Hello David. Thank you for your kind comments. After all, listening to music is the reason for this hobby, so I try to reflect that in my reviews and supply as varied a selection as I can to demonstrate how the music sounds through the IEMs.
What kind of genres are you interested in for examples of bass? I will help if I can.
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I’m interested in anything acoustic that I can use as a differentiator from synth. By the nature of things, it’s usually organ. Kick drums are easy to find. Some tympani is ok, but not really deep. Likewise washtub bass in country music. I have an 1812 Overture on DG where the cannon is said to be 8 hz…
Probably there is something in more experimental music, such as Hindemith. Environmental sounds, but they are hard to compare - thunder, bridges…
By the way, I found that I was very familiar with Pegasus from at least one or maybe two other recordings.
2 Likes
Hello David
Try these:
Some nice deep bass on these!
Lynn Gray (Nimweth)
4 Likes
Hi @Nimweth I am also a great fan of your reviews and congratulations on another. Your doing a great job in keeping us informed on the chinese market. Thank you.
2 Likes
NF Audio - NM2
this review is also available in Spanish on my blog here and on YouTube here
The NF Audio NM2 have been sent to me by KeepHifi in exchange for the publication of this review. They have not requested anything specific but I will include the (non-affiliate) link to the NM2 via their site as always on my blog and channel, as it is the least I can do.
As always, I will try to keep this review as sincere and unbiased as possible but it is always good that you consider the fact that these IEMs have not cost me anything.
Intro…
NF Audio is a brand that I have never tried before and to be honest, know very little about. I actually like it when I receive stuff that I know nothing about as I avoid some expectation biases and it is always fun to assign a price to something in my mind and then see how far I am from reality when I finally check the price. In this case, I was actually quite close with my guess which was fairly close to their retail price of just over 85€ (I actually guessed around 90 to 100).
Presentation…
The presentation for the NM2 was a little different to the usual packaging from other IEMs. They arrive in a fairly large box, which is actually a lot taller than I would expect and the box opens in two halves, top and bottom, or left and right (once open).
On the right side, at first I thought it was a CD that they had included, as there is a circular piece of cardboard covered foam that contains the IEMs and actually looks quite a bit like a CD. Under this disc, NF Audio include multiple sizes of two different types of tips, labelled as Balanced and Bass.
In the left half of the box, we find the user manual and under that we have a round transport case with the NF logo and the cable inside.
I would say that NF audio include the expected accessories with a set of IEMs at this price range and I don’t have any complaints about content or presentation. Yes, it could have been simpler, but the only thing that is really overdone is the size of the box, which at least makes it stand out from the norm.
Build and aesthetics…
When I first removed the IEMs from the packaging, I couldn’t believe how light they were. They also have an aesthetic to them that doesn’t really stand out as being high quality. I mean, in comparison to other sub 100€ IEMs, the IEM shells are rather simple transparent plastic that remind me quite a bit of the shells used on models like the TRN MT1 or the CCZ Melody.
This is only an aesthetic thing though, the actual shells seem to be very well built and do not show any signs of flaws that would hint at reduced durability. They are also, as I just said, extremely lightweight. That means that they are a great option for long sessions, if you find them comfortable.
I say “if you find them comfortable” as I am unlucky enough to not find them extremely comfortable. While there is nothing really strange about their shape, they are just the correct size to put pressure on the upper part of my ear, making me feel discomfort after longer sessions. They are not extremely uncomfortable, I can wear them, but they do tire my ears.
One other thing that stood out to me is the cable. It is a simple “twisted” cable that is rather thin but seems to be decent enough, very similar to a few other cables I have received recently. However, the memory wire is the springiest and snappies I have come across. It literally acts like a spring and clamps down behind the ear. This hasn’t caused me any discomfort but was certainly strange the first time I put them in. This cable will guarantee to not move while jogging, dancing or even sky diving!
I did actually choose to move on to an aftermarket cable and swap out tips, opting for using the Xelastec in order to improve comfort slightly and also, in my opinion, removes just a touch of top end (more on that in a moment).
Sound…
I must start off by saying that the sound also surprised me, as it wasn’t what I expected after unpacking them. I expected another run of the mill V shape with decent enough capabilities but nothing out of the ordinary in comparison to so many other sets.
However, what I was greeted with was a very clear, non bloated, detailed sound. I have since taken a look at the website for the NM2 and I see that they are marketed as being for monitoring. Although I haven’t been on a stage lately, I can actually see these working well as monitors, not only due to their sound but also due to the passive isolation they have (and of course the cable ear hooks which will keep them in place while headbanging!).
Starting off with the subbass, I find that there is a decent extension that is fairly well balanced with the rest of the bass frequencies. I would say that the NM2 manages to keep the presence of the low end without putting a specific focus on mid bass or subbass specifically.
These are not IEMs for those looking for a eardrum tickle but they do make sure that the lowest of notes are present and well defined.
In the midbass area, things remain rather similar. The bass does not take over the low end, nor is there any noticeable bleed into the lower mids, but it does give enough presence to bass guitars. I spent an afternoon listening to Dire Straits and I must say that the NM2 made it very easy to appreciate the work of John Illsley (the bassist, or that guy with the guitar missing a couple of strings as he is known by many) without him becoming the centre of attention and detracting from Knopler’s guitar playing or anything else. In fact, the song “Money For Nothing” from the live album “On The Night”, was presented in a wonderfully balanced way during the guitar solo, where the guitar was extremely enjoyable without overshadowing the bass at any moment.
But… this does not mean that they are light on bass or on subbass for that matter! When a track calls for it, there is plenty of bass on tap. I moved from listening to Dire Straits on to some Hip Hop (I forget exactly what, I think I was just on shuffle) and the bass hits completely surprised me, reminding me that the low end is there if the song needs it.
I also need to stress that the bass is clear and defined but will show any issues with recordings. In other words, if the track in question has too much bass, or bass that is not well recorded, the NM2 will not only not fix it, it will actually highlight the issues.
Moving into the mids, there is a bit of a dip in the centre of the region, however, as both the bass and the higher frequencies are well balanced, there is no sensation of this taking anything away from the performance.
The higher mids are rather present and, if these are going to have a negative reaction from anyone, it will probably be the high mids that are the culprit.
