LOL 
I think Iâll have to steal that if you donât mind
4 Likes
What is the nozzle size?
Tangzu x HBB Xuan NV
TLDR version on YouTube: TDLR - Tangzu x HBB Xuan NV
The Tangzu X HBB Xuan NV have been sent to me by Linsoul for me to try them out and to publish my opinions in this review. Linsoul have not made any requests, they never do, and I will do my usual best to be as unbiased as possible in my review.
You can find a direct link to the Tangzu X HBB Xuan NV via Linsoul by visiting the version of this review published on my blog (www.achoreviews.com)
As always, it is a non-affiliate link.
To avoid being repetitive 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
IntroâŚ
Can anyone say for sure how many collaborations HBB has? Can HBB even name them all without looking them up? I know that I lost track many moons ago 
Seriously though, I donât think HBB or his collaborations need any introduction at this point in time and the Xuan NV is his latest (or maybe not?) with the brand Tangzu, who he already collaborated with in the past. While I didnât get to listen to the Heyday, his previous Tangzu collab, I do know that there were plenty of people who enjoyed it. This time, we have moved from the planar in the Heyday to a dual dynamic driver in the Xuan NV and the price has also dropped from 190⏠to around 70⏠for this model.
We are used to collaborations from HBB being very different from previous models, so, what do we get with the Xuan NV?
PresentationâŚ
Tangzu have a habit of using classic looking artwork on their packaging and the Xuan NV is no different, with a box cover that is still anime inspired but more traditional in its intent. The reference to HBB is also quite subtle, with just his logo appearing on the bottom right corner, without further reference to him on the packaging. The back of the packaging shares some basic specs of the IEMs and plenty of QR codes to scan.
Opening the box we get the IEMs, a pouch style storage case, 6 sets if Tang Sancai tips (3x balanced and 3x wide), plus a set of simple white silicone tips installed and the cable. Nothing extraordinary but plenty to allow us to enjoy the IEMs.
Build and aestheticsâŚ
The shells are 3D printed in medical grade resin, with a transparent red colour to them and gold design on the faceplate to represent a butterfly wing on each IEM. If you look very closely, you will see HBB in lettering on one wing and Tangzu on the other, although you will have to look very very closely, as it is very hard to make out.
The internals contain 2x dynamic drivers, one 10mm ceramic and the other an 8mm PU+LCP. The overall impedance of these drivers is quite low, 8.5 Ohms, but so is the sensitivity at 98dB. I have found that these IEMs do need quite a bit of power to get them to my usual listening levels, so those of you who listen loud (the majority listen louder than me), will need to make sure you have a decent dongle or amplifier, I donât suggest trying to run these from a phone.
Overall, the IEMs look decent enough, they are very lightweight and I find them to be comfortable even for long listening sessions.
SoundâŚ
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, HBB has a lot of collaborations and also has the habit of each one being different. I am not sure if he is trying to collect tunings like Pokemon but here is a quick recap of the tunings he has had so far (and I am probably missing quite a few):
Well, the Xuan NV manages to find yet another variation in tuning, so call HBB whatever you want but he certainly isnât boring when it comes to choosing a tuning:
So, to put this into perspective against my usual preference curve that I use as a reference, this is what it looks like:
So letâs start off with âChameleonâ as usual and talk about subbass. There is plenty of rumble for my tastes although it is not the cleanest of low notes that I have heard. By that I donât mean it does a bad job, far from it, it is controlled but it does seem to blend the subbass notes together slightly when this track is at its fullest. To be honest, it is a brutal test for IEMs anyway, as there is a lot of low end there and the Xuan NV donât fall apart. I have heard better but I have heard many sets that are much worse.
With something a little less overloaded, like âNo Sanctuary Hereâ, there is more clarity, things donât suffer quite as much. I still wouldnât say it is amazing in the lowest notes but it is certainly decent enough. There can be just a little too much going on in âRoyalsâ but if we move to something more midbass focused, such as âSun Is Shiningâ, then things get a lot better.
Mids are pretty decent and if we donât overload the lowest registers, the tonality and performance of the mids is more than acceptable. There is a rather large boost around the 3kHz mark which serves well to counteract the subbass but can leave things a little harsh when we take tracks that are not really bass focused, such as acoustic songs like âTears in Heavenâ.
I find that it works much better for some of the older hip hop tracks that are not overly heavy in the subbass but still have enough in the bass department for the vocals to not be overly harsh due to that 3k boost.
One thing I will say is that there is absolutely no harshness to my ears from that 5kHz region, something that I really appreciate. To me a boosted 3kHz is much more tolerable than a 5kHz peak, although each person is sensitive to different frequencies, so your mileage may vary.
Sibilance is also kept in check, or reduced rather, with no sign of sibilance in the usual suspects like Patricia Barber in âCode Coolâ.
The treble extension is not great, with a noticeable roll off that does give a sensation of lacking air. This interacts with the overall signature to present a rather laid back presentation that is not the most detailed.
ConclusionâŚ
I seem to have tried out quite a few IEMs lately that have a ârelaxed and laid backâ presentation, some more than others. In the case of the Xuan NV, it is an enjoyable set of IEMs for the most part, although I do find it to be lacking detail retrieval in general and it can also become a little overwhelming if we pump overly (sub)bassy music into it.
While I donât have any specific issues with the Xuan NV, I really donât find it to stand out above other similar alternatives at similar price points. This is not to say that you wonât enjoy it, if you are looking for a presentation that is of this style, then I think that you will enjoy it, I just feel that there are other alternatives with a similar laid back style that can compete.
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
2 Likes
Letshuoer S08
TLDR version on YouTube: TDLR - Letshuoer S08
The S08 have been sent to me directly by Letshuoer in exchange for the publication of my opinions in this review. Letshuoer have not made any requests or comments and I will do my best to be as unbiased as humanly possible in my review, as always.
The official page for the Letshuoer S08 can be found here: Letshuoer S08 Fourth Generation in Ear Monitor Earphone, Dual-coil Cus â letshuoer
As with all links that I share, the above is a non-affiliate link.
To avoid being repetitive 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
IntroâŚ
Letshuoer have announced that, to celebrate their 8th anniversary, they will be releasing various new models and the S08 is the first of them.
This model is certainly not the first planar by Letshuoer, with the S12, S12 Pro, Z12 and S15 all being models that are well known in the IEM world. I personally have a soft spot for the S12, as it was the first planar magnetic IEM that I liked enough for it to become my daily driver for quite some time (between review and review that is) and the S15, while a completely different flavour of IEM, was also a set that I enjoyed.
In their pre-launch publicity of the S08, Letshuoer say that they are sure that the S08 will remind people of the other models in the S series of planar IEMs, although they have opted for a completely different shape and also a smaller driver in the form of a 13mm instead of the 14.8mm found on their other models.
While I know that there are already some reviews out there of this IEM, I have managed to not read them or pay much attention to comments, which is how I prefer to review things when possible. I will also say that I am putting together this review before the actual launch of the S08, although it may already be available when I actually publish it, so I canât confirm the exact price at this moment but Letshuoer did mention it would be under $100, which is always a nice price point for planar IEMs (as long as they are good of course).
