I was happy to read your impressions of one of my favorites. I think you explained well.
Something that sounds like the Finals do can be polarizing. On Head-Fi, in the budget IEM threads, you will often see them described as warm, thick, muddy, slow, and dark. For context, these are usually terms used by folks used to the offerings of the able IEM tuners of Shenzhen, for brands such as KZ and the like.
I enjoy those too, but I just happen to enjoy tuning of the Finals a bit more. If I wanted to trigger fans of KZ, I might describe those IEMs as grainy, shouty, and piercing. But I wonât do any such thing ;).
Ha ha! That reminds me of the man who sent his friend a birthday card and wrote " I was going to send you some money but I sealed the envelope before I could enclose the cash!"
As usual, this review is also available in Spanish on my blog and YouTube, links at the end of this post.
The Tanchjim Tanya has been sent to me free of charge by HifiGo in exchange for this review. They have not requested anything other than to include links to the product in this review published on my blog and, as always, my opinions will be as unbiased and sincere as possible, but it is always good to consider that it hasnât cost me anything to try out these IEMs.
The Tanchjim Tanya, at the time of publishing this review, is available on HifiGo for 18âŹ. You can find a link to it by visiting the version of this review published on my blog here.
IntroâŠ
The Tanya is a very recent release from Tanchjim, announced around a month ago, and is a set of IEMs that feature a single 7mm micro dynamic driver. It is available both with and without a microphone, the set I have being without the mic.
I recently reviewed the Final Audio E500 which is an IEM that has a very similar format to the Tanya, you can view my review of it here: Review - Final Audio E500. In the review I explained why I always like to have a set of IEMs of this style, as they are something I use when travelling and when wanting to listen to musicin bed. The Tanchjim Tanya comes in at a cheaper price than the E500 and, in my opinion, is something that works for me more than the E500 does.
PresentationâŠ
The Tanya arrive in a grey box inside a white cardboard sleeve that shows an image of the IEM and the make/model. On the back, they list the specifications in English & Chinese.
Inside the box we find the IEMs, with their attached cable, along with various sets of silicone tips, user manual & warranty card, replacement filters and a small velvet storage bag. This is actually quite a lot of content for the price that these IEMs come in at.
Build and aestheticsâŠ
As mentioned, these are small IEMs with a fixed cable, which insert quite deeply into the ears. In a size format, they are slightly larger than the Hifiman RE series but shorter than the Final E500. This allows them to protrude less from the ears and makes them more comfortable to wear when lying down on your side than the E500. They are very similar in comfort to the Hifiman RE series.
As far as build, they are nicely built, with a metal covering to the small shell (at least I believe it is metal). On the back of the shell there is what looks to be an air vent. At first I thought that these IEMs were open back, judging by the size of the vent, however, covering this vent does not seem to change the sound at all, so that leads me to believe that it is just for aesthetics and that the only ventilation is from the small hole on the bottom of the nozzle.
The cable is attached as I already mentioned but I donât have any issues with the quality of the cable. It doesnât tangle easily but is also not too rigid as to become a nuisance. It also doesnât present the microphonics that other options do.
The included tips are also fairly decent. I find them to be comfortable and the sound to be decent with them so I havenât had to go off on a search of which tips work. For my sound evaluations I have used the stock tips.
SoundâŠ
As far as sound, the Tanya seems to fix the things I didnât like about the E500, without breaking anything else. In the review of the E500, I did some comparisons to the RE600s which I said wasnât a fair comparison and it isnât fair to compare the Tanya to the RE600s either, at least in price, but I can say that the Tanya does not feel like a huge step down from the RE600s like the E500 did. There are still moments of clarity and detail that I find superior on the RE600s but I have had no issue using and enjoying the Tanya for my general use of this kind of IEMs.
With the brief (and possible unfair) comparisons out of the way, letâs get on with how the Tanya sounds and performs.
In the subbass, the 7mm dynamic driver does a very good job of presenting rumble where needed. Listening to âChameleonâ by Trentemoller, where the subbass comes in around the 0:31 mark, the Tanya give enough rumble to make even bass heads happy, or at least I think it would as I am not much of a bass head myself. This track is actually a very good way to test if IEMs/headphones can deal with all those low frequencies without falling apart and the Tanya actually holds up pretty well. Yes, the rumbling can be a little overpowering and present a bit of a âwall of soundâ in those lowest frequencies but that is the track more than overly boosted subbass. If we move to a track like âNo Sanctuary Hereâ, where the lowest notes are clearer and more defined than in the previous tracks, again the subbass can come across as a little strong and is a bit more than I would personally request, but they do a good job for the size of the driver with so much bass.
In the general bass frequencies, things are a lot cleaner if there isnât as much boost in the lowest ranges of the track. âSun Is Shiningâ does sound a lot cleaner than the previous two tracks while still being a track with plenty of bass, just slightly higher in the frequency range. On tracks that use real bass guitars instead of electronic instruments, such as âBlack Museâ by Prince, the bass guitar does come across as slightly too boosted in the mix to be considered natural, the same happens with the bass guitar of âSmooth Operatorâ by Sade. This is not terrible and is not usually too overpowering but will not be something that fits the tone for those looking for neutrality and a natural bass sound.
The transition to the mids depends on the amount of bass we are pushing to the low end. The more we make it work in the lowest ranges, the more difficult it becomes for the Tanya to make the clean transition into the lower mids, sometimes coming across as a little muddy if we are pushing too much bass.
The mids in general are nice and smooth, with voices presenting a nice tonality and being very clean and detailed (again, depending on how much we push the low end). For example, the track âWay Down Deepâ by Jennifer Warnes has some rather large hits in the low end while the mid range is quite simple, this song can come across as a little recessed in the mids. However, a song like âDiamonds on the Soles of her Shoesâ by Paul Simon does not have such a large presence in the lowest registers, this makes the vocals and other instruments move more into focus and the result is quite pleasant. The bass of this track is located mainly in the lower midrange, with a few climbs, and this is very easily defined in the background.
Moving up to the top of the midrange and lower treble areas, there is enough of a climb in presence to keep vocals present but without them becoming overly harsh or nasal. A track that I find good to test the harshness of vocals is âDonât You Worry Childâ by Beth, as her voice can become harsh very easily. The Tanya does a decent job of keeping her harshness in check and makes the song quite listenable.