It is not that the high mids are bad, or extremely boosted, it is that they present the same issues as the bass frequencies. They are present in a way that balances them well with the lows, on a well recorded and mastered track. On a track that presents some harshness or excess in these frequencies, or even a lack in other frequencies, then the NM2 can once again highlight the problem.
This is a good thing, the fact that they are well balanced on good recordings, if you listen to good recordings of course. If the music you listen to is not so well recorded, or is overly sharp in the higher mids, then I think you will find that the NM2 are not really suited.
The higher frequencies are not the most extended but are good enough to not make me feel like there is anything missing in the higher range. They don’t have the top end sparkle and air that some other contenders do, but that is mainly due to their tuning and focus on the lows and higher mids.
As far as detail, I have already said that these are decently detailed IEMs. They do a good job of separating layers and instruments, allowing you to focus on details of different instruments and their playing, without difficulty.
The sound stage is not huge but is slightly above average, with the placement and use of the available space being good, allowing enough room for things to spread out. I have especially enjoyed some of the multi-mic’d (well recorded) live performances.
Conclusion…
When I opened the NM2, my mind automatically thought that it would be another run of the mill tuned economic IEM. I was surprised at what I actually heard when I started listening, as it certainly isn’t just another run of the mill tuning.
The tuning is far more balanced than I expected and it comes with very competent technical performance, along with a soundstage that is very acceptable. I can see that the NM2 would actually perform well as a monitor, but it is also capable of being a very enjoyable, not necessarily boring.
The shell design might not be the most exciting but its extreme lightweight makes it great for longer sessions. I do experience a little uncomfort over time due to fit being just that few mm off for my personal anatomy, however, that is something that is totally personal and if it is not the case with your own ears, then these would make great IEMs for long sessions and also while on the go, due to the decent isolation also.
All in all, I must say that the NM2 is a decent IEM for the price it sits at.
8 Likes
The BQEYZ Autumn has a safe tuning and many of the advantages inherent to single dynamic driver designs. However, its technical performance is average and certain aspects of its tuning come with trade-offs I would rather not make.
My full review, with frequency response measurements and additional images, is available on my blog:
2 Likes
Thanks. You should ask them to send you the NA2 and NA2+. I like them. I like my NA2+ better than my Moondrop Kato. That might be an unpopular opinion, but it’s my unpopular opinion.
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A tribrid with dual DD.
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If recent disclosures have made anything clear, it is that all budget IEMs come with compromises. The Tanchjim Ola makes fewer than most. If you’re looking for a neutral IEM with excellent technical performance for the sub-$50 price point, look no further.
My full review, with measurements, a comparison with the Moondrop SSP, and additional images, is available on my blog:
3 Likes
I recently received the KZ AST for review. You can find my thoughts on it here:
5 Likes
The 7Hz Eternal is an in-ear monitor (IEM) which uses a single 14.5mm dynamic driver with a liquid crystal polymer diaphragm. The Eternal is a fun-sounding IEM carried by the strength of its bass performance. The toe-tapping physicality of the Eternal’s dynamic driver is frequently successful in distracting the listener from the less-than-ideal upper midrange and underwhelming detail retrieval. With that said, there are better options at this price point for critical listening.
My full review, with measurements, a comparison with the SeeAudio Bravery, and additional images, is available on my blog:
3 Likes
I have been evaluating the TRI X HBB Kai. Here are my impressions:
TRI x HBB Kai
I would like to thank Ann from Keephifi.com for supplying this sample for review.
Product link :
【TRI x HBB KAI】3rd Generation DLC Diaphragm Dynamic In-ear Earphone
Description
The TRI Kai is an IEM produced in collaboration with respected online reviewer Hawaiian Bad Boy (HBB) also known as BGGAR (Bad Guy Good Audio Reviews). It has been tuned to follow HBB’s preferred frequency graph which is a somewhat modified version of the Harman tuning. Collaborations with online reviewers are a new trend in IEMs. We have seen CCA, KZ and Tripowin, amongst others, releasing models in conjunction with Crinacle and HBB. This is the first such model from TRI and also its first single DD model.
The Kai employs a 9.8mm dynamic driver featuring a DLC (Diamond Like Carbon) diaphragm, 2-pin connection and all-metal construction. It has an impedance of 36Ω, a sensitivity: 114dB@1KHz and a frequency response of 20Hz - 40kHz.
The Kai comes in a compact white box with a full colour slip cover decorated with a swirl pattern in blue and the product name “Kai” in a script font in white, below which are TRI and HBB logos. Opening the box there is a white card with Kai branding in gold, under which there is a faux leather case inside with the generous contents stored inside which comprise:
- TRI x HBB Kai IEMs
- 4 core OFC silver plated 2 pin cable
- 6 pairs of white silicone tips in different sizes
- Cleaning cloth
- Cleaning brush
It is a very nice presentation.
The IEMs are very well made in CNC formed aluminium alloy. They are smoothly contoured and are finished in a attractive blue and gold colour scheme with three triangular facets. The legend “TRI x HBB Kai” is printed in blue on the gold facet and there is a gold TRI logo on the lower blue facet. The fairly long nozzle has a gold mesh and a pinhole vent near the base. There is another pinhole vent alongside the 2-pin socket. The cable is made of 4 core OFC copper and is silver plated. The 3.5mm plug, Y-split and 2-pin plugs are all finished in gold and the loosely braided cable is silver in colour. There is no chin slider and also no channel identification on the cable or the IEMs.
The Kai was tested with Hidizs AP80 Pro X and Xduoo X20 DAPs, a smartphone and a CD player and a burn in period of 100 hours was carried out to run in the components. I found the pre-fitted tips a little too small and used the next largest size which produced a comfortable fit and good isolation. There was plenty of volume on tap, with a healthy level from all devices and no need for additional amplification.
Sound Quality
The Kai immediately impressed with its deep well textured bass, open and forward mids and detailed, smooth treble. The soundstage possessed good width and height but there was a little less depth. Timbre was warm and natural and vocal presentation was excellent while detail retrieval was deceptively high with layering and separation of a good standard.
Bass
The sub-bass was fairly neutral with good texture, and there was a lively elevated mid bass with good impact. The tonality was on the warm side of neutral, with just a little softness in the transients and a minor amount of bleed into the mids. The mid bass did occasionally become dominant on certain material.
