I have a bunch of sub $50 IEMs. My favorite in that price bracket is the CCA C10, followed by the TRN V80. Both run about $40 at Amazon, but the C10 is notably better IMO.
I also have the KZ ZSN and AS10. I rarely/never use the ZSN because I own better porducts (may sell it soon). The AS10 is pretty technical but bright and often piercing.
Welcome, and thanks for posting.
Earbuds for sleeping. I tried the Bedphones, after starting this topic:
They are without a doubt, the most comfortable for sleeping, but the sound and fit are not optimal. Sort of like covering a nickel with foam and attaching an earclip to it. And the wired version can be an issue if you toss and turn.
The KZ ZSN isnât too bad (I put Spinfits on them). I find them more comfortable than most IEMs. Iâm a headphone and not IEM guy generally. And the sound is OK. But it is a cheap IEM, and if itâs possible to be fatiguing in your sleep, it will be.
I think that there are sleep factors other than the earbud/IEM itself. Are you a side sleeper? What kind of pillow? I think that feather pillows are the most accommodating to something in your ear, followed by foam bits (like âMy Pillowâ) or something else that shapes well. Solid foam and memory foam not so much.
The Koss KDE 250 will fall off you ear if you sleep in them, but are in interesting choice for experimentation at $59 from Massdrop. NOT exactly earbud or IEM or anything else.
Iâve had them less than a week, but the Sennheiser IE 40 PRO may be one of the nicest all-around IEMs in the $100 range, and are not too bad to try and sleep in. However they do not have a MIC, so if you are awakened by a phone call, not a good choice. AND, the design is pro audio, so it is possible to pull out the connecting wires while you sleep. @Brause did a review of them, which got my attention. The single dynamic driver is very coherent, unlike multi-driver systems, and the driver they use is quite good indeed.
Someone else will have to address your comparison question.
Iâd invite you to read my review of the TRN H1 if youâre looking for a comfortable inexpensive sleeping earphone.
I wrote the review of the ZS10 Pro, back a few posts on here, and I would recommend considering that. Itâs an improvement over the ZSN with similar sound.
I can second the T2 iems though possibly not the T2 pro version as the treble is a little much at times even for me a confirmed treble head.
I recently acquired the CCA CA4 and have found it to be a very accomplished performer at its price. Here is my review of it|:
The CCA CA4 is the latest IEM from Clear Concept Audio, a sister company of KZ (Knowledge Zenith). It replaces the CCA C04, and, like the former model, it is a dual-driver IEM (1DD + 1BA). The dynamic driver is a new dual magnet design with a field strength of 1 Tesla and is the same as that used in the new KZ ZSN Pro and ZS10 Pro. The balanced armature is the familiar 30095 unit which has been extensively modified.
The packaging and accessories are similar to that supplied with the C10 and C16 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 words âSecond Generation Hybrid Earphoneâ. There are some specifications printed on the back.
The CA4 has a smooth zinc alloy faceplate bearing the CCA logo and the words âhybrid technologyâ. There is a small vent at the base of the nozzle and a further vent on the inner surface of the earpiece. There is no channel identification on the earpieces which led to a bit of confusion as to which way the cables should be attached. The detachable cable is of a new design, following that used on the above-mentioned ZSN. It has a clear plastic female connector with the pins being situated on the body of the IEMs. The cable itself is similar to that used on the C10 and C16. It has a very long section between the Y-split and the earpieces and as a result is somewhat prone to tangling. The plug is a right-angled plastic 3.5mm type.
The earphones were left burning in for 72 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.
The CA4 was tested using the supplied cable and the pre-fitted medium Starline tips, which resulted in a very comfortable fit. The seal and isolation were above average. Sensitivity was fine, with adequate volume achieved on various devices, including a Moto G3 smartphone.
At first listen, I found the bass to be immensely powerful and it dominated the overall presentation. However, after 24 hours burn in the sound was transformed. I have to say that the burn-in process altered the sound of the CA4s more than any other IEM I have tested. After a further extended run-in period the overall balance was much more even, with a slightly elevated bass, a somewhat forward midrange balance and a clear and detailed treble with good extension. The general profile might be described as W-shaped. Timbre of instruments was very natural, with an âanalogue-likeâ warmth to the lower registers.