PresentationâŚ
The last few products I have received from Letshuoer have all been excellent in the packaging and accessories department. While the S08 is a little more basic than things like the S15, it is still a nice experience and includes a decent amount of content.
The black outer box has a design on it in the form of an 8, with basic text on the front. On the back we get the basic specifications of the IEMs in 3 languages, along with a scratch sticker to prove the authenticity of the IEMs.
Sliding out an opening the inner box reveals the instruction manual and warranty card, underneath which we find the round screw top storage case, something we are used to receiving from Letshuoer lately, along with the IEMs sitting in sponge cutouts above it.
Inside the storage case, we find the cable, a replacement connector for the cable (more on that in a moment) and a disc storing 3 sets of âbalancedâ ear tips and 2x sets of âvocalâ ear tips, plus another set of vocal tips that come installed on the IEMs.
In all it is nothing out of the ordinary but it is a nice set of accessories, all of decent quality, and I have no complaints at all under the 100⏠mark.
Build and aestheticsâŚ
As I mentioned in the intro, the S08 opts for a different shape to the previous S line up, with an oval shell that I find to be very comfortable and easy to obtain a seal, with the correct size tips of course. The faceplate has a 3D raised shape that resembles an 8, with Letshuoer engraved into one IEM and a logo into the other.
The shells are made from aluminium and are available in black or silver, with the black being the one I received. The aesthetics are discreet but elegant and, while I havenât seen the silver model in person, I really like how the black version sits inside the ear without drawing attention to itself.
The included cable is also very nice at the price point that this IEMs sits at (if the sub $100 price is correct). It has interchangeable connections, which is not new for Letshuoer, but in this case there is a ring that screws on to the connector holding it in place. I like the design of the connector and, although I havenât experienced any issues with the push on connectors in the past, it does add a bit more robustness to the connection. The cables itself is nothing really special, and it does have plastic connectors at the IEM end, but it is not overly thick or thin, and uses a four way braid that looks good in the dark brown colour it uses (at least for the black model).
Overall I am a fan of the aesthetics and the comfort of the S08, finding them to fit easily in my ears with a fit that is deep enough to use my usual size of tips but not be overly intrusive.
SoundâŚ
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.)
Letshuoer teased in their publicity that this would remind people of other S series IEMs and it does, in some ways, but is its own thing in others.
As with many sets that we are seeing lately, at least the sets that seem to be coming across my desk, there is a tendency towards a more relaxed and laid back signature, without as much brightness in the upper end, which makes IEMs need more performance in the detail department to not fall behind the competition, due to the fact that they are not relying on those upper ranges to push forward that (sometimes false) sensation of detail.
This seems to be the aim with the S08, with a frequency response that does remind us of the S15 in some ways but not in others. Here is the graph of the S08 in comparison to my usual preference response:
And here it is in comparison to the S12 and the S15:
Now, moving on to my subjective opinions, which donât always align with the graphs, I immediately see the resemblance in the lower notes to the S15 and the S12. We have that planar speed that keeps the lowest notes of âChameleonâ clean and clear, yet there isnât a lot of rumble really. Not that there isnât presence in the subbass, there is, it is just that, as it is fast and clean, it doesnât seem to be as present as on other sets.
It is impressive how the S08 can keep up with âChameleonâ without feeling strained or about to lose control, yet it is also a little âpoliteâ in the way it presents this track. The presentation of âNo Sanctuary Hereâ fits the S08 better in my opinion, as it benefits from that slight âpolitenessâ in the lower ranges, making for a track that is present yet not boomy at all.
With my midbass fatigue test, âCrazyâ is a little too present in the midbass range but it is clean enough for that reverb to not become fatiguing. One thing I did notice with this song is that the upper mids, which we will talk about in just a moment, do affect her vocals in a negative way. There is a dip in the 3k range that sort of hollows out her voice in that range, putting emphasis on the frequencies just below and just above that range, making her come across a little fragile and also harsh in her upper vocal ranges.
Listening to âTears In Heavenâ I was very impressed by the separation and width to this track, with details being very apparent in the multiple instruments, yet I also got the sensation that the timbre and tonality of the same instruments were not quite correct, lacking a bit of body to them and having an overly emphasized upper range. Much the same as with the vocals in âCrazyâ, this lends to a slightly fragile sound.
I do find that the slight dip in the upper minds can affect some tracks much more than others. For example, âLong After Youâre Goneâ is another guitar plus vocals track and the fragility That I noticed with âTears In Heavenâ is not present, with the track seeming to have plenty of body and a nice fullness to both guitar and vocals.
Listening to âBillie Jeanâ by The Civil Wars, I once again get that sensation that something is not quite correct with the guitar and male vocal, even seeming a little nasal on occasions, yet the female vocals sound full and present, whereas with other female vocals, I can get that thinness again and slight harshness.
It is not really an issue with sibilance, at least not with the usual culprits such as âCode Coolâ, it is more something that appears just when certain vocals or instruments that have a certain presence in that area coincide with the dip and it leaves things a little harsh and thin.
I will say that I am impressed with the detail and the space that these IEMs offer, with good separation both left to right and front to back. There is a wonderful sensation of space between the separate layers of âStrange Fruitâ and the location of instruments in âLa Lunaâ is very good.
Treble extension is not the best and can lead to a little sensation of dullness on certain tracks, depending on what the style of recording is. For example, it is much more noticeable with certain instruments such as acoustic guitars and pianos but is not really noticeable with more electronically focused music.
ConclusionâŚ
The Letshuoer S08 is a set of IEMs that leaves me a little confused. With certain tracks they can come across as a little dull, with others, there is no sign of that dullness at all. Certain acoustic tracks seem to have good tonality and timbre to the guitars, whereas others seem to come across as a little fragile and harsh. The same happens to vocals, where a certain female vocal can be fragile and a little spicy, yet another, even in a similar range, has more body and presence.
One thing that I canât deny is that these IEMs perform well. The planar drivers do what they are good at, they provide speed and detail. They are not the most detailed of IEMs out there but they are still good and will still present the details in a way that is enjoyable. The bass is very well controlled and defined, seemingly coping with even difficult tracks easily.
So it is just the tuning that leaves me a little confused. Now, I donât speak about EQ in my reviews, at least not usually, because I like to judge things in their stock form, but personally, I think that the S08 are a very good candidate for some EQ tweaking. They perform well and just some slight reshaping of the upper mids makes them come alive and sound much more natural to my ears.
I think that is an important note here, you have a sub $100 set of IEMs that is well built, comfortable (to my ears), looks good (to my eyes) and performs well, so even if you find you are not fond of the stock tuning, a touch of EQ will soon turn it into a very enjoyable IEM.
As always, this review is 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
7 Likes
As usual, nice review. One thing if you could clarify - which do you prefer more between the S08 and S15? To be honest, I actually forgot about the S15 until this review, and at least looking at the graph, the S15 is likely to be preferable for me as it doesnât have as much of a dip in the upper mids and treble which are already fairly warm.
1 Like
Have you had a chance to hear the Tiandirenhe TD20 planar yet? Some guys on head-fi swear by it as underrated.
I personally prefer the S15 in general, itâs more⌠consistant?
The S08 does really well with some stuff but not my thing with other stuff.
2 Likes
KZ AS10 Pro
I was contacted by Kate, the social media representative at KZ, and was sent a review sample of the new AS10 Pro. It is a 5BA set and retails for around $50.