“Skys” is a colourful and imaginative electronic album by Canadian musician Mychael Danna. “Sky 10” begins quietly with gentle chords and gradually builds to a climax in which the Kai delivered a solid bass with impressive weight and good extension. At the end of the piece the atmosphere was very well portrayed as the deep tones subsided.
“The Kentish Suite” is a colourful and varied set of pieces by Hubert Clifford. In the version by the BBC Symphony Orchestra conducted by Martin Brabbyns, the prominent orchestral bass drum in the fifth part, “Greenwich”, displayed excellent timbre, good weight and a natural decay, underpinning the lively melody very effectively. The ambience of the hall was well rendered, which added to the enjoyment.
Mids
The Kai projected the mids very nicely, being just a little forward and also very clear. The lower mids received some warmth from the bass while the upper region was brighter with a clean delivery, showcasing vocals and solo instruments. The timbre was largely very authentic.
Linda Ronstadt’s pure voice was clearly presented in “Lo Siento mi Vida” from her album “Hasten down the Wind”. Accompanied by acoustic guitars and Dobro on each side, her voice was placed precisely in the centre with perfect diction. In the bridge, when she sings in English, the emotion of her performance was beautifully conveyed.
Debussy’s “Claire de Lune” is perhaps the best known piece from the “Suite Bergamasque”. Ikuyo Nakamichi’s performance in a beautiful JVC K2 recording really shone. The timbre of the piano was accurate and the dynamic shading in the piece was very well handled. In the more percussive passages a little more bite would have been perfect but nevertheless the whole piece was very enjoyable.
Treble
The treble was smooth, clear and free of peaks and sibilance (unless present in the recording). It was deceptively detailed, having a somewhat reserved quality but displaying good extension and delicacy.
Mark Dwane is a master of the MIDI guitar synthesiser. His albums on mystical themes are always beautifully recorded in audiophile quality. “Paragons” is a track from “Martian Apparitions” and features incisive electric guitar chords in each channel supporting the lead synth voices. With a good sense of movement the clarity and resolution here was excellent. The accompanying electronic effects and percussion were precise and clean with a believable timbre.
Soundstage
The Kai displayed a stage with good width and average height, but there was some lack of depth, most likely due to the forward nature of the midrange.
Ray Lynch’s “Deep Breakfast” is a classic of the New Age genre. The intricate electronic effects in “Tiny Geometries” were very clearly depicted by the Kai with the various tonalities nicely differentiated as they danced across the stereo image. The treble was well balanced against the uplifting synth melody and was always audible, even in the most delicate parts, with a good sense of layering.
The Kai produced an authentic picture of the concert hall in Liadov’s beautiful “The Enchanted Lake”. Bass trombones and tuba in the background created a menacing atmosphere overlaid by the delicate strings and clear brass parts. The rise and fall of the dynamics in the performance by the Philharmonic Symphony Orchestra of London under Charles Gerhardt were very realistically portrayed with only a little more depth in the staging required to make it perfect.
Comparisons
Fiio FD3
The Fiio FD3 is a single DD IEM with MMCX interface. It has a 12mm “Flagship-level” DLC (diamond-like carbon) diaphragm, front acoustic prism, semi-open acoustic design, interchangeable sound tubes and a 2.5D film coating glass faceplate.
The FD3 regales us with its broad cinematic delivery and rich, vibrant presentation and has a natural sound majoring on enjoyment and entertainment. With a mild V shape, the mids are somewhat recessed but still have good presence. The tonality is natural and the delivery exciting and lively. The Kai is warmer in nature and more U shaped with a more prominent bass, more forward mids and a smoother treble although the FD3 is a little brighter and more extended here.
Moondrop Aria
The Aria employs a 10mm dynamic driver with a liquid crystal polymer (LCP) diaphragm, N52 Neodymium magnet and CCAW voice coil. There is also a dual-cavity brass chamber and high frequency waveguide. It has been tuned to Moondrop’s own VDSF curve which is a version of the Harman tuning. With its even-handed presentation it suits multiple genres and it is particularly impressive with classical music. The Aria possesses an attractive musicality which encourages further listening. It has a well balanced, near-neutral shaping with a clean and airy presentation, natural timbre and exceptional clarity. It has unsurprisingly become a frequent recommendation in its price range.
The Kai is quite similar in character with a warm well balanced profile, authentic timbre and smooth treble. Its bass is more extended, the midrange is more forward and the treble is softer but with no appreciable loss of detail. The Aria’s bass is more linear and its midrange is slightly recessed, with a deeper staging. The Kai is more exciting to listen to than the Aria which can sometimes sound “safe” and a little more urgency would be preferable.
Whizzer Kylin HE01
The HE01 has a 10.2mm DD with a 1.2 Tesla magnet. The general profile is V shaped and it has a clean, very transparent sound with excellent detail. The bass is impactful, the mids are clear and the treble is detailed and extended. There is a large, spacious and open soundstage. A notable feature is the “dynamic shading” or ability to display subtle changes in volume.
The Kai is warmer in tonality with a more prominent midrange and a smoother treble response. The bass is more powerful and occasionally becomes dominant and has a less expansive staging but its vocal performance is superior. Dynamic performance is comparable but the HE01 has faster transients with a more immediate sound.
Conclusion
In my experience, TRI earphones have always been tuned very well. The Starsea, i3, i3 Pro and i4 all display a natural tonality and well balanced profiles. The Kai is no exception with a warm, inviting sound, solid build and generous accessories. There is a bit of additional warmth in the low frequencies which could be snappier, the staging does lack depth and sub bass could be improved, but overall, it equals or exceeds the performance of most of its competitors and therefore should be high on your short list if you are seeking the best single DD model in this price range.
9 Likes
I received the TRN TA2 from Fedai at Amazon.com for review. I would like to thank Ben for providing this sample.
Product link: https://www.amazon.com/gp/aw/d/B0B6HBXX8Z/ref=ya_aw_od_pi?ie=UTF8&psc=1
TRN TA2
The TA2 is a hybrid design with three drivers, one dynamic driver and two balanced armatures. It has a metal faceplate and detachable 2-pin cable worn over the ear. It comes attractively packaged in a sturdy white box with a slip cover bearing a full colour image of the IEMs on the front. Removing the cover reveals a plain white box with a TRN logo in the centre, inside which the IEMs are displayed in a card cut-out below which is a round metal container holding the 2-pin cable. Underneath is a card box with the spare eartips and a 3.5mm to 6.3mm adapter. In all the box contains:
- TA2 IEMs (one pair eartips pre-fitted)
- 2-pin 4 core OFC silver plated cable
- 3 pairs white silicone tips
- 3 pairs black silicone tips with red bore
- 1 pair grey foam tips
- 3.5mm to 6.3mm adapter
- Round black metal carrying case
- Documentation
This is a generous accessory set and a very nice presentation.