Sibilance is also well controlled, with my usual âCode Coolâ test track being presented in a way that is not too sibilant but is also not overly reduced. There is a slight hint of sibilance on a few of the lyrics by Patricia Barber but they are not too uncomfortable.
There is the typical high frequency roll off found in (almost) all single dynamic driver IEMs, where more air and extension would be a plus but there is at least enough presence in the highs to not make the whole sound signature seem dark.
The speed and dynamics are a little lacking, as is to be expected of a single dynamic driver that is only 7mm, especially when the lower regions are working hard. There is only so much we can expect from a set up like this in the price bracket that it sits in and I think they do well enough to be considered more than adequate but they are certainly not amazing detail monsters and they can get congested when we push those lower ranges past their comfort zone.
The width of the soundstage is actually rather good in comparison to so many other budget IEM offerings, it is not a huge soundstage but it is above average in this regard. Placement of images is also decent, it is not pinpoint accuracy but is decent nonetheless. The problem comes when trying to locate smaller details in the background, these are more difficult to place but this ties more into the dynamics and lack of background details when a busy track is being played.
ConclusionâŠ
As I mentioned at the beginning, I recently reviewed the Final E500 and the Tanchjim Tanya is a similar set up at a very similar price (actually a little cheaper). My personal preference between the two is easily the Tanya, of that I have no doubt. The Tanya is still not perfect, it has many things that can be improved on, but again we need to consider the price, the size of these IEMs and how much we can actually expect from something like this.
Yes, the driver does struggle when we push it too far, and the limits are lower than on other options, but when the driver is not overworked, I find it to have much more clarity and better sound (to my ears) than the Final E500.
In comparison to the Hifiman RE600s, which is the IEM of this style that I usually use when wanting something which is tiny and disappears in the ear, then the Tanya is just as comfortable, seems just as well built and is available for a less than 20⏠whereas the RE600s retail price is closer to 200⏠(even though you can get them discounted quite often). Yes, the RE600s is more detailed and also matches my tuning preference more, but, as I said in my E500 review, it is by no means a fair comparison.
I have no issues using the Tanya for my late night listening in bed, or for watching movies. In fact, the explosions in movies can be quite a surprise when you are not used to the sound of the Tanya.
I am leaving on another business trip in a few days and this time I will be taking the Tanya with me instead of the RE, as I did with the E500, so I will put it through the real life circumstances that I actually use these kinds of IEMs for. On my recent trip, the E500 was sufficient, I am sure that the Tanya will prove to be more than sufficient.
All in all, the Tanya is a set of IEMs that I can see pleasing a lot of people if they are looking for a budget set of IEMs with this style of build and sound signature.
Not quite IEMs as theyâre TWS instead but Resolve did a shooutout of some of Amazonâs best-selling TWS vs some more traditional audiophile-tuned TWS like the Moondrop Sparks and the Earfun tuned by Oluv from Oluvâs Gadgets
I entered a photo competition for KBEAR on Head Fi and won a pair of Neon single BA IEMs. I have been testing them and here is my opinion of them:
KBEAR Neon
The KBEAR Neon is the latest model from the company and is the successor to the F1. Like the earlier model, it is a single BA design. The F1 employed a 32257 type in different versions including Bellsing. The Neon uses a Knowles ED 29869 BA as found in the TRI Starsea.
The Neon comes in similar packaging to the Lark with a colour sleeve showing Chinese characters within a Neon-effect border within which is written " KBEAR Neon". Also featured are âThe vocals hit the soulâ and âSingle BA in-ear Hi-fi earphonesâ in Chinese and English. The reverse has a list of specifications. Removing the cover reveals a square black box with a gold KBEAR logo. Inside you will see the IEMs sitting in a foam cut-out and two black boxes with gold writing, one long box containing the accessories and another containing the case. The contents include:
KBEAR Neon IEMs
2-pin silver plated cable
4 pairs of grey silicone tips (S, 2 x M, L)
1 pair of white silicone tips (S,M,L)
Carrying case
User guide
The carrying case is finished in a grey textured material with a white KBEAR logo and has a zip closure. The presentation and accessories are excellent for the price and put companies like KZ to shame.
The Neon is a âbulletâ style IEM. It has a transparent body through which the components can be seen and is available in three colourways, red/blue, black and purple. The nozzle is fairly long and there is a decorative silver ring with KBEAR branding just below the nozzle. The 2-pin socket is on the rear of the body and protrudes to accept a hooded connector. There are red and blue dots on the underside indicating the channel and polarity.
The cable is silver plated copper with hooded connectors, a straight silver coloured metal 3.5mm plug and metal Y-split with a ring chin slider. It is worn cable down and is very comfortable with little cable noise.
The Neon was tested principally using an Xduoo X20 DAP but a CD player and smartphone were also employed. The stock cable and medium tips were used which resulted in an excellent fit, isolation and seal. A burn in period of 100 hours was used to settle down the components.
First Impressions
The Neon displayed a largely neutral profile with a conservative sub-bass presence but with good speed and resolution. Mid bass through to upper mids were flat with a moderate rise into the treble which possessed good detail and clarity. There was a dip in the upper frequencies after which the level recovered and supplied some sparkle and air. Transient response was quick and agile. Staging was well above average with good separation and layering.
Bass
As may be expected from a single BA, there was a relative reduction in the bass level but there was still a good sense of weight and depth although there was a roll-off in the sub-bass region. Mid bass had good impact and speed whilst maintaining rhythmic integrity, and did not bleed into the midrange.
Jonn Serrieâs âLe Tresorâ was a good example. Its deep sub-bass foundation was hinted at rather than fully realised but there was good definition, texture and speed. Some of the atmosphere was lost but what remained was very clean and musical, freeing up the mid bass, allowing the piece to breathe and showcasing the overlaying acoustic guitar solo very effectively.
The deep pedal notes of the organ in Albinoniâs âAdagio in G minorâ possessed good texture and there was a sense of weight but the extension was just a little shy, robbing the piece of its impressive foundation. The timbre of the basses and cellos in the version by the Guildhall String Ensemble was believable with admirable clarity and detail and the piece retained its cohesion even though some of the impact was lost in the lower frequencies.