The Packaging
The AS10 Pro comes in the familiar KZ small black box with a white sticker on the side bearing the product information. Sliding the box open reveals the IEMs in a foam cut out, below which the accessories are stored below a cardboard flap.
The contents comprise:
â AS10 Pro IEMs
â Silver plated 2-pin cable
â Three pairs of âStarlineâ tips (S, M, L)
â One pair foam tips (M) pre-fitted
â Documentation
Build and Design
The AS10 Pro is a completely new design. The earpieces are triangular in form with rounded corners and finished in a shiny gunmetal colour with the model name âAS10 Proâ in a white script font. There is a narrow triangular vent with a mesh and channel identification can be seen in the bottom corner of the faceplate. The clear plastic 2-pin socket is on the top of the faceplate which is made from alloy and the rest of the earpiece is clear resin, enabling the BA drivers to be seen. The nozzles are gold-colouref metal with a silver mesh and there is a gold KZ logo on the underside. Like most of the recent KZ releases, the earpieces are very well made.
The original AS10 has been around for a while. The drivers used in that are: 22955 for bass, 29869 for mids, 31005 for mid/high and 2 x 30095 for the high frequencies. This was also the configuration for the BA10. The AS10 Pro uses the 22955 and 29689 like the original, but mid/high frequencies are handled by a dual 31736 array while the upper range is covered by a single 30019 BA. There are no BAs placed in the nozzle as in some previous models.
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.
Fit and Isolation
The AS10 Pro has quite long nozzles and I could not get an acceptable fit with any of the supplied tips. After some experimentation I settled on a pair of KBEAR wide bore tips with which I obtained a comfortable and secure fit with excellent isolation. These tips also allowed the earpieces to sit much closer to the ear. External sounds were substantially attenuated, with even loud traffic noise while walking barely audible.
Sound Impressions
The AS10 Pro was tested with Xduoo X20, Sony NWZ-A15 and Hidizs AP80 Pro X DAPs. A smartphone, via a USB-C dongle, and a digital radio were also used. I found the IEMs to be rather source-sensitive with the Hidizs AP80 Pro X sounding a little too soft and the Sony losing a little in impact, whereas the Xduoo X20 displayed good synergy and provided some extra power. The IEMs were subjected to a burn-in period of 100 hours before evaluation. The sensitivity was just a little low with a moderate increase in volume necessary to obtain a healthy signal. I also found the AS10 Pro to be very fussy with regard to cables and the best result was obtained with a NiceHCK Black Cat.
Tonality
The AS10 Pro was impressive straight out of the box. It displayed excellent detail and immediacy with a very natural timbre, especially in the bass which was deep, resolving and fast with an almost DD-like quality and natural decay. Both mids and treble were extremely clear and somewhat forward but totally lacking in harshness and displaying abundant detail and projection, giving the impression of a live performance. Staging, because of the transparency in the mids and treble, was fairly spacious with excellent positioning of elements within the image but there was a reduction in depth.
Bass
Although using only one 22955 bass BA, the low frequencies were punchy, dynamic and speedy with a natural warmth and decay similar to that of a dynamic driver and a rich sub bass response seldom found with a BA. Resolution and texture were of a high standard and instruments displayed a natural timbre. The reproduction of studio and hall ambience was very convincing.
âSeven Passagesâ from Iranian composer Behzad Ranjbaranâs âPersian Trilogyâ is based on an episode in the 11th century poem âThe Book of Kingsâ, titled âThe Seven Trials of Rostamâ. It is a richly scored work which is reminiscent of Rimsky-Korsakovâs âScheherazadeâ, both thematically and in orchestration. On the AS10 Pro, the dramatic opening came to life with the powerful percussion section to the forefront, the timpani and bass drum sounding forceful and full of impact. The decay of the drums and ambience of the hall were realistically conveyed with a natural timbre and tonality similar to that of a good DD but with the speed and precision of a BA.
âEVAâ from Jonn Serrieâs spacemusic album âElysian Lightshipsâ showcases the AS10 Proâs ability to produce a deep and satisfying bass response. The introduction features smooth, ethereal synth patches evoking the vast dimensions of space. Soon a deep sub bass drone forms a solid foundation and there was a definite sense of weight with good texture and definition. The bass never dominated proceedings and always stayed perfectly in balance with the other elements in the production.
Midrange
The AS10âs midrange was exceptionally clear and transparent with a high level if detail. As a result, imaging and movement were particularly well rendered. The tonality was a touch brighter than neutral but totally lacking in harshness and there was no bleed from the bass region. The timbrexwas largely natural with a slight warmth in the lower mids and becoming brighter with frequency. There was a moderate rise towards the treble boundary which was nicely contoured and dovetailed smoothly into the treble.
âA Chlorisâ by the Venezuelan composer Reynaldo Hahn is a homage to Bach. In the recording by John Lenehan and Julian Lloyd Webber, the timbre of the cello and piano sounded realistic and natural. The sense of space in the recording venue was accurately reproduced and a touch of extra brightness from the AS10 Pro gave the impression of attending a live performance.
The expressive and slightly forward nature of the midrange ensured that vocals came over very well. Chris Izaakâs âWicked Gameâ was a good example of this, with his voice clearly focused above the guitar and bass accompaniment. James Wilseyâs haunting vibrato lead guitar set the scene and the subtle backing vocals were in perfect balance in this excellent production. The emotional expression in Izaakâs voice was convincingly conveyed with the dark and brooding atmosphere of the piece effectively communicated.
Treble
The treble was characterised by speed, high levels of detail, excellent extension and fast transient attack. At times, it did stray close to the edge in terms of brightness but never crossed the line into harshness and did not display a tendency for sibilance. There was good extension with a definite sense of âairâ and precise separation.
âA Gradual Awakeningâ is the first album from Canadian synth duo Mychael Danna and Tim Clement. It was released on the now-defunct Fortuna label. It is an album of electronic music inspired by the landscapes of Canada.
âIce and Airâ begins with descending swirling arpeggios in the high registers evoking snowfall. Each sound was cleanly depicted and displayed good separation and extension. As the track continued a powerful bass drone added depth but the high frequencies remained clean throughout and retained their clarity. The detail in the various melodic strands was nicely differentiated with each part having its own character.
Charles Ivesâs âThe Unanswered Questionâ is a remarkable orchestral piece.
The classic recording by the New York Philharmonic under Leonard Bernstein came over dramatically on the AS10 Pro with the quiet and contemplative introduction punctuated by the atonal trumpet solos and powerful declamations from the woodwind which produced a startling effect just as the composer intended. During these interludes, the individual timbres of the various instruments were easy to discern, remaining clean and clear even in the most dynamic passages.
Soundstage and Imaging
The AS10 Proâs stage was of reasonable size, thecwidthbeing most noticeable anĚd with a good impression of height. However the depth did suffer from some compression due to the forward nature of the midrange. Imaging was notable feature, while both separation and layering were of a high standard, as befits a multi-driver design.
