Thanks Paul. I’m working on my next review which I will post soon, it’s the TRN M10.
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Earphone impressions: HiFiMan RE600S v2
I joined this forum a little while back to get some info on how to evaluate IEMs, and I’ve learned a lot! I asked the group how to get a warmer sound, and was advised to look for a dynamic driver based IEM. So, after a bit of research, I recently took delivery of the HiFiMan RE600S v2 - a single dynamic driver bullet-style IEM. Many reviewers have commented on the large fancy box, the odd collection of tips and the slightly disappointing cable, so I won’t pile on there! Except to say it may not be the softest cable in the world, but I think it’s fine - unlike what KZ ships. I have memory-foam tips on these, although I normally am happiest with the stock M silicone tips on my other IEMs. The original list price of these was way outside the “Ultra Cheap” range, but they’re now selling for $75.
I’m sending music to these in two ways:
Tidal app on a Macbook Air -> USB to Fulla 3 -> iFi EarBuddy -> IEM, or
FLAC files on an ACMEE MF01 -> iFi iEMatch -> IEM.
The iFi devices are mostly to give me a better range on the volume knob - I tend to stay at pretty low volumes. I listen to a lot of jazz trio/piano-focused music, perhaps because I learned to play piano as a kid. Or alternatively, I’ll indulge in a dive into the classic rock of my mis-spent teen years 
I’m not yet able to produce a detailed analysis of the IEM’s sound the way many of you here can, so I’ll just give a couple of impressions that I hope will be useful for others. Before I got these I was using either my original SoundMagic E10C buds, or my newer KZ ZS10 Pros. Both of which seem a bit treble-forward for the jazz, to my somewhat sensitive ears. (Both work better for the oldies stuff, e.g. Boston or Eagles.)
The HiFiMans show me a superior clarity and separation in the music. It’s a cliche to say I hear things I never did before, but I do hear the several instruments in a trio more clearly than I did. Example: a track like Brad Mehldau’s “Exit Music (For a Film)”. Tiny taps on what I think is a cymbal can be clearly heard near the beginning, and to my pianist’s ears I can hear the way the piano notes reflect how the keys are being pressed with more or less attack. There’s no muddiness. It’s not that I couldn’t hear the details of the music before, but those details are more obvious and lifelike to me with these. And that makes the music more engaging and memorable. Another example of a complex track rendered well: Eliane Elias’s “Searching”.
The HiFiMans produce high notes with an easy, non-abrasive quality - relative to my other IEMs. I don’t think my other IEMs are particularly bad with treble, but the HiFiMans to my ears produce a more smooth - but not suppressed - treble. It’s often tempting to turn up the volume on a song with mostly mid to upper-mid notes, but then you risk getting unpleasantly surprised by a piercing passage. Example : a track like Miles Davis’ “Petits Machins”, or Joe Jackson’s “Jack, You’re Dead!” I’ve never felt like I had to reach over and turn down the volume in response to an extended passage of high notes - something that has happened with the ZS10 Pros.
So for me, the experience of the HiFiMan RE600S v2 boils down to an ability to expose detail in the music while maintaining a natural sound. I thought I wanted warmth in an IEM. These don’t really deliver that - they don’t seem to color the sound. But they do successfully avoid any strident or harsh character to the music. Maybe that’s better. Two thumbs up.
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Very nice review/impression. Succinct, but with plenty of useful information, comparison and description. Well Done.
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Great impressions @brian. I wouldn’t worry too much about the Audiophile wording. Just so long as you do your best to describe what you hear and what you feel. You have done a great job. You’ll soon pick up the fancy words if you want but it isn’t a prerequisite for a goo review IMHO.
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I have been evaluating the TRN M10. Here are my impressions of it:
This sample was provided for review by Gina of Senlee at Amazon.co.uk.
Product link:
Introduction
The M10 is the newest release from TRN. Following the more upmarket BA5 and VX models, it is a more affordable dual driver hybrid, 1DD + 1BA. It comes in traditional TRN /KZ/CCA packaging, a small rectangular box with a red TRN logo and a line drawing of the IEMs on the front, with specifications printed on the rear. Sliding open the box reveals the earpieces in a cardboard former and under this you will find the 2-pin cable, spare tips and documentation.
