Glad you liked it! Nice to see Roger and Brian revisiting the world of “The Pearl” and “Apollo”…
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How will you compare the kb ear diamond and tin t4 against cca c16 ( in case you know it) In resolution and detail retrieval ??
Thanks!!
The C16 is a detail monster. It has a “warts and all” presentation, similar to the A10. It can, however, sometimes sound thin or analytical. The T4 is also very detailed and more spacious but does have a little more warmth in the sub bass and a more neutral character. (I can’t compare at the moment, my T4 MMCX connection failed, replacement is on the way). The KBEAR Diamond has a more smooth top end, the detail is not quite as precise but has a more natural timbre and tonality and is more forgiving. Its soundstage, with Spiral Dots, is very good.
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Thanks!! I do have the C16’s and the Tin T2’s and others three Chi Fi that I don’t use ( KZ’s ed16, zsn and zs10 pro ), but curiosity wins over reason some times and the impulse to buy another to hear how it sound or differs from what I already have is there all the time.
Having both ( c16 and t2)balanced connected to my ES100 I was looking if the KB ear or the T4 could be an upgrade in some way.
Again, I already set my mind to buy an end game IEM ( “end game”
what an utopian phrase for us ) in the future, when all this chaos returns to normal and our small business go ahead again. No time for curiosity buying anymore.
Is always a tempting pleasure to read your reviews!!
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Yes, great review. It’s also a good looking iem.
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Sorry I posted it to wrong person. My apologies.
. Now I’ve posted to myself. Oh no it’s all going wrong…
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Great review. Very nice looking too.
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Thanks!! I’ll take it anyway !!
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Thanks. It’s the best build quality I have seen so far, immaculate. I’m really enjoying them. Next up is the TRN ST1 and after that the KZ BA10!
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The ThieAudio Voyager 3 is an in-ear monitor (IEM) utilizing three balanced armature drivers per side. The Voyager 3 uses a three-way crossover with two separate sound bores. It also has low and high tuning switches which allow the user to adjust the level of bass and treble. The ThieAudio Voyager 3 is a strong effort in terms of physical design and build quality. However, I do not feel its tuning is competitive at this price point. The inclusion of tuning switches at its price point is novel, but I recommend future efforts by the company incorporate switches which target narrower frequency bands instead of splitting the frequency response down the middle.
My full review is up on my blog: https://medium.com/bedrock-reviews/thieaudio-voyager-3-review-7dc97c42e848
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My newest acquisition is the CVJ CSN hybrid IEM. I received this from Aimee at IZ POP via Amazon.com for review. Below is my review of it.
The CSN IEM is the second recent release from the CVJ company. It is a more ambitious design than the earlier dual hybrid CSA, and features six drivers per channel (1DD + 5BA). The driver complement comprises one 10mm dynamic driver for the bass region, featuring a double magnetic design using N52 neodymium. Two 50060 balanced armatures cover the midrange and three 30095 BA units are employed for the treble.
Like the earlier model, the IEMs are presented in a sturdy hardboard box in a black crackle finish with silver writing. Lifting the lid reveals the earpieces fitted in a card cutout along with two sets of black and red medium bore tips. A third set of tips is pre-fitted to the IEMs. The earpieces are finished in an attractive metallic light blue and are constructed of a magnesium and aluminium alloy. They are very well made. There is a small vent in the centre of the faceplate which has four triangular sections meeting in the middle and resembles the BA5 and ST1 models by TRN. Another small vent is placed at the base of the nozzle. The faceplate features the CVJ logo and the words “12 hybrid” in a small font on the lower edge.
The connection is standard 2-pin and the cable is a 4-core braided type identical to that supplied with the CSA model and similar to that supplied by TRN or BQEYZ. The black metal 3.5mm plug bears the CVJ logo and the Y-split is also metal. The run between the Y split and plug is quite long and there is no chin slider so the cable is a little prone to tangling. Also included in the box were three sets of silicone tips (also similar to those supplied by TRN), a brown carrying pouch, a velcro cable tie and documentation. All in all, a good presentation. However, being a more premium model, I would have liked to have seen a better quality cable at this higher price level.
I followed my usual practice of burning in the IEMs for 100 hours to settle down the components, after which they were evaluated using an Xduoo X20 DAP. The stock cable was of acceptable quality but I wanted to maximise the potential and so used a high quality hybrid balanced cable. The pre-fitted medium silicone tips were used.
After being impressed by their earlier CSA model (especially with regard to the largely neutral sound profile), I was hoping for great things from the more premium model. I have to say that I was not disappointed. The CSN similarly displayed a neutral character with a touch of extra brightness. Detail retrieval was excellent and transient response snappy and immediate. The bass region was somewhat sub-bass focused with a neutral mid-bass, the midrange was a little forward and the treble clean and well-extended.