Mids
Arguably the star of the show, the Neonâs midrange was neutral and accurate with good timbre for a BA. There was a moderate rise in the upper region which added some clarity and soundstage, layering and imaging were all very good.
âA Chlorisâ by Venezuelan composer Reynaldo Hahn is a beautiful duet for cello and piano in the style of Bach. In the performance by Julian Lloyd Webber and John Lenehan, the Neon gave a very good account of itself with excellent clarity. The timbre of the instruments was generally natural and lifelike with only the higher notes of the cello having a sharper âBAâ tonality. The atmosphere and ambience of the performance was faithfully reproduced.
Rosanne Cashâs sensitive recording of âThis has happened beforeâ demonstrated the superb vocal abilities of the Neon. The reverb on her voice, acoustic guitar, Dobro and steel guitars were all convincingly portrayed, and combined nicely to produce an emotional performance worthy of the phrase âThe vocals hit the soulâ. This was ideal material for the Neon.
Treble
The Neonâs treble was generally clean and well defined with good detail. There was a notable dip in the upper region before recovering in the extreme HF. This resulted in some variation of timbre but there was still a decent sense of sparkle and âairâ.
âMany Chinasâ from the superb âVapor Drawingsâ by Mark Isham begins with bright and detailed percussive elements on each side of the stereo image displaying excellent width. The Neon reproduced these very clearly with precise detail. When the bass, trumpet and keyboards joined in, the whole piece gelled together very well with excellent separation producing a satisfying musicality.
Pachelbelâs famous âCanon in D majorâ can surely not have had a more elegantly paced presentation than that by the J. F. Paillard Orchestra on Erato. The slower tempo revealed so much more of the counterpoint and throughout the piece, the harpsichord continuo was clearly audible and the violin solo placed centre stage displayed excellent timbre.
Soundstage
Along with the mids, the soundstage was perhaps the best feature of the Neon, being expansive in all three dimensions and exhibiting good separation and layering with imaging also being above average.
âWalking in Spaceâ, by Amin Bhatia from âThe Interstellar Suiteâ, features binaural effects depicting an EVA or spacewalk. It starts with a representation of an airlock being activated and the astronaut beginning his activity, which is then followed by a cinematic musical theme on synthesisers. A huge stage was created by the Neon with the sound effects displaying accurate positioning and delicate sequenced electronic details moving across the image. The whole effect was spacious and very captivating.
The superb series of classical pieces by the Minnesota Orchestra on the Reference Recordings label always display an impressive soundstage. Ravelâs dynamic âAlborada del Graciosoâ is no exception. Eiji Oueâs interpretation is full of drama, orchestral colour and impact and the Neon revelled in the piece with a convincing spread of the orchestra and a believable sense of the hall ambience, forming a solid three-dimensional image which was wonderfully entertaining. The positioning of the concertante instruments was precise and there was a very natural perspective. With just a little more depth and power, it would have been nigh-on perfect.
Conclusion
The Neon improves on its predecessor, the F1, in every way. It has a more extended bass (though still somewhat light), the midrange is clearer and more defined where the F1 was occasionally veiled (this will depend on the BA), and the treble is more extended. Soundstage is much more impressive. The Knowles unit is more refined and linear, and the presentation , fit and cable are also superior. The team at KBEAR and TRI certainly know something about tuning. If the dip in the upper treble could be fixed and a little more extension in the bass could be added, this would be a giant-killer! As it stands, the Neon is still a very good IEM at the price and eminently recommendable.
I was never a huge fan of the BL03, I mean, they are decent for the price but they didnât wow me. The Tanya are also decent and a lot more comfortable.
My latest review is below. It is for the CCA CA2. I would like to thank Kimberly from Fedai at Amazon.com for providing this unit for review.
Product link:
Pros:
Impressive bass power
Good staging
Exciting presentation
Bargain price
Cons:
Recessed mids
Dominant bass
Some harshness and sibilance in treble
Tangly cable
Insecure 2pin connection
The CA2 is a new super-affordable single DD model from CCA. It enters a very crowded arena with the recent KZ EDX, TRNâs MT1 and CS1 and the KBEAR KS1 all vying for dominance in this sector of the market.
The CA2 employs a 10mm dynamic driver with a four-layer voice coil and composite diaphragm and has a 2-pin detachable cable. A sensitivity of 112dB/mW is specified with an impedance of 23âŠ.
The packaging is similar to that of the recent CSN hybrid, a small rectangular box with an image of the IEMs on the front of the slip cover and specifications on the back. Removing the cover reveals the IEMs sitting in a card cut-out under which are stored the 2-pin cable and spare eartips and documentation. The legend, âCustomised Heavy Bass Earphonesâ is written below. In the box you will find:
CA2 earpieces with medium eartips pre-fitted
2-pin 4-core copper cable
2 pairs white silicone eartips (L, S)
Documentation
It is a very basic presentation but acceptable at the price.
The CA2âs shell is formed from ABS and PC resin material and the faceplate comes in three colours, lemon yellow, pomegranate red and crystal (clear). The components are visible through the rear of the body which is also clear. The faceplate features a logo in the shape of a capital A (Iâm not sure what that signifies) and there is a circular vent for the dynamic driver on the inner surface. The 2-pin sockets are set flush and accept standard connectors rather than the QDC type.
The cable is the old style KZ 4-core copper type with a black plastic 90° 3.5mm plug. There is a chunky black plastic Y-split but no chin slider and the cable is very thin and prone to tangling. I found the connection to be rather insecure, as the earpieces became detached quite easily on a number of occasions.
First Impressions
The CA2 was tested using the stock cable and tips. An Xduoo X20 DAP was used as the source and 100 hours of burn in was carried out. The earpieces were light and comfortable and a good seal and fit was obtained with the pre-fitted medium tips. Sensitivity was fine with plenty of volume available even from a smartphone, although there was a definite step up in quality with extra amplification which delivered more resolution and definition.