Bass
The bass was very well-extended and had good power and transient attack. Sub-bass reached deep with a satisfying rumble and the decay was natural and did not fall off too quickly. Recorded ambience came over very well, and the character of recording venues was preserved very well. The introduction to âOut Thereâ from Frank Steiner Jrâs âMomentumâ was a perfect example of this with powerful drum beats and a superbly deep sub-bass accompaniment. âValley of the Giantsâ by Mars Lasar similarly impressed with bass drum and other percussion forming a perfect background to the atmospheric soundtrack. The orchestral bass drum in âGreenwichâ from the âKentish Suiteâ by Hubert Clifford was very impressive with a natural decay and wonderful timbre. Mid-bass was not overdone and did not bleed into the midrange, simply providing an extra bit of punch in this frequency range.
Mids
The lower midrange was slightly recessed, and the level gradually increased up to the presence region after which it reduced again slightly. This profile delivered plenty of detail and the separation and layering were very good. As a result, vocals stood out well from the accompaniment with lyrics clear and well-articulated. Simpler recordings displayed good intimacy, as in âFields of Goldâ by Eva Cassidy, where every detail of her voice could be appreciated and the emotion of the song was conveyed perfectly. The guitar accompaniment was bright and clear. Orchestral timbre was portrayed well with the character of different instruments easy to discern. The beautiful cor anglais solo in Sibeliusâs âThe Swan of Tuonelaâ was a good example of this, with the solo instrument singing clearly against the moody string chords and bass drum background. Vanessa Maeâs violin solo in Vangelisâs âRoxanneâs Veilâ was very impressive with her instrument displaying a natural, woody tone and was a perfect foil for the atmospheric synth washes from the Greek keyboard master.
Treble
The treble was clear, crisp and well-articulated, with good detail and extension. Robert Cartyâs âSunrise Serenadeâ, from his album âSilent Dreamsâ had a wealth of detail and the complex percussive elements were very well separated. The soundstage and atmosphere in this track were particularly notable. Michael Gilesâs delicate percussion work in King Crimsonâs âMoonchildâ was detailed and clear and full of atmosphere, with the cymbals having a lovely airy shimmer.
Soundstage
The CA4âs soundstage was excellent and expansive. I have noticed that other IEMs with an extended bass response have a good soundstage. which seems to indicate that much of this dimensional information is contained in the lower frequencies. The evocative flute solo in Stuart Mitchellâs âMausoleum at Halicarnassusâ was testament to this as it appeared to float above the orchestral accompaniment in a very attractive way, with the timpani strikes near the conclusion having plenty of air and a long natural decay. The ambience of the recording venue was reproduced beautifully. The reverb behind Peter Whiteâs acoustic guitar solo in Al Stewartâs âOn the Borderâ was very convincing, adding to the authenticity and realism of the recording.
Conclusion
This latest model from CCA has a different presentation from the earlier two models, C10 and C16. The C10 has a well-balanced sound with a slightly warm bass region, natural midrange and a gentle rolled-off treble which still retains detail and air, resulting in a relaxing sound. The C16, in contrast, has a very clean, almost clinical, accurate delivery, which is very revealing of recording quality. It has a bright, elevated upper range with excellent detail retrieval. It reproduces music in a âwarts and allâ fashion.
The CA4 is different again, with a much more âgenre-friendlyâ entertaining sound. It is similar in style to its cousin, the KZ ZS7 with a strong bass and elevated treble, and a lively, colourful and energetic presentaion. It does not have quite the separation and detail that the ZS7 has, but that model has two extra BAs covering the midrange. The CA4âs sound is also similar to that of the Revonext QT5, which uses the same 30095 treble unit, but that has a more forward midrange and its soundstage does âflattenâ when the volume is high or the music becomes complex.
For a simpler 1DD + 1BA design, the CA4 acquits itself very well, especially considering its lower price, and I feel it is the most accomplished dual driver hybrid I have heard so far. The tuning of the 30095 driver has come a long way since its implementation in the KZ ZST, ES3, ZS10 and ZS4 earlier models and this latest iteration is the best yet. I canât wait for the next model from CCA!
