo X20 a perfect match for the OH1S, preserving its inherent properties.
Bass
The bass was generally linear in nature and reached deep with a good sub bass presence, but it was not overdone and remained in balance with the rest of the spectrum. However, a little more sub bass depth would have been welcome. Mid bass had a solid kick and the transition into the mids was smooth with no evidence of bass bleed. The texture and resolution were of a high standard.
Corciolli is a Brazilian musician specialising in New Age and World music. “Pegasus” appears on his album “Lightwalk”. A punchy bass synth sequence accompanied by piano begins the piece and impressed with its immediacy. Later bass guitar and drums join in. The bass guitar was powerful and very well textured and the drums had a notable impact. The transient attack on this track was excellent.
Rachmaninov’s Symphonic Dance No.1 received a stunning interpretation from the Minnesota Orchestra conducted by Eiji Oue. The OH1S delivered a thrilling rendition with an almost tangible “live” feeling. The bass drum strikes were clean and incisive with a natural decay but free from boominess, and possessed depth and impact. The power of the orchestra in full flow was palpable in the astonishing Reference Recordings production.
Jean-Michel Jarre’s “Oxygene Part 19” explores the full range of his arsenal of synthesisers. At about the half way point a synth descends deep into the sub bass. The OH1S reproduced this with great texture and resolution although a little more depth would have been preferable. This is followed by a fast bass line where each note was clearly defined and reproduced with speed and precision. This was ideal material for the OH1S.
Mids
The OH1S really shone in the mids. They were open and detailed and combined excellent separation with great clarity. The timbre of instruments was very natural and there was a good sense of space.
“Slipping through my fingers”, from ABBA’s “The Visitors” features a lead vocal by Agnetha. Her voice was clear and precisely placed in front of the backing vocals and the emotion of the lyrics was conveyed directly with excellent diction. The separation in the backing vocals was excellent and the electric guitar solo in the bridge displayed aggression and impact in equal measure.
The superb interplay between the guitars in “I’ll see you in my Dreams” by Chet Atkins and Mark Knopfler from the album “Neck and Neck” demonstrated the midrange timbre and detail of the OH1S and showed what an entertaining sound it could produce. Atkins’s chordal work combined adeptly with Knopfler’s Django Reinhardt-like solos with each note clearly defined with wonderful rhythm and timing and producing a joyful toe-tapping result.
In the beautiful 1977 recording of Schubert’s String Quintet, the Melos Quartet is joined by Mstislav Rostropovich. The OH1S demonstrated its fine timbre with the various instruments sounding natural and vibrant, and the concentrated atmosphere of the Adagio was a joy to hear. The contrast of bowed and plucked strings was realised authentically with a perfect balance between the players and a fine reproduction of the ambience of the hall.
Treble
The treble was clean, clear and detailed, exhibiting good extension and being free from harshness or sibilance. It was a little brighter than neutral with an attractive airy quality and remained smooth even during energetic passages. Only occasionally on certain material there was a little extra brightness.
“Mausoleum at Halicarnassus” is the fourth movement of Stuart Mitchell’s “Seven Wonders Suite”. After a lengthy introduction featuring solo flute, a rising string motif is embellished with a bright triangle. The initial strike and subsequent decay were beautifully captured by the OH1S in this lovely performance by the Prague Symphony Orchestra under Mario Klemens. The flute sounded natural and airy and it was even possible to hear the intake of breath by the flautist. The high string accompaniment was also beautifully conveyed with superb delicacy, detail and timbre. The Knowles BA really showed its class here.
“Starry Night” from “Horizon” by Ed Van Fleet is an atmospheric evocation of looking up at the night sky. The smooth string synth patches were redolent of the expanse of the scene and the accompanying delicate shimmering effects were crisply depicted on the OH1S, displaying good treble extension and fine detail. The contrast between the high frequencies and deep bass tones was enchanting.
“The Glass Hall” from “White Winds”, the third album by Andreas Vollenweider, is an ideal piece for evaluating treble extension, detail and separation. Delicate crystalline sounds filling the soundstage begin the track and the precision and clarity delivered by the OH1S were remarkable with the finest details being revealed. In a typical complex production from the Swiss master of the electric harp, woodwind added colour and a large percussion section provided intricate rhythmic patterns, all of which were presented clearly and harmoniously by the OH1S in an entertaining fashion.