CCAâs recent models have been very well tuned with the CA16 and CSN following the traditionally well balanced profile CCA is known for. In contrast, the CA2 displayed a strong exciting V profile with powerful bass and bright treble. The description âheavy bass earphonesâ is certainly accurate, as the bass did tend to dominate proceedings. In addition, the mids were recessed and there was an emphasis in the upper region leading into the treble, which was bright but a little lacking in extension. Staging was quite impressive with a spacious quality unexpected at the price and the overall tuning was more similar to early KZ dual hybrids like the ZST and ES3 rather than a single DD design.
Bass
The bass was deep, powerful and visceral reaching an acceptable basshead level. The sub bass had reasonable texture and detail with excellent rumble and the mid bass was also elevated but did intrude into the midrange. With the right kind of material it was very entertaining though not strictly natural. Electronic music was very impressive with synth bass possessing prodigious depth and power but dominating the overall picture.
Midrange
The mids were recessed with the lower region receiving some warmth from the bass bleed and gradually becoming brighter as the frequency increased. Lower mids displayed a warm character whereas the upper mids showed a moderate peak with some sharpness of tonality which continued into the lower treble. Male vocals showed warmth and character and were somewhat set back from the accompaniment. Female vocals were more forward in the mix, occasionally displaying some sibilance. Strings and woodwind also exhibited a variation of tone with cellos and bassoons a little over-warm and violins and flutes being thinner in tonality and sometimes edgy in timbre.
Treble
The CA2âs treble was emphasised in the lower region, after which there was a dip and a further rise in the upper treble, after which it rolled off quite sharply. The general effect was exciting and delivered reasonable levels of detail but it was once more a little unnatural with the lower peak exhibiting some sharpness and some sibilance and a slight thinness of tonality in addition to which the early roll-off tended to rob the sound of sparkle and air.
Soundstage
This was perhaps the best feature of the CA2, being spacious in all three dimensions and possessing good imaging. Separation and layering were only average, though and there was some compression when things became busy, but it was certainly acceptable at the price. Orchestral music displayed good scale but was slightly over-emphasised at times and ambience was well reproduced due to the powerful bass presence. In contrast, more intimate and less bass-heavy recordings were nicely portrayed with a believable atmosphere and sounded more natural.
Comparisons
CCA CSN
CCAâs own CSN is a remarkable IEM at the price. Featuring the XUN DD and the 30095 BA, it has a mature, well balanced tuning unexpected at the price and indeed, outperforms models higher up in CCAâs catalogue and is suitable for many genres. It is superior to the CA2 in every way, is better built and comes with a much better cable. It is a much better option even though it is twice the price of the CA2 and unless you are really strapped for cash it is definitely worth the extra outlay.
KBEAR KS1
KBEAR 's KS1 is their most recent single DD model and has a warm gentle V tuning with excellent timbre. Bass is powerful but not too dominant, and there is some bass bleed. The mids are slightly recessed but have good tonality. The treble does roll off a little early but it is free from peaks and is much smoother than the CA2. Soundstage is average and perhaps not as spacious as the CA2 but the overall effect is well balanced and more natural.
CVJ CSA
The CSA is another dual hybrid with a 10mm DD and a âcustomâ BA. It has a very neutral tuning which is rare in the sea of V shaped offerings in this price sector. Bass is firm and well textured, mids are forward and clean and treble is clear and extended with an absence of peaks. Compared to the CA2, its resolution is far superior and it is excellent for vocal music and many other genres, though it does not possess the powerful bass of the CA2.
Conclusion
The CA2 has been tuned to produce a âfunâ tuning reminiscent of earlier models from KZ. It is exciting, impactful and entertaining and it does succeed in this, delivering an impressive bold sound picture and an âedge of the seatâ presentation. However, the overall profile may be considered a little unbalanced with a dominant bass, recessed midrange and a treble which does exhibit some harshness especially at high volumes.
The CA2 should definitely appeal to lovers of bass-heavy genres and gaming for which it should provide a suitable thump in the low frequencies, an exciting presentation and good staging, and if these are your preferred genres it represents excellent value. On the other hand, it is not as convincing with classical, jazz or vocal genres which require a more balanced profile, so you may want to look elsewhere if you are looking for an all-rounder suiting these styles of music.
As usual, this review is also available in Spanish on my blog and on YouTube, links at the end of this post.
The TRN MT1 is a set of IEMs that sits at the extreme budget end of the scale. Available (at the time of this review) for less than 6âŹ, there really isnât much we can demand from a set of IEMs at this price, however, there are things that are surprisingly good in this extra cheap set of IEMs.
KZ already surprised me with the EDX in this price range, a set of IEMs that I considered to be unbeatable at the price, being the king of value for money. I have tried various other models in this extreme budget range but nothing has really motivated me to spend time with them and post a full review, until the MT1.
PresentationâŠ
We canât ask for much for the price, in fact, just some IEMs that make noise is already quite an achievement for just over 5âŹ.
The box is a simple slide out cardboard tray in a sleeve, showing an image of the IEMs on the front and specifications on the back.
Inside we find the IEMs, the cable, 3 sets of tips and the usual warranty cards etc.
Not much but still better that can be expected.
Build and aestheticsâŠ
The build is simple and cheap. In my case it is clear and the shell is reminiscent of some of the cheaper KZ models such as the ZST etc. They are very light weight and are nothing special but they do their job and allow you to see the single 10mm dynamic driver found inside.
The workmanship inside the shell is not the prettiest, it has some little drops of glue here and there but I really canât bring myself to complain about the quality when considering the price.
The included cable is also not the greatest, it sort of reminds me of the cable included with the Blon BL-03 etc. but I would venture to say that it is better than the Blon cable, or at least it is not as bad. I have been using the stock cable and tips and they are not the best but they do serve their purpose.
SoundâŠ
Here is the surprising thing for 6âŹ, as with the EDX, they sound pretty decent. The overall signature is a little bass heavy but not too exaggerated, meaning that, while they are not my favourite sound signature, I have enjoyed listening to them.
In the sub-bass department, there is enough extension and presence to appreciate the rumbles in the tracks that extend that far down. In tracks such as âChameleonâ by Trentemoller, you can feel those lowest rumbles but they do not become overpowering.
