I have it here but haven’t had chance to listen to it yet. Hopefully soon.
1 Like
Looking forward! 
Tripowin Piccolo
TLDR version on YouTube: TDLR - Tripowin Piccolo
The Tripowin Piccolo were sent to me by Linsoul in exchange for the publication of this review. Linsoul have not requested anything specific and I will do my usual best to be as sincere and unbiased in my review as humanly possible.
You can find a non-affilate link to the Piccolo, via Linsoul, in the version of this review published on my blog (link at the end of this post).
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
I have been putting off the Piccolo review for quite some time, mainly due to the fact that my last two reviews of Tripowin IEMs were not exactly positive, nor was my experience with them. However, it is only fair that I give them a try and, I have to say, they are quite a break from the last two models of theirs I tried.
The Piccolo are a budget set of IEMs, costing just over 30€ (in fact, at the time of putting together this review, they are on sale for less than 25€), that use a single 11mm dual cavity dynamic driver in each side. They are available in both silver and black, with the latter being the ones I received (in case you couldn’t see that in the photos 
).
Presentation…
A white cardboard sleeve, with an image of the IEMs on the the front, along with the usual text etc., slides away to reveal a black box with the model in large white letters and some basic white circles.
The size of the box would suggest that we are going to receive much more inside that we actually do. Opening the box reveals the IEMs with their cable attached and a small plastic bag containing 3 sets of silicone tips.
While we could say that the Piccolo are rather short on accessories, we have to remember that these are an ultra-budget set of IEMs that cost 30€, so I really can’t find it in myself to complain. It’s true that other brands have spoiled us with content at similar prices but, even so, I still believe that the accessories should be way behind on the priorities list at this price.
Build and aesthetics…
The shells are a generic triangular type shape with rounded corners, in a matte black finish that has quite a texture to it. This makes them grippy and, while I personally haven’t found any discomfort, if the shells are large enough to touch your outer ear, then they may present an irritating sensation with use. The positive side is that they will not show fingerprints, no matter how many crisps (or potato chips for the US market) you eat before touching them.
The cable is another “nothing great but works” which is similar to the cables received with other Tripowin models. The included tips are also nothing special but the medium size worked ok for me and are what I have used for this review.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
As I said a moment ago, the sound signature of the Piccolo are a break from the last two models (Rhombus and Cencibel) I tried, taking away the extreme harshness I found with said IEMs. While the sound signature of the Piccolo is still a bit of an acquired taste, I much prefer it to those mentioned and I can’t say that I didn’t enjoy the time I have spent with them, depending on the music.
Let’s start off with the usual look at the graph in comparison to my personal preference target for reference:
And just so you can see what I am referring to, here are the Piccolo in comparison to the Rhombus and the Cencibel:
So, starting off with the lowest of notes, there isn’t a huge presence of subbass but there is enough for my tastes. I did find that it was very easy for the seal to break with the stock tips and the subbass (and midbass) dropped off dramatically, which is to be expected. The thing I found unusual was how easily the good seal was lost. The positive side is that the change is so noticeable that there is no doubt about having them sealed correctly or not!
In the midbass range, there is a little bump in comparison to my usual preferences but I did find this worked well for the low end of electric guitars and bass guitars. The Piccolo are not overpowering in my usual “Crazy” test for midbass, with the lower notes staying nice and clean, avoiding the fatigue that I find many times with midbass.
I find that the low end of the Piccolo works well for a lot of the older Blues recordings that I like to listen to, giving the electric guitars a nice bit of warmth without pushing them into the muddy category. The same could be said for older rock tracks, such as “Whole Lotta Love”, where it gives the bass guitar a nice body and warmth, however, I did find that I was wanting more in the upper ranges with these kinds of tracks (which I will get to in a moment).
The mid range is nice and clean, with a nice separation between instruments and vocal layers. Nothing seems to get lost, due to the midbass being rather clean and the upper mids having enough to bring vocals and instruments forwards to be center stage when needed. Going back to “Crazy”, the vocals of Daniela Andrade are still clean and clear, without having to fight the reverb of the low end of the guitar. Acapellas such as “These Bones” show warmth and power in the bassier vocals, while still being clear enough in the higher ranged vocals.
As we move into the upper frequencies, this is where the Piccolo lacks some life in my opinion. Not for all music, as I said previously, things like older Blues recordings, where the upper ranges were a little harsh (and frequently hissed) are cleaned up nicely on the Piccolo, smoothing them out and giving them more warmth and body in their presentation.
However, tracks that have more percussion in the higher ranges, such as rock, or just more modern music in general that has more presence in the upper ranges can come across, to me at least, rather dull. Saying that, there are tracks, such as “Code Cool”, that still manage to have sibilance break through. This is a shame as it is just the peak that is exactly where Patricia Barber’s sibilance resides, making it even more apparent due to the rather smoothed treble that surrounds it.
Conclusion…
The Piccolo are not a bad set of budget IEMs, I just don’t find that they work for all kinds of music. I really enjoyed them with my older Blues sessions, yet didn’t enjoy them as much with more modern recordings.
Saying that, I would take the Piccolo many times over the Cencibel or Rhombus, as I find that the tuning is more enjoyable (with certain music) than that of the previous models, as it is tamed at both ends of the spectrum. It is just a shame that certain frequencies can still break through on occasions and produce a little bit of harshness.
To wrap up, I have to give credit to Linsoul here. They never request or make any comments on my reviews (they never have) and after the previous two reviews I published of Tripowin IEMs, I was sure that they would not send me any more from the brand. Companies (brands or stores) being open to criticism and not taking offense is something that I value highly and it is nice to see that Linsoul prove once again, at least to me, that they are one of those companies.
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
4 Likes
Tangzu Princess Chang Le
TLDR version on YouTube: TDLR - Tangzu Chang Le
The Tangzu Princess Chang Le have been sent to me by Linsoul in exchange for the publication of this review. Linsoul have made no requests and, as always, I will do my best to be as sincere and unbiased as possible.
You can find the Princess Chang Le via Linsoul by visiting the version of this review published on my blog. As always, it is a non-affiliate link.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
Tangzu are a brand that I have had good experiences with in the past and, in fact, the Wan’er are a 15€ set of IEMs that I think are very good and place well on my list of favourites under 50€. Today we have the Princess Chang Le which are even cheaper, coming in at around 10€, which is less than a McDonalds menu!
They even arrived with 3 sets of Tangzu Tang Sancai tips (which increases the price of the Princess Chang Le by about 0.80€) which are valued at 8€ on their own (and are actually decent tips that I have found work well on certain headphones).
But, as Tangzu (and other companies) has proven in the past, cheap does not mean it has to sound bad, so let’s see if we can really get decent sound for 10€.
Presentation…
The box keeps up the classic Chinese decor that Tanzu (and T Force before them) has used in the past. The packaging reminds me of a gift you would get at a local Chinese restaurant but is far superior to what we should expect for the price. Just a box is more than we should expect!
Inside the box we get the IEMs with their permanently attached cable, three sets of silicone tips and that’s it. But again, what do we expect!?! The Tang Sacai tips arrive packed separately.
Build and aesthetics…
The IEMs are very small bullet style IEMs similar in size to something like the Final Audio E series. However, the shells are metal and there is quite a lot of detail in the design of the decoration. The shells are silver in colour, with engraved patterns all around them, and the back plates are of a gold colour, with a design in black.
The attached cable is a simple silver cable but it also uses metal hardware and there are two small metal rings (one red and one blue) where the cable attaches to the IEMs which is a nice touch.
As far as comfort, well, it will depend on the tips as that will be the only part of the IEMs that touches your ears.
I have to say that the aesthetics and build of these IEMs, whether you like the design, is amazing for the price. The only negative I have with build quality is that the cable is very microphonic, and I mean “very”. Each small movement of your body is heard through the cable and tapping on it will sound like a bass drum in your ears.
Sound…
Here is the graph of the Princess Chang Le in comparison to my usual preference target for reference:
The general presentation of these IEMs is quite warm and more towards the “fun” side of things than presenting detail.
I am not overly fond of the tuning and things like “Crazy” can become fatiguing to my ears due to that excessive midbass and a slight lack of clarity, but they are certainly not terrible. I usually find that sets that are midbass boosted and lack clarity and definition, will make me fatigued and even nauseous after a short while but that hasn’t really been the case with these IEMs.
I did use them for extended listening sessions and I quite enjoyed them, as long as I kept still. The issue is with the microphonics of the cable, which takes away from the enjoyment.
The upper ranges are not the focus of the IEMs but they are not absent, in fact, these IEMs have no right to sound as good as they do at this price.
Detail, as I already said, is not the strong point, yet it sort of works well with the general tuning, making them a relaxed and smooth/fun listen.