Note: I would like to thank Sunny from Better Audio US at Amazon.com for providing this review sample at no cost to me.
Purchase link:
Thanks Paul, I appreciate it.
So you find a big different between the CCA C10 and the KZ ZSN? How would you describe the comparison?
Iâm comparing them from my Massdrop THX AAA 789 amp right now.
As both have dynamic drivers for bass, both are less precise with low notes than on the top end. However, the C10âs bass driver has less range to cover, goes deeper, and sounds better.
Have any of you tried the TFZ Tequila 1?
I have read that it is very good at bass but I havenât heard much about the rest of the frequencies, I just spotted it and liked the look of it (I am not usually drawn to the look of IEMs).
I have been testing and evaluating my latest acquisition, the Tin Hifi T3. Here is my review of it:
Tin Hifi (formerly Tin Audio) is the company whose reputation was established when they introduced the T2 model a couple of years ago. This dual dynamic driver earphone (10mm + 6mm) bucked the trend of affordable IEMs with V-shaped signatures, instead presenting a neutral and well-balanced sound, and was (and is) very successful. The T3 follows this philosophy. After releasing the T2Pro, which displayed a much more prominent upper register, Tin Hifi have produced their first hybrid model, the T3, which features a 10mm âcoaxial dual vibrationâ dynamic driver paired with a balanced armature from Knowles. This new design addresses the criticisms levelled at the T2 Pro but at the same time incorporates some of the qualities which made the original T2 so popular.
The T3 comes luxuriously packaged in a similar way to the T2, but the box is slightly larger and has a different finish. There is a white outer sleeve with two windows showing the IEMs. Removing this reveals a blue box resembling a book in faux leather and fabric with a large rectangular window displaying the earpieces. Included in the package are three sets of wide-bore silicone tips, three sets of narrow-bore silicon tips and two sets of white foam tips, one of which is pre-fitted to the earpieces. The supplied cable has an MMCX interface and is of very high quality, being a 5N OFC braided type with an 8-core gold and silver interlaced pattern. The straight 3.5mm plug has a carbon fibre finish and there is a clear spherical bobble which acts as a chin slider. The Y-split is furnished with a chunky metal block bearing the Tin Hifi logo. A carrying case is not supplied.
The earpieces themselves are beautifully constructed from CNC machined aluminium and have a similar cylindrical shape to that of the T2, but have a raised bezel on the rear surface. The barrels themselves have a two-tone appearance with a brushed metal and contrasting matt finish. There is a small pinhole vent at the bottom of the nozzle and another similar vent on the top centre of the rear bezel. The presentation and build quality is certainly very impressive.
The earphones were left burning in for 72 hours before testing and included tracks of white and pink noise, glide tones and other audio conditioning tracks. The principal equipment used was a Hifi Walker H2 DAP and Fiio A5 amplifier, via line-out. I have never got on with foam tips so fitted my go-to JVC Spiral Dots. Their wide bore and domed profile ensured a good seal. Rotating the MMCX connectors enabled a snug, secure and comfortable fit.
I was immediately struck by the cleanliness and transparency of the T3s. The resolution and detail provided by the Knowles BA was certainly impressive and showed great refinement. Transient attack was fast and impactful and although the overall balance was neutral, there was plenty of life and vitality to the sound. Sensitivity was very good, with acceptable volume achieved with various sources, including three different DAPs and a smartphone. In more detail:
Bass
The bass displayed a very linear profile with good extension. From sub-bass to the midrange there was no undue emphasis, resulting in a very natural presentation with great clarity and resolution. Sub-bass depth was excellent and displayed good texture. Leon Boellmanâs spectacular âSuite Gothiqueâ, performed by Gerard Brooks at St Ouen, Rouen was a perfect example. The powerful pedal notes formed a perfect foundation for this grand French organ piece with the reverberation of the cathedral acoustic beautifully rendered. The bass synths in Labi Siffreâs âSomething inside so Strongâ delivered the same power with great transient attack and superb depth and impact, and at the same time allowing his soulful vocals to soar over the top in emotional fashion. There was no mid-bass lift which therefore resulted in a very pure and clean atmosphere in this part of the spectrum.