In the remaining bass frequencies, again the presence is above neutral but not enough for me to feel it to be too overpowering. An important part of this is that the bass is fairly clear and detailed, letting it hit hard when needed without becoming too bloated or flabby. Donât get me wrong, this is not in the league of spectacularly clear and detailed bass, things are not presented and cleanly as on other IEMs that are at a much higher price point but it is enough to not feel that the bass is out of control. Listening to tracks such as âNo Sanctuary Hereâ by Marian Herzog feat Chris Jones, I find that the bass is slightly more present than I would choose but it is by no means offensive.
The transition from the bass into the lower mids is not the cleanest but is again more than satisfactory. There is the typical dip moving through the mids, meaning that the fundamental tones of voices and similarly placed instruments do seem to be slightly reduced, but this is based more on the tuning of the IEMs than actual lack of quality in that area.
Moving towards the highs, there is a climb that gives these IEMs a typical (and safe) V shaped tuning but they have managed to not exaggerate the presence in the higher mids and lower treble, avoiding things sounding nasal or harsh. They wouldnât be my choice for vocal and acoustic music but even then, they are not bad with those styles of music.
In the highs, sibilance is dealt with pretty well, not reducing it too much but also not boosting it. Songs such as âHope is a Dangerous Thingâ by Lana Del Rey, can be uncomfortable on many IEMs but that is not the case with the MT1.
There is the typical single dynamic driver roll off in the highest regions, meaning that more air and extension would be appreciated but, once more, I canât complain. They donât leave you with the sensation that half of the top end is missing, which has been the case with some other single DD options.
The soundstage is average for an IEM, not very wide but wide enough to enjoy left to right placement. The placing of images inside this soundstage is also pretty darn good for a set of IEMs at this price range. You are not going to be surrounded by layers and layers of details but songs like âBubblesâ by Yosi Horikawa, are a fun listen and you do get to appreciate the track for what it is.
Speed and dynamics are also more than acceptable for the price. Yes, there are better IEMs out there in this category (and all the categories) but they donât leave me feeling that everything is one big blob of sound, even when playing fast and busy tracks.
ConclusionâŠ
There are many faults that could be picked with the MT1, or rather, things that could be improved as it really doesnât have any faults, but once we take a look at the price of them, I really think that we cannot ask for more.
The overall tuning is a safe âVâ style tuning, which will please many people, and while it is not my favourite sound signature, it is subtle enough for me to not hate it.
They work very well for electronic music, with bass that is well defined and present enough to enjoy those bass hits. The highs are also present enough to not feel lacking. Again, all of these areas can be improved but the MT1 is far above what should be expected in this price range.
The obvious question is MT1 or EDX? Well, I think either option is a great purchase for the price, but they are very similar as far as tuning and performance. I think I would personally choose the MT1 over the EDX, I feel that the image placement and the cleanliness of the low frequencies is just that little bit better.
All I can say is that for 6âŹ, these IEMs are well worth their price.
Thatâs the thing that I get irritated by a lot sometimes, things become a top recommendation from people who have never heard/tried the item in question.
I have nothing against people saying âXX is supposedly greatâ or âXX might fit the billâ. It when they just say âXX is greatâ without mentioning the fact that they are basing their opinion on what they have read/heard from others.
As always, this review is also available in Spanish on my blog and YouTube, links at the end of this post.
The Kinera BD005 Pro have been sent to by HifiGo in exchange for this review. They have not requested anything specific, except for the inclusion of links to their store and the product, however, as always, it is good to be aware of the fact that I have received these IEMs for free.
You can find the links to the BD005 Pro via HifiGo in the version of the review published on my blog or YouTube.
IntroâŠ
Kinera are a brand that have become well known in the IEM market and have released some very good looking, and well performing, IEMs. The BD005 Pro was released earlier this year and is a budget offering from the brand, coming in at just over 40⏠(from HifiGo at the time of writing this review), they are placed well within the sub 50⏠category that I like to mention on Acho Reviews.
With a hybrid set up, stated as using a 9.2mm Beryllium Diaphragm Dynamic Driver along with a custom tuned Knowles 30095 series high-frequency BA driver, this is actually my first experience with Kinera and I was interested to see how they fair not only in general but also against some of my favourite sub 50⏠sets.
PresentationâŠ
The first break from the norm is the box in which the BD005 Pro arrives. Although it is simple cardboard packaging, the box is hexagonal and stands out from the usual square or rectangular boxes that I am used to receiving with IEMs in this price range. Obviously this doesnât make them any better (or worse), but it does make them stand out.
Inside the box we receive the IEMs, a cable with an inline microphone (at least in the case of the ones I have received), three sets of silicone tips and a round carrying case (along with the usual documentation).
Again, there is nothing extraordinary about the presentation but they do include enough content to be adequate at their price range.
If I had to complain about the contents, which is not obligatory but I will anyway, it would be about the included tips. The tips are also a break from the norm, being very short and small. I was very curious to see how this shape of tip reacted but unfortunately all the sizes are too small for me to get a correct seal, therefore I have had to use other tips.
Build an aestheticsâŠ
The BD005 Pro uses a 3D printed shell which, in my case, is dark red with gold speckles under the finish, along with Kinera in gold letters. The finish is very smooth and follows a shape that I find to be very comfortable, once they are in I do not feel any discomfort.
I see no apparent flaws in build quality and in general have no complaints about the build or aesthetics. Obviously beauty is in the eye of the beholder but I like the looks and feel that they do not look cheap.
The included cable is also surprisingly good for a cable with inline microphone. To be honest, I donât receive many IEMs with inline mics and most of the cables that do have them are from KZ. I much prefer the Kinera cable to those included with the KZ models and am happy to have a spare cable with a mic (I always like to keep a spare IEM cable with mic in my bag just in case).
SoundâŠ
As I couldnât use the included tips, I played around with various options to see which I preferred as far as comfort and sound. To be honest, while there are obvious sound differences, as with all tip changes on IEMs, I didnât find them to be extreme changes. In the end, I opted for using the Xelastec tips which I find very comfortable and believe they also gave that little extra % to the Kineraâs.
My first impressions of the BD005 Pro was that it was a very safe V shaped tuning, however, after further listening and tests, I find that it is not quite as V shaped as I first thought. Yes, there is the typical recess in the mids in comparison to the lows and highs, but I feel that the lows are not quite as boosted as on many other sets.