Bass
There was a mild emphasis in the sub-bass which transitioned smoothly into the mid-bass, which was largely neutral in character and resulted in a very clean and detailed presentation. Texture and resolution were first class, as evidenced in Richard Souther’s “The Long Riders” where the deep synth bass and bass guitar formed a weighty and solid foundation for the cello’s lead melody. Throughout the complex production, the bass maintained its focus and definition. Phamie Gow’s “Regreso a Chile” similarly impressed with the lowest notes of her piano possessing excellent timbre and a natural decay. The reproduction of the harmonics here was impressive, and preserved the character of the instrument perfectly. In Rachmaninov’s “Symphonic Dance No.1” performed by the Minnesota Orchestra under Eiji Oue, double basses, bass drum and timpani impressed in equal measure with an immediacy which was testament to the fast transient response of the dynamic driver. Due to its speed, it was more reminiscent of a BA driver. The verve and life in this superb 88KHz Reference Recordings production was thrilling.
Midrange
Like its little brother, the CSA, the mids displayed a neutral, or slightly bright, tonality which was a touch forward in comparison to the bass and treble. Clarity and detail were the watchwords here and instruments sounded very natural. However, I did, sometimes, wish for just a little more warmth. The timbre of the solo cello in Holst’s beautiful “Invocation”, performed by Julian Lloyd Webber, was full of subtlety and wonderfully rich, with every nuance precisely etched. The imaging in this recording was very evident, allowing the cello’s relationship with the orchestral accompaniment to be fully appreciated. Shostakovich’s Second Piano Concerto was another perfect example in the recording by I Musici de Montreal with the composer’s grandson at the keyboard. The solo instrument was presented clearly above the orchestra and once again, showed a very natural timbre. The sweep of the supporting orchestral strings was very impressive. As a consequence of this midrange clarity, vocals were clean and articulate, allowing lyrics to be heard perfectly. Cat Stevens’s “Father and Son” was very enjoyable, with the contrast between his portrayal of the father’s voice and then the son’s, an octave above, really telling the story. The varying tonality of Cat Stevens’s voice was easy to discern above the bright and detailed guitar accompaniment.
Treble
The bright and clean nature of the CSN’s treble was enhanced by excellent transient performance and good extension, which delivered “air” and detail in spades. This region was largely free of peaks and sibilance only occurred when present in the recording. The immediacy of the digital piano in Rick Erlien’s introduction to “Yosemite” was striking. The impact and attack drove the piece along in style with animation and life. Gerald Finzi’s “Introit” is a piece for solo violin and orchestra. Lesley Hatfield’s violin sounded clear and expressive and the subtle high harmonics at the conclusion of the piece were beautifully rendered, once more displaying the natural timbre on offer. Vangelis’s “Rosetta” is an electronic work inspired by the comet probe of the same name. “Exogenesis” sounded superb with synthesised woodwind, percussion and a fast-paced complex bass line combining to great effect. The tonality of the cymbal-like effects had a wonderful metallic quality with intricate detail adding to the enjoyment.
Soundstage
The CSN’s soundstage possessed equal dimensions in width and depth and a little extra in height which lent a very spacious quality to the sound. Emmanuel Chabrier’s “Espana” rhapsody, in a version by the Minnesota Orchestra, took the listener direct to the concert hall with a rich and full presentation of an orchestra in full flow. Basses, percussion and strings occupied their assigned positions and brass shone brightly above them. Climaxes were dynamic and powerful yet retained detail and balance. The ambience of the recording venue was nicely reproduced. Robert Aeolus Myers’s “On Angels becoming Human” is a complex electronic soundscape with subtle woodwind-like figurings entwining with electronic effects, and underlain by a bass drone. The CSN managed to sort all this out and display all the elements separately yet at the same time integrated into a musical whole. The characterful, husky voice of Anne Murray in “You Needed Me” was nicely positioned centre and slightly high above the guitar and bass accompaniment. String sections added depth and harmony and the whole image was very well balanced whilst still presenting the solo voice in a prominent position with the well-defined reverb adding space.