Conclusion…
I know this is a very short review but I have a lot of things waiting to be tested and seriously, these IEMs are surprisingly well built, have plenty of detail in the aesthetics (more than in the music itself lol) and are very comfortable. They even include a microphone!
If it wasn’t for the microphonics of the cable, I would say that these are a perfect “keep in my bag” set to always have around and just pull out and connect to your phone. As it is, with that cable, I can’t suggest using these while out and about unless you are sitting still on a bench somewhere, the microphonics would just drive me crazy.
As always, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
They are definitely beautiful to my eye. Shame about the cable.
2 Likes
Letshuoer DZ4
TLDR version on YouTube: TDLR - Letshuoer DZ4
The Letshuoer DZ4 has been sent to me directly by Letshuoer in exchange for me to try it out and share my impressions in this review. Letshuoer have not made any requests or comments and I will do my best to be as unbiased as humanly possible.
You can find the official page for the DZ4 here: LETSHUOER DZ4 Triple Dynamic Drivers Single Passive Radiator EDC Hifi – letshuoer
As always, this is a non-affiliate link.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
I first heard the DZ4 back in Munich, or at least I think I did, as my current impressions are slightly different to what I remember. This could be due to the fact that I listened to a lot of stuff in Munich and have listened to a lot more since, but I just remember the set being darker when I listened to it back then.
That is not to say that the DZ4 that I have is bright, I will get to my sonic impressions soon, just that it doesn’t seem to be as dark as I remember.
The DZ4 is a set that features 3x 6mm Titanium Dome Dynamic Drivers, along with a 6mm passive radiator. The addition of a passive radiator is an interesting concept, yet it seems to be implemented in a way that is different to what I would expect for a passive radiator. While I do not proclaim to be an engineer, far from it, I have had experience with the implementation of passive radiators in speakers and subwoofers in the past. I even put one together myself for a bass cabinet some time ago, after a lot of trial and error in WinDSD.
Without getting too far into the science behind it, let me briefly mention what a passive radiator is. It is basically a speaker that does not have a voice coil or magnets etc. and does not produce any sound on its own. In other words, you don’t connect cables or an amplifier to it as it is sort of a dummy speaker. This is used, at least in my experience and understanding, instead of a port in a speaker (the hole that lets air in an out) and allows more response in the bass ranges in comparison to a simple sealed cabinet design, although with a steeper roll off. There are obviously a lot more scientific things going on behind this simple explanation but I wanted to just share the basics.
Why am I saying this? Well, in the case of the DZ4, the passive radiator is not actually in a sealed enclosure (the IEMs are semi open), meaning that the way it is implemented is different to what I have learned about the implementation and functionality of this set up. While I can’t say exactly what the passive radiator is responsible for in the case of the DZ4, it would need to be compared to the same IEMs without the radiator, I will say that there doesn’t seem to be an extra boost in the bass and the roll off is not really steeper, in fact, if anything, it is less than on a lot of other dynamic driver sets.
Anyway, enough rambling on about what should and shouldn’t happen, let’s get on with reality and what my experiences have been with the DZ4.
Presentation…
The packaging and contents of the DZ4 are very respectable for a set of IEMs that cost around 80€. The external packaging is a simple white but elegant box, covered by a white sleeve that has some modern looking designs on it and basic info about the set.
Opening the box we find some paperwork under which the IEMs are sitting in their respective foam cutouts at the top, with a large round storage case below. I say storage case because it is rather large to carry in a pocket (although you can obviously transport the IEMs in it). The case is made of a plastic with a satin finish to it, which feels quite nice. The top screws off which is a nice touch but also takes many turns to open, which is not really a complaint but does mean it takes a little longer to open.
Inside the case we receive the cable, which is a very nice cable at that, along with a circular disc that holds 5 sets of tips, plus the ones installed on the IEMs themselves. The tips are labelled as “Vocal” and “Balanced”, 3 sizes of each. Personally I found I preferred the “Balanced”, as the “Vocals” tend to give a little extra harshness to the upper mids, something I find works against the sound presentation that the DZ4 are going for.
Build and Aesthetics…
The IEMs use a shell that looks like plastic, although it is shown by Letshuoer as being anodized aluminum. The shells are a creamy colour with a bit of a pink hue to them, with a metal face plate which has an aluminum finish to it, also with a hint of pink (matching the hardware of the cable). The face plate features a Z shape cutout with a red grille behind it and I have to say that I am a fan of the aesthetics. They look original and are not too “loud” about being different.
The nozzles are rather large but not large enough to cause any issues, at least for me, and in general I find the IEMs to be nice and comfortable. I spent some long sessions with these IEMs and found no issues with comfort at all but, as always, everyones ears are different.
The cable is reminiscent of the cable I received with the S12, although a little thinner and less bulky, something that I prefer. The IEMs use a normal 2 pin connection and in this case, the cable is terminated in a 3.5mm unbalanced connector. While some will miss the balanced option (which is easy to swap to), I have actually found that, when testing with a balanced cable, I didn’t really find the results to be an improvement over the unbalanced. In fact, as with the “Vocal” tips, the small change moving to balanced I think, again, works against the vibe of these IEMs.
In general they are well built, look good and are comfortable IEMs (all to me personally of course).
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
Let me start off by saying that these IEMs have a vibe to them that I like but in certain contexts.
I have said many times that a lot of the music I listen to is simple vocal centric music with simple acoustic instruments and I find that the DZ4 give a special flavour to this. These are not the most detailed of IEMs, I don’t find myself focusing on string attack of guitars nor on minute details happening in the percussion section. I find them more relaxed, smooth, with a habit of making simple things sound a little fuller and more “rounded”. They sort of have a warm sound to them when reproducing simple stringed instruments but without the additional presence of bass.
Let’s take a look at the graph in comparison to my usual preference target as a reference:
You can easily see that they are close to my target and that is something that obviously puts them off to a good start for me personally. However, while I have no disagreement with the tuning, nor do I doubt it is very close to my preference target, I do find that the presentation is very different to the usual more clean and neutral response that the majority of IEMs tuned in this way present.
It is difficult to explain with words but to use a reference that I have used sometimes in the past, it is a similar presentation to a set of Sony speakers that I have had for many years. They (the speakers) are not the most detailed nor impressive of presentations, yet they have a relaxed way of making things seem warm and smooth (again, without additional bass presence). It is similar in some ways to that extra vibrance that a tube amplifier adds, where the frequency response may remain the same but the sensation is of more body.
This is something, as I just said, that I find works very well for my usual preference in music. Adding flavour and intimacy but without losing soundstage or presence. In this regard I have enjoyed the DZ4 very much.
However, moving over to my usual detailed listening session and focusing on my list of test tracks (available here as always), these things that are beneficial to certain music I find to be detrimental to others. They can actually make the lower end sound thin and almost as if phase cancellation is occurring. So, to keep things consistent with all my reviews, here is what I experience when putting them through my usual tests.
Subbass is not rolled off but I would say that, for those looking for a bass head presence, these are not going to fit the bill. While I don’t find the subbass to be too weak for my tastes, in fact it is over my reference on the graph, the DZ4 does not give a sensation of a huge presence in the lowest of notes. “Chameleon”, as my usual reference, is not a track that I find to be impressive on the DZ4. There is rumble but it is not the cleanest and I get the sensation of more presence due to that than due to the amount of subbass per se. I would much prefer more presence but cleaner (or the same presence but cleaner).
Midbass is something that goes the same way. As far as the quantity, I find the DZ4 to be leaner than I would have guessed looking at the graph. Again there is some body to the bass on simpler tracks, with that almost pseudo-harmonic sensation, but with “Crazy” as an example, I find the lower end of the guitar to be a little boomy but lacking in presence at the same time. This is a sensation that I have not come across before in IEMs.
Moving to something more electronic, like “No Sanctuary Here”, again I find the bass to seem to lack presence yet still be a little out of control. It is not terrible, by no means would I say that the bass is loose and boomy, but I get a similar sensation to “Crazy”, where the bass seems to fill out but not present itself in a way that impresses those looking for a great bass hit.
The mid range is something that works much better for vocals and acoustic instruments than it does for electronically produced music. With something like “Sun Is Shining”, there is again this pseudo-harmonic response that makes things seem a little unclear and thin, whereas a track like “Happens To The Heart” the vocals get a lovely smooth body to them, the same with vocals by Dominique Fils-Aimé in “Strange Fruit”.
The upper mids depend on the tips used and here is where I found the “Vocal” tips worked to bring vocals forward and provide them with a little more clarity, for example “Whole Lotta Love”, whereas the “Balanced” tips sort of merge the vocals into the lows and mids on that track. While I would say that bringing vocals a step forwards may be beneficial, as I said before, it seems to work against the overall presentation of the DZ4. I find that when vocals are brought forwards, it makes them stand out against that smooth bodied signature, making them seem harsher than they actually are.