Mids
The midrange continued this theme of linearity, and, allied to the excellent separation, layering and detail on show here, it allowed the music to really breathe. It was as though the whole soundstage had been washed clean by clear water and a cool breeze. Instruments had natural and authentic timbre. Al Stewartâs âMidas Shadowâ from his seminal album âYear of the Catâ was full of detail and all the different aspects of Alan Parsonsâs wonderful production could be appreciated. The electric piano solo in the instrumental break was beautifully reproduced and the delicate light touch of Al Stewartâs vocals contrasted well with the instrumental accompaniment. In fact, I enjoyed this track so much that I listened to the whole album when originally just intending to use this one track as an example! Andreas Vollenweider is a master of the electric harp. His productions are complex and full of detail and the T3 really excelled here. In âPace Verdeâ each string of the harp was clear and well-defined. The multi-instrumental accompaniment with ethnic percussion had clarity and life and the rhythmic qualities of the performance were excitingly presented.
Treble
After many found the treble of the T2 Pro over-bright, Tin Hifi substituted a Knowles BA for the 6mm treble driver in the older model, and it is clear that this was a very good decision. After any initial harshness and sibilance had disappeared during an extended burn-in period, the treble became fluid, open and expressive. Displaying superb detail rivalling the CCA C16 and yet retaining a lively immediate sound reminiscent of the KZ ZS7, the T3 walked a perfect line between neutrality and entertainment. The Knowles driver showed its class with a clean, airy delivery and a refined quality not found in inexpensive proprietary BAs. The intricate percussive elements in David Wahlerâs âKyoto Mistâ from the album âAntiquusâ had terrific impact and life. Detail, delicacy and timbre were all on offer and the track was full of verve and energy. Mark Dwaneâs âSirenâs Songâ from his âArchives 2â CD has numerous electronic effects spread all over the soundstage. These were reproduced cleanly and clearly with subtle details not noticed before becoming apparent. The excellent clarity really allowed the female vocals to stand out from the accompaniment. Isao Tomitaâs interpretation of Griegâs âSolveigâs Songâ was superb. Dramatic string arpeggios swept the music along in superb fashion with a real sense of power and foreboding, producing a real spine-tingling result.
Soundstage
Although not the most three-dimensional soundstage I have heard, the detail, layering and separation mentioned above gave the impression of a more expansive image. Instrumental positioning in classical music was very good, the imaging in Liadovâs âEnchanted Lakeâ conducted by Charles Gerhardt being particularly notable. Bass trombones and horns floated at an attractive distance with excellent timbre. Closing your eyes, you could imagine yourself in the concert hall with the orchestra spread out before you. The recorded ambience on this piece came over very well, with a believable hall acoustic and the stereo imaging was very precise in this track. In Chris Spheerisâs âAndaluâ from his wonderful âDesires of the Heartâ, the sense of space was palpable, with height, width and depth all clearly delineated, the guitar and piano seeming to float above the arrangement of bass, drums and percussion.
Conclusion
Tin Hifiâs first hybrid model is an unqualified success. It has an accurate, neutral character whilst still having a lively, entertaining presentation normally found in IEMs with a V-shaped sound profile. Detail, separation and layering are all first-class, and the sound has a lovely open quality, excelling in each part of the audio spectrum. Beautifully presented, and with excellent build quality (including a superb cable) there is little or nothing to criticise. especially at the price, which, for this level of performance, is very reasonable. With its dual-driver configuration, it produces a sound quality exceeding that produced by some more complex and expensive multi-driver models, which is quite an achievement. The Knowles BA certainly shows its class here, underlining the importance of using quality drive units. If you are looking for an IEM capable of reproducing music accurately and entertainingly irrespective of genre, then look no further.
Note: I would like to thank Sherry from Yinyoo for providing this review sample at no cost to me.
Purchase link:
Are there any âopen-backâ IEMs in the ultra-cheap category worth trying out?
Great review. I found it very informative and thought that your impressions of the T2 lineup were spot on too.