Conclusion
The CSN enters a very crowded sector with the KZ ZSX and CCA’s C12 already well-known and respected. Joined recently by TRN’s VX and CCA’s latest CA16, the multi-driver arena is now more competitive than ever. However, with its neutral/bright tuning and excellent clarity, the CSN really does offer an interesting alternative. With a sound profile similar to Tin Hifi’s T3 and T4, it bucks the trend of V-shaped IEMs commonly found in this sector. The CSN possessed excellent coherence with the transition between the various drivers seamless. In comparison, the CCA C12 is more V-shaped, with a bright emphasis in the upper mids/lower treble. It does have a little more warmth due to the mid bass rise. KZ’s ZSX, on the other hand, has a warmer, more friendly tonality and is very smooth, but occasionally lacks definition. The CSN majors on detail and accuracy, rather in the manner of an all-BA set such as the CCA C16 or A10 but with a less incisive top end and a more powerful DD bass. It does sound quite similar to TRN’s BA5 (and resembles it in appearance), so will appeal to those seeking a mid-centric well-balanced IEM. Bassheads, of course, will have to look elsewhere. CVJ’s first two releases have been very successful and they seem to have established a neutral “house sound”. Their next model is awaited with anticipation.
Product link: https://www.amazon.com/CVJ-Earphones-Magnesium-Detachable-Audiophile/dp/B087D7KRTJ
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Great review again @Nimweth
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Thanks, Paul. I am very impressed with CVJ’s offerings so far. I am a fan of their neutral or mid-centric sound profile. I think the CSN is one of the best multi-hybrids in my collection.
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4 posts were merged into an existing topic: Thieaudio In-Ear Monitors
Audiosense T800 : some impressions and a lot of pictures.
A few weeks ago I got the Audiosense T800 as a result of my hunt for a better IEM. The new and uncomfortable turn my work is having since de beginning of this year and COVID making it worst is keeping me away from my desktop rig and forcing me to use more and more portable solutions . Some times the chance to use my IFI Micro allow me to enjoy again my over the ears cans, but most of the time my choices are limited to Fiio BTR5 and ES100 as a dac/amp and due to lack of isolation my beloved LCD i3 are not ideal.
T800 is an incredible resolving ,clear and detailed IEM with an extended and energic deep bass for a BA. Treble is extremely detailed and instruments separation is phenomenal as well as soundstage, very fast and musical , very good imaging ,but before I start spreading my hype like a virus it is fair to confess that my experience with IEM was confined to a bunch of cheap KZ’s being ZS10 pro and CCA C16 my best ones
Build of resin, T800 feels amazing and they look very nice, comes with two cables one 8 cores OCC and 4 cores SPC the second ,ending both of them in 3.5mm and it uses MMCX connectors. Also 3 pairs of silicone and 3 of foam tips are included. The T800s use 8 BA per earpiece.
Isolation is the best of all my IEM. Size is on the big side, I believe my ears are average for an almost 6f guy and they are on the limit I can handle without discomfort. My longest session so far was of about two hours straight and no discomfort or pressure of any kind and also no treble fatigue. The reason I’m making a point on size of the earpieces and bright treble is because these two things are the only I can think of being a problem for people , especially people with small ears and/or treble sensitivity.
They use Knowles drivers and come with a pair of Knowles dampers preinstalled, those filters are removable. There are like a hundred post on Head-Fi about the changes on the sound you can archive by removing the installed ones and putting others or even by installing the new ones over the factory dampers. Most of the users claim the dampers affect more the bass and treble, depending the one you are using, but the mids get little change if none( it is a V shaped sound by the way).I got the whole set of dampers and the tool for the work on AE just in case I need to do some adjustment, but T800 sound fine and don’t need more than a better pair of silicone tips for my taste. I’m waiting for a balanced cable and that’s it. Maybe in the future, since I already have the dampers, I play with the sound a little bit.
I included some pictures next to my ZS10 pro and C16 for size reference.
Sorry for these some how weak impressions, but the T800 are extremely impressive performers and there was nothing about them here and I was felling that I should post something .
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Great writeup. Nice photos too.
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Thanks @prfallon69!! They are impressive on detail and clarity !!
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My full review of the TRN VX, with measurements and in-depth comparisons with the TRN V90 and the KB EAR Diamond is available on my blog: https://medium.com/bedrock-reviews/trn-vx-review-b7f8b0e8d16a
The TRN VX is a bright-sounding hybrid (6BA+1DD) in-ear monitor that retails for around $73. It is the successor to the TRN V90, which I had previously reviewed and found to be a safe recommendation for bass heads and general consumers. Rather than refining the V90, TRN seems to have shot for a different target altogether with the VX, and the audience that the V90 found may not want to follow along.
The TRN VX sounds like the TRN V90 with less overwhelming bass, and while the overall presentation is undeniably clearer, the upper half of the VX’s frequency response remains nearly as intense as that of the V90. I do not feel the VX’s technical performance is sufficiently improved to justify more than double the purchase price of the V90, and it has such a different tonal emphasis than the V90 that it doesn’t make sense as a direct upgrade anyway.