As we get into the upper ranges, the treble is quite tame and again smooth but with a slightly “off” sounding timbre. There is no sibilance, both “Code Cool” and “Diamonds On The Soles Of Her Shoes” are tamed in this regard, yet I do find that the upper ranges of pianos can come across a little unnatural. This is mainly because, in my opinion of course, the upper ranges don’t seem to have that same pseudo-harmonic sensation that the lower ranges do. This means that when instruments that extend well into the higher ranges, such as the piano, have a tonality that is slightly different to the tonality of the same instrument in the lower ranges. I don’t think that this is because the treble is actually wrong in it’s tonality, just that it is different (possibly more natural even) than the lower ranges, creating the sensation that something is not quite right.
Soundstage is decent. I wouldn’t say it is huge but it is above average for a set of IEMs. However, that extra body makes things sound fuller and as though there is more space around you, which, again, works very well for acoustic instruments and vocals. Detail and image placement is not great but I don’t feel that it is due to it lacking, more that it is smoothed over giving a general presentation rather than individual image placements for the smaller details.
Conclusion…
The DZ4 are a set of IEMs that I have enjoyed immensely for my day to day listening, where I found myself enjoying album after album of acoustic music from many artists. That feeling that there is a bit of tube flavour (sorry but I can’t think of a better description at this moment) going on in the lower and mid ranges is something that I find enjoyable for relaxing and enjoying the music. However, when moving over to specific more detailed listening tests with other genres, I didn’t feel that they were quite as enjoyable.
To be honest, I don’t think this is necessarily a bad thing at all. They may not be an all-round detail focused IEM but there are plenty of those already on the market, it is nice to see a different approach to the presentation of music.
I honestly think that if you are someone who mainly listens to vocal centric and acoustic stringed instruments, then the DZ4 are something that you are really going to enjoy. If your tastes lay in other genres and/or you are focused on detail retrieval, then maybe look elsewhere.
By no means is this a negative review, in fact, if I were to review these as a consumer with my tastes, I would say these are excellent. However, reviewing them from the viewpoint of a reviewer, there are things that are to be taken into consideration.
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
4 Likes
You take me back to my mis-spent youth. I used to hang out with a grad student in Acoustical Engineering, who was an audiophile, early electronic instruement builder (nominally an “organ” but functionally part synth) and speaker builder. My present 1972 era Rectilinear III speakers are mods that he made. And he sold them to me to finance his “BMF-1” speaker (8 cubic feet, dual woofer with dual passive radiators) that could “synthesize 64 foot pipes”. He usually was mumbling “Butterworth” under his breath, playing with a slide rule or early HP with RPN, and looking at a “cookbook” which was astonishlingly similar to the appendices HERE.
Note: Do not click on the link unless you are an engineering nerd. Most of the math is beyond me, less then than now, but I don’t grok how you would have both a port and passive radiator, particularly in a tiny enclosure.
4 Likes
Blon x Z Jojo
TLDR version on YouTube: TDLR - Blon x Z Jojo
The Blon x Z Jojo have been sent to me by Linsoul in exchange for the publication of my thoughts and opinions in this review. Linsoul have made no requests and, as always, I will be best to be as unbiased and honest as humanly possible in my review.
You can find a link to the Jojo via Linsoul by visiting the version of this review published on my blog (link to blog at the end of this review).
As always, it is a non affiliate link.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
I am going to start by absolutely clear as I always say I am going to be as honest as unbiased as humanly possible and that is still the case. However, it is possible that these IEMs already start off on a difficult note with me personally. I will try to not let that influence my review but it is possible that some of that preconceived bias makes it into this review, even if subconsciously.
What am I talking about? Well, the Jojo are based on the Blon BL05s, a set of IEMs that I reviewed way back in 2020 (you can find that review here) and still remain the set of IEMs by Blon that I most enjoyed spending time with during the review. People raved about the BL03 but personally I much preferred the BL05s. So, imagine that you have a song that you loved but haven’t heard for a very long time and then decades later (yes, 3 years in IEM terms are the equivalent of decades in the music world), somebody takes that song and makes a cover version of it… that cover version had better be damn good for you to not hate it! You are already going to be skeptical before you even hear it and preconceived biases are always difficult to get over.
I hadn’t taken the BL05s out of the closet for a very long time (years) but I remember that I found them to be less prominent in the bass area than the BL03, something I prefer, but lacking in the upper ranges, needing a little more extension and air up there. My other complaint was that the nozzle was too short (although they did fit me ok), the tips were crappy and the colour was far from something I would choose. But in short, those are my memories of the BL05s.
So, I grabbed the BL05s from their dusty case and gave them a listen. They are not as good as I remember but I have listened to a lot of IEMs since then which have given me a lot more experience as well as the quality of IEMs getting much much better since I reviewed them. While I was listening to them, I read my review of them and, while I don’t think the BL05s are as good as I remember them (memories are like that), I still pretty much agree with my findings back then.
Ok, so Zeos (who I think is a great guy and had a lot of fun with in Munich, but don’t really agree with a lot of his headphone tastes) took those BL05s and, in collaboration with Blon, came up with his “improved” version.
I am going to go into my usual review process in just a second but as a TLDR here is what I feel that has changed from my opinions of the BL05s to the Jojo:
The bass which I found more pleasurable on the BL05s than the BL03, due to being less exaggerated, is now exaggerated on the Jojo.
The upper mids which were maybe a little too present on the BL05s but tolerable, have now been reduced to a point that they are lacking.
The extension and air that was lacking on the BL05s is now lacking much more on the Jojo.
The colour that I wasn’t a fan of on the BL05s is now a different colour that I am still not a fan of.
The nozzles that could have been a little longer are still the same length and the tips that were crappy have been replaced with tips that are about the same.
I think you can all guess where this review is going, so let’s get it over with.
Presentation…
The box is more colourful than the original, that is for sure, and also looks a fair bit better. The packaging is simple and the design doesn’t scream quality but it’s sort of fun. To be honest, the packaging is something that I really don’t care about unless it is really amazing or really terrible, this is neither.
Inside we get the IEMs, the typical Blon sack for storage, the cable and 9 sets of tips (three sizes of three different types).
Nothing really special as far as packaging goes but nothing to really complain about either.
Build and aesthetics…
The build seems to be identical to that of the original BL05s, with maybe the paint being less thick. They have the same shape, the same length (short) nozzle and use the same connection style for the cable. I would have preferred it if they had opted for a normal 2 pin connection rather than the QDC style but the included cable is actually pretty decent, so you shouldn’t really need to think about swapping it.
The cable is well built, with what seems to be decent hardware (except for the plastic QDC connectors) and is a quadruple weave that uses pink/purple and silver wires, with a sparkle to them. I have no issues with the actual cable but I really can’t say I like the colour.
The aesthetics of the IEMs are basically the same as the original except in an even more “off the wall” colour. The finish is somewhere between pink and a light purple, with Jojo on the gold accents of the face plates and Blon in the center circle on one side, with the Z Reviews logo on the other. I’m afraid that, as with the cable, I can’t say I am a fan of the colour.
Comfort is exactly the same as on the original, which means that many people will suffer with the length of the nozzles, or rather the lack of it. Personally they fit me ok but I do find that I need to choose the largest tips and out of the three different types included, only the grey ones gave me a seal.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
Zeos had a set of these with him in Munich and I got to listen to them. Shortly after handing them to me, he wandered off and by the time he came back, I had passed them on to someone else, so I didn’t get asked for my opinion. At the time I thought they were overly bassy and too dark, so it was nice to avoid giving a negative answer.
When they arrived on my desk from Linsoul, I was obviously not going to avoid spending time with them but, as you will have guessed from the intro, my opinions haven’t changed that much. Now, I am not going to hate on them, that is certainly not my style as I feel that people have very different tastes, so, just because I don’t like something, it doesn’t mean it is bad, it just means I don’t like it. My aim is to explain why, so you can decide for yourself if you will like it or not (within the possibilities of judging without hearing of course).
So, before continuing, here is the graph of the Jojo with my personal preference target for reference:
And so you can see what I was referring to in regards to the original BL05s, here are the two compared:
Ok, so on with the usual procedure and starting with the subbass, it is not bad but it is not great either. There is plenty of rumble, although some other bass head sets do offer more, but I find “Chameleon” to be a little loose and not quite under control in those lower notes. Another example is “Royals” where that grit or dirt in the subbass is not quite defined on the Jojo. There is (more than) enough subbass but it just doesn’t have the clarity that I would like.