Soundstage
The OH1S displayed a very expansive soundstage with excellent imaging, layering and separation. It was easy to follow individual strands in orchestral music or bands, and vocals were projected well, standing out clearly from the accompaniment. The ambience of recording venues and studios was reproduced accurately.
Delius’s beautiful “Walk to the Paradise Garden” received a luminous reading from the Philharmonia Orchestra under Owain Arwel Hughes. The orchestra was laid out convincingly and the interplay between the various woodwind instruments as they took the main theme in turn was clearly depicted with each instrument placed precisely in its own space and position in the image.
“Walking in Space” is part of the “Interstellar Suite” by Amin Bhatia. It is a cinematic work performed on synthesisers resembling a soundtrack to an imaginary film. It begins with sound effects and comms describing the opening of an airlock and an astronaut beginning an EVA. The binaural effects were stunning on the OH1S with a vast ambient space and the stereo imaging in the ensuing instrumental section was remarkable.
“I Robot” is the title track from Alan Parsons Project’s second album. A phased synth drone accompanied by wordless female vocals sets the scene. Gradually more tracks are added, a synth sequence in the left channel, percussion and another sequence in the right channel. Choral parts join followed by electric guitar. Soon a bright cimbalom solo is added and throughout, the OH1S managed to display all these elements clearly with excellent layering, a wide stereo panorama and pinpoint imaging. This was very impressive.
Comparisons
Tin Hifi T3
Like the OH1S, the T3 is a dual hybrid, it employs a 10mm composite DD for the low frequencies and the same Knowles 33518 BA for the high frequencies. It is very well made, with a metal barrel-shaped housing and MMCX interface. The stock cable is especially impressive. In traditional Tin Hi-fi style, it has a neutral/bright profile but the sub bass is elevated. The soundstage is large and well-proportioned and detail retrieval is high. The OH1S has a broadly similar character but has a superior staging, more detail, and a better transient performance. It manages to combine musicality with an accomplished technical performance and is a more complete product.
TRI i4
TRI’s i4 is another 1DD + 1BA model with the Knowles 33518 unit, this time coupled with a 10mm composite dynamic driver with a bio-cellulose diaphragm. The build quality is excellent and the subtly contoured earpieces are very comfortable. It has a warm to neutral profile which has a vintage “analogue” sound with a slightly recessed midrange and is very attractive and relaxing. The staging is expansive and the treble is smooth yet fairly well detailed. The OH1S is cleaner and more assertive in nature with a wealth of detail, better imaging and a more extended top end. It also has a more exciting and involving presentation with a more forward midrange.
HZ Sound Heart Mirror
The Heart Mirror is a single DD model with a “carbon nanometer” diaphragm. It has a full metal jacket with a polished finish and a 2-pin connection. It performs well above its price bracket and majors on technical aspects with high levels of detail, a neutral/bright signature and excellent timbre. The OH1S matches it in all aspects and improves on it with a much more extensive soundstage, faster transients and a more powerful bass and presents music in a more exciting and involving fashion. It is, if course four times the price of the Heart Mirror so this must be taken into consideration.
Conclusion
With the OH1S, IKKO have managed to produce a neutral, “reference” tuned IEM which also has the entertainment factor normally associated with V-shaped models. It is a powerful combination placing music-making as its priority and imbuing music with a “live” feeling. The tuning here of the Knowles 33518 is the best I have heard and has a natural timbre which matches the clean output of the carbon DD perfectly, resulting in great coherence. This tuning suits all genres, reproducing music with life and energy. The extensive soundstage is another major feature with superb imaging, layering and separation. The only small criticism would be that the sub bass could benefit from a little more depth and extension. Do bear in mind that the best results are obtained with a high quality source and recordings. If you are in the market for a neutrally-tuned IEM in this price range then do not hesitate.
8 Likes
Excellent review, @Nimweth, as always. I particularly enjoy how you not only name your music track, you also give album and enough information to locate it, plus the reason you chose that track to use in your review.
It seems we live in a world where deep bass is almost always synthetic. I keep searching for a nicely recorded album with deep acoustic bass. Generally, I like theater organ, but the big pipes tend to be older church organs. Please let me know if you come across any good acoustic low to sub-bass tracks.
3 Likes