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Already posted in the Ultra Cheap IEM thread and the Discovery one. Thought I’d post here too (in case somebody doesn’t follow the other two):
TL;DR I like them. Amazing choice, but underrated
I have been testing the new CA16 from CCA. Here is my review:
Introduction
The CA16 is the latest model from KZ’s sister company CCA (Clear Concept Audio) and is their first product for about 9 months. It is a hybrid design featuring eight drivers per side (1DD + 7BA). The dynamic driver is a new design with a 7mm diaphragm and dual Neodymium magnet and covers the bass region. The midrange is handled by two sets of the new dual BA type 50024 (four BAs in total). Whether these are the same as the DWEK units in the previous C12 model is not clear, though published illustrations of the two units are very similar. Three 30095 BAs are used for the treble frequencies in a configuration previously seen in two other recent multi-driver hybrids, TRN’s VX (1DD + 6BA) and the CVJ CSN (1DD + 5BA) but was actually first used in the all-BA TRN BA5. There are no BA drivers placed within the nozzle as in previous designs.
Description
The earphones come in a sturdy white box with a linen finish, somewhat more substantial than the traditional CCA/KZ packaging we are used to, and similar to, though smaller than, that supplied with the Senfer DT6 Pro. Opening the box the earphones are presented in a cardboard cut-out below a small envelope containing the documentation. Below this is another small box in which there are the spare eartips and the 2-pin cable. There are some specifications printed on the back. At this price this was a little disappointing, considering that the CVJ CSA at $17 comes in a wooden box and includes a better cable and a carrying pouch.
The earpieces are formed from a glossy black plastic material and bear a prominent CCA logo. They are light in weight and do seem a little cheaply made compared to those of the C12 and C16 which feature metal faceplates. Considering that the CA16 is their flagship model, I would have expected a more substantial construction. The nozzle is gold-coloured with a silver mesh and there is a small pinhole vent at the base and another similar vent in the centre of the rear of the earpiece. The words “16 hybrid technology” are written on the side along with discreet channel identification. The shape is quite complex, resembling KZ’s ZS4, and they are a little bulky but surprisingly comfortable to wear, not protruding very much from the ears. The supplied eartips are made of a white translucent silicone and have a fairly wide bore and parallel sides. The medium size is pre-fitted to the earpieces and I also found these very comfortable.
The supplied cable is the usual 4-core braided type seen on various CCA and KZ models. There is a long run from the chunky Y-split to the QDC connectors and no chin slider and it tangles very easily. The ear guides are quite tightly curved but fit snugly round the ear.
The earphones were auditioned using a variety of sources, across a wide selection of musical genres, primarily my Xduoo X20 but also a Sony NWZ-A15, a Huawei smartphone and a CD player. The supplied cable and tips were used and a burn-in period of 100 hours was carried out. The CA16 proved slightly power-hungry, with my Huawei smartphone needing to be at 100% volume for an acceptable level and my Xduoo X20 DAP volume at around 50% compared to an average of 33%. The C16 scales well and benefits from using an improved cable (preferably balanced) which brought out extra detail and improved the staging as well as providing an enhanced volume level. Adding amplification (I used a Fiio A5) tightened the bass and improved impact and transient attack.
First Impressions
Initial impressions were very positive. It was clear that with the CA16, CCA had a more neutral or “audiophile” tuning in mind. Bass was firm, well-extended and possessed good resolution and texture. Midrange was free from bass bleed, open, expressive and clear and not noticeably recessed. Treble was sweet with good detail and extension, sounding airy and clean. The soundstage was expansive with precise imaging.
Bass
The new 7mm bass driver delivered an excellent performance with depth, resolution and texture all first class. The emphasis was well-judged, being set somewhere between the sub- and mid-bass and delivered both sub-bass rumble and mid-bass punch in equal measure. The integration with the other drivers was seamless.
In Richard Burmer’s “A story from the Rain” the powerful drum strikes following the calm introduction hit hard with an impressive attack and decay while the percussive and woodwind elements remained clearly audible. The agility, speed and clarity in the fast paced sub-bass riff in “Siren’s Song” from Mark Dwane’s “Archives 2” was astounding with each note possessing depth and slam and being precisely defined while supporting wordless female vocals and incisive rhythmic elements. Everything was presented in perfect balance. A wonderful performance.
The beautiful recording of Symphony No. 3 by Saint-Saens with the CBSO conducted by Louis Fremaux and Christopher Robinson at the keyboard was another good example. In the second movement the organ returns to accompany the main melody after the bridge. At the 6:40 mark the organ is at its deepest with the 32’ pedal notes firm and powerful, superbly reproduced with depth, weight and wonderful timbre and forming a perfect foundation for the smooth string accompaniment.
