INTRO

Moondrop May has me looking forward to the spring given our latest arctic blast where we dipped colder than Siberia. Moondrop are notorious for challenging how much value you can get from a dynamic driver earphone. The uniqueness of the MOONDROP May is the built-in dac dongle EQ tuning feature strung unfortunately to the Android OS for now, but once adjusted can be carried across devices or applications.

Planar treble and a new Sapphire dynamic driver meld together to create something new from Moondrop Labs in the value realm with great technical abilities and optional electronic tuning in the more serious earphone price category.

DESIGN FEATURES

The Moondrop May only has a USB-C connection built into the solidly thicker than normal silver plated braided cable. Installing the tips was difficult feeling like perhaps the bore size was not matched well to the nozzle diameter, but once on they stay in place so not all a bad thing.

The unboxing experience was easier to open than past offerings and along with the mundane eartips and the detachable USB dongle cable is a premium leather zippered case that looks quite classy, but is bulky in the height dimension. It’s best in a bag or coat pocket, awkward in a pants pocket.

The Moondrop May departs from the shell shape that has been a staple through many models. I actually find the Moondrop May is less finicky for my ear shape and fits better. It is also quite isolating. Inside we have a new wideband Sapphire dynamic to handle up to 8khz where the 6mm annular planar driver takes over upper treble duty.

The USB dongle cable has minimal power drain, I measured only 0.01A or approximately 10mA of current draw. The convenient controls include coarse volume steps so a little change goes a long way, for finer control the DAP/phone may offer better control. 

Play and pause are activated with the center button. There were in some instances a faint ringing tone that lasted about 2-3 seconds could be heard when paused or even as it switched to other songs, probably has to do with the noise filtering of the DAC, the EQ (perhaps they are using convolution or minimum phase filters) or the low pass filter used to abide by Nyquist theory. I have no way to flesh that out and determine what is causing it, other than I can notice it only in the moments of silence (not during song listening).

IOS users could still use it with a camera adapter or a newer device that has USB-C over the lightning connection. Those that manage to connect will have a different experience and not be able to fully utilize the design. Moondrop Link 2.0 is required to select EQ’s being USB-C and there is no 2.0 link app for IOS. 

I am curious as to why there is no official store app. The Moondrop Link 2.0 like the original Link app is not on the Play store. You must allow 3rd party app access with the developer options. Some may view this as a security risk so use at your own peril. Users can create their own tunings and add them to the Moondrop repository by creating an account. Otherwise, you have mostly free range on the app.

It did appear buggy, sometimes my LG G8 would not recognize the device to make changes and I would have to restart the phone, but it was connected since music could be played through it. If I did not get the message to allow Moondrop to access the May, then I knew it would not be recognized. I have no way to tell if it was my phone, or the app.

SOUND

Strangely, the out of the box tuning does not match any of the downloadable target curves. I measured it first before I started playing with any of the EQ settings and was surprised to find that oversight. I am not sure if this was on purpose or accident, but either way a bit concerning.

One question I have is what is it like without DSP? Being that the cable is detachable, I connected another cable just for funsies. Graph below, surprise it matches the out of the box tuning. So to answer the question of how to get a tuning that does not exist in the presets…use a different 0.78 2 pin non-dongle cable. Given the 10dB lower treble pinna gain, this might fit better with eastern style tuning. It is too forward for my preference.

The nice thing about the presets is you can hear the change instantly without actually hitting apply to lock it in. The presets are also different than just straight EQ because it will carry across any app or device you listen to them on. Ranking the presets for my personal tastes were Standard, Basshead, Reference, Harman, No Bass. Reference and No Bass were rather close and sound a bit thin in upper bass, but heavy on upper midrange/low treble gain.

The Harman setting was thunderous and weighty feeling even more so than the Basshead tune and it adds extra treble zing. For classic rock that might be missing some midbass tone and warmth, the Basshead is the way to go, but if you want more treble essence and further thickness go for the Harman. It also increased the upper treble with cymbal shimmer.

Standard has a minor bass lift somewhere between the reference and basshead. I find the Standard and reference pretty close to balanced, but occasionally the reference could feel too thin in the mids. Bass has a tight punch and snap with either of these presets, basshead and Harman adds some slowness and can come off bloated.

Mids and treble sound realistic and never dull, however like most Moondrop products the essence of air is where they pull back the reins. To fully utilize the annular planar driver, the Harman tuning adds more air and shimmer. Overall, there could be some extra contrast but nothing that worries me. The bones or structure is in place, I think the user has to embrace the electronic tunable nature of these and unlock the full potential. Transient response is quick as expected from the planar treble, especially with the smaller driver. 

With some of the reference or no-bass presets it gets overpowering however less so than the Moondrop Starfield 2. Nothing sounds weird or off in the timbre department until you download some of the PEQ downloadable content to mimic the tunings of some of their other models.

The downloadable presets come from Moondrop, plus other users who have created accounts. I yearn for a reset button though, and also wish that by setting the presets it might carry over to the adjustable PEQ section so you could have a starting point, but add or subtract from the preset. 

Regardless of tuning, the Moondrop May never felt too crowded and provided ample instrument separation front to back and side to side. