Chinese Brands - IEMs Discussion

I got the Tenhz T5 from Linsoul. It’s alright. I think its massively overpriced from the very limited listening so far. It sounds a similar to the P4 Pro but darker. I think the P4 Pro is just slightly bright of neutral while the T5 is just slightly darker than neutral. I find the soundstage to be a bit compressed and narrow, and sound is a little grainy and not very clean.

I also got the BGVP DM6 yesterday as well. It seems like a less V-shaped iem than the DMG. It’s probably U-shaped. Bass has weight to it, and it’s got a soft treble peak. I found it a good listen for the 20 mins I tried them on so far. I’ll probably be enjoying it. I just gave away my DMG to a random stranger in-need, so I dont have it to directly A-B to.

Finally, besides the T3, I got the PMV Crescent. It’s $399 and I think the unit I got is defective. The mids and lower treble are completely sucked out. Totally missing lower treble. Measurements show this. I asked HawaiiBadBoy (Bad Guy Good Reviews) to share his measurements and his look “normal” and mine look totally wrong. Sigh, oh well.

1 Like

Have you had any communication with Tenhz since the Chinese New Year started?
I’ve had a pretty significant QC problem with my pair and I haven’t been able to get in touch with them about it.
Edit: Re-read your message and saw you got your pair from Linsoul.

Most chinese companies are shut down until next week.

I don’t know if I’d call the T5 grainy but I’d definitely call them dark and overpriced, especially at $200.

Here is my review of the CCA C16 IEM:
The CCA C16 is the third and latest IEM from Clear Concept Audio, a sister company of KZ (Knowledge Zenith). It follows on from the CCA C04 (1DD+1BA) and the C10 (1 DD+4BA). It is an all-BA design, featuring eight balanced armatures per side, hence the name C16 (16 drivers in total).

It employs two 22955 bass drivers, two 29689 midrange balanced armatures and four 30095 treble units in each earpiece, which are 3D printed and made from a durable blue material with a contoured zinc alloy faceplate bearing the CCA logo and the words “8 balanced armature”. The design of the earpiece is similar in shape to that of the KZ AS10. On the side of the earpiece is written “Professional Configuration” along with the channel identification in a freestyle script. The nozzles have three small protruberances which serve as anchors for the eartips. The earpieces have no rear venting.

The C16 has a detachable 2-pin (0.75mm) cable which is identical to that supplied with the C10, being a copper-coloured braided type with knurled aluminium 2-pin plugs and a right-angled 3.5mm plug. The packaging and accessories are also similar to the earlier model and include the cable, a set of three Starline-type tips and documentation, all presented in a neat small white box with an illustration of the IEMs on the front and the specifications printed on the back. Considering that the C16 retails for around four times the price of the C10, this was a little disappointing. I feel an upgraded cable, a better selection of tips and perhaps a protective case could have been included at this price.

I found the pre-installed Starline tips did not give me a good fit and so I replaced them with the medium silicone tips from the TRN V80, which I have also used successfully on other IEMs. These gave a perfect seal and fit and provided perhaps the best isolation I have experienced on an IEM so far. The supplied cable is very long from the Y-split to the 2-pin plugs and is prone to tangling, so I also replaced this with a high quality silver-plated cable.

The earphones were left burning in for 100 hours before testing and included tracks of white and pink noise, glide tones and other audio conditioning tracks. After this I used a Hifi Walker H2 DAP with a Fiio A5 amplifier for evaluation. I found that the C16s responded best with a robust signal, with the amplifier set to high gain and volume at around 33%.

The immediate impression was of a wealth of detail. This was unexpected and startling, and even with familiar music, I was presented with things I had never noticed before. In addition to this, the stereo image was exceptionally clear with movement and positioning very noticeable. In more detail:


The bass on these was superb, and hands down the best I have heard, being deep and powerful with an amazing tightness and transient attack. Extension was excellent and overall was very linear with no mid-bass lift. A good example of this was in “Nuvole a Colori” by Rondo Veneziano. This features a series of synthesized string chord progressions overlaid by pseudo-baroque violin arpeggios. The bass had real impact and texture, creating a perfect foundation for the music. The ability of the C16 to go really low was evidenced in Messaien’s “Desseins Eternels”, a modern organ piece, meditative in feeling with unusual harmonies bordering on the atonal. A version by Louis Thiry has some of the deepest organ notes committed to disc, the pedal notes of the 32’ pipes reaching subterranean levels, all clearly reproduced by the C16. This is the first time I had heard BA bass, and I must say I was very impressed.