The dynamic driver is a micro-driver with a diameter of 8mm and the BA is the familiar 30095 unit. The earpieces are bullet-shaped and only 20mm long, constructed from CNC machined aluminium and appear to be very well-made. My example was finished in “College Blue” (Phantom Black and Moonlight Silver are also available). There is a raised 2-pin socket. On one side is written “hybrid technology” and “DD1 + BA1” is written on the other. Channel identification and a small pinhole vent can be found on the underside. The cable is a black braided 4-core OFC type with type C connectors. It has a good quality straight metal 3.5mm plug and a plastic Y-split but there is no chin slider and it is prone to tangling. It is difficult to see the “L” and “R” markings on the clear plastic of the plugs and it is important to make sure the polarity is right. I found that it was correct when the indicators on the plugs were facing me when looking at the earpieces from the front. This packaging is simple but acceptable at the price.
First Impressions
The IEMs were auditioned using an Xduoo X20 DAP as the primary source. I also used a Huawei smartphone and a CD player. There was plenty of volume available, even from weaker sources. The earpieces were very comfortable and I obtained a good seal and deep insertion with the supplied tips and cable. It was very liberating to wear an IEM cable down after many recent cable up designs!
The 8mm driver delivered a powerful and deep bass with good extension and weight, with the sub-bass having a satisfying rumble. Mid-bass was punchy and there was very little bass bleed. As a result the lower mids were clean and clear with good projection. Upper mids were more forward and this trend continued into the treble which was well-extended. There was a rise in mid-treble and a further emphasis in the extreme HF giving sparkle and detail. The overall effect was of a near-neutral or mild W or V signature. There was a marked improvement in the sound after a lengthy burn in period (100 hours).
Bass
The bass reached deep with a good sub-bass presence and was impressive for the 8mm driver. John Harles’s “Silencium” begins with deep bass drum and female vocals overlaid with a cello part. The bass drum was resonant and powerful and the decay had good texture. The cello displayed good timbre and transient attack.
Philip Riley and Jayne Ellison’s “Visions and Voices” is an album of Celtic-inspired pieces which feature wordless female vocals and multi-instrumental textures. In “Awakening” the plucked strings displayed good transient attack. The track also includes a prominent part for bodhran. The initial strike was clean and was followed by a very long decay. At the conclusion, five unaccompanied strikes are played with space in between allowing the sound to dissipate gradually. These were presented very well.
Al Stewart’s “On the Border” is underpinned by a superb bass line. During the complex production by Alan Parsons, the bass guitar was well balanced and easily distinguished from the bass drum played simultaneously.
Mids
The lower midrange was smooth and largely free from bass bleed and had good detail and the effect was pleasant and easy to listen to. The strings in Ernest Moeran’s beautiful tone poem “Lonely Waters” were nicely reproduced and the cor anglais solo near the conclusion was well done, standing out nicely from the accompaniment.
The lead synth line in Erik Wollo’s " Little Dream in Turquoise" was clean and incisive and the other parts showed good layering above the interweaving bass lines. It was easy to follow the individual elements in the production.
“After the Goldrush” by Prelude is an a capella piece featuring female lead vocals and multi-track chorus. The voices were very well enunciated, breath sounds apparent and the ambience of the studio was extremely clear.
Treble
The upper register was smooth and clean without harshness with the 30095 BA’s tonality slightly rolled off and less aggressive than in some other models. “Natural Light” is the title track from the album by Steven Halpern and Dallas Smith. Halpern’s shimmering keyboards dovetailed with Smith’s filigree Lyricon work and produced an almost hypnotic effect with the electronic woodwind displaying excellent extension.
The solo saxophone in “It must be Love” by Madness had lots of character and excellent texture and timbre. The pizzicato string accompaniment was crisp and clear and percussion sparkled.
Soundstage
Initially, the soundstage was somewhat narrow but after a lengthy burn-in period it expanded considerably and became airy and spacious. This showed well in Richard Burmer’s “A Story from the Rain” where the positioning of the various percussion effects formed a spherical space around the head extending just beyond the ears.
The introduction to “The Enchanted Lake” by Liadov features bass trombones and tuba, harps and brass, contrasting with the string section. The panoramic spread of the orchestra was very effectively portrayed in the beautiful performance conducted by Charles Gerhardt.