Thanks Paul, itâs always nice to receive positive feedback! The ZSN Pro is next up and then the very interesting KBEAR Opal single DD, MMCX interface.
Here as promised, my impressions of the KZ ZSN Pro. It is interesting to compare it with the CCA CA4 which is very similar.
The ZSN Pro is one of the latest models in a new series of IEMs from KZ (Knowledge Zenith) featuring metal faceplates, revised drive units and a new type of connector. The ZSN Pro is an update to the original ZSN and like the earlier model, is a dual-driver hybrid (1DD + 1BA). The dynamic driver is a new 10mm dual magnet design which is claimed to be equivalent to a 14-15mm unit. It is the same as that used in the new KZS10 Pro and the CCA CA4 and has a field strength of 1 Tesla. The balanced armature is the familiar 30095 unit which has been extensively modified.
The packaging is the usual KZ small white box with an outline drawing of the IEMs on the front and some specifications printed on the back. Inside, the earphones are presented in a cut-out with the words âHybrid Technology Earphone, Classic Upgradeâ printed below. Under this cut-out you will find the detachable cable, a set of three Starline-type tips and documentation. A further set of soft silicone tips is pre-fitted on the IEMs.
The ZSN Pro has an alloy faceplate which has three embossed chevrons on its surface and looks futuristic in design. The shape is similar to that of the CCA C10. The body of the earphone is made of a clear acrylic through which the components can be seen. The words âZSN Pro, Classic Upgradeâ appear on the side of the earpieces. My particular example came in a fetching purple colour and looked very attractive.
The detachable cable is of a new design, following that used on the above-mentioned ZSN. It has a clear plastic female connector (known as âType Câ) with the pins being situated on the body of the IEMs. The cable itself is a braided copper-coloured type and has a very long section between the chunky Y-split and the earpieces and as a result is somewhat prone to tangling. The plug is a right-angled plastic 3.5mm type.
The earphones were left burning in for over 50 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.
The ZSN Pro was tested using the supplied cable and the pre-fitted tips, which resulted in a very comfortable fit. The seal and isolation were above average. Sensitivity was fine, with adequate volume achieved on various devices, including a Moto G3 smartphone, but I found the sound balance preferable when run through the DAP via line out with a headphone amplifier.
The recent series of IEMs released by KZâs sister company CCA have adopted a more neutral sound, excepting the latest CA4, which I found to have a more V or W-shaped profile. Conversely, the ZSN Pro, rather than exhibiting a strong V-shaped character in traditional KZ style, displayed a more balanced, shallow V-shaped response. In this respect I found it to have some of the qualities of both the CCA C10 and the more ambitious C16.
Bass
The bass was more mid-bass focused compared to the CCA CA4, which had a more sub-bass emphasis. As a result the overall balance was slightly warmer than neutral, and resembled that of the CCA C10. Sub-bass was present where it occurred in the recording, but was not overdone. In Rachmaninovâs âSymphonic Dance No.1â performed by the Minnesota Orchestra conducted by Eiji Oue, the bass drum had good impact and depth with a crisp initial strike. Decay was fairly quick resulting in a clean quality in this part of the spectrum. There was good weight to the orchestral climaxes. The deep synth bass underpinning Andrew Forrestâs âUnveiling Eternityâ from his album âOneâ enhanced the atmosphere of the piece rather than dominating, producing a very natural balance. The appropriately mechanical sounds of the bass accompaniment in Pink Floydâs âWelcome to the Machineâ were suitably menacing, providing a perfect backdrop to the guitar chords and vocals.
Mids
The lower midrange had a warm character due to a little bass bleed which gave an attractive bloom to this area, again somewhat similar to that of the CCA C10. Generally, the midrange was a little recessed, but it did rise close to the boundary with the treble, giving good impact and immediacy. The bright energetic quality of E.J. Moeranâs âSerenade in Gâ performed by the Northern Sinfonia under Richard Hickox was a perfect example of this. Brass had appropriate shimmer and bite and percussion hit hard. The syncopated rhythms were beautifully articulated and produced a very attractive performance. Vocals were well delineated. Anne Murrayâs voice in âYou Needed Meâ sounded great. Her clear diction and phrasing delivered all the emotion of the song, with the ambience of the recording venue nicely rendered. Supertrampâs âKnow who you areâ was another good example with Rick Daviesâs light and expressive voice soaring over the accompaniment of guitars and strings to great effect. There was not as much detail from the ZSN Pro as the ZS7 or the CCA C16, but then I frequently had to remind myself of the price of these IEMs when hearing how well these acquitted themselves in this respect.