âGenesis Ch.1 v32â appears on the album âI Robotâ by the Alan Parsons Project. In the introduction sustained phased synthesisers fill both sides of the image. As the track progresses, with each bar more layers are added: twelve string guitar, vocal samples, solo guitar, bass, percussion and sound effects, ending in a very dense production. Throughout, the AS10 Pro managed to retain a hold on all the disparate elements and present them as a coherent whole with precise layering and separation. The gradual rise in intensity towards the climax was very well portrayed which allowed the drama of the piece to be appreciated.
âLuzonâ by Henry Mancini is a colourful orchestral piece evoking a tropical panorama. After an introduction featuring various percussion instruments, a lush string accompaniment creates an atmosphere redolent of a romantic interlude in a spy movie. The AS10 Pro made the most of this providing a rich and smooth rendition filling the soundstage while the position of all the different sections of the orchestra were clearly defined. Throughout this, alongside the excellent technical performance, both the musicality and feeling of the piece were retained.
Comparisons
All comparisons were made using an Xduoo X20 DAP with a NiceHCK Black Cat cable.
KZ BA10
The BA10 is a 5BA model which uses: 1 Ă 22955 bass driver, 1 x 29869 midrange BA, 1 x 31005 mid/high unit and 2 x 30095 for the high frequencies. This is the same configuration as the original AS10, although in a different shell. There are no BAs placed within the nozzle and the shell is vented. Its unusual shell, though very well built, can cause fit ssues for listeners with small ear canals, but fortunately I obtained a good comfortable fit with this model.
The BA10 has a well balanced mild V shaped profile. Bass is very natural in tonality, with good impact and timbre resembling a DD. The midrange is perhaps its best feature, being open, smooth and detailed with excellent layering and treble is also well controlled with the two 30095 BAs tuned less aggressively than customary. Soundtage is of smaller dimensions than the AS10 Pro and is perhaps itâs weakest feature.
The AS10 Pro improves on the BA10 in every department, with a larger, more expansive stage, a higher level of detail, a noticeable increase in clarity and a more natural timbre throughout. The bass is deeper and has a more believable decay and tonality. KZâs tuning has improved in recent times and the AS10 Pro is a perfect example of this.
KZ AS12
The AS12 is a six-driver IEM. The BAs employed are 2 x 22955 for the bass, 2 x 29869 for the mids and 2 x 30095 for the treble. The shell is similar to the AS16 and CCA C16 and is not vented. All the drivers are housed within the shell.
The AS12 is a neutral/bright IEM which majors on detail and clarity. Bass shows good speed and depth, the midrange is detailed and clean and the treble well extended and bright. There is a touch of âBA timbreâ in its presentation which is totally absent in the AS10 Pro, which has a warmer and more natural tonality across the frequency range. The AS12, because of its cooler and more forward midrange, has a shallower stage and also loses a little in separation in busy passages whereas the AS10 retains a grip on proceedings, with better layering and imaging. The AS12 also can become fatiguing over longer listening periods, whereas the AS10 Pro is more relaxing and is more suitable for longer sessions.
TRN X7
The seven-driver X7 is equipped with the following BAs: 1 x 22955 (bass) 1 x 29869 (mids), 2 x 50060 (mid/high) and 3 x 30095 (treble). Like the AS12 and BA10, no BAs are placed within the nozzle, but the output from the BAs is channelled through 3D printed sound tubes to the nozzle. With the supplied tips, it is very comfortable to wear for long periods.
Th X7 has a well balanced profile with a lively and detailed character. Sub bass is very capable, especially for a BA and there is good weight in the mid bass, giving a warm and rich quality to the low frequencies. Midrange is again well contoured with a nicely judged rise into the treble and a clean delivery with good timbre. The treble is smooth but lively and there is an overall feeling of immediacy. It is broadly similar to the AS10 Pro but has a little more mid bass warmth. The sub bass is not as deep but the soundstage is considerably larger in all three dimensions. The treble is smoother and softer giving the impression of being not quite so detailed but it is less prone to fatigue. The choice between this and the AS10 Pro is more a matter of taste.
Conclusion
The AS10 Pro is another example of the improvement in tuning displayed by the more recent releases from KZ such as the Castor Harman, CCA Trio and PR3. There was no evidence of âBA timbreâ, the bass possessed a depth, power and texture more usually associated with a good DD and the midrange was clean, clear and detailed and showed only minimal recession. There were a couple of minor issues; the soundstage was a little shallow and he upper mids/lower treble occasionally became more emphasised, but this only occurred with certain material.
I have not heard the original AS10 so cannot say whether the Pro is an improvement but I feel it is preferable to the BA10, AS16 Pro and AS12. However, I also think that it is the best all-BA design from KZ I have heard so far and it comes highly recommended.
3 Likes
Thanks for the in-depth review. The BA10 is a true legend amongst KZs, and if this indeed bests it in every way, the that makes the AS10 Pro an instat buy.
Iâm curious if that vent on the shell is real or just for show?
Too bad the xDuoo X20 is discontinued. Itâs fantastic and was well ahead of its time when it came out.
2 Likes
Tanchjim 4U
TLDR version on YouTube: TDLR - Tanchjim 4U
The Tanchjim 4U have been sent to me by HifiGo in exchange for the publication of this review. HifiGo have not made any specific requests and I will do my best to be as unbiased as humanly possible in my review.
The Tanchjim 4U are available from HifiGo here: TANCHJIM 4U DMT-4 Ultra Double-chamber Dynamic Driver In-Ear Monitors â HiFiGo
As always, this is a non-affiliate link.
To avoid being repetitive 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
IntroâŚ
It has been quite some time since I listened to a Tanchjim set of IEMs, since 2022 to be exact. The models I tried back then we probably more to my preference than to that of many others, due to a quite tame low end (except for the Tanya, which was quite elevated in the mid bass), and I found the performance at their respective price points to be a positive.
The 4U is a set that comes 2 years later but still aims at the reasonably priced category, available for just under 65âŹ, featuring what they call a DMT-4 Ultra LCP Diaphragm dynamic driver.
What is a little different on this set is that they feature a 4-way dial that lets you choose between 4 different tunings, or rather 4 different bass levels, something that I will mention under the sound section.
PresentationâŚ
Not much has changed since the last set I reviewed as far as packaging and contents. The outer white sleeve shows an image of the IEM on the front, with FR graphs and specifications on the back. This slides away to reveal a grey interior box with the Tanchjim logo on the top, almost identical to that of the Ola that I reviewed over 2 years ago. That is not a negative, the packaging is simple and elegant, so I am not complaining.
Opening the box reveals a sheet of anime stickers of a character named Asano, although I have no idea who it is, nor have I investigated 
Inside the box we get the IEMs, 6 sets of silicone tips (3 sizes of two types, large and small core), the cable, a small screwdriver to adjust the tuning selector and a small drawstring bag.
Again, almost identical to the contents of the Ola (except for the screwdriver and the stickers).
Build and constructionâŚ
The IEM construction also stands out to me as Tanchjim, even though it is a different shape to other models from the brand. It is a metal construction, using matte aluminium shells along with a shiny faceplate that sports the Tanchjim logo.
The shape I find is comfortable, they are fairly lightweight and they seem to be well built, something that I feel is the case with all Tanchjim products, at least those that I have seen.
The included cable is a simple lightweight 2 core braid that splits into individuals at the metal splitter. All the hardware is metal and matches the matte aluminium finish of the IEMs.