The midrange on these was very articulate, with very good separation and was not recessed at all. Reproduction of harmonics was excellent, giving instruments their correct colour and timbre and endowing the sound with a very natural and open quality. The mids were in perfect balance with the bass and treble and though generally having a neutral feel, there was plenty of impact and life in the music. “Castilla” from the Suite Espanola by Albeniz, rattled along in entertaining style with bass drum, percussion and brass delighting in equal measure. This orchestral arrangement by Rafael Fruhbeck de Burgos in a beautiful vintage Decca recording was a perfect demonstration of the C16’s ability to portray an orchestra in a realistic ambience and natural setting. Vocal performance was impressive, too. In “Talk to me of Mendocino” from Linda Ronstadt’s album “Closer”, Ms Ronstadt’s voice soared above the accompaniment in wonderful style, each word beautifully clear and articulated and full of power and emotion.


The treble was very extended with the finest details coming over clearly and with a crisp precision, but without being cold or harsh. There was an attractive crystalline quality to the upper register giving an airy and open feeling. Mark Dwane is a master of the MIDI guitar and has produced a series of albums based on mystical themes. “Paragons of Light” from the album “Variants” begins with multi-tracked jangly guitar sounds moving across the soundstage. Each string was beautifully articulated with an authentic metallic quality giving the music great impact. In Dave Brubeck’s classic “Take Five”, Joe Morello’s superb drum solo displayed the clarity and detail of the C16’s treble. Cymbals, snares and rim shots placed me right there in the studio with the musicians. Holst’s “Moorside Suite” for strings features attractive rhythmic arrangements of folksong melodies. The third movement is fast-paced and uplifting. The strings of the Northern Sinfonia conducted by David Lloyd-Jones gave a spirited performance which the C16s revelled in, with clean crisp string sonorities and an airy, believable acoustic.


The C16s produced a soundstage which was wide and deep with an unusually good impression of height, giving a wonderful sense of space. Along with the excellent stereo imaging and instrumental positioning, they gave a very natural and open picture of the recording which was both technically and artistically satisfying. Detail retrieval was exceptional, with complex arrangements being clearly laid out with every strand easy to follow. “Words of a Mountain” is a unique album. It is a new-age fusion electronic album by a black musician, Wally Badarou. In “The Feet of Fouta”, the powerful percussion beats and infectious rhythms combined beautifully with the keyboard melody lines to great effect, producing an entertaining and foot-tapping result. “Antarctic Echoes” from Vangelis’s score to the Kurosawa film features the main theme in a slow and concentrated variation set in a highly reverberant soundstage. The C16s produced a cavernous acoustic with impressive fine detail and decay.


In the past year or so, I have been fortunate to have tried out a number of excellent IEMs, including, most recently, the Yinyoo V2 single DD, the CCA C10, and the Senfer DT6 triple hybrid, all of which provided incremental advances in fidelity. However, in this case there was a significant increase in quality, which, given the higher price, one might have expected, but nonetheless was impressive. With its excellent detail retrieval, superb resolution, wide frequency range and open, expressive sound, the C16 now takes premier position in my ever-growing collection of IEMs. If you value a neutral, well-balanced sound, it really is an essential purchase. Do bear in mind, however, due to its revealing nature, that it will give of its best with a high quality source and recordings (320k mp3 as a minimum) so a dedicated DAP, and preferably also an amplifier, would be most appropriate.

Note: I would like to thank Sunny from Better Audio US at for a promotional discount of 50% on the purchase of this item.

Purchase link:


Very nice, detailed review @Nimweth. I like your style.


Moondrop Kanas Pro Tips & Mods

  • all measurements performed on Dayton IMM-6 mic with vinyl tube ~12mm distance from mic.
  • compensated to Diffuse Field target (from MiniDSP)
  • super zoomed in scale in graphs
  • measurements normalized to 0 dB @ 1KHz, but all were taken at 80dB SPL @ 300Hz

Tip Choices
It looks like tips can change the upper treble a bit. Take a look at the various tips I tried out just now.

See the Legend at the bottom for the type of Tips.

  • Essentially, my NewBee Foam tips gave the most DF neutral signature.
  • Final Audio Type E, generic JayBird X3 silicone tips, and Symbio-W Hybrid tips gave very similar results.
  • The SpinFit CP145 gave just slightly different than the above.

Kanas Pro Mods by requests:

Again, check the legend at the bottom for the mod type. Final Audio E Tips were used in this mod in all cases here.

  • Removing the grill/screen on the nozzle increased treble as I mentioned before.
  • Using Electrical Tape to cover the nozzle vent increased bass and very slightly treble.
  • Using the 3M Porous medical tape increased bass, but kept treble normal
  • Taking a piece of arts & craft felt and cutting a very small square and rolling it up and placing it in the nozzle (without grill) increased some low treble but decreased the upper treble peak.
  • Taking an earbud foam and cutting a small piece and rolling it up and placing it in the nozzle (without grill) reduced the upper treble peak.


Great review. References to specific musical pieces great for both reference and discovery. Write more reviews, please.

Thank you. I enjoy writing the reviews and try to include different genres of music which I feel can be helpful. After all we listen to music on IEMs and we are not staring at a Frequency graph!


Great work @antdroid. You’re one dedicated chap. Your measurements and contributions are always of interest to me. Just want to say thanks for taking the time and effort. That goes for everyone who measure and chart the various headphones and iem’s. I appreciate it.


Thank you. I will be posting more reviews, probably the Senfer DT6 will be next, and then maybe the KZ ED16. I’m glad you found the musical examples helpful, I have a rather unusual range of music and it’s nice to share!


Great review. Thanks for sharing.

Moondrop Kanas Pro Review



Moondrop’s collection of headphones have similar traits. They have a specific target curve they came up that lies somewhere between the Harman Target Curve and the Diffuse Field Targets, but with an upper end energy above 10KHz. This seems like it’s an approach they’ve used on every IEM across their small collection from $40 to $670.

The Kanas Pro model sits in the middle of their IEM lineup at $179; just above the regular more bassy Kanas, and less than half the price of the Blessing. As a note, this is the first Moondrop headphone of any type that I have listened to, and after this review, this won’t be the last.

The Moondrop Kanas Pro was purchased at full price via Penon Audio, a Hong Kong based online retailer who have great customer service and expedited shipping. This item is also available through Linsoul and LSR-Direct on Amazon, who have supplied me with review samples in the past. They did not send me this one however, but did ask that I compare it to other IEMs that have been provided, which is detailed at the end of this review.


The Kanas Pro contains a 10mm dynamic driver within it’s attractive mirror-polished zinc-magnesium housing. Each side is reflects everything around it, but can be a fingerprint magnet. The model name is inscribed lightly in the finish.

The IEM features 2-pin connectors and includes a well-designed copper braided cable that looks as luxurious as the shells. To round out the package, Moondrop added a fabric carrying pouch and a set of tips in 4 sizes.

Given the type of pouch and very small silicone tip selection, I was pretty disappointed in the accessories, especially compared to other IEMs in this price range which come with premium cases and a variety of different tip choices.


The Kanas Pro was played mostly using my Pioneer XDP-300R and Hidizs AP80 digital audio players. On occasion, they were also powered by the Cavalli Liquid Spark and the Monolith THX-AAA balanced dac/amp. The music selection was scattered throughout different genres, decades, and styles. My typical playlists includes Fleetwood Mac, Alwways, Massive Attack, Chris Stapleton, Vince Guaraldi, Radiohead, Real Estate, Cocteau Twins, Norah Jones, and much more.

In general, I found the Kanas Pro to sound just right tonally, and a completely safe sounding headphone. It’s extremely well balanced between bass, mids and treble, and reminds me a lot of two Campfire products: the Comet and the Orion, as well as the Audio-Technica LS200iS – all three of which, I recently reviewed. These three have tonally balanced sound signatures and all three really focused heavily on the mids. They also have generally similar sound stage to the Orion, though not as wide, but also not as intimate and forward sounding as the Comet. They lie somewhere in-between the two, but closer to the Orion.


The Kanas Pro has just a slightly elevated bass section that is well controlled and tight. The added boost from Diffuse Field neutral, follows the Harman Target quite well, and provides just enough warmth to provide a slightly fuller sound than the Orion, for example. It has a low end that is similar to the LS200iS to me, and extends well, and is lean enough that it does not ever sound muddy and out of control. Some may find it a tad lean.

I originally did with my initial tip selections. After floating around a couple dozen tip choices, I settled on three tips in particular that sealed well and provided the low end the quantity it needed for this IEM to excel – Newbee Foam tips, SpinFit CP145s, and Final Audio Type E tips. I’ll go over some tip choices issues in a little bit.

The midrange has a very smooth nature to it. For me personally, it has a wonderful coherency that is very engaging yet laid back all at once. Where it may falter is that it is so clean and smooth that it can come across as missing a little detail and character.

When we move up to the treble region, there’s a boost in the upper treble which gives the IEM a little bit of air. For me personally, this does not affect anything with the sound signature at all. I find that it provides the needed air and energy that counters the smoothness of the mids and makes the Iave a little bit of fun, when it generally is a smooth and toned-down sound otherwise.


I’ve read on a few forums that there are folks who find the bass a little light (me included early on) and the treble too sharp. As with many IEMs, tips are crucial to sound signature, as they not only provide adequate seal to the outside world, prevent leaks, but also their inherent material properties help reflect or dampen sound out of the driver.

Tips & Mods

I measured several different tips recently and posted the results online. To summarize, it seems foam tips, and specifically NewBee branded ones, provided the more even treble response. All silicone and hybrid tips I tested had a significant valley between 6KHz and 10KHz, while the foams reduced that dip in half. This is followed big a big spike above 10KHz on silicones, which again, is cut in half by the foam tips. In practice, I don’t hear these spikes and valleys in music, or if they are, it’s very subtle. I still tend to like using the foams for comfort though, however the Final E Tips are easier to put on and equally comfortable for my ears.


Following my general review of the Kanas Pro, I tried to do some modding. This was really the result of an accident, as I was trying to make custom tips using Radians ear molding compound, and covered the vent hole and actually ended up pushing some of it in to the vent. To correct this, I removed the grill on the nozzle, which is held in-place as a sticker, and is easily removed and replaced, and then let the mold debris roll out.


Open Vent (Red) vs Stock (Blue)

In doing this, I ended up measuring what happens if you remove the grill completely, which increased the treble pretty significantly (and not super pleasantly). I then found out that there is also another sticker-applied grill covering the vent that is closest to the nozzle and determined that this hole, if fully exposed, controls the bass quantity. Having the hole exposed completely wipes away all bass and most of your lower mids. Don’t do that.

So, this started my journey into modifying things – and mostly because in the process, I lost one of the grill stickers, and still cannot locate it today. I ended up vacuuming my room and who knows if it even exists anymore.

I tried to replace the grill with other materials – mainly craft felt material and varying amounts of cut up ear bud foams. I ended up sticking with a small amount of the ear bud foam that I cut a square out and rolled up and inserted into each nozzle. This actually tames the treble peak slightly, while also keeping the upper-mids and lower treble similarly, if not identically, to the stock grill.

See the measurements below for the mods I performed.



The following are brief comparisons between the Moondrop Kanas Pro and several competing IEMs that are new to market or popular in the headphone industry. The BGVP DM6 and DMG, Tenhz T5, and Tin Hifi T3 were provided for review by Linsoul, while the Campfire Orion was loaned for review by The Campfire Comet was previously purchased by myself directly from Campfire and later sold, however I also received it on loan more recently by for review.



I found the DM6 to have heavier bass and peakier treble – essentially more V-shaped than the Kanas Pro. I also found the DM6 a bit shouty compared to the KP. It does have an edgier sound to it, which can be fun and exciting, but in general, my personal preferences go towards the Kanas Pro. The BGVP DM6 will get a full review in the near future.

Tenhz T5

The Tenhz T5 will also be receiving a full review treatment in the near future. This IEM has a darker tone to it than both the DM6 and the Kanas Pro. It’s actually quite relaxing to listen to but I found that occasionally that the mids and treble sound a bit compressed and low-fi. This could be due to the laid-back tuning or it could just be poor detail retrieval. It also has a smaller soundstage than the Kanas Pro, but does come with a wonderful set of accessories (tips, case, cable, etc).

Campfire Orion

In my previous review of the Orion, I gave them a very favorable review, however I did find them perhaps costing a little pricey given the competition. At the time of their release, I believe they would have been a great value, but there’s a lot more competitive, and cheaper, IEMs out there now that it’s harder to recommend the Orion. The Kanas Pro and the Orion, to me, have very similar traits and sound signatures, however the Kanas Pro does extend better on both ends of the spectrum with a slightly more warmer bass region that is generally more favorable to many. The Orion’s total package of accessories (and there’s a lot them) and customer service can’t be beat though.