The IEMs are formed from resin and have a magnesium alloy faceplate with a series of four horizontal vents in a triangular pattern in the centre above which is written “TRN Audio”. The clear plastic raised 2-pin socket accepts a QDC type plug and the nozzle is gold in colour and has a silver coloured mesh. The dynamic driver, covering the bass frequencies, is an 8mm dual magnetic unit with a CNT (Carbon Nanotube) diaphragm. Two Knowles 33518 balanced armatures, placed within the nozzle, handle the midrange and high frequencies.
The 2-pin OFC cable is silver plated and has a fairly loose braid. The 3.5mm plug is 90° angled and is finished in a brushed aluminium, the Y split and 2-pin plugs are clear plastic and channel identification is provided by embossed “L” and “R” markings on the plugs. These are hard to read and colour coding would have been preferable. There is no chin slider, the cable does tangle easily and the ear hooks are very stiff.
The TA2 was tested with a Hidizs AP80 Pro X DAP, a smartphone and a CD player and a burn in period of 100 hours was carried out, after which the bass became tighter and the soundstage opened up. The pre-fitted tips resulted in a lack of bass, so I used the medium grey/red type, which gave a comfortable fit and a better sound balance. Sensitivity was good with adequate volume obtained from all sources.
Sound Quality
The TA2 displayed a largely neutral/bright mild “W” profile which was well balanced across the whole spectrum. Bass was sub-bass focused with a neutral mid bass, transitioning into the mids without bleed. Midrange was open, slightly forward and very detailed. This excellent detail was retained in the treble which was clean, extended and airy with very good resolution. The soundstage was expansive, extending well beyond the ears with good depth and height. Layering and separation were of the same high standard.
Bass
The TA2 produced a fast, clean and well extended bass response, the CNT driver’s tonality blending well with the two BAs and giving the impression of a all-BA model yet retaining the depth and weight of a dynamic unit. Sub bass was a little elevated and mid bass was more neutrally-tuned with good timbre and resolution. There was no evidence of bass bleed.
Jacques Ibert’s “Escales” is an entertaining suite of pieces for full orchestra. “Anime” is a lively and expressive piece featuring a powerful percussion section. In the recording by the Minnesota Orchestra under Eiji Oue, the initial strike of the bass drum was incisive and clean with authentic timbre and natural decay and the orchestral climaxes displayed impressive weight. The ambience of the recording venue was realised effectively.
“High Hopes” is the final track on Pink Floyd’s album “The Division Bell”. After a pastoral introduction, Dave Gilmour’s vocal is followed by the chorus in which the bass guitar and drums impressed with their depth, speed and precision, at the same time showing a powerful impact. This continued in the long instrumental section where the bass was well balanced with the steel guitar lead solo and keyboards.
Midrange
The TA2 also impressed in the mids. With superb clarity, an open atmosphere and high levels of detail, vocals and solo instruments were immediate and well projected. The tonality was just a little brighter than neutral with authentic timbre and the lack of bass bleed kept the mids clean and clear. The sense of transparency was notable.
“Morning has Broken” by Cat Stevens received a wonderful rendition from the TA2. Accompanied by bright, detailed and clear acoustic guitar and Rick Wakeman’s expressive piano, Cat Stevens’s vocal, perfectly centered in the image, conveyed both the character of his voice and the message in Eleanor Farjeon’s beautiful words. The studio reverb was particularly well rendered.
The TA2’s excellent midrange quality was demonstrated perfectly in “Jag Hor” from the solo album “Piano” by Benny Andersson. The character of his Fazioli instrument was accurately portrayed with a believable timbre and a sense of space around the piano. It was only occasionally in the more percussive passages that a slight sharpness of tonality was present but overall it was a realistic presentation.
Treble
The dual Knowles 33518 BAs really showed their class here. With excellent detail and extension, a clean and airy atmosphere was produced with fine resolution. Only very infrequently on certain material there was a bit of extra sharpness but generally it was well controlled and smooth.
Isao Tomita’s electronic versions of classical works always span the full frequency spectrum. Greig’s “Solveig’s Song” from “Cosmos” is a good example. After a quiet introduction, sweeping string arpeggios swell and cascade with a powerful dynamic range, supporting the lead synth voice. The treble extension here really showed its class with the strings and electronic effects intertwining to great effect and retaining their own character with excellent separation and layering.
“Many Chinas” is the opening track from Mark Isham’s classic album “Vapor Drawings”. Delicate electronic percussion elements left and right extended well beyond the ears while the punchy synth bass and drums occupied the centre of the image. Subtle sequences appeared in the background with Isham’s trumpet taking the melody line. Throughout, the high frequencies remained clear, even in the most complex passages.
Soundstage
The TA2’s soundstage was expansive in all three dimensions. Because of the excellent detail, layering, separation and imaging were all of a high standard.
The TA2 managed to create a convincing picture of the orchestra in Erik Fogg’s atmospheric piece, “Merok” performed by the BBC Philharmonic under Rumon Gamba. Serene strings accompany the melody line on the oboe which is then taken in turn by cor anglais, flute and clarinet. The individual character of each instrument and its position in the image were conveyed very effectively by the TA2 with a believable sense of perspective.
The poignant cello solo in “Come back to Us” from the soundtrack to “1917” by Thomas Newman was beautifully realised. Set against soft strings and deep synth bass, a haunting atmosphere was created, full of emotion. The precise imaging and resolution and the reproduction of fine detail added to the effect.
Comparisons
Fiio JH3
The JH3 is a hybrid design, employing a large 13.6mm dynamic driver for the low frequencies and two custom balanced armature drivers for the midrange and treble. It has a lively, dynamic sound. The overall profile is V shaped, just on the bright side of neutral, with a powerful and well-textured bass, a slightly recessed but clear midrange and a clean, crisp treble. The soundstage is extensive and imaging fairly precise, with separation very evident.