The midbass is elevated and is also not the cleanest here either, although I do feel it is better defined than the subbass. Listening to “Crazy” for my usual fatigue test, it is not terribly fatiguing, I can listened to the track without needing to take a break but I find that I would prefer it to be cleaner, especially during the chorus parts of the song, where the guitar is too boomy for my tastes.
For bass guitars in classic rock, it gives them a nice body (such as in “Whole Lotta Love”) but it does make itself a little too present, moving the focus towards those ranges.
Throughout the midrange, vocals and instruments are not bad as far as timbre goes, yet the upper mids don’t have quite enough presence to them to counter those lower mids and mid bass, making things lack clarity and seemingly missing presence. The original BL05s were a little too hot in this region and while I appreciate the reduction, I feel that it has been taken a little too far.
In addition to that lack of presence in the high mids, the upper frequencies are also quite subdued and roll of rather rather quickly, making the overall presentation rather dark and warm. This does work well to avoid any sign of sibilance in my usual “Code Cool” test but also makes the track seem a little lifeless and lacking clarity.
Details are masked by the general tuning and while they are not bad, the presentation does not favour the sensation of detail, with things sounding rather smoothed over. This is something that also has a bit of a negative effect on image placement. While the placement of said images is not terrible, the soundstage is sort of below average and the smoothed over presentation makes it difficult to pinpoint things, especially when a track is busy.
Vs Blon x HBB Z300…
I don’t usually do comparisons in my reviews but the Jojo are a set of IEMs that actually remind me more of the recent Z300, which is an HBB collab, than the original BL05s (at least as far as tuning goes).
Here is a graph of the Jojo vs the Z300:
As you can see, the tuning is very similar, yet listening to them side by side, there are noticeable differences.
First off, I find the Z300 to be more detailed in general. Don’t get me wrong, it is not a set that focuses on detail and to some extent suffers from the same issue as the Jojo, where the overall smoothed and warm tuning has a negative impact on the presentation of detail, or at least the appreciation of them.
The Z300 is also lacking in air and extension in the upper ranges (for my taste), yet this is even more noticeable on the Jojo, making it even more apparent. This affects image placement more on the Jojo also.
Finally there is the shape and build of the Z300, which, in my opinion, is much more mainstream than the Jojo and will be comfortable for more people. I am not a fan of gold personally either but the artwork on the shells of the Z300 is definitely more complex than the Jojo, with them also being available in Blue (which I think look good).
In general, the things about the sound of the Z300 that I wasn’t overly fond of are exaggerated on the Jojo, along with the addition of a shell that is more difficult to fit and an aesthetic that is more difficult to like (for me at least).
To be brutally honest, at a price that is $15 cheaper than the Jojo, I think the Z300 offers a better overall package.
Conclusion…
I said I wasn’t going to hate on the Jojo and I think I have managed to refrain from doing so, but I didn’t say my review would be positive. I am sure that the Jojo will fit the tastes of many out there but I see it as a difficult sale for two main reasons.
For those who loved the original BL05s, the Jojo is completely different as far as sound goes. Out of all the tweaks that I would have suggested making to the original, the only one that has been made in the right direction is the one just above 2kHz, and that has been tweaked a little too much.
For those who do like the sound signature that the Jojo presents, the Z300 already exists, which does it better and for less money. They are both by Blon and they are both sold in the same places, so the only real reason to pick the Jojo over the Z300, in my opinion, would be to support Zeos instead of HBB, which is something I am not going to comment on as that is irrelevant to my evaluation of the IEMs.
This is the first collaboration by Zeos that I have heard and, although we don’t coincide on many of our opinions about sound, I would have loved to have liked it.
Unfortunately I don’t.
As usual, this review is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
Just say it. Let it all out. You hate it.
2 Likes
Hate is such a strong word… There are IEMs that I dislike much more and for much more money. Let’s just say that they will probably gather even more dust than most others.
6 Likes
Review - Tripowin x HBB Kailua
TLDR version on YouTube: TDLR - Tripowin x HBB Kailua
The Tripowin x HBB Kailua have been sent to me by Linsoul in exchange for the publication of this review. As usual, or rather, as always, Linsoul have not made any requests or comments and I will do my best to be as unbiased and sincere as I can in this review.
You can find the Tripowin Kailua via Linsoul by visiting the version of this review published on my blog, link at the end of this post.
As always, the link is non-affiliate.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
I have come into this review with possibly more of a positive mindset that I would have a month or so ago. As you all know, I have reviewed a few of the collaborations by HBB and I wasn’t overly excited about any of them, then the last one I reviewed, the Blon Z300, I found to be a very enjoyable set.
Exactly the same story happened with Tripowin but even more extreme. I reviewed a couple of their sets and really disliked them, then the last set I received from the brand, the Piccolo, I found to be much more palatable.
Therefore, I was interested to see what the combination of both of them brings to the table.
The Kailua is the latest collaboration by HBB (of Bad Guy Good Audio Reviews), joining quite a list of previous collaborations, and features a dual dynamic driver configuration. In this case, a 10mm DLC driver is being used alongside a 6mm composite diaphragm driver.
Presentation…
The box in which the Kailua arrive is covered by a cardboard sleeve with an image of the IEMs on the front and the name of the model. On one side we get a few specs and on the the name again with a few certification logos. Nothing much to stand out but it is modern, clean and simple, more than adequate for an IEM box.
Inside the box the presentation is also quite simple, so nothing really exciting if you are looking for the unboxing experience (which is something that I don’t really care about anyway). Included we get the IEMs, the cable, 6 sets of silicone tips (3 sizes of 2 types) and a simple after sales document.
All quite simple and nothing out of the extraordinary.
Build and aesthetics…
While there is no mention of the materials used in the shells (at least that I remember seeing), they do seem to be completely made of metal and painted (white in my case). They are very light weight so the metal is obviously some kind of aluminum alloy and are also rather small.
The shape of the shells is reminiscent of something like the Airship or even the Sennheiser IE series to some degree, which are IEMs that I find extremely comfortable. In the case of the Kailua, I find that it puts a bit of pressure on my tragus and does result in a slight discomfort after a while. It is not uncomfortable to the point where I need to stop using them but I do notice that I am wearing them. Of course, everyone’s ear is different, so this is probably not relevant to the majority of people, as they are small and easy to fit, so they should be comfortable for most.
The included cable is nothing special, it is thin and simple but is also lightweight and certainly does its job. It reminds me quite a bit of the cables included by Moondrop with the SSP and SSR models (although it is quite a while since I pulled those out, so I may be remembering wrong).
The Kailua is available in three colours, two with black shells and a choice of purple or blue faceplates, and one with white shells that has a pink faceplate. I can’t say I am in love with the aesthetics of any of the three options but beauty is in the eye of the beholder and they are quite simple, so no one should find them offensive.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
Let me start out by saying that my first impressions of the Kailua is that it seems to be an improved version of the Blon x HBB Z300. I don’t usually do comparisons in my reviews, which is why I always follow the same format and use the same reference tracks (making it easier for people to compare themselves between models I have reviewed), but that was my first thought.
I said in my review of the Z300 that I enjoyed them but I found treble extension to be lacking and that they could benefit from some more air in those upper regions. I also said that detail suffered on the Z300 due in part to that lack of extension and air, and that they sometimes made tracks come across a little too warm for my preferences.
When I say that the Kailua is an improved Z300, I am referring to them improving those issues that I just mentioned, coming across a little clearer, with more air and extension, and a better detail response than the other model. Of course, we need to remember that the Z300 is a 30€ set of IEMs, where the Kailua is a 70€ set of IEMs, but I do feel that the improvements are worthy of the investment.
Anyway, here is the graph of the Kailua in comparison to my usual preference target for reference:
And to give a visual of what I was just talking about, here is the Kailua in comparison to the Blon Z300:
Ok, so, with that out of the way, let’s get on with how the Kailua perform on their own, using my usual test track list for detailed listening.
Starting off with the subbass and listening to the obligatory “Chameleon” work out, the subbass is clean, well defined and keeps up quite easily with the track. I don’t feel that these IEMs are heavily focused on the subbass range and the clarity possibly adds even more to that sensation, but as far as rumble goes, there is plenty for my tastes.
In the midbass section, I do find that “Crazy” has just a touch too much boom for my tastes. As with the subbass, this is kept clean and well defined, so I don’t find it overly fatiguing (unless I raise the volume too much) and it it keeps itself elevated but out of the way of the mids. Bass drums have a very nice clear punch to them, as do bass guitars, making for a lower range that is north of my personal preferences but impressive.
In the midrange vocals are clear and do not get hidden behind that low end boost. “Elephants on Ice Skates” has a nice separation between the lower bass notes and the mid and upper mid range of instruments. Even when the bass notes are ringing, the detail of the bass and guitar in the mid range is easily appreciated.