The rest of the contents are basically those that were included with the Ola, which is not to say that they are bad. They are not great but acceptable.
SoundâŚ
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.)
When I first started listening to the 4U and playing with the tuning selector, the question that sprung to mind was âWhy?â.
I understand that they want to give the users options, the same as other companies that include multiple nozzles or filters, and in this case, the fact that it is a dial that turns makes it a lot easier to change between tunings. However, the question of âWhy?â Is more related to the tuning options they offer on this set.
As a picture is worth a thousand words (although I will probably still rack up a thousand words in this review), here is the graph of the 4 tuning options in relation to my usual reference:
As we move from FWD to UP to BCK to DWN, the tunings make less sense to me. I am actually quite fond of the FWD tuning, which I will comment on in just a moment, but the other tunings just give me the same sensation as losing a seal, with the bass just dropping off more and more as we go.
Now, you probably all know that I am not a fan of overly emphasized bass, as you can see from my preference target, although there are many sets with more bass than my preference and I still find to be great. In this case, I am quite happy with the presentation of these IEMs in the FWD position but I canât say that I would choose to use them in any of the other modes. That doesnât mean other people wonât, just that, for me personally, the FWD tuning would have been plenty.
So, starting off with the subbass, you can probably already guess that there isnât a huge amount of rumble going on with this set. If you are someone who likes a deep rumbling bass, then these are not the choice for you, even in FWD mode.
However, where they do perform well is in the clarity and presentation of the midbass. I find them to lend themselves more to acoustical performances than electronic based music, with things like the bass on âNo Sanctuary Hereâ being a little tame for those that seek a hard hitting low range. Again, that doesnât mean it does it badly, the bass is there in quality, just not in quantity.
âCrazyâ is pretty well balanced in the low ranges, with the reverb not being an issue as far being bloated or overly boomy. There is plenty of clarity and it fills in the low end of the rack nicely but without being the focus at any point. There is a little emphasis on Danielaâs voice in this track but it is clear and not harsh or too spicy, something that I am pleased to hear.
Listening to âHotel California (acoustic)â, I would say that the guitar could do with just a little more body and warmth, but it is once again clear and nicely defined. With âElephants On Ice Skatesâ, there is more focus on the plucks of the bass than on the low notes, yet the low notes are still there, the track doesnât come across as âemptyâ, just a different presentation to that of so many other sets lately.
âSeven Nation Armyâ by Zella Day does seem to have a little more warmth in the body of the guitar but once again, the focus is shifted more towards the vocals. I actually find female vocals to be very enjoyable on the 4U, with them taking the centre of the stage but without becoming overly present or thin. They also deal fairly well with sibilance. There is still sibilance in the intro of âHope Is A Dangerous Thingâ but I find âCode Coolâ to be slightly tamed in this regard, at least in comparison to what I would expect from this kind of tuning.
I find the upper mids to be smooth and enjoyable which moves into upper ranges that are not the smoothest but are certainly not a negative on this set, again, taking into consideration the tuning that the 4U are going for. There do seem to be some peaks that try to increase the sensation of detail, which is a shame because they can give a slight hint of being artificial at times.
The stage width is not huge but there is enough space for things to spread out a little, like the vocal layers of âStrange Fruitâ, which are easily identifiable, although the main voice is slightly overpowering to the background vocals on occasions. With âLa Lunaâ, the location of the instrument has space between them but they are not placed far away and the rear left guitar does seem to be more left than rear, but once more, not bad.
ConclusionâŚ
It has actually been refreshing to listen to something that is a break from the majority of tunings lately, that seem to be aiming more for a warm and laid back signature. In the case of the Tanchjim 4U, it goes for a brighter more up front signature. There is more emphasis on vocals, especially female vocals, but they donât become overly harsh or thin sounding.
I still have the same question though⌠why? I really donât feel that the 4U needed that those extra positions that we get from the tuning selector. I could maybe understand positions 1 and 2, but I feel that 3 and 4 are unnecessary. In fact, I donât think that even position 2 is necessary as those that are looking for this kind of signature will already enjoy the basic âFWDâ position.
I think that if that tuning selector had been omitted, then maybe these IEMs would have dropped under the 50⏠mark that I consider ultra budget and they would have been an easy budget recommendation for those looking for a tuning of this kind.
I am not saying that these are expensive, they are only 65âŹ, and they are certainly a step forwards from the Ola, I just think that we are getting something that wasnât really necessary. They aimed for a specific tuning and performance and got it, why add more bits that become redundant?
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
5 Likes
Dunu Titan S2
TLDR version on YouTube: TDLR - Dunu Titan S2
The Dunu Titan S2 have been sent to me by HifiGo in exchange for the publication of this review. HifiGo have not made any specific comments or requests and I will do my best to be as unbiased as humanly possible.
The Dunu Titan S2 can be found via HifiGo here: DUNU Titan S2 Dual-Chamber & Magnetic Circuit Dynamic Driver In-Ear Earphones â HiFiGo
As always, this is a non-affiliate link.
To avoid being repetitive 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
IntroâŚ
Back in February 2022, I reviewed the Dunu Titan S, an IEM that I was quite fond of and has probably been one of the IEMs that I have most used since then. The reason for this is that it lives permanently hooked up to my Mac (via a Modi + Atom) where I do my video editing. I do listen to music also sometimes, while videos are rendering, and use them for quick multimedia consumption on that computer in general. It is not that the Titan S is my favourite IEM but it is clean, performs well and I sincerely enjoy using it.
Back then (almost 2 and a half years ago, which seems like decades in the IEM world), the Titan S was something that made a name for itself. The aesthetics were something different, the presentation and included accessories were very respectable, the performance was good (still is) and the price was more than fair. It basically turned itself into a reference point under 100⏠at the time.
The Titan S2 comes in at a very reasonable price also, at just under 75⏠(at the time of putting this review together) and promises to improve on the original, letâs see if it actually does or not.
PresentationâŚ
After the Dunu sets I have reviewed since the Titan S, it is no longer a surprise that they come well packaged and with accessories that are very impressive for the price point. The Titan S2 is no exception.
The outer sleeve is pretty basic, just showing the brand and model on a red background, with basic specs on the back. However, opening the box reveals contents that will put a lot of other brands to shame.
We get the IEMs, the cable, the Dunu QMini cable with 2 interchangeable connectors (balanced and unbalanced), a cable clip, a semi-rigid storage/transport case and 14 sets of tips, in 4 different types and 3 different sizes.
There is absolutely nothing to complain about in this regard, the contents are just great.
Build and aestheticsâŚ
The original Titan S presented an aesthetic that was different to anything before it and, as far as I am aware, anything since it. In the case of the S2, there is a slight resemblance to the original but not enough to immediately spot that they are the same model.
The shells are still completely made of metal, although, this time, the finish is mirrored rather than the brushed finish of the previous model. In the center of the IEMs, there is a round protruding part in bright red that looks like it should unscrew (it doesnât, at least as far as I am aware). The overall shape stays the same but the S2 are slightly larger, at least in thickness.
The connections remain 2 pin and still sport a shape that is proprietary to the Titan. Not that other cables wonât work, they work fine, just that the stock cable covers the surrounding part to the connector also.