Conclusion
After enjoying the bold V-shaped V90, the fast and exciting VX and the nicely-balanced BA5, I was eager to hear what TRN could do with a lower-tier model. I have to say I was pleasantly surprised and impressed with the performance of such an affordable model. The bass was powerful and clean, midrange and treble were open and expressive and the soundstage possessed equal dimensions in width, depth and height. It is very well constructed and comfortable to wear. It does most things very well although competition is fierce in this sector.
Comparisons
The CVJ CSA, at around the same price of £15 has a similar balanced tuning. The bass is a bit tighter, mids are a little more forward and detailed and the treble airier and more extended. It also has a very good soundstage. The M10 sounded smoother in the midrange and very natural.
TRN’s own ST1 is more V-shaped with recessed mids and brighter treble but also has a good soundstage courtesy of the vented enclosure. The bass is slightly looser from the 10mm driver and overall lacks the M10’s more balanced presentation.
KBEAR has recently released the KS2 which is a strongly V-shaped IEM with a warm “fun” signature and an expansive soundstage. It is a quite different tuning from the M10.
Verdict
The M10 is a well balanced earphone with a neat form factor which is comfortable and very listenable. If you are in the market for an entry-level dual hybrid, it should be on your short list as it performs well with no major shortcomings and is excellent value.
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Good review @Nimweth, I am pretty sure I ordered one of those to give them a try but I don’t find it in my orders list. Maybe I will order another and probably end up with two 
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There is a wide variation of opinion on this IEM online. This was my second one as the first had faulty BAs and no treble! TRN has had QC problems so this is probably the explanation. If you go to the phonograph.net review the FR chart is weird. Mine doesn’t sound anything like that! Hope you get a good one (or two!)
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Well, they would at least have two chances of getting it right 
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Seen some other reviews of the KBEAR KS2 in this thread. Here are my thoughts:
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Great review @Nimweth. I really love the colour. They do look very small in comparison to the tip aswell.
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Thanks Paul. Yes that blue is great, much nicer than the black ones I received the first time which had issues with the BAs and reduced treble. If you get a good one these are a winner!
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Review - Urbanfun YBF-ISS014 - Second try… how about now?
As always, this is available in Spanish on my blog and YouTube, link to blog in my profile.
Not long ago I reviewed the Urbanfun YBF-ISS014 (which I still think is a terrible name) and my impressions of it weren’t that great. However, after seeing other reviews and impressions, plus some discussion with other Urbanfun YBF owners, it seems that there were various issues and variances in units that meant that the sound was not consistent between units. It also seems that some of the units had beryllium drivers whereas others didn’t.
Not long after, Urbanfun released a revision of the IEM where all of these issues were supposed to be resolved and they presented this revision in a new packaging in order to differentiate between earlier models and new revisions.
Normally I would have just moved on and put the YBF down as a “not great” experience but due to the praise by those who (claim to have) got the version without the issues, I decided to give it another try.
I got in contact with Linsoul and they were kind enough to offer me a 50% discount on the new revision so I could revisit my review and see if it really was an improvement over the previous generation. Although I have received a large discount on this unit (for which I am grateful), I will be comparing it directly to the previous set that I purchased at full price, so the price is not factored into this review.
I will be comparing throughout this review, however, if you would like to read my full review on the previous version, you can find it here (Review - Urbanfun YBF-ISS014)
Presentation…
The first difference that is noted on the new revision is the box that it comes in. Rather than the dark black box with silver lettering and monkey logo that the previous revision came in, this time it is presented in a smaller white box with the same silver lettering on the top, minus the logo.
Inside the box the contents are also different.
In the first version there was a small metal case with three sets of various foam tips, along with a few silicone options, a round black carrying case with the monkey logo of Urbanfun on the top, an acceptable cable with MMCX connectors and the IEMs themselves.
In the new revision, the small metal tip case has been removed, with the tips (which are also slightly different) presented in the cardboard cut out of the box. The carrying case has also changed from the black version to a grey material version, also eliminating the monkey logo and opting for just the name of the brand on the case. I must say that I have no issue with either of the presentations, I like the metal box for tips from the first set and prefer the carrying case of the second set.
I can’t compare the two included cables as they are slightly different, I got the pink cable version this time around, which is more “plasticky” than the grey cable of the previous set, but I don’t know if the grey cable version is still the same on the new revision.
Build quality and comfort…
There is not much to say here that I didn’t say in my previous review as they are exactly the same IEMs.
However, I will mention one thing about build quality…
When the YBF were initially released, there was an issue with many people complaining about the MMCX connector being faulty. I mentioned this in my previous review and said that luckily I did not have this issue.