Moving into the upper mids, there is enough to brings vocals, and the upper range of electric guitars, into the spotlight when they should be but without making them too harsh or even too up front. Using “Make Noise” as a test for how much they push vocals forwards, I have to say that they don’t overdo it at all. The reason that I chose “Make Noise” for this test is due to the vocals of Busta Rhymes being mixed poorly in the recording and being quite difficult to focus on, especially when there is a larger presence in the lower mids and midbass. In this case, his vocals are not pushed forwards yet they are clear and are quite intelligible (if you can follow his style that is ).
As we get into the upper ranges, I am not overly fond of that dip between 3k and 4k but it is not bad and is saved to some extent by that peak around 4.5k. Luckily this peak is at 4.5k and not at 5k, where I would probably be complaining about it (due to my intolerance for 5k peaks).
“Diamonds On The Soles Of Her Shoes” is maybe not a clear as it could be in the upper ranges yet this removes some of the harshness of the brass section and also eliminates the sibilance from Paul Simon’s voice which is present on so many sets. Testing for sibilance with the usual “Code Cool”, I would place Patricia Barber between a -1 and -2 on my totally non-scientific -12 to +12 scale. This proves that sibilance is well reduced with the Kailua.
However, while sibilance is reduced, there is still a nice sensation of air and extension. It is not the best I have heard in this regard but it is nice to hear a set that manages to be clear without being harsh or sibilant.
Detail is good, although I would say that detail is better in the lower and the mid ranges, possibly with the 10mm having better performance than the 6mm in this regard?
Soundstage is along the lines of average for a set of IEMs. The sensation of stage is not huge but the IEMs do a nice job of using the space they have at their disposal, making for an enjoyable sensation.
Conclusion…
The Kailua are possibly the IEMs that I have most enjoyed out of the HBB collaborations that I have tried, and are certainly the set from Tripowin that I have most enjoyed to date. They are certainly not perfect and have other competitors around their price range that I would probably prefer personally, but they are definitely not a bad choice.
Of course everyone’s ears are different and our choice in music also varies wildly from one person to the next, but I can see a lot of people being very happy with the Kailua. I am glad that my enjoyment of IEMs from Tripowin and HBB continues to improve and am actually now looking forwards to the next set that comes this way.
As always, this review is also avilable in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
Have you reviewed the DUNU Titan S, and if so how would they compare? The Titan is what I’ve been buying in this range for occasional give-away, so I do keep a pair for occasional use. Astonishingly they are about a year old now, so I wonder if something else might be a better go-to.
1 Like
I have:
I use the Titan S regularly, it sits on my home desk and is used for editing video (and of course some music listening between edits).
I still think the Titan S is a great set, a lot more neutral (and to my personal tastes) than things like the Kailua. I feel some people will enjoy a little more warmth than the Titan S offers, so maybe the Zero: Red and even the Kiwi Cadenza would be more of a universal fit than the Titan but the Titan remains a great budget set of IEMs!
4 Likes
I was contacted by Kate from KZ recently and invited to review the new Castor IEM. I received a sample in exchange for the review. Link to product:
KZ Castor
Knowledge Zenith (KZ) is known for producing excellent value high-performing earphones, including the popular ED range of dynamic driver IEMs and the hybrid series beginning with the ZST. The company has recently taken a new direction in design and tuning and this is reflected in the nomenclature with some newer products given names rather than alphanumeric titles. The Castor, named after one of the twins of Greek legend, is a dual dynamic model with tuning switches and retails for around £20.
The Castor is presented in a compact white rectangular box, as we have been accustomed to seeing from KZ. The front of the box bears a line drawing of the IEMs and the rear features the specifications. Removing the slip cover reveals a white plastic tray with the IEMs inside, below which is a white card box containing the accessories. The contents comprise:
● Castor IEMs
● 2-pin silver-plated copper cable
● Three pairs “Starline” silicone ear tips
● One pair foam ear tips (pre-fitted)
● 2-pin silver-plated copper cable
● Tuning lever
● Documentation
The model tested here is the Harman Target version and it is finished in a silver colour with the name “Castor” printed in black in a freestyle font on the faceplate. The lower half of the earpiece is transparent allowing the inner workings to be seen. There is a large vent on the lower edge of the earpiece similar to that on the Krila hybrid IEM and the four tuning switches are mounted on the rear of the shell. The raised clear plastic 2-pin sockets are fixed to the top of the unit. Due to the stacked design of the drivers, the earpieces are fairly chunky and do protrude a little beyond the ears. The build quality is excellent.
The cable is a silver plated copper type with a 2-pin 0.78mm connector and a gold plated 90° angled 3.5mm plug. The sheath is transparent, revealing the copper wire within. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider.
Internally, the Castor employs two dynamic drivers in a stacked configuration. Bass duties are handled by a 10mm unit dealing with the frequency range up to 200 Hz while the midrange and upper frequencies are covered by an 8mm driver.
The four tuning switches enable the user to adjust the bass, mid and treble as follows:
Switch 1: increases bass by 1dB
Switch 1 + 2: increases bass by 2dB
Switch 3: increases mid/treble by 1dB
Switch 3 + 4: increases mid/treble by 2dB
I discovered that the profile became increasingly V-shaped as the switches were engaged and affected the Castor’s neutral balance which I preferred. The mids became recessed and I also felt that the staging was affected, becoming narrower and more shallow. Therefore, during testing, all four switches were set in the off position.
The Castor was tested with Xduoo X20 and Hidizs AP80 Pro X DAPs. A smartphone, via a USB-C dongle, and a digital radio were also used. The IEMs were subjected to a burn-in period of 100 hours before evaluation.
Sound Quality
The Castor was immediately impressive in its presentation with a lively, full tonality, precise transient attack, bright extended treble and a spacious soundstage. It majors on technicalities, and the overall profile was well balanced with a moderate emphasis in the high frequencies and an unexpectedly forward midrange considering that it was designed to follow the Harman Target. The bass reached well into the lower octaves with good impact, the mids were clear with a natural timbre and treble detail was abundant. It was astonishing to hear what can be obtained for just £20. A few years ago this level of quality would have only been available at a much higher price.
Bass
The bass showed fine texture and resolution with good extension. It did not dominate the rest of the frequency range, but remained in balance with the midrange and treble. There was plenty of weight and impact when present in the recording and I did not find it necessary to increase the level by using the switches or applying EQ. The delivery was clean, displaying good speed and a natural timbre.
“Nuvole a Colori” comes from the album “Stagioni de Venezia” by Rondo Veneziano. The track is a fusion of synthesisers and baroque violin, supplemented by electronic percussion. It begins with powerful synth strings and deep bass playing a descending motif in the minor key. Dramatic diminished chords are accompanied by violin arpeggios and the Castor really made the most of the arrangement here with a focused, weighty bass showing fine resolution, detail and texture. There was no boominess or overhang and the delivery was clean and precise. The bass driver’s character resembled a BA in its speed and impact yet possessed the natural timbre more associated with a dynamic unit.
Malcolm Arnold’s suite of “Four Cornish Dances” composed in 1966, reflects the landscape, people and traditions of the county with a dash of humour added for effect. The third movement is inspired by marching bands and Methodism. The piece begins with a bold theme from the brass section underpinned by a sustained bass drum accompaniment. The Castor dealt with this very well with a healthy rumble and fine rendition of the tuba bass line. The piece rises to a climax and, after a spirited section featuring a solo tambourine, it concludes with a triumphant chord with the full orchestra which was handled thrillingly.
Mids
Although based on the Harman profile, the Castor’s midrange was not recessed, and in fact was a little brighter and more forward than expected. There was a wealth of detail, a clean and airy character and excellent separation. The tonality might be described as bright/neutral with an attractive immediacy and never strayed into harshness.
I have always found cello and piano to be good indicators of midrange quality in a transducer. Venezuelan composer Reynaldo Hahn’s “A Chloris” is a homage to Bach. In the version by Julian Lloyd Webber and John Lenehan, the Castor’s delivery was clean and accurate. The two instruments displayed a natural timbre while the ambience of the recording venue was reproduced authentically, taking the listener direct to the performance. The incisive nature of the bowing brought out a clear depiction of the “rosin” whilst the piano’s overtones were equally well rendered, adding to the realism.
Bob Dylan’s “Farewell Angelina”, performed by Joan Baez, showed what the Castor was capable of with vocals. Accompanied simply by double bass and guitar, Baez’s voice retained all its character with her diction reproduced cleanly and precisely. The balance with the accompaniment was well rendered and the emotion of the performance was captured with perfect clarity.