Speaking of stock cable, this is much improved over the original, in my opinion at least. As I said a moment ago, it includes the QMini cable that has interchangeable connectors that push in and then a ring screws down to hold them in place. The cable itself is a braided sleeve that runs as far as the splitter, where it then divides into to separate cables. I have to say that I didnât expect to like this cable but I have found that I actually do, especially at my desk, as it never gets tangled and stays out of the way.
The storage case is the typical storage case included by Dunu in most of their models. While simple, it is very nice and is large enough to hold the IEMs and a dongle without issue.
In general, while I prefer the aesthetics of the original, especially as far as fingerprints are concerned, I really have no complaints about the Titan S2 in this regard either.
SoundâŚ
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.)
In the sound section we also find that the Titan S2 differs quite a bit from the original. I find that the Titan S is a rather neutral set of IEMs that doesnât excel at anything in particular but also doesnât do anything wrong. Nothing is overly pushed or bloated, it is just a good, neutral, all rounder. Some may find it a little overly present in the upper mids but I personally like it.
The Titan S2 moves away from this signature and emphasizes the bass more while dropping those upper mids. Here is a graph of the Titan S2 Vs the original (with my usual preference curve for reference):
Starting off with the usual subbass test, âChameleonâ comes across as more focused in the midbass than actual subbass. There isnât a lack of subbass, just the focus is shifted slightly higher than those low rumbling notes. There is enough subbass but the extra midbass can make this track seem not quite as clean and controlled as it should be.
When moving over to âNo Sanctuary Hereâ, here we can once again notice that there is a warm touch to the midbass area. It is not excessive but it is north of my preferences and, together with the delayed rise in the upper mids, does make the percussive hits take a little more spotlight than I would like.
With the low end reverb on the guitar of âCrazyâ, there is a bit of boomyness to it that can become a little too much for me. Not to the point of becoming fatiguing like on many other midbass focused sets, yet still enough for things to not seem as clear as I feel they could be.
I find the same with a lot of acoustic music, such as âSugar (Acoustic)â, where things seem a little blurred in general. It is not that they are excessively warm, this set has much less of a warm focus than many other sets we have seen lately, it is just that they are a little âhazyâ with that slightly boosted midbass and upper mids that arrive a little late to contract.
Speaking of upper mids, these are much less pronounced than on the original Titan S and have a bit of a delay in their climb, meaning that things are not quite as present and clear as I would like them to be. This is particularly noticeable in vocal tracks that have warm bodied acoustic guitars in the lower ranges. Other than those mentioned above, âSomething Just Just Like Thisâ would be another example of things being just a little âhazyâ in their presentation.
The upper mid does extend more than on the originals, stretching over into the 5k mark, however, this doesnât really fix the presence and also gives me hints of that 5k presence that I am personally very sensitive to. It is not a painful 5k, not like if it was an actual peak there, but it still brings a bit of that spicy flavour.
Details are ok, they are not the best in price range but they are not terrible either, they just get a little diluted by that general âhazinessâ that I have mentioned already. If focusing on detail, such as the intro to âAll Your Love (Turned to Passion)â, then the details are there, they are just sort of glazed over.
ConclusionâŚ
I canât say that the Dunu Titan S2 are a bad set of IEMs but I also canât say that, based on sound presentation, that they would be my pick over many other sets at the same price point. For me personally, I would rather listen to the Titan S than the Titan S2. Admittedly they are not going for the same sound signature, so it is not really a fair comparison, but where the originals became a sort of reference point for me at the time, I donât see anything in the S2 that would put them in the same place.
There is no doubt that they have a great build quality, aesthetics that make them stand out and come with accessories that are second to none in their price range (and much higher), but the sound just doesnât quite do it for me.
To my ears, it is as though they couldnât decide if they wanted the neutrality of the original or the warm, laid back, signature that is so common at the moment. In the end, they are neither one nor the other.
As always, this doesnât mean that you, and many others, will not like them. It just means that I am not a fan.
As always, this review can 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
3 Likes
KZ AS24 Pro
I was contacted by Kate, the social media representative at KZ, and was sent a review sample of the new AS24 Pro. It features 12BAs per channel and retails for around $115. There are two versions, one with tuning switches and one without. The model reviewed here is the tuning version.
The Packaging
The AS24 Pro comes in the familiar KZ small black box with a white sticker on the side bearing the product information. Sliding the box open reveals the IEMs in a cut out, below which the accessories are stored under a cardboard flap.
The contents comprise:
â AS24 Pro IEMs
â Silver plated 2-pin cable
â Three pairs of âStarlineâ tips (S, M, L)
â One pair foam tips (M) pre-fitted
â Tuning lever
â Documentation
The packaging is rather basic and although acceptable for KZâs more affordable models, it is disappointing at this price.
Build and Design
The KZ AS24 Pro has a black resin earpiece which is a similar shape to earlier models such as the AS16 Pro. The faceplate has a geometric design with a gold-coloured 3D pyramid effect and below this, the model name âAS24 Proâ is written in a freestyle font along with channel identification. The BA drivers are visible through the smoked grey body and the four tuning switches can be found on the rear of the capsule. The black nozzles, which are rather short, have a white filter and the clear plastic 2-pin socket is mounted on the top surface. There is a small pinhole vent in the centre of the underside.
Internally the BA driver complement comprises:
1 x 22955 BA for the bass frequencies
2 x 29869 BAs for the midrange
4 x 31736 dual BAs for mid/high area
1 x 30019 BA for the ultra high region
The BAs are connected by 3D printed sound tubes and there are no BAs within the nozzle. There are four tuning switches on the rear panel and they operate as follows:
Switch 1: increases bass by one level
Switch 1 & 2: increases bass by two levels.
Switch 3: reduces ultra-high frequency by one level.
Switch 3 & 4: reduces ultra high frequency by two levels.
All switches off: Basic tuning.
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 wire within. This is the same cable which is supplied with KZâs most basic models and it is rather disappointing that it is included here. The cable is not as prone to tangling as previous KZ designs but there is still no chin slider. There was no problem with microphony during use.
Fit and Isolation
The AS24 has rather short nozzles, so after removing the pre-fitted foams and substituting some large wide-bore silicone tips, I obtained a comfortable fit with good isolation, external sounds being considerably muted. The earpieces are somewhat bulky and do protrude from the ears but they have to accommodate 12 BAs!
Sound Impressions
The AS24 Pro was tested with Xduoo X20, Sony NWZ-A15 and Hidizs AP80 Pro X DAPs. A smartphone, via a USB-C dongle, and a digital radio were also used and the IEMs were subjected to a burn-in period of 100 hours. The source used for the review was an Xduoo X20 DAP. Using the stock cable and tips, I found the tonality a little thin and bright, so after trying various cables and tips, I settled on a hybrid copper/silver cable and large wide-bore tips. This produced the desired result. After some experimentation I set the switches to 1100 which gave a better balance and deeper bass.
Tonality
Once the correct tips and cable were fitted, the AS24 Pro impressed with deep solid bass, a highly detailed and open midrange and very clean, extended treble. Technicalities were also excellent with superb separation, layering and imaging. The coherence between the 12 BAs was seamless with the drivers giving the impression of a single unit.