Campfire Comet

Like the Orion above, the Comet has accessories included that make other competition seem quite lacking. The build quality of the Comet and Kanas Pro are quite similar, with their shiny bodies, however the Comet has intricacies in their stainless-steel housing that is unrivaled at $199. In terms of sound signature, the Comet is a more mid-centric, thicker, and mid-forward sound and lacks the extension on both ends of the spectrum that the Kanas Pro has. Both are good all-arounder choices however at this price point, however in terms of pure sound quality alone, I find the Kanas Pro a better value.

Tin Hifi T3

The Tin Hifi T3 is another recent release and has a similar neutral sound signature. The T3 has a flatter bass response and a bigger treble peak in the sibilance region that the Kanas Pro does not. The KP, instead, drops off in this same region, and peaks up in the upper treble above 10KHz. Besides that, both excel in the mids for their respective price classes. The T3 is $100 less than the Kanas Pro and is well worth it’s value, as is the Kanas Pro at it’s price tag.


The DMG is a small step below in price than the Kanas Pro and really is a different sound in general. The DMG has a traditional V-Shape sound signature that I find tasteful for certain genres due to how surprisingly coherent the mids and mids-to-treble transition is. This is quite a contentious IEM however, as some find it quite bassy and treble harsh, and others (like me) find it only slightly bassy and only slightly harsh. It is definitely song and recording dependent (and perhaps source too). The Kanas Pro, on the other hand, is a smoother and more neutral/balanced listen. Both feature simple metal shells that seem quite well made and durable.



In general, I found the Moondrop Kanas Pro to be an extremely welcoming IEM at its price range. I think it has a very engaging and enjoyable sound signature that can appeal to many users and genres. It’s not for the bassheads out there, but for someone who wants a neutral-warm sound signature that you can listen for hours on end without fatigue, but still have enough detail to catch little things here and there, this is a great IEM to check out.

The build is exceptional and attractive, and the only major flaws with the overall presentation is the lack of accessories, which is typically more plentiful at this price point, when looking at its competition. However, these small things may not be that big of a deal – I, for one, hardly ever use the tips that come with any product and perhaps only use the included carrying cases half the time anyway. The cable that the Kanas Pro comes with is quite nice and that’s a standout in the package.

So again, this is a recommended pick for me without hesitation, as it’s quickly becoming my go-to IEM over my much more expensive ones I own, including my Custom Unique Melody ME1 IEM.


Splendid review @antdroid. I really enjoyed reading it.

1 Like

FastAndClean in da house :smiley:


Welcome to this community!


Thanks Anthony, good to be here


Welcome @FastAndClean. I hope you enjoy yourself. I’m sure you will there’s lots of great info to be had and as always we learn from each other.

Below is my review of the Nicehck N3.


The Nicehck N3 is an in-ear monitor with a hybrid driver configuration (10mm carbon nanotube dual diaphragm dynamic + piezoelectric ceramic) that retails for approximately $59 at the time of this review. I purchased the N3 from the Nicehck Audio Store on AliExpress for $1 with the expectation of a fair and objective review. The N3 is available for purchase on Amazon.


I have used the N3 with the following sources:

Hidizs AP60II > Nicehck N3

Windows 10 PC > JDS Labs The Element > Nicehck N3

Windows 10 PC > Hidizs AP60II > Nicehck N3

Pixel 3 > Apple USB-C to 3.5mm dongle > Nicehck N3

I have tested these headphones with local FLAC, Spotify Premium, Youtube Music, and Qobuz Studio.


The N3 comes in a small rectangular white box. The box pictures the Nicehck N3 on the front and lists technical details of the IEMs in Chinese, English, and Japanese on the back. The package includes the earphones, a detachable SPC cable with MMCX connectors, one set of white silicone ear tips (S, M, L), and one pair of grey silicone ear tips.


The N3 has an all-metal housing using CNC’d aluminum alloy. It has a flat-ish spade-shaped exterior face with a shallow-scalloped section. The Nicehck logo is printed in white across the scalloped part of the exterior face. The interior body of the N3 has a shallow U-shape with a small lip at the top of the interior face and the nozzle on the lower side. A L/R indicator is printed on the interior face. Each earpiece has a single circular vent on the interior face of the housing. I occasionally experienced mild driver flex when inserting the left earpiece. The nozzle has a lip for securing ear tips and a cheese-grater style nozzle cover.

The cable is clear plastic-sheathed sliver-plated copper with black plastic housings for the MMCX connections and a metal and clear plastic L-shaped housing for the 3.5mm jack. The MMCX housings have markings to indicate left and right, but they are hard to see in low light. The cable has pre-formed ear-guides without memory wire. There is a chin-adjustment choker. There is strain relief at the 3.5mm termination. The cable resists tangling and is non-microphonic.