I also found that these IEMs benefit from some extra amplification. While the volume they reach from a cell phone or the MW200 is sufficient, I did find that plugging them into the Atom made them seem more alive and background details became more apparent. Itâs not like they completely changed but I found that amplification was certainly worth it.
In the subbass regions, I found that there was some roll off when stretching down to the lowest notes, although nothing too bad. Using the track âChameleonâ as a reference, yes there is subass down there but it is not quite as rumbling as it is on so many bass boosted sets. This is not a bad thing in my opinion as the BD005 Pro doesnât let the subbass take over the whole low end, something that I do not like on many V shaped offerings.
In the mid and high bass regions, there is more presence but it is kept pretty well under control. Bass hits are good and well controlled, although I do feel that some tracks lack a little more power when short and precise bass hits happen. It is by no means bad, and I much prefer it to lack a little power rather than be sloppy and uncontrolled, but when listening to tracks like âNo Sanctuary Hereâ by Marian Herzog feat Chris Jones, you donât quite feel the hits like you do on some of the other sets I will mention later in the review. The same sensation comes across in âBury a Friendâ but when moving to tracks that use bass guitars instead of electronic bass, the tonality is pleasant and I prefer to have correct tonality over extra slam due to my preferences in music.
In the lower mid range, the transition from the bass is also something I found to be cleaner when using amplification, although this could just be in my brain (as could everything). The transition is clean enough to not feel bloated or as if the bass bleeds over. When listening to tracks such as âThe Roomâ by Ostura, there is enough separation between the drums, bass and guitar in order to appreciate the distinct instruments. The lower mids are actually quite clean and well presented.
In fact, the whole of the midrange is slightly recessed but it is not absent at all. Even though there is a dip in the mids, voices are still present and have a nice touch to them. The midrange is actually very clean, throughout the whole of the mids, and although it does come across as slightly sterile at times, it really isnât anything to complain about.
Moving up into the higher regions, this is where I usually find fault with IEMs in this price range and unfortunately the BD005 Pro is no exception. It is certainly not the worst, it is far superior to some other treble offerings in its price bracket, but I just find the treble to be a little too boosted, with some harshness and sibilance appearing at times that can be uncomfortable. It is as though this IEM was tuned to be a very V shaped set and then the bass region was reduced but the treble was left as is. This results in a lot of the music that I listen to, simple acoustic and vocals without much bass boost, comes across as a little harsh and anemic.
This is especially the case with songs like âTears In Heavenâ by Eric Clapton or âSugar (Acoustic)â by Francesco Yates, songs that are basically an acoustic guitar and a voice. In fact, a good demonstration of what I am referring to would be using the track âWhen The Partyâs Overâ by Billie Eilish. The first half of the song is basically her voice with very little backing it, this part comes across as harsh, yet when the bass kicks in around 1:57, as the track has such exaggerated bass, it sort of balances the sound out and takes the focus away from that harsh high region. It is not that it disappears, just that you are not as focused on it.
Sibilance can be an issue with these, as I just mentioned. They are not very forgiving in these ranges and tracks like my usual test of âCode Coolâ can certainly get a little hot.
Speed and dynamics are actually quite impressive, for an IEM in this price range. The dynamic driver does a good job of keeping up with fast paced music. In fact, the dynamic driver does a very good job in general. The BA is also quite capable, but that is to be expected from a BA, it should be able to keep up with the busy stuff.
As far as soundstage and presentation, well, itâs another IEM in the budget range. It is around average in my opinion. I did get the impression that the sound stage improved with amplification but I believe that it was actually the fact that background details were more present, giving the sensation of a bigger presentation and space. The location and placement of images is decent enough, making songs like âBubblesâ be interesting but they are not presented in a way that wows me.
ComparisonsâŠ
I donât usually include specific comparisons in my reviews as I follow the same procedures throughout all of my reviews so it is easy to check the review of another item to see what I feel about the same part of a different product.
However, it has been a while since I did the âBest Purchases Under 50âŹâ and, although I am not going to do any kind of list, I think it is interesting to view the BD005 Pro against some of my preferred budget sets that have been around for a while now. This involved pulling out some IEMs that I havenât actually listened to in quite some time.
For the sake of making this comparison quick and easy, I used the same cable on all of the IEMs (except the Tin T2+, which I used the same make and model of cable but with MMCX connectors). I also used the same Xelastec tips for all of them, which I find very comfortable and work well with all of the IEMs listed. I also used FLAC files, played from Foobar, via the Schiit Modi 3 into a JDS Labs Atom amplifier. Therefore, the only differences were the IEMs themselves.
As far as music, to keep it short and clean, I picked 8 tracks from my usual test list, trying to cover various genres. The tracks were:
The first comparison was with a set of IEMs that I havenât listened to in a very long time, he KZ ZS10 Pro. While these have been around a long time, they are still mentioned a lot and were actually my main IEMs for live band monitoring for a year or so, with a lot of music listening in between. You can find my original review of them here.
My first listen brought back memories of why I liked and disliked the ZS10 Pro. The details are very good, better than the BD005 Pro in my opinion, but they need a little EQ to sound âcorrectâ when listening to music, something that I did not do in this case. They also have that slight metallic touch to the high end, something that KZ has reduced a lot over the years and the Kinera does not seem to suffer from.
The subbass is more present and boosted on the ZS10 Pro than the BD005 Pro, resulting in much more rumble when listening to âChameleonâ, however, when listening to other tracks that are more acoustical in nature, or even âBombtrackâ, I find the ZS10 Pro to be harsher, with the BD005 Pro being more relaxed and a more enjoyable listening experience in my opinion.
If you want detail, then I think that the ZS10 Pro is certainly above the Kinera option but for a more relaxed listen, I would choose the BD005 Pro. The Kinera also need more power to reach the same volume levels and come alive, whereas the ZS10 Pro give a similar response even at really low levels.
Moondrop SSP
While I didnât go crazy about these IEMs in my review, which you can see here, I did say that they were good and were sort of a guilty pleasure IEM. Over time, this feeling has grown. I find the SSP to be a set of IEMs that has more bass than I would usually choose but that I always enjoy listening to when I am in that mood.