Treble
The high frequencies on these were well-extended with a brightness somewhat north of neutral, reminding me of CCAâs C16 (a far more costly model). The treble was generally smooth but there were some sharp peaks occasionally, especially at higher volumes, and with sibilance only occurring when actually present in the recording. This extension endowed the treble with air and sparkle. Andrew Heathâs âHeadlandâ from his album âSoundingsâ is an ambient piece with numerous tinkly percussive elements which shone out nicely over the gentle synth background. The atmosphere of the piece was very well conveyed. âWunjoâ is the title track of Giles Reavesâs debut electronic album which is inspired by the Nordic runes. The quick, incisive and percussive synth accompaniment was clear and precise and drove the track along with a sense of urgency. The delicate acoustic guitars in Dan Fogelbergâs âLongerâ had plenty of character and were spread attractively towards the boundary of the stereo image, forming a perfect foil for the poetic vocal line.
Soundstage
The ZSN Proâs soundstage displayed good width and average height, but depth was a little shallow, resulting in the image being pushed slightly forward. Instrumental positioning was fairly good, though there was some flattening during climaxes. There was plenty of âairâ in the stereo image which was stable and solid. The ambience of recording locations was well-presented and helped to create a believable, although reduced, space for the music. Benny Anderssonâs âPianoâ is a beautifully-recorded album of solo piano pieces with a fairly intimate acoustic. The ZSNs rendered this with a somewhat close perspective, which focused on the instrument rather than the recording space. Vangelisâs âAntarctic Echoesâ also displayed a reduced soundstage and a little of the spacious quality of the piece was lost as a result. However, these criticisms only apply when compared to substantially more costly models.
Conclusion
The ZSN Pro presents an alternative sound picture to the recent CCA CA4 which employs the same drive units and cable and is a direct competitor. It is a question of balance. The ZSN Pro has a more neutral and arguably a more natural tuning, warmer mid-bass and lower mids, and a fairly energetic treble. The CA4 has a more lively, entertaining V or W shaped profile, more prominent sub-bass and a larger three-dimensional soundstage. The CA4 is the more immediately impressive of the two but the ZSN shows its merits after more extended listening. A worthwhile evolution of the KZ hybrid line possessing further refinement, the ZSN Pro represents great value with its well-balanced sound, comfortable fit and robust output.
Note: I would like to thank Gina from Senlee at Amazon.com for her excellent service and communication and for providing this review sample at no cost to me.
Product link:
Your reviews have been great as usual. The ZSN Pro is a good value. I prefer the ZSN original myself as I found the Pro a tad bright. I really liked the ZS10 Pro though.
Coincidentally, Iâve been taking the standard ZSN out myself as the de facto EDC pair until the ZSN Pro arrives. Hoping itâll help me better be able to answer the âwhatâs the pro forâ question thatâs inevitably going to get asked on r/headphones when the review goes up.
Fwiw, I canât run the ZSN on stock tips. Thereâs just something about the narrow bore of the Starlines that funnels that extra treble detail right into a spear that doesnât fare well for my tastes. Thanks to Slaterâs little flip-tip mod, though, most of that goes away in a flash and Iâm not finding the seal nearly as finicky as I was with both the Starlines and Auvio wide-bores. Seems that, in my ears, the nozzle is long enough that I can end up pushing the Auvios in too far and breaking the sealâŚmy ears must have a weird shape, I suppose. Not so much with the flip-tip.
Another great review. I like your style and have enjoyed reading it as usual.
Thanks Paul, I enjoy writing reviews with musical examples because I feel that is the best way to evaluate equipment, and hopefully I will introduce members to unfamiliar pieces. Itâs always nice to hear new music!