On this second set, the issue has supposedly been resolved. I say “supposedly” because I do have that issue on this set. The right IEM with the stock cable is intermittent and cuts out when the cable moves.
It is possible to solve this by tightening the ring inside the MMCX connector with a small set of tweezers or needle nosed pliers, which I did, but I still had the issue with the stock cable. I replaced the cable with the usual NiceHCK balanced cable that I use when connected to my DAP and the issue went away, so maybe it is a case of the stock cable having a small issue with the connector on the right channel.
I mentioned this to Linsoul who said they would contact the manufacturer because this issue has supposedly been resolved on the new batch. To be honest, I haven’t heard anyone complain about this on the new revision so it is quite possible that I am just unlucky (all manufacturers can have an issue now and again). I didn’t request an exchange or any further action as I am not really bothered about the stock cable anyway and I have plenty of other cables that work fine, but I am sure that Linsoul would be happy to help anyone that did experience any faults.
Sound…
So, here is the interesting part of this re-review, do they sound any better than the first set I received?
I have spent the last 10 days or so listening to these and also comparing them against the originals. When I reviewed the originals, after testing different tips I settled on foam tips, therefore I decided to use the exact same cable (NiceHCK), the same foam tips (NewBee) and the exact same source (Shanling M2X or Topping+Atom), so it would be a fair comparison. However, after playing around with some tips, I found that the silicone tips I received with the T2 Plus changed the IEMs sound signature and provided more bass quantity and a warmth that was not there on the first revision.
Let me first say that I didn’t feel that the sound signature had changed in any way in comparison to the first set, it is still an IEM that is pretty cold and neutral, maybe with a slight forwardness to the mids. That has changed when swapping to silicone tips, however, there are a few drawbacks at the same time.
With foam tips, bass is not boosted in any way. There is enough bass to appreciate it is there but it is not elevated in comparison to the mids and does drop off when reaching down towards the subbass regions.
On songs like “No Mercy” by Gustavo Santaolalla or “Nara” by E.S.Posthumus, you can tell that there is music coming from down in those areas, so there is obviously some subbass there, at least enough to appreciate the notes, but it is not present enough to make the songs sound as they should.
When switching over to silicone tips, the sub bass is increased slightly. Although it is still not exaggerated, I did find it enough to give you a much more realistic presentation of the tracks.
Moving into the higher frequencies of bass, the bass is again non dominant with foam tips and it proves that this is not a V shaped sound signature. In comparison to the Tin T2 Plus that I reviewed last week, with the song “Sun Is Shining” by Bob Marley feat Robin Schulz, this presents a completely different song. Where this track was a mountain of bass on the T2+, on the YBF it can be a little shouty if you increase volume in search of bass.
With the original version I said that it did not have enough bass to make me feel like I was having fun with EDM and I maintain my opinion with this revision. Again, after some bassier IEMs such as the BL03 or the T2+, the YBF feels like it is missing a subwoofer.
However, although it may not have enough bass to be considered a “fun” or “warm” IEM, they way it holds itself together in the bass region is excellent. No matter how busy the track gets, the detail is still present and each separate kick of the kick drum, or each note of the bass guitar on faster more complicated passages is completely clear and allows you to pick out everything that is happening, even if it does seem to be slightly recessed at time.
But… when moving to silicone tips, it was as though someone had found the switch and unmuted the subwoofer. Suddenly the bass is more present, the missing warmth is there, and EDM becomes enjoyable. The problem is that the silicone tips seem to also remove some of the detail that is present with foams. Suddenly tracks like “Bombtrack” by Rage Against The Machine have more authority to them but it becomes very difficult to focus on the details that are clearly present with foams.
With foam tips, the mids are very present, especially as they climb towards the higher part of the mids. I don’t get the feeling that they are overly boosted, just that the slight lack of bass means that the mids are presented more forward than on other IEMs. Again, this is no change from the original version, instruments and voices have great separation and nothing seems to be taking a backseat in the mids.
Once again, this changes with the swap from foam to silicone. Suddenly Zack De La Rocha is no longer in front of everything else, the drums, bass and lower notes of the guitar become the “frontmen” and while his voice is still clear, it is not quite as clear . The same happens on “Smooth Operator” by Sade, where her voice and the saxophone were the center of attention with the foams, along with the higher parts of the percussion, when the silicone tips come into play, the bass becomes far more present but again at the expense of detail and definition.