I actually listened to the SSP quite often for some time and they were something I usually kept in my bag as a backup set of IEMs until not too long ago. In comparison to the BD005 Pro, the first thing that stands out is that the SSP need even more power than the Kinera do.
As far as sound, I was surprised to find that I really didnât find them more bassy than the BD005 Pro. In fact, I found the Kinera to have more of a bass hit and more rumble than the SSP. As far as the rest of the sound, I really like the Moondrop tuning (as you have probably noticed in my other reviews) and the SSP is no exception. I do feel that the BD005 Pro has the edge in the treble, even though it is harsher and can present sibilance, it does have more extension and gives a better sensation of âairâ than the SSP.
KZ DQ6
These are a set of IEMs that were a break from the norm for KZ and I found rather impressive, even if they still had flaws, my original review can be found here. The comparison here is between the 3xDD of the DQ6 vs a 1xDD+1xBA of the Kinera.
I forgot to drop the volume level when switching from the BD005 Pro to the DQ6 and it immediately reminded me of how much more efficient these are! I also immediately remembered what I like about these IEMs.
They have better extension in the subbass regions and the bass and mids are also very pleasing to me, especially their tonality. Where the DQ6 fails, or at least is not up to my preferences, is in the treble regions, just like the BD005 Pro. Both sets can be a little hot and sibilant, causing moments of displeasure. I remember that I had to play around with multiple tips on the DQ6 to reduce the sibilance and I guess that the Xelastec were not one of those sets. The extension is again better on the Kinera in the higher regions, with the DQ6 falling a little behind, although the harshness and sibilance is a toss up between the two.
One thing to point out is that when a track is overly bassy in its recording, the DQ6 can get quite overpowering, with a bit too much bass and harsh highs, meaning that for tracks with a V shaped recording, the Kinera do keep them a little more under control (even with the harsh highs).
Tin T2+
The Tin T2+ have been a recommendation of mine in the sub 50⏠category since I first tried them, you can see the review here. I find them to be a set of IEMs that adapt very well to different genres, having tons of bass when needed but not seemingly over bassy when the song doesnât call for it.
As far as the general tuning, I think that the T2+ is still more impressive than the BD005 Pro but I think that the overall tonality, especially in the mids and higher bass regions is much more agreeable on the Kineras.
The T2+ can be much more âin your faceâ than the BD005 Pro but at the same time, I do find the highs to be smoother. They still have their moments of sibilance and are certainly not perfect but I find them more detailed and more impressive than the BD005 Pro. If you are just wanting a relaxing listen, then the latter are maybe a better bet.
KZ ZAX
Ok, the last set of IEMs are ones that were not inside the sub 50⏠range when I reviewed them here but can now be found regularly inside the bracket. I said that the ZAX are the best KZ headphones that I have heard to date and, seeing that I havenât heard the latest releases, I still maintain that opinion.
The first thing that stands out with the ZAX after listening to the BD005 Pro is the space and openness in comparison. I remember feeling that these were above average in this regard and my opinion has not changed. Listening to âLa Luna (Binaural)â, the difference in space is very noticeable between the two models.
Bass I find to be similar between the sets, with the ZAX taking a small step forwards in subbass, with the mids probably falling towards the BD005 Pro as the ZAX can give a sensation of recessed vocals at times, something that I havenât really noticed with the Kinera. Up in the treble areas, the ZAX is certainly not as harsh as the BD005 Pro, even if it can present some sibilance at times, feeling more balanced.
ConclusionâŠ
This has actually turned into a longer review than I planned but revisiting the sub 50⏠IEMs mentioned above has been fun as I donât always spend much time with them. When I am not spending time with whatever I am in the process of reviewing, I usually opt for using my favourite stuff and donât spend enough time revisiting previously reviewed items. So really, regardless of what I think of the BD005 Pro, it has been a fun review.
Which leads me to⊠what do I actually think of the BD005 Pro?
Well, they are certainly not a bad set of IEMs but they are also nothing groundbreaking. I like the looks, the build, the cables, I am also a fan of the tonality and in general of everything from the mid bass through to the high mids, however, I feel that the harshness of the treble and the lack of detail are what really let these IEMs down.
Again, these are not terrible IEMs, they do a lot of things right, it is just that there is a lot of competition in these price ranges lately and it takes something very special to stand out. I think that maybe the BA driver is the weakest link in these IEMs and it is a shame because everything else seems to click together nicely.
The CSK is the latest 1DD + 1BA hybrid model from CVJ following on from the recent CSE and the excellent CSA. The dynamic driver is an 8mm dual magnetic design with a titanium coated diaphragm and a field strength of 1 Tesla. The BA is CVJâs custom version of the venerable 30095 balanced armature. The CSK has an impedance of 30 ohms and a sensitivity of 107dB per mW.
Similar to the previous packaging of the CSE, the CSK comes in a small black rectangular box with a sleeve featuring a colour image of the IEMs on the front and the specifications printed on the back. The box has a gold CVJ logo and, inside, the earpieces are presented in a card cutout along with the spare eartips (the medium size being pre-fitted to the IEMs). Below this are stored the accessories.
The contents include:
CVJ CSK IEMs with medium eartips pre-fitted
2 pin black braided 4 core cable
2 pairs silicone tips (S, L)
Faux suede storage pouch
Documentation
The CSK has a different design of earpiece from previous models. The faceplate is roughly triangular in shape, softly faceted and coloured light purple with the words âLeftâ and âRightâ written in a white script font. The body is in a light blue tinted resin material through which the components are visible. There is a circular vent for the dynamic driver on the rear of the earpiece and another at the base of the nozzle which is made of black metal. The 2 pin sockets are set flush to the surface.
The cable is a 4 core braided type with a 90° black plastic 3.5mm plug and is similar to previous cables from CVJ and TRN. The angled 2 pin connectors are also made from black plastic and there are clear plastic pre-formed ear guides.
The CSK was tested with an Xduoo X20 DAP and at first the pre-fitted tips were used. I found the stock cable limited the quality available and employed a Senlee hybrid cable which revealed more of the true potential of the CSK. A further change of tips to Spiral Dots produced more âairâ and improved the staging. A burn in period of 100 hours was allowed to settle down the components. The earpieces were very comfortable and isolation was very good and well above average.