Treble
The Castor’s treble was very extended and somewhat brighter than neutral. There was plenty of detail and lively transients, with notes starting and stopping with precision and upper frequencies displaying excellent detail. The presentation was quite forward with some extra brightness at higher volumes occasionally dominating proceedings.
Zimbabwean multi-instrumentalist Hennie Bekker has produced a large catalogue of music in various genres including jazz, film music and New Age. “Summer Dawn” from his album “Summer Breeze” features banks of Synclavier strings, woodwind samples and electronic embellishments. The texture and extension of the treble was a joy to hear and blended perfectly with the solo woodwind samples. Bright synth percussion elements danced across the stage and created a colourful panorama of sound with exceptional clarity.
Lavinia Meijer is a Dutch harpist and has recorded many albums of classical transcriptions and other genres. Claude Debussy’s “The Girl with the Flaxen Hair” comes from her 2015 album “Voyage”. She has a light and gentle touch and the Castor’s reproduction stayed true with a delicate and detailed rendition of the piece. Being a more gentle piece, the treble remained smooth and clean. The fine detail did not escape the Castor’s attention with the feeling of the piece taking centre stage and revealing an impressively pure quality of tone.
Soundstage
The Castor produced a spacious, open and atmospheric stage with precise imaging, layering and separation. The effect extended beyond the ears with good depth and height. Movement of elements within the image was reproduced effectively with the location of instruments easy to discern.
Kevin Braheny is an electronic music artist who pioneered the use of analog synths in the early days of the genre, developing “The Mighty Serge,” a modular analogue system that he still uses in his music. His output also features the Steiner EWI (Electronic Wind Instrument). These elements come to the fore in “Desert Walkabout” which appears on the compilation album “Western Spaces”.
The music is described as “a celebration of the sense of freedom inspired by the timeless beauty of arid vistas” and the Castor certainly managed to convey that impression, with a palpable sense of openness and space. Delicate percussive elements manifested in a cavernous acoustic while the solo EWI soared above the accompaniment in impressive fashion. There was a particularly good portrayal of depth with subtle sounds appearing to emanate from a distance, adding to the atmosphere and emphasising the feeling of isolation.
Anatoly Liadov’s beautiful tone poem “The Enchanted Lake” received a wonderful interpretation from the Philharmonic Symphony Orchestra of London under the baton of Charles Gerhardt. This is a particularly fine recording and the Castor did not disappoint. The introduction features bassoons, horns and harp and all their different locations were pinpointed in impressive fashion with a real sense of space and perspective. The bass drum deep in the image, the attractive layering of the strings and the interplay between the various sections of the orchestra were presented in a realistic way, producing a satisfying experience.
Comparisons
Lindy Cromo IEM-75
The Cromo, like the Castor, is a dual dynamic IEM. The bass driver is 15mm in diameter and the treble unit has a 6mm diaphragm. The two drivers are in a dual concentric configuration. The cable is fixed and the large aluminium housing is very comfortable.
The Cromo has a warm and inviting profile with an easy going musical character. The timbre is natural although slightly coloured. The Castor is brighter, more detailed and has a better transient attack and is superior in technicalities. With a comfortable fit and cable down wearing style, it is possible to listen to the Cromo for long periods without fatigue, whereas the Castor’s assertive delivery can become tiring after extensive listening. The Castor has a better build quality and detachable cables. The two IEMs are very different animals and are more complementary than rivals, it being a choice between the technical and the musical.
Audio Dynamix Euphony
Audio Dynamix was a company producing high quality Bluetooth speakers and ventured into the IEM market with an ambitious design for the time. The Euphony is again a dual dynamic design also in a stacked configuration, with a 10mm bass driver and a 6mm unit covering the mid/high frequencies. The diaphragm is a Mylar type 6 microns thick. The earpieces are crafted from aluminium and they have a T2 interface which is similar to MMCX but smaller in size. This connection is used by Westone and Etymotic.
The Euphony is quite similar in tonality to the Castor but a little more “laid back” in its presentation. It still possesses a strong and entertaining delivery but is a little more V-shaped in nature. The midrange is only moderately recessed but detail is very good, in fact similar to the Castor but with a somewhat softer quality. Bass goes a bit deeper than the Castor but it has a more “rounded” tonality whereas the Castor is faster and more incisive. Treble and soundstage are similar but the Castor’s treble extension is superior.
KZ Krila
KZ’s recent Krila is a dual hybrid model featuring the second generation Xun dynamic driver with a 10mm diaphragm, paired with an updated version of the long-running 30095 BA. Housed in a similar shaped earpiece to the Castor, it too, is well made. It has the same 2-pin cable as the Castor.
The Krila sounds different from the Castor, being more V-shaped in profile. Its detail retrieval is on a par with the newer model, but the Castor’s midrange presents vocals in a more immediate fashion. In the bass, the Krila’s Xun driver is preferable with more weight, rumble and impact, although of course the Castor’s bass switches can be used here if more bass is required. The treble is similarly extended but brighter, occasionally straying into slight hardness which sometimes happens with BAs. The Castor is smoother here, with better separation. The Krila and Castor are both excellent models in their price range.
Conclusion
Technology has moved on very quickly in the world of IEMs. In the last few years things have advanced and manufacturers have responded to customer feedback regarding tuning. The Castor is an example of that. To be able to experience this at such a low cost brings high fidelity sound within the reach of everyone.
With a crowd-pleasing profile based on the Harman curve, the Castor also possesses a notable immediacy, presenting music in a lively assertive manner. The four tuning switches allow some adjustment, but at times, I would have liked a function to lower the levels rather than increase them, especially in the treble, which can be a bit over enthusiastic. Lengthy listening did result in a little fatigue but the resolution and detail available here was remarkable for the price. The Castor is definitely one of KZ’s best models and is a bargain at the modest asking price.
7 Likes
Doing this review in exchange for $14.99 IEMs seems like a losing value proposition. How much time did you spend on it? Your children would be eating Soylent.
1 Like
Keep with the times @pennstac, Soylent is a hip vegan beverage. It costs $14.99 for just a few bottles!
6 Likes
Are we sure it’s “plant protein”?
2 Likes
Tangzu x Divinus Fudu Verse 1
TLDR version on YouTube: TDLR - Tangzu x Divinus Fudu Verse 1
The Tangzu x Divinus Fudu Verse 1 have been sent to me by Linsoul in exchange for the publication of my review. Linsoul have not requested anything and, as always, I will do my personal best to be as unbiased as humanly possible.
You can find a link to the Fudu Verse 1 via Linsoul by visiting the version of this review published on my blog (link at the end of this review).
As with all the links I publish, it is a non-affiliate link, meaning I do not receive anything in exchange for clicks or purchases via the link.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
Tangzu x Divinus Fudu Verse 1… that is certainly a long name! Tangzu seem to have a tradition of adding verses and chapters to their IEMs, so my guess is that there will be a follow up to these IEMs (which I am going to refer to as Fudu for brevity).
I originally reviewed Tangzu before they were actually Tangzu (they were called T-Force at the time) and I have to say that they have made some interesting sets. I felt that the Tangzu Wan’er were a great set of IEMs in the sub 20€ bracket, well, they still are, although there is a lot of competition in that price bracket.
The Fudu are in a slightly higher bracket, selling for around 80€ on Linsoul at the time of this review, and while this puts them outside my personal ultra budget limit of 50€, they are still not an expensive set of IEMs.
The Divinus part of the name comes from the collaboration with the brand (Divinus) who make ear tips. I have never tried, or heard of, Divinus tips (until now) but it seems that they are well known amongst other IEM users.
So, let’s take a look at this latest release from Tangzu and see what we get from the brand that has given me positive vibes in the past.
Presentation…
Tangzu is pretty generous with the contents of (most of) their models, with packaging that usually focuses on traditional Chinese decor. In this case, we still get a hint of that Chinese traditionality on the box but much more subdued than their usual packaging.
A rather large black box is covered with a black sleeve showing greyscale clouds and birds in the background and white model name and branding on the front. This simple presentation does give the packaging a bit more of a more elegant look (in my opinion) than many other presentations from the brand.
Opening up the box, we find the IEMs in a cardboard and foam cutout in the center, with 3 sets of Tang Sancai tips and 3 sets of Divinus tips to the left. On the right we get a (faux) leather case with zipper closure that reminds me more of my grandmothers coin purse than an actual IEM case. Inside the case (purse?) we find the cable which, in my case, is terminated with a 4.4mm balanced connector, although 3.5mm unbalanced is also available.
The presentation in general is not remarkable but is good, with a selection of contents that may not be the most vast at the price point but does seem to be of quality.
Build and aesthetics…
The IEM shells are 3D printed resin with a very dark tint, allowing just a hint of the internals to be seen. On the front of the shell they feature a metal faceplate that shows Tangzu on the right earpiece with Divinus on the left.