Bass
With the switches set to 1100, the AS24 Pro proved itself capable of a healthy bass response with a deep sub-bass rumble while at the same time displaying excellent speed and control, as would be expected from a BA. Mid bass was fast and punchy displaying good impact with texture and resolution top-class and the reproduction of studio ambience very well handled. Timbre and tonality were very natural.
Andrew Forrest is an electronic music artist based in New Zealand. His music falls into the âCosmicâ or âBerlin Schoolâ category, featuring longer tracks with the prominent use of sequencers. âThrough the Seventh Stargateâ, from his album âInfinite Octavesâ is a typical example. Beginning with swirling electronic effects and sparkling percussive touches, a slowly descending theme appears, supported by a deep sub-bass drone. The AS24 Pro reproduced this in great style with good texture and resolution. As the piece comes to a climax, the bass synths reappear, supporting the powerful minor key melody and the AS24 Pro rose to the occasion admirably with a solid and weighty rendition, bringing out the drama of the composition.
Jacques Ibertâs âEscalesâ (Ports of Call) is a lively and colourful suite of pieces inspired by travel. The third part, âValenciaâ evokes a scene imbued with Spanish culture, featuring characteristic rhythms and melodies. The orchestration is rich and full with prominent parts for tuba, timpani and bass drum. All these were brought vividly to life by the AS24 Pro in the wonderful recording by the Minnesota Orchestra under Eiji Oue. The resonance, decay and timbre of the bass drum was a joy to behold and the crisp edges of the tuba very realistic, all within a believable natural acoustic with the bass BA giving a performance worthy of a top quality dynamic driver.
Midrange
The midrange was open, clear and highly detailed with no recession, nor was there any evidence of bass bleed. The tonality was consistent across the range from the mid-bass to the boundary with the treble, stereo imaging and separation were exemplary and the timbre throughout was natural with a slight tilt towards brightness which endowed the sound with a âliveâ feeling. Vocals, both male and female, were well presented with an âetchedâ quality which brought them slightly forward in the mix whilst displaying excellent clarity and diction.
Al Stewartâs âYear of the Catâ is perhaps his finest album. The second track, âOn the Borderâ begins with a fast-paced rhythm on piano and percussion backed by strings. A lively bassline is added followed by Al Stewartâs vocals. The AS24 Pro handled this well with the vocal located precisely in the centre of the image with clear diction and in perfect balance with Alan Parsonsâs complex and imaginative production. All the detail of the accompaniment was audible and there was an attractive urgency in the presentation. Peter Whiteâs acoustic guitar solo came through very effectively and the character of Stewartâs voice was preserved very well, adding to the enjoyment.
E.J. Moeranâs âSinfoniettaâ, written in 1944, is inspired by the landscape of the Welsh Marches. The second movement, Theme and Variations, is replete with rich harmonies and features a lyrical pastoral melody with a Celtic flavour. The tonality of the various instruments was conveyed accurately and satisfyingly by the AS24 Pro with bright, crisp brass, smooth well separated strings and characterful woodwind. There is a section later in the work where a sustained melody is accompanied by a series of chords exploring remote harmonies. This was particularly impressive on the AS24 Pro and the richness and colour of the orchestration was portrayed charmingly with depth and feeling in this classic recording on Lyrita by the New Philharmonia Orchestra conducted by Sir Adrian Boult.
Treble
The treble performance was exceptionally clear and extended. Resolution was also superb with the finest details coming through with an attractive delicacy. The tonality was just a tad on the bright side of neutral but remained smooth and airy without displaying any undue harshness. Sibilance was well controlled, only appearing when present in the recording and there was good speed and transient attack.
Iasos (Joseph Bernadot) was a pioneer of New Age music and described his compositions as âconcentrated beauty patternsâ. His first album, âInter-dimensional Musicâ was released in 1975, at around the same time as Steven Halpernâs âSpectrum Suiteâ. âRealms of Lightâ (2001) is typical of his style. âThe Fountain of Creationâ begins with a rising arpeggio which extends well up into the extreme treble. The AS24 Pro reproduced this thrillingly with a clean and precise delivery. Set against swirling synth chords, a stately melody shifts and changes, backed with rich harmonies. During this section, the high frequencies remained clear and articulate even within the more dense and complex passages
Samuel Barberâs âAdagio for Stringsâ is a frequently recorded piece and rightly so, but it has perhaps never received such a performance as that by the New York Philharmonic under Leonard Bernstein. The measured pace brings out the feeling of the piece, allowing the emotion to build. At the climax, the high strings reach a cathartic point and the clarity, separation and detail provided by the AS24 Pro really conveyed the message in the music and the contrast in the final bars was beautifully depicted.
Soundstage
Although being a pure BA design, the AS24 Proâs staging more resembled that of a vented hybrid or dynamic driver IEM with an expansive presentation featuring excellent imaging, layering and separation with a very good representationof height. Movement was particularly well rendered due to the high level of detail on offer. There was plenty of âairâ in the upper register and recorded ambience was very authentic due to the good bass extension.
âDawnâ" is the final track on the album âSummer Suiteâ by Sky Canyon (formerly Rising Sun). Deep synthesised bass tones introduce the piece, accompanied by electronic beeps and percussive elements dancing around the image. Teja Bellâs acoustic guitars and Dallas Smithâs Lyricon appear and the piece becomes more densely orchestrated as bass and more electronic voices are added. The AS24 Pro handled all this with aplomb with each strand easy to follow, maintaining treble clarity while the whole piece gelled together musically.
Gerald Finziâs âSevern Rhapsodyâ, written in 1923, is a characteristic pastoral idyll with luminous textures and obvious folksong influences. In the version by the LPO under Sir Adrian Boult, the AS24 Pro presented this beautiful Lyrita recording in all its glory. The positioning of instruments within the orchestra was authentic and accurate with each instrument revealing its own character in its own space. Woodwind was particularly well reproduced with plenty of air and natural timbre. The ambience of the hall came over convincingly with a realistic sense of front to back perspective and a real feeling of atmosphere.
Comparisons
KZ AS16 Pro
The AS16 Pro, with 8 BAs per channel, is a redesign of the original with a new faceplate. It also uses a different array of BAs as below:
4 Ă 31736 BA (treble)
2 Ă 29689 BA (midrange)
2 x 22955 BA (bass)
The AS16 Pro has an assertive V-shaped profile with solid bass, forward mids and bright treble. There is a mild âhardnessâ in the stock configuration. The tuning is more traditional KZ style than the more recent releases. The AS24 Pro has more detail, a more extended treble and a larger stage. The AS16 Pro has a similar level of bass even though it has an extra driver, but the tonality is not as natural as the 24 Pro. The shortcomings can be alleviated by the use of a 30 ohm impedance adaptor and a pure copper cable which add warmth and tame the upper register. However the 24 Pro improves on the 16 Pro in all areas. Price is a consideration, but the 24 Pro is definitely worth the difference.