David Essex’s “Rock On” features double-tracked bass guitar and drums in a complex production by Jeff Wayne. Drums had good impact and speed whilst the bass guitar displayed impressive “growl” and texture even on the lowest notes.
Midrange
Openness and transparency were the keywords here with layering, imaging and separation clear and precise. The timbre was very natural. Andy Dragazis’s “Figure Ground” from his album “Afterimages” presents solo cello against imaginative electronic and acoustic backgrounds. The timbre of the solo instrument was very natural with the accompaniment clear and delicately detailed and the choral effects at the conclusion soaring above the instrumentation to great effect.
Benny Andersson’s “Piano” is an album of solo piano pieces. “En skrift I snoen” has a lovely plaintive melody and the CA16’s natural timbre portrayed Benny Andersson’s Fazioli instrument accurately and with great musicality, depicting the subtle harmonics which defined the character of the instrument through attack, decay, sustain and release. The atmosphere and ambience of Linn Fajal’s superb recording was captured perfectly.
Lee Holdridge’s “Elegy for Harp and Strings”, performed by the Nuremberg Symphony Orchestra proceeded serenely on its way with the solo cello and harp clearly defined and presenting the lovely melody with sensitivity and feeling. The string counterpoint in an ascending and descending major scale was very effectively portrayed.
Treble
The treble was clean, extended and detailed. Slightly brighter than neutral but not tending to harshness or sibilance, it remained smooth and open. The decision not to place drivers in the nozzle has certainly paid off.
Sarah Chang’s performance of Vaughan Williams’s “The Lark Ascending” with the LPO under Bernard Haitink displayed this admirably, with the solo instrument clearly positioned in the stereo image with its timbre realistically depicted and every detail of the bowing authentically realised. The balance between the violin and orchestra was perfect.
Isao Tomita’s “Electronic Realisation” of Grieg’s “Solveig’s Song” from his “Kosmos” album was exciting and powerful with the minor key swirling string figurations supporting the central melody to great effect and imparting an unsettling sense of foreboding. The dynamic range in this piece was thrilling, swelling to an impressive climax.
Supertramp’s “Know who you Are” features acoustic guitars throughout with instruments placed left and right and the clear and distinctive vocals of Roger Hodgson in the centre. Each note of the guitars was well defined with the plectrum sounds easy to discern, even during the conclusion with a full string orchestral accompaniment. Once again the balance was perfectly judged.
Soundstage
The CA16’s soundstage was impressive with excellent width and height, and the superb transparency of the midrange producing an unusually good depiction of depth. A good example of this was in Mychael Danna’s “Sky 10” from his “Skys” album, a collection of electronic pieces inspired by Canadian skyscapes. The various layers of this densely scored synthesiser piece were laid bare and their layering and positioning within the image was very apparent. During the climaxes all the disparate elements retained focus.
The introduction to “Become Ocean” by John Luther Adams, performed by the Seattle Symphony Orchestra, features a deep sub-bass drone accompanied by delicate arpeggiated figuring and higher frequency drones forming a choral effect. It was redolent of rising from the depths, and the expansive nature of the soundstaging filled my head with sound.
Pink Floyd’s “High Hopes” from “The Division Bell” begins with piano chords, tolling bells and nature sounds filling every available space in the image and the CA16 rose to the occasion admirably with all the various sounds occupying their allotted places and producing the intended spacious effect. David Gilmour’s vocals stood out clearly from the background with the reverb on his vocal track very well-rendered.
Conclusion
With the CA16, CCA have delivered a well-balanced IEM with audiophile pretensions and fine musicality. It avoids the bright upper mid/lower treble emphasis of the C12, instead exhibiting a smooth transition between the drivers. The CA16 reminds us what this hobby is all about: the music. There is very little to criticise here and the choice between other competing models in the same price range will largely be a matter of personal preference. The KZ ZSX has a warm/neutral presentation with powerful bass and more reserved upper frequencies, but loses out to the CA16 in terms of detail and resolution. CVJ’s CSN has a similar sound profile but is more neutral and is cooler in tonality, has superior build quality and a better cable. The TRN VX also has a quality alloy construction and is, according to recent reviews, more V-shaped with a bright treble, majoring on detail (I have one on the way!). The CA16 treads a middle path between these extremes, with an accurate timbre, a slightly warm tonality, excellent detail retrieval and expansive staging. It is without doubt, sonically, the best CCA design to date and is highly recommended.
This sample was provided for review by Sunny at Better Audio US, Amazon USA.
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