The TA2 has a more neutral profile with a gentler W shaping and a brighter tonality. The bass is sub bass focused and the mid bass level is less prominent. The mids are more forward, treble a little more extended and the soundstage is more expansive.
TRI i4
The i4 is a dual hybrid employing the Knowles 33518 BA, this time coupled with a 10mm composite DD with a metal dome. The build quality is exemplary with full metal earpieces and secure MMCX connection. The i4 displays a warm and gentle V profile with a spacious stage and a relaxed and “laid back” presentation. The treble is “polite” but remains clear. The midrange is deceptively detailed and the lower region has a mid-bass emphasis with a slight sub-bass roll off.
The TA2 is quite different in character with a cleaner and brighter sound and faster transient response resulting in a more immediate feeling. The bass goes deeper with more detail whereas the i4 has a softer easy-going nature. Treble on the TA2 is brighter, more extended and detailed. Soundstage is similar in both but the brighter presentation of the TA2 gives the impression of better separation.
TRN TA1
The TA1 is a dual hybrid featuring an 8mm micro dual-core dynamic driver and a single Knowles 33518 balanced armature. It is well built and presented. The interface is MMCX.
Like the TA2 it has a W profile with a forward midrange but the treble is not as extended or detailed. Bass is warmer and slower in attack compared to the TA2 and there is a difference of tonality between the DD and BA which the TA2 does not display. Soundstage is excellent but not quite as extensive as the TA2. However, at the price it is still a good performer and worthy of consideration.
Conclusion
The TA2 is a very well-tuned IEM. The CNT bass driver has a tonality which blends well with the two Knowles 33518 balanced armatures and the transitions are seamless, giving it a character reminiscent of an all BA design yet possessing the weight and punch of a dynamic driver in the low frequencies. Transient response is excellent and the neutral/bright profile is detailed, spacious and dynamic.
I did find it tip-sensitive, so experimentation with tip rolling will pay dividends. The TA2 scaled well and was adept enough to show significant improvements with a better cable. I used a TRN 16 core silver plated cable to good effect and the use of a Fedai 16 core balanced cable brought further improvements.
The TA2 improves greatly on its little sister the TA1 with a more even presentation and improved extension at both ends of the spectrum. Well made and with a generous accessory set, the TA2 receives an immediate recommendation in its price range, and is indicative of the improvements in tuning we are seeing in IEMs today.
7 Likes
Letshuoer Galileo Earphone Review
Pros: Design
Overall Sound performance
Allrounder
Budget friendly
Cons: Treble
The Letshuoer Galileo Earphone with its 4.4mm jack promises to deliver an exceptional audio experience. As an avid music listener, I was eager to put these earphones to the test and discover if they truly lived up to their claims of superior sound quality. After using the Letshuoer Galileo extensively for the past few weeks, I am ready to share my detailed review.
Shout out to Hifigo for giving me an opportunity to review the Galileo. You can check out their site for galileo as well as others music gears. They ship world wide
Design and Build Quality:
The Letshuoer Galileo boasts a sleek and elegant design, exuding a sense of sophistication.As the name was taken after a great astronomer Galileo Galilei the design of faceplate was like Universe .To cope up with the design I have edited a taken picture with the universe in the background Lol. The earphones have a lightweight yet sturdy construction, ensuring durability while providing a comfortable fit for extended listening sessions. The 4.4mm gold-plated jack feels robust and securely connects to compatible devices without any signal loss or audio interference.
Accessories:
The Letshuoer Galileo comes with a variety of accessories that enhance the overall package. Apart from the multiple pairs of silicone ear tips in different sizes, it includes a sturdy carry case, a cleaning brush. At first opening the case was quite tough . I didn’t want to break the case that’s why watched a video on how to open galileo case on youtube .
The included accessories not only offer convenience but also add value to the overall purchase. The cable was good enough , Looks premium. The high-quality oxygen-free copper silver-plated able was rigid , strong and tangled free. I have used the stock cable for listening music. I don’t think you need to change the cable .I have chosen the 4.4mm connector .There was a variation of 3.5mm as well.
Sound Quality:
Speaking of comfort, the Galileo earphones are designed to fit snugly in the ear without causing discomfort or fatigue during extended use. The lightweight build and ergonomic design make them suitable for long listening sessions without any discomfort or ear fatigue.
When I have connected the earphone with a basic 4.4mm port directly . i didn’t like the sound quality at first. I thought it is not a good earphone but later when i connected with an amp dac my perception was change and I started to like the earphone very much.
For sound quality, the Galileo earphones genuinely shine. The incorporation of the 4.4mm balanced jack elevates the listening experience to a whole new level. The audio reproduction is outstanding, with an expansive soundstage and excellent instrument separation. The earphones excel in delivering a balanced and natural sound signature, making them suitable for a wide range of music genres.
The bass response too good which is tight and controlled, not overpowering, and yet delivers a satisfying punch.
The sub-bass more emphasized than the mid bass. The mid-bass is clear , not muddy . I just loved the drum kick while using galileo. That was like genuine in front of listening experience. Midrange frequencies are rich and warm, allowing vocals and instruments to shine without being overshadowed. The tonality is accurate and the timbre natural. Voice was great as well not recessed .
The treble is detailed and well-extended, offering crispness without being harsh or sibilant though there are some issues in the treble region for me. Sometimes it wass hurting my ears and putting me in discomfort in the ear for over crispness . Sometimes it feels like metalic. The Letshuoer Galileo provides above-average noise isolation, effectively blocking out most ambient sounds. This allows for a more immersive listening experience, especially in noisy environments. The included assortment of ear tips ensures a proper seal, contributing to both noise isolation and overall comfort.
Conclusion:
In conclusion, the Letshuoer Galileo earphone with its 4.4mm jack is an audiophile’s dream come true. Its exceptional sound quality, balanced sound signature, and comfortable design make it a top-tier option for music enthusiasts under 100$ budget . The 4.4mm jack enhances the audio performance, making it compatible with high-resolution audio players and amplifiers.While the Galileo earphones are not the most budget-friendly option on the market, the investment is undoubtedly worth it for music lovers seeking unparalleled sound quality. If you are willing to invest in a premium pair of earphones and value exceptional audio performance, the Letshuoer Galileo with its 4.4mm jack should be at the top of your list.