KZ AST
The AST is KZâs former flagship 12 BA design. It employs the âblackâ s-type BAs in the following configuration:
1 x 22955s low-frequency BA
1 x 29689s medium-frequency BA
2 x 30017s medium/high frequency BAs
6 x 50024 high-frequency matrix BA
1 x 30019s high-frequency BA
1 x 30095s high-frequency BA
The AST is tuned to be smooth, warm and well-balanced. The bass is firm and solid and is just a little softer than that of the 24 Pro. Midrange is less forward than the current model and sounds easy-going and smooth. The treble is not as extended as the 24 Pro, but still displays a good amount of detail. The presentation is gentler and very amenable with no listening fatigue. Staging is well done but not as expansive as the 24 Pro and just falls short in terms of layering and separation. However it is more relaxing to listen to and performs perfectly well in stock form. In a sense these two are complementary rather than rivals.
KZ AS10 Pro
The recent AS10 Pro uses the 22955 and 29689 like the original, but mid/high frequencies are handled by a dual 31736 array while the upper range is covered by a single 30019 BA. There are no BAs placed in the nozzle. The 10 Pro in stock form is quite similar to the AS16 Pro with a similar level of bass, a revealing well-tuned midrange and good treble extension. Tonality is largely neutral with a slight bright tinge in the upper mids/lower treble but, as with the AS16, use of an impedance adaptor and a copper cable bring improvements and in this form it is one of KZâs best models. I also found tip rolling to be rewarding with a wide bore type giving the best results. The 24 Pro is brighter and more detailed, has higher resolution and a better well-controlled bass (with switches at 1100). Staging is also superior. The comments above regarding price of the AS16 Pro also apply here but the 10 Pro is preferable to the 16 Pro.
Conclusion
The AS24 Pro continues the ânew directionâ in tuning we have seen from KZ recently. With the latest designs like the Castor Harman, CCA Trio, PR3 and AS10 Pro, the strong V-shape profiles have become a thing of the past with now a more natural FR and timbre. The AS24 Pro continues that trend with a superb combination of accurate timbre, excellent technicalities, a high level of detail and an addictive musicality.
The packaging, it has to be said, is unacceptable at the price and the cable is not up to the standard of the IEMs. Also the nozzles are rather short which can lead to difficulties with tips. The tonality in stock form (with my source) was a little bright but I discovered that tip rolling and a hybrid cable reaped benefits. I also found that an extended burn-in was beneficial even though it is an all-BA design.
Most users will have alternative cables and tips without having to add to the purchase price and, once so equipped, it impresses with solid bass, open mids and a very extended, detailed treble. Add a wide, deep and high soundstage with excellent technicalities and you have a very complete IEM.
KZ has really âknocked it out of the parkâ with this model and it must be considered as the best all-BA set from the company so far, supplanting such classic models such as the AST, BA10 and CCA C16. If you are a fan of all-BA IEMs, it comes highly recommended.
5 Likes
NF ACOUS (NF Audio) RA15
TLDR version on YouTube: TDLR - NF ACOUS (NF Audio) RA15
The RA15 have been sent to me directly by NF Audio in exchange for the publication of this review. They have not made any requests and I will do my usual attempt at being as unbiased as humanly possible in my review.
You can find the NF Audio official page here, although they donât seem to feature the RA15 on their site: NF Audio Custom In Ear Monitor
As always, this is a non affiliate link.
To avoid being repetitive 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
IntroâŚ
First let me address the naming here. Who is NF ACOUS?
Well, the IEMs I am reviewing today were sent to me by NF Audio and they are the NF Audio RA15. However, a few days ago, I received an email saying that they have decided to change their name from NF Audio to NF ACOUS.
Personally, I prefer the name NF Audio but it is not up to me and it doesnât really matter in the course of this review anyway but, just so you are aware, NF ACOUS and NF Audio are the same company. I have also left the NF Audio page link above as I canât find one for NF ACOUS.
I reviewed the NF Audio NM2 around 2 and half years ago and, to be honest, I hadnât really heard anything else about the brand since then. That was until they reached out to me a few months ago asking is I was interested in reviewing a couple of their newer models, one of them being the RA15.
As I mentioned above, there doesnât seem to be an official page for these IEMs, although they are available on Amazon and via a couple of other online retailers, such as HifiGo, where they are priced at just under $90.
They feature a dual magnet single dynamic driver along with onboard electronics to tune the IEMs and come with two sets of nozzles, offering different profiles, although the differences are not huge, but we will get to that in a moment.
PresentationâŚ
Arriving a a black and orange box, with the IEMs on the cover, we open it to find the CD shaped card that immediately reminded me of the NM2, holding the IEMs. Beneath this we find the accessories, which are 4 sets of silicone tips, the extra set of nozzles, the cable and a small drawstring storage bag.
Honestly there is nothing really exciting in the contents but they all look aesthetically pleasing and, while the cable is nothing to write home about, do their job.
Build and aestheticsâŚ
The IEMs are a full metal build and are rather small. The nozzle is not overly long either, which, paired with the shallow style tips, make for a fit that is not very deep. I found myself opting for the L sized tips and once fitted, they give a good seal and felt very comfortable.
As they are metal, they are not the lightest IEMs but, due to their size, they are far from being heavy. They are a set that I can easily wear for many hours and not feel them in my ears at all.
SoundâŚ
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 mentioned, we get two sets of nozzles and the frequency response is different between them, although they are still fairly similar. Here is the usual graph showing them in relation to my preference curve that I post for reference:
Starting off with the gold nozzles, I found them to be rather neutral with a hint of extra warmth in the midbass which can become just a little boom on certain tracks, such as âBreezeblocksâ. However, the upper mids do rise to a peak at 5k which, as I have mentioned many times in the past, is not something that I am a fan of. In fact, I find the peak to be painful many times but in the case of the RA15, with the gold nozzles, it is not actually as bad as I would have thought.
Yes, the peak is noticeable to me as I am very sensitive to that range, yet I do not find it to be piercing like I do on so many other sets.
The treble is not exactly smooth but also doesnât portray itself as being bad or uneven. I find the general sound to be rather neutral with a hint of bright, something that I donât mind at all. It is only that boomyness of the midbass focus that can be tiring at times.
Swapping over to the silver nozzles, these bring a bit more presence in the upper mids and take away some of that boomyness in the midbass, although it is still there, just that the focus is shifted to the upper mids.
The thing is that the silver nozzles seem to give everything a more fragile and âthinâ sound, especially in the upper ranges. It is not that the tuning is completely different from the gold nozzles, I would still say that we are in the neutral bright zone, but things just sound sharper and not in a good way.
Although there is is more presence between 2kHz and 4kHz, I actually notice the 5kHz peak more with the silver nozzles than I did with the single 5k peak on the gold nozzles. This made the listening experience less enjoyable for me personally.
As far as details, they are pretty decent and there is a nice sensation of sound stage also, with things seeming having plenty of space to breath (except for those tracks where midbass boomyness is experienced). The location of instruments in âLa Lunaâ is pretty good and there is nice space between them, although I do find that width is superior to the depth.
ConclusionâŚ
Honestly, it is nice to see brands that are staying loyal to their tunings and not jumping on the bandwagon of whatever is âin seasonâ, yet, I really canât say that there is a lot of difference between the NM2 and these, 2 and a half years later.
In fact, I think that I personally prefer the NM2 over these due to the lack of peak in the 5k region.
Saying that, with the gold nozzles, I find them to be a pleasant listen and, while they are not my first pick for IEMs, they do have a sound signature that is not commonly found lately, so they may be interesting to those looking for that neutral bright signature.
As always, this review 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
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