The Nicehck N3 is intended to be worn cable up only, with the IEM nested between the tragus and antitragus of the ear. The inner face of the housing curves around the crux helix of the ear. Comfort is excellent. It is easy to get a secure fit with a variety of tips. Isolation is above average.


The Nicehck N3 has a bright, upper mid-focused tuning.

Sub bass is extended but not elevated. Mid-bass is even less prominent. There is more rumble than slam. However, the bass response is lightning-fast for a dynamic driver with regards to both attack and decay. Bass texture is dry and clinical.

The lower mids are recessed, leaving male vocals dry and without warmth. Upper mids are far more prominent with an abundance of presence that often strays into sibilance. Female vocals can be too breathy.

Treble is clarity-focused, with incredible detail retrieval and satisfying sparkle. The treble is energetic rather than smooth. There is a huge amount of air. Transients are articulated with astonishing dexterity.

Imaging is impressive. Instrument separation is above average for the price point. Soundstage width is average but soundstage depth is considerably deeper than average.


My measurements were conducted with a Dayton iMM-6 microphone using a vinyl tubing coupler and a calibrated USB sound interface. The measurements are presented with 1/12th smoothing, and are compensated to pseudo-IEC specs using a measurement file provided by Crinacle based on a 9k resonance peak. Measurements above 10k are not reliable, and the magnitude of the 7.5k valley is likely a coupler artifact.


The N3 benefits greatly from the following EQ settings, graciously provided by Head-Fier gazpl and iteratively refined by me.


These EQ settings bring some much-needed warmth to the lower midrange and take the edge off the peaks in the upper midrange.


With a sensitivity of 100dB and an impedance of 55ohms, the N3 needs a powerful source to sound its best. Smartphone headphone outputs and dongles struggle to deliver adequate power to the N3. Without a dedicated source, the N3 does not sound coherent. I had good results with my Hidizs AP60II on high gain. The N3 does not hiss.


Nicehck N3 ($59) vs Yinyoo V2 ($49) [dual diaphragm biodynamic driver]

The V2 is warmer but has a more balanced frequency response overall. The N3 has better sub-bass extension but much less mid-bass. The N3 has better bass articulation but less authority. The V2 has more textured bass. The V2 has a less recessed lower midrange. The V2’s bass bleeds into the lower midrange more than the N3’s does. The N3 has a much more aggressive upper midrange. The treble on the N3 is much more energetic. The N3 is also airier. The N3’s soundstage is larger. The N3 has better detail retrieval and quicker treble transients. The N3 has better instrument separation and imaging. The V2 is considerably more sensitive and does not need dedicated amplification the way the N3 does. The N3 is more comfortable. The V2 has a slightly more secure fit. Housing build quality is similar but the V2 has a nicer cable. Both come with a zippered case. The V2 comes with two identical sets of ear tips in different colors.

Nicehck N3 ($59) vs Meeture MT3 (dual diaphragm dynamic driver) [$67]

The N3 have similarly upper-midrange focused frequency responses, but differ in some important ways. The two IEMs have similar sub-bass extension but the MT3 has more of a mid-bass hump. However, the MT3 struggles with bass articulation, with the bass coming across as flabby in comparison to the N3. The two IEMs have similarly cold lower midranges. The MT3’s upper midrange, while equally aggressive, is less peaky compared to the N3. Despite this, the N3 has much better detail retrieval. The N3’s treble is much more energetic, with greater sparkle and more air. The MT3’s treble is grainy in comparison, especially at higher volumes. The N3 has quicker treble transients. The MT3 has a larger soundstage. Imaging and instrument separation are similar. The N3 is much harder to drive. The MT3 does not need a powerful source to sound its best. The two IEMs are similar with regard to comfort and fit. The N3 has more premium housing build quality, but I prefer the MT3’s braided cable. The N3 comes with a zippered case but the MT3 comes with a greater variety of ear tips.


The N3 are a polarizing set of IEMs. They are astonishingly detailed but are bright out of the box and will not appeal to treble-sensitive folks or people who need a lot of bass. However, EQ will go a long way towards correcting the N3’s cold lower midrange and strident upper midrange. The materials used in the N3’s drivers are a revelation as far as speed and detail retrieval at this price point. Build quality is great and channel matching is spectacular. Recommended with reservations.


Great review and love the EQ addition to it. Thanks! Looks like a headphone I may enjoy, but unfortunately I have too many right now to make use of it.