Moving up into the treble, once more with foams I do not notice any difference in regards to the first edition. The treble is present but does not suffer from sibilance, only tracks that are harsh in the treble are presented this way on the YBF.
With silicone tips the treble doesn’t actually transform the way it does with the bass and mids, at least as far as presence. The treble is still there and is still not sibilant or overly forward, but I do feel that again it loses a bit of detail and some of the “air” that is present with the foam tips.
With regards to speed and detail, here is where I feel it is an improvement over the original version, at least with foam tips. I said that the original version had great detail and separation and this version is even better. When listening to any song, no matter how busy, you can select an instrument and follow it, hearing even the smallest of details that the instrument presents. Even instruments in the bass regions, which are not overly present, are still clear and defined at all times.
In fact, I have had a lot of fun listening to how drums, and other instruments, are played on metal tracks, as it proves exactly how complicated some of these are. I don’t listen to a lot of metal related music but I did end up digging out some of my older Fear Factory albums and enjoyed being able to hear the machine gun style double kick in minute detail on albums like “Demanufacture”, but anyway, back to the subject at hand.
When switching over to silicone tips, a lot of the detail and separation gets lost. The speed of the IEMs is still there, they don’t get any slower, but everything seems a little more congested and is nothing like the impressive detail and definition you get with foam tips.
The width of the presentation is not amazing, and this does not change with tips, but to be honest I am yet to be amazed by the width of any IEM. Once again imaging is improved in comparison to the first revision when using foam tips but is lost when switching over to silicone tips.
My main gripe with the original version was the timbre of acoustic instruments, as I found them hollow and lifeless. This has improved on this revision and spanish guitars, acoustic basses etc. sound more realistic, however, with the foam tips they still sound a little anemic. When switching over to silicone tips, the warmth in the lower mids (and higher bass) gives them much more life, but again this is in exchange for a loss of definition. While I prefer the way these instruments sound with the silicone tips, due to that extra warmth, I miss the detail that is present with foams and allows you to notice every nuance of the way the guitar is played. Let me just point out that timbre is not horrible with foam tips (it is certainly an improvement over the first revision) it is just a bit more “focus on” than “enjoy” the playing.
Tip swaps…
It is normal that a change in tips changes the overall sound of an IEM, much the same as a pad swap on over-ear headphones, but in the case of this second revision of the Urbanfun YBF, the change is dramatic, maybe the biggest change I have noticed between foam and silicone tips on all the IEMs I have listened to so far.
On the original version, the swap between tips was nowhere near as pronounced as it is on this second revision. On the gen1, there is definitely a small sound change, with the silicone tips being slightly warmer, but it certainly wasn’t enough for me to choose the silicone tips over the foams (I prefer the comfort of the foams and am usually willing to sacrifice a slight change in sound in exchange for comfort). There was also no perceived loss of detail on the first gen when opting for silicone.
On this new revision, the swap between foam and silicone is like having two completely different IEMs. With the foam tips, the overall signature is almost identical to the first generation, being quite cold and neutral, but with detail that is excellent and is improved over the first generation (which was already pretty decent). When swapping out to silicone tips on this second generation, the change in sound signature is very noticeable. The IEMs go from being a neutral, bass light, sounding earphone to becoming a warm IEM with plenty of bass. My issue is that this change also has a dramatic affect on detail.
With foam tips, these IEMs let you focus on every detail of the music, allowing you to pick out nuances in playing, identify layers, spot the placement of each instrument etc. With the silicone tips, that is a much more difficult task. With silicone the layers become more difficult to separate, making them blend together and giving a congested feeling at times.
While performing my listening tests, I did not have the time to constantly swap between many different tips so the tests were done with just two kinds of tips, the NewBee foam tips and the Tin Silicone tips, which are the ones I had on hand. However, due to the huge difference between them, I started to believe that maybe I could find the perfect tip that would give me a middle ground between the two, providing a little more warmth and bass without losing the great detail these have.
So, I have taken a day to just compare different tips and their changes on the new revision of the YBF (without constantly comparing to the first revision, otherwise this would turn into a a very very long review). I’m afraid I haven’t compared all tips as that would take a lot longer than I can spend with this review, so I just limited this to the ones I had in front of me (those from the YBF and from the T2+), here are some quick impressions in comparison to the ones used in the review.