First impressions
Out of the box, the sound was disappointing. The bass was dominant and somewhat loose, and there was a strong bass bleed which coloured the midrange. Also, the mids themselves were recessed and the treble was subdued. However, after a lengthy burn in, these problems largely disappeared. Once settled, the CSKâs 8mm bass driver produced a deep and powerful bass which possessed excellent extension with the lowest frequencies reproduced clearly. The mids were warm in tonality due to the influence of the bass but had good timbre and became more forward with time. The treble was quite polite and restrained but was detailed and not harsh or peaky. The soundstage was outstanding, being expansive in all three dimensions with very good imaging, separation and layering. It was hard to believe sound of this quality emanating from such an affordable IEM. Like the recent CCZ Plume, I found the CSK to be very source sensitive and the best results were obtained with a neutral/bright source. I found the Sony NWZ-A15 and Hifi Walker H2 too warm sounding but the Xduoo X20 delivered a perfect balance. I did find myself cranking up the volume on these and felt they benefited from a bit of extra power.
Bass
The bass was deep and powerful but revealed quite a lot of detail and although somewhat elevated, remained musical. Sub bass was very impressive with a healthy dose of rumble available and mid bass possessed plenty of punch and impact. The ability to reproduce ambience and reverberation was notable, especially in cathedral organs which possessed power and majesty in equal measure with the atmosphere of the venue authentically portrayed. Its strong influence was not so noticeable in simpler pieces where the warm and attractive timbre added character and depth, inviting further listening. The transients were very well handled with good impact.
Mids
The mids were suffused by some bass bleed but retained a warm and well balanced profile. The timbre was very authentic and there was plenty of attack and life. The tonality gradually became brighter with frequency but there was no evidence of harshness or sibilance. Male and female vocals were handled equally well and instruments sounded good with bodies of strings nicely separated, brass possessing shimmer and bite and cellos and pianos possessing a believable and natural character, with accurate reproduction of harmonics and overtones .
Treble
The treble tuning was very well done. It was largely gentle in character yet still displayed good levels of resolution and clarity. The lower region was smooth and clear and fairly well detailed but perhaps a little dialled back. However it lacked the expected peaks from the BA placed in the nozzle and was free of harshness. There was no trace of âBA timbreâ. It rolled off somewhat early which accounted for the polite nature of the presentation, but it recovered in the extreme HF providing some welcome air and sparkle. The tuning of the well known 30095 unit was unusually restrained and was all the better for it.
Soundstage
The CSKâs soundstage was surprisingly large and spacious, which was unexpected for an IEM in this price range. Width and height were impressive in extent and depth was good although it did tend to decrease with volume, with more complex pieces experiencing a flattening of perspective. Separation was well above average but did decrease in the same manner as the depth. Layering was of a high standard, as evidenced in the layout of orchestras which were very natural, giving the impression of a seat in the concert hall about half way towards the rear of the hall, and imaging was also well handled, especially at the price, it being easy to discern stereo effects and instrumental positioning.
Comparisons
CCA CSN
CCAâs CSN is also a 1DD + 1BA hybrid and features the excellent KZ XUN DD coupled with the familiar 30095 BA. It has a mature, well balanced tuning which makes it suitable for many genres. It is better built than the CSK, having a metal faceplate and a more solid resin body and comes with a better cable. The CSN has a similar overall profile to the CSK but the bass is more controlled and there is no bass bleed. The mids are a little more refined and the treble is more even. It is more expensive than the CSK but if a more neutral profile is preferred it may be suitable. The improved build quality justifies the extra cost. The CSK on the other hand may be considered more exciting and fun and certainly holds its own in comparison.
KBEAR KS2
KBEAR 's KS2 is, like the CSK, a dual hybrid and is built from resin. It features a 10mm dynamic driver with composite diaphragm, partly PU and partly bio-cellulose. The balanced armature is described as a âhigh end custom unitâ and is placed within the nozzle. The KS2 is a classic V-shaped IEM with a appealing dynamic and exciting character. Its presentation will not suit all types of music but it performs well, especially at the price. It does sound similar to the CSK because of its powerful bass which sometimes dominates proceedings, but it also has some bass bleed and that peak in the upper mids and lower treble so often found in affordable hybrids which the CSK does not suffer from. The overall profile is more V shaped but it has, like the CSK, a large and expansive soundstage. Overall the CSK is better balanced and will suit a wider range of genres.
CVJ CSA
CVJâs debut model, the CSA is also a dual hybrid with a 10mm DD and a âcustomâ BA. It has a very neutral/bright tuning which established CVJâs âhouse tuningâ which is rare in this price sector compared with the more commonly found V profile. Bass is firm and well textured, mids are forward and clean and the treble is clear and extended with an absence of peaks. Compared to the CSK, its resolution is finer and more accurate which is especially good for vocal music. Its even handed approach also suits many other genres, though it does not possess the powerful bass of the CSK and perhaps just misses out on the âfun factorâ that the present model displays, but these are two very different IEMs.
Conclusion
At the price, the CSK was a pleasant surprise. With its visceral and impactful bass, expressive mids, large soundstage and smooth yet detailed treble, its expansive and powerful delivery brought out the best in large scale orchestral works, film scores and electronic music.
The out-of-box experience was unfavourable but after burning in, although some bass dominance and a minor bleed remained, everything was in better balance, so I would advise with this IEM that burn in is mandatory and that they should be given some time to reveal their true nature.
Further improvements can be obtained with a change of cable and tips which unlock the CSKâs considerable potential, and although this does add to the cost, it is definitely worth pursuing. In addition, the use of a neutral or brighter source will help to achieve a good balance and tame the bass.
At its best, the CSK is outstanding at its price level. It is certainly a departure in tuning from what was the CVJ âhouse soundâ seen in their earlier models like the CSA, CSN and Mirror, but it offers an exciting and entertaining listen for very little money, and must be considered amongst the best entry level IEMs on the market at present. Being so affordable, its minor failings can certainly be forgiven and it is highly recommended.