The IEMs are small and light, using a pretty generic shape, which should work for the majority of people out there. Personally I have not experienced any discomfort. The faceplate has sloped surroundings that aim to a triangle in the center (where the branding is shown in white). I can’t say that they are going to win any prizes for their beauty but they are not overly dreary, just a little simple.
The included cable works fine but does have a bit of a cheap feel to it. It is also a little bit “springy”, although this may reduce over time with use. As I have been using them at my desk, the cable hasn’t really moved a lot, so it still has that new springyness to it.
The included Sancai tips are tips that I received with a previous set and find quite nice. They have a textured finish to them and, while they are not my number one prefence, I have found that they work well with some IEMs that I find overly bassy. The Divinus tips have been a pleasant surprise and I feel that they work well with the Fudu (I haven’t tried them on other IEMs yet), improving the sound at both ends of the spectrum (to my ears).
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
There is a noticeable difference between the 2 kinds of included tips, with the Divinus moving a bit of the low end presence towards the subbass region instead of the midbass (although midbass is still very present) and seemingly giving things a bit more sparkle in the upper ranges. These have been my preferred choice for the Fudu.
My measurements, as always, are taken with foam tips to keep consistency between models, so the frequency response will not match exactly with the included choice of tips but is still pretty close:
Starting off with the low end, here I found the tips to play quite a large role in the presentation. Well, tips always play a big role, but in the case of the Sancai vers the Divinus, I found that the latter placed a little more emphasis on the subbass ranges, making the midbass area seem a little less prominent, whereas the Sancai took a little away from the subbass, making the midbass be more of the center of attention in these low ranges.
Using my typical “Chameleon” as a test track, there is enough subbass with both of the tip choices, yet, as the Divinus move the attention a little further down, it doesn’t seem to be as overpowering as with the Sancai tips. Overpowering is maybe the wrong term, as it is not like these IEMs are bass monsters, but as someone who prefers a less boosted midbass range, I found the Divinus to work better in this regard.
The same goes for more electronic focused tracks, with things like “No Sanctuary Here” being more to my preference with the Divinus tips.
In general the bass range is rather smooth and relaxed rather than fast and detailed, something that holds true for the rest of the frequency ranges also, with these IEMs giving a more relaxed and rounded presentation in general.
I don’t find the midbass to be overly boomy but it is still a little north of my preferences on tracks like “Crazy” by Daniella Andrade. The bass region of the guitar is pretty smooth and while I would like a little more detail on other tracks, for this kind of music it is not something that stands out.
The midrange is pretty decent until we start to get into the higher end of it. There is a climb in the upper midrange frequencies that serves to bring the presence a little forwards, however, at the 2kHz mark it stops climbing, even rolling off a little, until suddenly we have a peak around the 4kHz mark.
The issue with this is that it brings vocals forwards so they are not lost (counteracting that additional midbass), however, that isolated peak at the 4kHz mark, followed by another prominent dip, makes vocals sound fragile to my ears. I found this to be the case both with male vocals, such as John Mayer in “Free Fallin’”, and female vocals, such as Daniela Andrade in the song “Crazy” that I already mentioned. In fact, on “Billie Jean” by The Civil Wars, both vocals (male and female) sound a little thin and fragile, even impacting the higher ranges of the acoustic guitar.
As we move into the higher frequencies, this is another point where the tips are most noticeable in their changes. Here I once again preferred the Divinus with the Fudu, as they make things sound a little airier and spacious in these ranges. With the Sancai tips I would say that the upper ranges are a little too rolled off for my tastes, yet with the Divinus I feel that they are much better balanced.
Sound stage is also improved with the Divinus, becoming quite decent for a set of IEMs. It is not a huge difference from the Sancai but it is noticeable and I would say that they are on the higher end of average with these tips.
One thing that is noticeable throughout the whole spectrum is that detail is not the forte of the Fudu. They have used that 4kHz peak to make things a bit clearer and also the Divinus tips help by making the upper ranges seem more alive, however, this just adds a false sensation of detail.
Conclusion…
I can’t say that there are any glaring issues with the Tangzu x Divinus Fudu Verse 1 (I’m glad I abbreviated it to Fudu throughout the review ) but I can’t say there is anything spectacular about them either.
They are a decent performing set of IEMs but, in my opinion, they have tried to make up for a lack of detail by using that 4kHz peak, along with a couple more peaks throughout the treble.
I really don’t think it was necessary for them to do this, as I don’t feel that all IEMs should be detail monsters. Sometimes we just want IEMs that are musical and provide us with enjoyment and I think the Fudu would be great for this if it wasn’t for things becoming “fragile” with that intent to seem more detailed.
Again, I can’t complain about them, I think they are a set of IEMs that can be very enjoyable with just a little tweaking of EQ (or maybe some kind of filter in the nozzle to tame that peak) but I also can’t say that they are amazing.
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
5 Likes
Tin Hifi C0 Elf
TLDR version on YouTube: TDLR - Tin Hifi C0 ELF
The Tin Hifi C0 Elf have been sent to me by Linsoul in exchange for the publication of this review. Linsoul have not made any requests or comments and, as always, I will do my best to be as unbiased as humanly possible.
You can find the C0 via Linsoul by visiting the version of this review published on my blog (link at the end of this post).
As always, this is a non-affiliate link, meaning I receive nothing in exchange for clicks or purchases.
Intro…
Tin Hifi have been around for quite some time in the IEM world, making some very good, and some not so good, sets. A lot of their models have been based on variations of the original T2 shape and the C0 that I have here today are another similar design but with some changes that I will mention.
They have also released quite a few ultra budget oriented IEMs, with the C0 also being well inside that sub 50€ bracket that I consider ultra budget. At the time of publishing this review, the standard model is available on Linsoul for just over 10€, although there is also a model with a microphone and even one with a USB-C connector and built in DAC for not much more.
The IEMs feature a 10mm driver in an open back shell, which is nothing really new for this style of IEMs from Tin, although these feature an open back shell which is a little different to the usual configuration we find from the company.
Presentation…
When a set of IEMs retails for around 10€, something has to be reduced to keep costs down and I always prefer that it is the packaging and presentation.
A simple white box with the make and model on the top, along with some specs on the side is the extent of the external packaging, but it is more than sufficient.
Inside we get the IEMs in a piece of sponge, along with the cable, two rubber earhooks and 6 sets of silicone tips. Again, more than sufficient for the price we are looking at for these IEMs.
Build and aesthetics…
At a simple glance, the C0 are very reminiscent of the T2 (and other similar models), however, once we look a little closer, things are quite different. The shells are still completely made of aluminium, yet the size is a little larger and rather than the extra shape on the side for the cable connection, here the cables connect directly to the cylindrical shape of the shell.
This time, Tin have opted for a two pin connection for the cables, which is a good thing as I have had quite a few issues with their MMCX connectors in the past. The IEMs are also open back, with a larger version of the same metal filter in the nozzle on the back of the shells.
As far as comfort, I am not quite sure why but there is a bulkiness to these IEMs that makes them sit strangely in my ear, always feeling like they are not quite seated or sealed properly (to which the tuning doesn’t help either, but I will get to that in a moment). I tried all of the included tips and quite a few others and at no point did I get comfortable with these IEMs. Of course, everyone’s ear anatomy is different but in my personal case, they just don’t seem to fit right.
The included cable is simple vinyl covered cable, with metal two pin connectors and plastic for the rest of the hardware, which doesn’t look too bad but it is a bit microphonic. It’s not terrible but it is noticeable.
Sound…
When I first started listening to the C0, I found that there was quite a lack of bass which, added to the sensation of the IEMs not seating correctly, made me think that I was not getting a seal. I started to work my way through all of the tips without anything seeming to make it better. I then moved on to other tips and while some of the extra narrow bore tips did improve bass slightly, the sensation of them not being sealed correctly. (edit: see note at end of review)
I spent a few hours messing around with them and in the end I gave up and looked at the frequency response:
Looking at the graph, I then realized that I wasn’t going crazy, there really is a lack of bass and an emphasis on the higher ranges. However, not to the point that I am hearing in reality. Remember that the graph above is in comparison to my personal preference target and I am someone who favours bass on the leaner side. If we were to compare this to the the preference target of somebody who is more bass happy than me, such as HBB, this would be the result:
Usually I would spend at least 5 days listening to a set of IEMs before I sit down and start doing more detailed listening, with my usual test list. In this case, I am sorry to say that I didn’t make it that far. I did spend a few more hours with them and just couldn’t enjoy them. Even while working (which is how I do my usual 5 days of working), the music kept drawing my attention to it as it was… annoying?