Large silicone tips with rigid rubber core (included in YBF): Bass is more present than on the NewBee foams but much less than the with the Tin silicones. Detail is retained to a decent extent and a little more warmth is present. Vocals are not as forward as with the NewBee foams but is less overpowered by bass. Acoustic guitars have more body to them.
Red/Blue/Black foams (included in YBF): I couldn’t tell a difference between the three except for colours. The response with these is very similar to with the NewBee foams, except for a slight (I mean very slight) increase in bass. Detail is very good with these (as it is with the NewBee) and these go back to being very impressive at clarity and detail. Without doing a direct comparison on many songs, it would be difficult to notice the difference between these and the NewBee.
Grey foam tips (included with Tin T2+): These are the bassiest foam tips I have tried on these. The bass response is very similar to that of the silicone tips used in the review, slightly less maybe, and also creates the same issue with the mids being a little overpowered by the bass (losing presence in voices etc.). Details are also reduced, not quite to the level of the silicone tips used in the review but still congested. These tips actually work well when the track is simple, the detail can still come through, but as soon as there is more bass in the track, the congestion is back.
Conclusions…
This review started out as a direct comparison between this revised version of the Urbanfun YBF-ISS014 and the original version I reviewed previously, however, it has also become a comparison against itself.
With regards to the difference between this and the original version I received, yes there is a difference. At first I only noticed the difference in detail and timbre, which are both improved over the original, with the sound signature being pretty much identical in my opinion.
However, the changes in tips on this revision result in differences that do not present themselves on the previous set. I really do believe that this version has the beryllium driver and the original version either had a different driver or something else wrong with it. The tuning seems to be identical but the response to tip changes and EQ (I did play around with EQ for a while also) make it clear that there is something definitely different (and better) going on.
Now, if we forget about the original version and just focus on this set, I think that this is a very capable set of IEMs that can be fine tuned to the liking of each person. It is a shame the the increase in bass provided by some tips caused a loss of detail but I really do think that with enough tip rolling, I will be able to find the correct balance for me to be very happy with this IEM. In fact, it may just be a case of swapping between different tips for different moods or genres (the tip carrying case from the previous gen will come in handy!).
I am sincerely hoping that the QC issue with the connector on mine is just an unlucky one of on this revision and that they have fixed the issues they had. If I do hear of more issues I will update below.
Would I recommend this IEM? Well, it depends. There are a lot of decent options around this price range at the moment, some slightly cheaper and others slightly more expensive. I think that this is a very capable IEM that can perform very well but needs some tweaking (i.e: tips and maybe EQ) to get it to a point where I think it is great.
I definitely think it is an improvement over the previous set I had but I still don’t think the timbre is perfect, at least to my ears.
As far as detail retrieval (again, depending on tips), I think it is far superior to the KZ ZS10 Pro and the Tin T2 Plus but the T2 Plus doesn’t lose detail when the bass is boosted, which is something that the YBF does suffer from. I would definitely be happy with this IEM for monitoring and editing, even mixing as long as I built up a good reference point for how it translates to other systems and earphones/headphones.
The current price is a little over 50€, so it should be quite possible to find them on sale for under 50€, which would place them in the sub 50€ category against things like the Blon BL03, the T2 Plus, the KZ ZS10 etc, but I would probably still opt for the T2 Plus in that price range.
In the 100€ range, I would certainly choose the Moondrop Starfield over these for my general music listening as they match my tastes and the genres I listen to far more than the YBF.
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Thanks @prfallon69, this one turned into a bit of a ramble, however, the Youtube version turned into a lot of a ramble!!
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An unexpectedly detailed, thorough, and well-written review that held my interest. Not unexpected from you, but unexpected because my interest in cheap IEMs is pretty low, and it takes that extra you provided to make me read it.
A year or so ago I cured my interest in cheap IEMs with the KZ-ZSN, which ain’t bad for $17. Got 3 pairs on slow boat from China, gave one away to a school kid that needed them, have one, and still have the others in sealed box for another give away. This text was blurred because it’s extraneous blathering.
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@Nimweth, good review. I bought a pair and your description is spot on.
We always need another set of IEM’s here.
Mark Gosdin
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Great! I’m glad you got a good set and it’s nice to have my observations confirmed when there’s been a wide variety of opinions online.
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After a week of testing I have written my review of the Tin Hifi T2 plus. This sample was supplied by Sherry from Yinyoo at Amazon.co.uk.