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Review - Hidizs MP145
TLDR version on YouTube: TDLR - Hidizs MP145
The Hidizs MP145 have been sent to me directly by Hidizs in exchange for me posting my thoughts and opinions in this review. The only request was that I publish the review as close to the official launch date on Kickstarter, 6th of September, as possible. I will, as always, do my very best to be as unbiased as humanly possible in my review, yet it is always good to consider the fact that these IEMs have been sent to me free of charge.
You can find the official Kickstarter page for the MP145 here: https://www.kickstarter.com/projects/hidizs/hidizs-next-gen-ultra-large-planar-hifi-iems-9-sound-types?ref=7ke7sd
As always, this is a non-affiliate link, meaning I do not receive anything in exchange for clicks or purchases made. However, in the case of this link that Hidizs asked me to publish, it does include tracking. In other words, if you click on the link, Hidizs will see that the person has come from my review. I guess they want to see if I am worthy of being sent review items or not 
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
It seems like quite some time since the planar boom died down, with the latest trend being combining them with other drivers in hybrid configurations. However, Hidizs presents us with their latest model that is using an “Ultra-Large” planar driver according to them. This is to say that the MP145 are using 14.5mm planar drivers, along with three individual tuning nozzles to tailor the sound to your preference. These are currently available on Kickstarter for an early bird price of $109, which may not make them the cheapest set of planars on the market but still puts them in a reasonable budget category.
For those of you that don’t know how Kickstarter works, basically you make a pre-purchase of an item and it is shipped to you at a later date. The earlier you join the list, the cheaper it is (in the case of the MP145). Usually this is used for companies to raise funding to create a product that is only in the design/prototype phase. In this case, as you can see from my review (and probably many more reviews that are being published), the IEMs already exist, so it is a little bit of a strange way to use Kickstarter.
I will get to the sound in a moment but something that is certainly worth mentioning about this model is the fact that Hidizs is collaborating with the WDC, which is for Whale and Dolphin Conservation.
Here is some info that Hidizs provided me:
“Hidizs x WDC cooperation info.
WDC (Whale and Dolphin Conservation) is the leading global charity dedicated to the conservation and protection of whales and dolphins. Inspired by the Whale Tail & Rorqual Pleats Design of MP145, we’re collaborating with WDC to raise awareness of whales’ vital role in nature and ocean health. As part of our commitment, we have formed a preliminary agreement for collaboration and assistance. We will maintain open communication with WDC and provide the necessary support to aid their work. Specific details about the donation can be found on Hidizs and WDC’s official social media platforms and website. Further information will be provided after the campaign.”
I applaud any kind of initiative that helps charities and in this case, as someone who has spent a lot of time at sea, I am happy to see them collaborating with the conservation of Whales and Dolphins. No matter if the outcome is small or large, every little bit counts in the attempt to save our oceans and I hope it turns out to be a very useful collaboration.
This will not affect my opinion on the sound of these IEMs but does of course mean that I am starting on a positive note with them.
Presentation…
The usual cardboard sleeve, with images and specifications of the IEMs, slides away to reveal a not so usual plastic box with a lift off lid. While it is something different, I find it strange that Hidizs would decide to collaborate in saving the oceans and then opt for using more plastic than necessary in the product packaging. Saying that, it is quite a sturdy box which I am sure will come in useful for storage, so at least it isn’t going to get thrown away.
Inside the box we find the IEMs sitting in foam cutouts at the top of the box, with a smaller cardboard below it that contains the cable, a spring top pouch and a user manual together with the usual paperwork.
There is no mention of the collaboration with the WDC on any of the paperwork or the box, which I feel is a bit of a missed opportunity but maybe something will be included with the actual retail version (remember that this is a pre-production unit, so things may be slightly different). The user manual also says that they are “Mermaid Series Earphones”, which I guess is sea related.
Underneath the foam cutouts and the accessories box, we find a tray in the bottom of the box that contains 9 sets of ear tips, with three different types. These are labelled as “Vocal”, “Balanced” and “Bass”. Personally I found the medium size “Balanced” to be my preference and are the tips that I have used throughout this review.
Build and aesthetics…
The IEMs are certainly on the large side of things, also being a bit heavier than many other sets, although still reasonable. The shape of the shells has been inspired by the tail of a whale and this does show when looking at them. This also means that they have some strange shapes going on on the outer part of the shells which looks uncomfortable but actually, in my case, does not affect the comfort at all. I in fact find them comfortable for long sessions, even if they are on the large side.
They are available in 3 colours: silver, black and titanium. Hidizs asked me which colour I would like and I chose the titanium, just to break from the norm of silver or black, and I have to say that I am a fan of them. They look good, seem to be well built and, as I already said, they are comfortable.
The matching cable also looks very good and gets high praise from me. It’s a quadruple weave that breaks into two wrapped cores on each side, along with matching metal hardware (and 4.4mm in my case). It is not microphonic, not too thick and is, in general, a very pleasant cable.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
As mentioned in the intro, the MP145 come with three sets of filters that screw on to the nozzle and allow you to change the tuning to suit your tastes. There are not huge differences between the three filters but they are enough to be clearly noticeable when swapping.
Here is a graph of the 3 nozzles with my usual preference target for reference:
Let’s get the red nozzles out of the way first as I am not a fan of them. With these filters I find that the upper mids / lower treble is reduced too much, making vocals lack presence and putting too much emphasis on the low end. There is actually some higher treble presence that stops them from sounding completely dark with these filters and I can see some people enjoying this signature, just I am not one of them.
So, focusing on the Silver and Gold filters, the differences between them are quite minimal in comparison to the Red ones, especially if looking at the graph. When listening, I find that the upper ranges of the Gold filters seem slightly less peaky than the Silver ones and, although it does bring the bass slightly more forward, I found myself preferring the Gold option.
To be honest, both filters have a bit too much in the mid bass region for my personal preferences but I find that the sound signature with the Gold filters is slightly more coherent overall than with the Silver (and more preferable to me personally than the Red filters). I think that the Gold filters generally present a smooth and bassy signature which can be considered a fun listen.
So, I am going to focus on the Gold filters and share my usual detailed opinions on the result of listening to my test track playlist.