Now, I don’t know if this is an issue with the set I have or if this is the intended tuning of these IEMs, as I haven’t checked any other reviews or measurements, but the set I have is not an enjoyable set of IEMs for me personally.
I did do some tests with a few of my usual test tracks but I honestly didn’t see the need to continue nor do I see the need to get too deep into how these interact with specific tracks. In general, they are lacking subbass, short on midbass, then over emphasized in the upper mids, moving into a peaky treble.
Yes, there is more of a sensation of openness to them, both due the fact that they are open back and that they emphasize the upper ranges, but making the sound wider doesn’t make this particular tuning sound any better to me.
Conclusion…
I am going to cut this review short as I don’t want to spend too long explaining faults when I have other things I would prefer to listen to and review.
Yes, the C0 Elf are a very cheap set of IEMs with a good build quality. Unfortunately that is the end of the positive side for me. The cable is microphonic, the IEMs are uncomfortable and the tuning is something that I do not enjoy. I would say that they are a cheap set of IEMs that sound cheap but that would be unfair, as there are cheap IEMs that sound pretty good, including some from Tin’s own brand.
Edit: After putting together the above review, I discussed the C0 Elf with another reviewer. We compared measurements and the units do measure the same (close enough to account for differences in rigs and measuring techniques), so we are looking at the same tuning.
He mentioned that he also had a lot of fit issues but with certain tips he managed to get them to actually have more bass presence and less focus on the upper ranges.
I tried another few tips but I’m afraid that I just cannot get them improve in my ears. So, I am saying this to point out that my review of these IEMs could be totally due to me not managing to get a decent seal (which is what it feels like). This would actually make sense as the measurement of these IEMs is very close to the Titan S, which are a set of IEMs that I use regularly and really enjoy.
This is not going to change my opinion or review of the C0 as I have shared what is my experience with them but I do want to point it out as your experience, depending on your ear anatomy, may be totally different with these IEMs.
This review (and all my reviews) can also be found in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
5 Likes
7Hz Sonus
TLDR version on YouTube: TDLR - 7Hz Sonus
The 7Hz Sonus have been sent to me by Linsoul in exchange for the publication of this review. Linsoul, as always, have not made any requests or comments and I aim to do my best to be as unbiased as humanly possible.
You can find a direct link to the 7Hz Sonus via Linsoul in the version of this review published on my blog (link at the end of this post). As always, the link is non-affiliate.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
For those that follow my reviews, you may remember that, when I reviewed the 7Hz Legato I said “With 7Hz I have found that I don’t have a middle ground with them, out of 5 sets I have tried, 3 I have found to be very good and the other 2, well, let’s just say that they are not my thing.”
Well, the Sonus are set number six and have equaled the score board.
(EDIT: After a few people have notified me of my error, I have reached the conclusion that my maths leave a lot to be desired in this review. More info at the end of the review)
Using a hybrid design of a single dynamic driver paired with a single balanced armature driver, I find them to be very coherent and well balanced, making for a very enjoyable listen.
Coming in at just under 50€, placing them inside what I consider to be ultra budget sets, that makes them even more interesting.
So, here are my findings and opinions on the 7Hz Sonus.
Presentation…
The presentation from 7Hz is usually pretty decent for whatever price bracket the specific model sits in and the Sonus are no exception. While there is nothing exactly spectacular about the unboxing experience of the Sonus, they do arrive in packaging that is not just thrown together and include the necessary accessories that we have come to expect at this price point.
An orange box, inside a grey and white cardboard sleeve with images and specs, opens to reveal a clear plastic semi-rigid frosted cover. The cover lifts to reveal the IEMs in their corresponding cutouts, cable attached, with the accessories placed underneath.
As far as contents we obviously get the IEMs and cable, along with a simple but elegant storage/transport pouch, 8 sets of the multicolour coded tips we are accustomed to from 7Hz, and 2 sets of spare filters, both mesh and metal.
Again, I have to say that, while nothing is amazing and game changing, I can find no reason to complain about the presentation or accessories included with the Sonus.
Build and aesthetics…
One thing that 7Hz has a habit of doing is making their IEMs aesthetically different. Even the ones like these, which opt for a more generic shape in comparison to some of their other models, still have their own look to them.
The transparent (medical grade) resin shell is paired with an aluminium faceplate which has a curved, stepped, design to it. The 7Hz logo is engraved on the metal face plate and, while it is not exactly “out of this world” as far as aesthetics, it does look good and has an elegant vibe to it.
The IEMs are comfortable, lightweight and seem to be well built. I have had no issues with them as far as comfort, choosing to use the tips with the white core for this review.
The included cable is a four core in a ribbon style layout. This is not the first time I have received a cable like this with IEMs and, as with the previous cables of this style, I actually am quite fond of it. While it does look like it may be bulky and uncomfortable to use, I find it is actually the opposite, at least when using the IEMs while sitting at my desk.
For sub 50€, the aesthetics, build and accessories are all more than adequate.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
The last couple of sets of IEMs that I have reviewed were not exactly enjoyable but sitting down to listen to the Sonus, I have to say that I like them. No, they are not something that provide never before heard music, yet they perform very well within their safe but (to me) enjoyable tuning.
Here is the graph of the Sonus in relation to my personal preference target:
While the subbass may seem a little more elevated than my personal preferences, the slope of the subbass into the midbass makes for a tuning that I am very fond of. Listening to “Chameleon” there is no shortage of subbass, yet that ramp down into the midbass stops things from becoming overpowering.
Subbass is also clean and fairly fast in its resolution. Things don’t become too “sludgy” in those areas, with things like that slight dirt in “Royals” being apparent without taking over.
Midbass is by no means overpowering, with my usual test of “Crazy” being rather clean whilst not missing any body to the low end of the guitar. I wouldn’t say that the dynamic driver is the best performing driver I have heard in the these low ranges yet the tuning favours it, due to no sense of muddyness or boominess, so details are appreciated.
The midrange starts to climb quite early, peaking around 2kHz and then dipiping slightly up to the 4kHz mark. This, in addition to a quite tame midbass range, can make certain vocals seem to have less body than on other options, such as Rag’n’Bone man in “Human (acoustic)”.
Listening to “Billie Jean” by The Civil Wars, I find the female vocals to suffer less from this than the male vocals. The male vocals are still quite pleasant but I feel that either a slight touch of warmth in the lower ranges or less of a dip in the 2k to 4k mark would have have worked better in favour of both the male vocals and the strikes on the strings of the guitar in this track.
The BA used for these upper ranges is fairly detailed and, with the help of the tuning, does keep layers well separated and details quite present, such as the vocal layers of “Strange Fruit” or the (accidental?) bird chirp during the intro. Again, a slight bit of extra body to the voice of Dominique Fills-Aimé would have been nice but I still enjoy the presentation.
Things that do have a bit more of musical presence with the vocals, such as “No Ordinary Love”, don’t emphasize this as much, keeping a nice clean presentation throughout.
As we move into the higher ranges, there is no real roll off, at least as far as my personaly auditory capacities go. It is not the smoothest of treble areas but it is not terrible either. Sibilande is kept in check pretty well on “Code Cool”, maybe placing Patricia Barber around a +1 (on my -12 to +12 scale), which is nice when taking into consideration the general tuning. It also portrays a nice sensation of air and openness.
Sound stage is also pretty decent, not huge but enough to enjoy a sensation of width, with details assisting in the placement of images, which may not be milimetric but are still fairly good.
Conclusion…
Whether or not the Sonus is for you is going to heavily depend on your preferences as far as tuning. This is obviously always something that comes into play, but what I am referring to is that, if you are someone who likes a nice clean presentation, without any midbass boost and leaning more towards the cooler side of things, then I think they are a great set of IEMs that should definitely be considered in their price range.
If you are more on the warmer side of things in your preferences, with more of a bass boost and more body in the lower end, then I think that other sets will meet your criteria much better.
I would look at the Sonus as a bit of step up in performance from 7Hz’s own Salnotes Zero, where the tuning is similar but the detail and openness is improved. To be honest, I do think I prefer the 2kHz to 5kHz tuning on the Zero, seemingly a little smoother to my ears, but for the rest, I think the Sonus could be considered an upgrade without taking too much of a step up in price.
As I said at the beginning, I have reviewed 6 sets of 7Hz IEMs and the score is now level at 3 I like versus 3 that aren’t for me.
(EDIT: As I mentioned above, my maths in this review are terrible!
In reality, the Sonus so not equal the scoreboard, they actually put it 4-2 in favour of the models that I do like!
The 7Hz models that I have reviewed and if I like them or not:
Timeless =Yes
Eternal = No
Dioko =Yes
Zero =Yes
Legato = No
Sonus =Yes
My apologies for the confusion!!)
This review (and all my reviews) can also be found in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
5 Likes