Introduction
The T2 plus is the latest model in the T series from Tin Hifi. Its transducer is a single DD described as a “NanoPure Nickel-Zinc” driver and has a diameter of 10mm. It is the third in the T2 series following the original T2 and the T2 Pro (both 2DD designs).
Description
Tin Hifi products are always a pleasure to unbox and the T2 plus is no exception. It comes in a white cover like the T3 containing a blue box with gold trim and Tin Hifi logo. Opening the box you will see the IEMs in a leather effect cut-out below which are stored the cable, spare tips and documentation.
In the box:
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T2 plus IEMs with pre-fitted eartips
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4-core silver-plated cable
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One pair of foam tips
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Five further pairs of silicone tips
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Documentation
The IEMs are beautifully made from a silver-coloured alloy with a fine-textured matt finish. They are curvy in shape in a deviation from the former barrel form of the earlier T series models, and resemble the BLON BL-03 and Urban Fun ISS014 in shape. The channel identification is indicated by “L” and “R” on the underside, next to which there is a small pinhole vent. There is another similar vent at the base of the nozzle. The brand “Tin Hifi” is written on the side and there are no further markings with the faceplate perfectly plain. The interface is MMCX type.
The supplied cable is a 4-core silver-plated type with a fairly loose braid. It is an improvement over the one supplied with the T4 which was more loosely braided and sticky, but not as nice as the superb one which came with the T3. The 3.5mm plug is made of alloy and has a knurled finish and the cylindrical Y-split is also alloy with a Tin Hifi logo. The MMCX connectors have colour coding and there is a small spherical clear chin slider.
The T2 plus was tested using an Xduoo X20 DAP as the primary source. I also used a Sony NWZ A15 DAP, a Huawei smartphone and a CD player. A burn-in period of 100 hours was carried out and a wide range of musical genres was used for appraisal. The earpieces were very comfortable, but because of the short nozzles I changed the tips to my go-to ML Spiral Dots. I found the T2 plus somewhat power-hungry so weaker sources may benefit from amplification. Thankfully, the MMCX connection was secure and tight with no rotation.
First Impressions
The T2 plus immediately impressed me with its prodigious soundstage which was extensive in all three dimensions. The bass was firm, deep and solid with good texture, the midrange was clear, detailed and possessed excellent timbre, and was not at all recessed. The treble was detailed, clean and extended. There was a perfect balance between accuracy and musicality.
Bass
The bass performance was superb, reaching deep with good weight and displaying accurate tonality and high resolution. The emphasis was at the mid-point between sub-bass and mid-bass, not colouring the mids.
In “Three dances for Violin and Orchestra” by Herbert Howells, the orchestral bass drum had impressive weight and a natural airy resonance and decay with an authentic timbre. The sense of distance and ambience in the recording by the LPO under Richard Hickox was palpable.
Jonn Serrie’s unique brand of space music brings together deep sub-bass drones and atmospheric synth chords. “The Flow of Time’s Arrow” from the album “Thousand Star” is a perfect example. The deep sub-bass foundation impressed with the texture so necessary in this genre and never dominated the overall balance, allowing the delicate electronic effects and broad synth patches to shine.
The bass synthesiser and bass guitar playing together in “Something inside so Strong” by Labi Siffre retained their individual qualities while showing excellent separation and the soulful vocals remaining clear and well-articulated above the bass. The power of the lower frequencies in the climax was extremely dramatic.
Mids
The neutral-warm midrange was at the same level as the bass and showed a gentle rise towards the treble boundary, giving some air and vitality to the presence region. There was a well-judged balance between the analytical and the musical.
The timbre of the cello in “Un apres-midi” by Julian Lloyd Webber and Vangelis was very convincing, displaying a warm woody tone yet possessing the necessary bite in the bowing. Vangelis’s sensitive electronic accompaniment was delicate and clear and blended perfectly with the solo instrument.
The distinctive quality of Enya’s voice in “Echoes in Rain” from “Dark Sky Island” came over authentically with the character and individuality of her voice perfectly preserved. Even in the presence of the strong and deep synth bass background, her diction remained clearly audible.
Kurt Atterberg’s “Varmlands Rhapsody” interweaves two disparate themes, a romantic string melody and a lively folk tune in the woodwind and brass. In the recording by the Gothenberg Symphony Orchestra under Neeme Jarvi, the natural tonality of the various sections of the orchestra was very believable as the two themes dovetailed together.