While I would usually separate the subbass and midbass regions, I feel that on the MP145, these areas work together to present a full bodied and rather “thick” bass range in general. Although I use the word “thick” (for lack of a better term to describe them in my opinion), that doesn’t mean that they are loose and boomy. In fact, although there is a clear focus on the bass range, the IEMs do a decent job of being coherent when tasked with bassy tracks. The MP145 are very reminiscent of the Letshuoer S12 in these bass ranges, which, as a fan of the S12, is a good thing. I do feel that the MP145 put more emphasis on the lower ranges than the S12 but that is due to the upper regions, which we will get to shortly.
To refer to my usual subbass test, “Chameleon”, there is plenty of rumble going on with the additional boost of the midbass, which makes for an impressive low range on the track, with the MP145 doing a decent job of keeping it under control. I can’t say it is the best I have heard in these lower ranges but it is still impressive nonetheless.
Moving to something less rumbling but still in the electronic domain, “Shot Me Down” has a much cleaner and more defined low end, with bass hits being clean and distinct. With “No Sanctuary Here”, which is sort of halfway between the two, again the bass range performs well, with clean and defined notes that give the sensation of very good bass.
Moving into the mid range, it is nice to see that the bass doesn’t invade it and make things muddy in the lower mids, unless of course you have something extremely boosted going on in the mid bass range.
Instruments and lower ranges of vocals are clean and present, with a decent body to them but without becoming overly muddy. “Elephants on Ice Skates” presents a large bass guitar in the lower ranges, with a cleanliness to the mid range of both the guitars and the bass that is not invaded by those lower notes.
Listening to “These Bones”, those low vocals have a nice body to them but without becoming overly warm and interfering with the other vocals of this acapella track.
The upper mids leading into the lower treble is where I am least fond of the MP145 tuning. While the rise to 2kHz is enough to bring vocals forwards and not get lost against that lower range boost, the response dips just after this mark and returns with a small peak at around 5kHz.
I have said plenty of times in the past that I am very sensitive to 5kHz peaks and while the MP145 is not overly boosted at this mark, the dips surrounding it make that frequency stand out much more, making things quite harsh to my ears. For example, Zella Day in “Seven Nation Army” has a harshness to the vocals that I can find quite uncomfortable.
This can be tamed quite a bit by using the Red filters, yet I find that swapping to the Red’s reduces the 2 to 3kHz region too much, putting more emphasis on the lower ranges and making vocals lack presence.
Moving into the upper ranges, there is quite a nice extension and sensation of air that stops the overall signature becoming dark and overly bass focused. Even with the Red filters, the upper ranges are nicely recovered, making the presentation bass focused but not overly dark in general. Yes, you lose that vocal presence that I just mentioned, but it doesn’t become dull and dark.
Details are pretty good, easily appreciated without being made the center of attention. When a track has a lot of detail going on in the background, the MP145 make it apparent but without making it the focus.
I also find soundstage to be above average on the MP145, with images nicely located and spread out in a left to right stage. As an example, “La Luna”, which is a binaural recording, has a nice placement of the instruments, each with their own location, although I find the back left guitar to be more “left” and slightly less “back” than on some other sets.
Conclusion…
I think that the planar novelty has worn off and is now more about the performance of the IEMs than the fact that they use planar drivers. In the case of the MP145, I think Hidizs has presented a very respectable set of IEMs at a very reasonable price. They are not the cheapest planar out there (nor are they the most expensive, by a long way), but in terms of performance for cost, I would say they do a good job.
Also, add to it the fact that they are collaborating with the Whale and Dolphin Conservation and, while this may not change the way it sounds, it does give them more points in my personal opinion.
In general, I think that if you are looking for a good all round set of planars and you like a bit of additional bass presence, then the MP145 are a good option. You also get the 3 different filters to adjust them to your preference and maybe go for that extra bass emphasis when you are in the mood!
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (Loading...)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
3 Likes
It may be great and all, but looky here…
The MAJORITY of Hidizs hype is manufactured using bots and bad actors
Yes, Hidizs do have some strange marketing tactics.
But I’m not a bot, I promise
3 Likes
Review - Gizaudio x Binary Acoustics Chopin
TLDR version on YouTube: TDLR - Gizaudio x Binary Acoustics Chopin
The Gizaudio x Binary Acoustics Chopin have been sent to me by HifiGo in exchange for the publication of this review. It has been quite some time since I featured anything from HifiGo and they have not made any requests or specific comments. I will, as always, aim to be as unbiased as possible in my review.
The Chopin can be purchased from HifiGo here: https://hifigo.com/products/gizaudio-binary-chopin
As with all the links I share, this is a non-affiliate link, meaning I do not receive anything in exchange for clicks or purchases.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
There has been quite a bit of furor around the Chopin lately. I am not really someone who reads or watches reviews of products, mainly to not build up expectations on things that I may review. However, while I haven’t actually read (or seen) any reviews of the Chopin, it has been impossible to not notice the amount of times it has been mentioned. So, when HifiGo offered to send it out, I was happy to give it a try and see what all the noise is about.
In case anyone, like me, has not read any of the reviews and, unlike me, has managed to somehow avoid the hype, here is a brief summary of what the Gizaudio x Binary Acoustics Chopin is.
Gizaudio is a reviewer who is actually known by many as Timmy who produces for Crinacle, however, he has plenty of experience in reviewing, with his YouTube channel having over 36k subscribers and his web being full of content. This is also not his first collaboration, so he is by no means new to the IEM game.
Binary Acoustics is a brand that has been around since 2017 and while they have other models, the Chopin seems to be the only one available at the moment. I have heard of Binary in the past but, to be honest, I couldn’t tell you anything about other models of theirs without looking it up.
Finally, Chopin. According to the publicity for these IEMs, they are meant to pay homage to Chopin. If you have no idea who Chopin was, then I suggest you just type “classical music” into Google and start there
So, the IEMs… They feature a four driver hybrid configuration, featuring a single 8mm ceramic diaphragm dynamic driver, along with 3 custom balanced armature drivers, one for the mid range and the other two for the treble.
While these IEMs have a rather high sensitivity of 122dB/Vrms, the impedance is rather low at 12Ohms. This shouldn’t cause any issues with most dongles and amplifiers but is something to consider if your device has a high output impedance.
So, enough about the what and let’s get to the how…
Presentation…
I have to say that I am impressed by the presentation of these IEMs. I know that they are a 200€ set of IEMs and the contents aren’t really anything to write home about, but the way it is presented is original in comparison to so many other models.