Treble
The treble was clean, open and extended with no trace of harshness or sibilance and possessed high levels of detail. It was relaxing and airy with good separation.
“Time Passages” is the follow up album to Al Stewart’s seminal “Year of the Cat”. “The Palace of Versailles” features a chorus based on William Byrd’s “Lord Salisbury’s Gaillard”. The harpsichord part in the original is performed on a synthesiser accompanied by guitars and percussion and the clear treble notes were clean, incisive and bright. The reverb on Al Stewart’s voice was very well portrayed.
Ernest Moeran’s “Lonely Waters” is an evocation of the East Anglian landscape. In the lovely recording by the English Sinfonia conducted by Neville Dilkes, the delicacy of the cor anglais cadenza near the conclusion emerged magically from silence and the horn solo floated impressively above the plangent string figuration, displaying impressive clarity and producing a wonderful emotional performance.
The inventive arrangements in Don Harris’s albums are very entertaining. “White Sand and Thunder” from “Shell Game” features multi-instrumental textures spiced up by clever electronic effects and unexpected key changes. The castanet details were clear and crisp and the synthesised percussion elements delicate and full of detail.
Soundstage
The soundstage was very extensive in all three dimensions with exemplary layering, separation and imaging. It was perhaps the best staging I have heard so far in an IEM.
One of my favourite tracks for soundstage is The Buggles’ “I am a Camera”, and the T2 plus really delivered. Trevor Horn’s amazing production really came to life with every square inch of the vast spacious panorama filled with vocals, Geoffrey Downes’s menacing keyboards, backing vocals and spatial effects. The distant vocals near the end displayed excellent depth.
“Missing” by Vangelis is the main theme from one of his film scores. It begins with a solo bell-like synth voice and gradually builds to a glorious climax. Electronic effects swirled around the stage, percussion had great impact and the main theme soared majestically before fading to the solo voice which echoed in a cavernous acoustic against a soft, deep bass accompaniment.
The pizzicato bass line in the beautiful Adagio from Schubert’s Quintet performed by the Melos Ensemble highlighted the quality of the recording venue with the hall ambience very evident. When coupled with the violins’ solos and viola accompaniment it produced a very natural soundscape and realistic atmosphere.
Comparisons
Tin Hi-fi T4 (CNT): The T4’s neutral-bright signature, excellent resolution and detail retrieval placed it at the top of Tin Hifi’s range. The T2 plus manages to match it in most areas and improve upon it in others, especially the soundstage. The T4 has slightly more sub-bass, a similar but brighter midrange and a more elevated treble. The T2 plus has a warmer midrange and smoother treble without sacrificing much in extension or detail and sounds more balanced and relaxing.
BLON BL-03 (CNT): In comparison to the T2 plus the BL-03 sounds warmer and less well-defined. It has an elevated mid-bass and the treble lacks the T2 plus’s level of detail, rolling off earlier. Its midrange timbre is very good but the T2 plus has better imaging and separation and equally good tonality. Although being similar in shape, the T2 plus does not suffer from the BLON’s fit issues.
KBEAR Diamond (DLC): The Diamond has a V-shaped profile with very good timbre throughout the range. There is a focus on mid-bass, mids are slightly recessed but with good tonality and the treble is gently contoured with few issues. The T2 plus sounds livelier and more evenly-balanced with a more accurate, neutral yet musical presentation.
Cambridge Audio SE1 (Beryllium): This sounds very like the T2 plus in many respects. Bass and midrange have a similar profile and the treble is similarly clean with few peaks though not as bright or extended. Soundstage is not as wide as the T2 plus and it does fall short a little in detail retrieval but at its current low price it does represent good value. It has a non-detachable cable but is nicely built.
Conclusion
Tin Hifi have created a dilemma for themselves. The new kid on the block challenges and indeed usurps the T4 at the top of the range but at a lower price. With its neutral and warm profile, amazing soundstage, layering, separation and imaging it really does perform well in all areas and there is little, if anything to criticise. Add to this comfort, high quality build and attractive packaging and it is a case of “The King is dead. Long live the King!”
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Excellent review again @Nimweth. I was a fan of the Original T2pro (Though admittedly it is a tad sharp up top) and this sounds like a very good progression in the series. Not sure about the look though. 
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