Here we get a wide but thin box that stands up and the lid that lifts off is almost like a showcase lid (although not tansparent), leaving just a small section at the bottom as a stand. The box is a silvery grey colour, with the model and brand on the front, together with a simple design in black. On the back we see the FR graph and some very basic information.
While there is nothing really special about the aesthetics, I think it looks very elegant and makes it look like an expensive set of IEMs. Removing the top reveals the storage/transport case and two small white boxes that are also standing up vertically.
Inside the two boxes we find the user manual in one, with the cable, tips and a cleaning brush in the other.
The storage case is something that reminds me of a case that our measuring equipment comes in at work. It is a very robust and well built hard case that opens up to reveal a soft lined interior that contains two small drawstring bags. Inside each of these bags we find one IEM, well protected from any damage.
While the presentation of an IEM is not really something to get excited about, except on very specific occasions, I do like to point out when something is different from the usual experience and that is the case with the Chopin. While there contents are fairly basic, the presentation makes you feel like you are receiving a product that has been cared for.
Build and aesthetics…
The IEMs use a 3D printed shell with a stainless steel faceplate that features the same design as on the exterior of the box. They again look modern and elegant, without being overly shouty. The shape is different to most sets and look like they would be uncomfortable but I actually found that they work very well for my ear anatomy and I find them very comfortable.
The nozzles are on the larger side and are fairly long but take the included tips well and allow me to get a nice deepish fit. I am not sure what tips these are but they seem to be more robust than most other silicon tips, with a tougher center core, and both fit securely and seal well (medium) in my ears.
The included cable is nothing special but there is nothing wrong with it either. It’s of a simple twisted style, combining both metal and plastic connectors and hardware.
As mentioned, the included storage case is very nice and will protect the IEMs well, although it is a little large to be carried around in a pocket (in my pockets anyway).
In general, I get the impression of a well built and nicely put together set of IEMs that aren’t anything really special but still give a sensation of being a good product.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
Ever wondered what it is like to have a subwoofer and some satellite speakers in your ears? Well, the Chopin comes very close to answering that question. In fact, as soon as I put them in and started listening, they reminded me of a set of Meyer Sound MM4 speakers paired with a 750-LFC sub. Now that is going to mean absolutely nothing to the vast majority of you out there, unless you are into pro sound speakers, but it is still what came to mind.
So, for those of you that have absolutely no idea what I am talking about, the 750-LFC is a subwoofer that is capable of going very low and staying very clean, while the MM4 are small satellite speakers which, while rated at 120Hz to 18kHz, don’t really do much below the 500Hz mark and sort of focus things on the upper mids.
As an image is worth a thousand words (maybe I should just do photographic reviews instead of rambling on 
), here is the graph of the Chopin with my usual personal preference target for reference:
For those of you that read the graphs and automatically see the tuning, you will understand what I am getting at, but for those of you that prefer my thousand words, here are my impressions based on my usual list of test tracks.
As you can probably guess, there is no shortage of subbass with the Chopin. The lowest notes are presented in a way that really does give you the sensation of having a subwoofer. However, although there is a lot of subbass, it is also very well controlled and does have a method to its madness.
Using my usual “Chameleon” test, after spending time listening to a lot of hip hop and other bass heavy music throughout my general listening tests, I expected there to be a huge amount of vibration and rumble and there is, but it is a controlled rumble, even allowing the nuances of that tremendous subbass that is both the track and the tuning to be appreciated.
However, as we move from the subbass to the midbass, there is a ramp down that can leave certain tracks missing a bit of punch from those bass ranges. The classic P-Bass through an Ampeg stack sound from the 70’s does not come across as it usually does. In fact, if there are any bass players out there, one of my most prized bass pedals is the DOD Meatbox, a subsynth pedal that can make anyones teeth rattle in exchange for a loss of a bit of punch and clarity. This pedal is something that Juan Alderete (Mars Volta, Hella, System of a Down etc.) referred to as a “speaker popper”. Well, the Chopin has a tuning that can be reminiscent of that pedal effect at times, giving a huge amount of subbass but still very clean.
But I digress… back to the midbass. Here there is a bit of a lack of presence, especially as the midbass meets the lower mids, which creates a very clean transition but can also leave certain vocals, and certain acoustic stringed instruments, craving a bit more warmth in those ranges. Obviously on tracks that have subbass presence, things do not come across as lacking in the low end, but for simple acoustic assemblies, using just acoustic guitars and male vocals, I do find that there is a bit of body missing.
As we move into the upper mids, there is a ramp up from just under 1kHz to just under 3kHz that works to bring back light to what would otherwise be a very dark and clouded sound. While this does brighten things up, I do get the sensation that it again does not work great for male vocals, as the slight lack of body to the lower end of vocals gets overrun by that extra presence in the upper mids and can bring out some harshness.
In the case of female vocals, I find the opposite is true. While there are some specific voices that can become a little harsh, the majority of female vocals are clean and well presented, avoiding both harshness and sibilance. With EDM that features female singers, I found that it brought back the days when I could stay in a disco until the sun came up (and not be falling asleep by 2am), where the level of bass was huge yet the vocals still shined through.
As we move into the upper ranges, things are rather smooth and while they are not exactly lacking, the sensation of bass does make it seem like the treble is more rolled of than it actually is. This can make some tracks feel like they are missing air and extension but I don’t think they are, it is more of the way it balances out with that low end and upper mid focus.
As far as sound stage, they do a pretty good job. I wouldn’t say that they are huge but they do have a nice sensation to them, paired with good details that are pretty well placed. This is one of those few occasions when IEMs actually work in favour of soundstage in comparison to speakers due to them being inserted in your ears and giving a better stereo separation of those lower notes.
Conclusion…
Is the Chopin a tuning I would choose personally to listen to music? No.
Does it do a good job of presenting the tuning it is aiming for? Hell yes.
If you want something that gives you that sensation of a subwoofer in addition to separate high range speakers, and especially if you listen loud (which I don’t by the way), then I think that the Chopin is something that probably doesn’t have many rivals out there.
I have listened to bassier IEMs, yet they didn’t keep the composure and cleanliness that the Chopin do, where it is capable of both rattling your skull and separating the notes that it is using to rattle it at the same time.
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
4 Likes
Ooh, the Chopin sounds like a good one to me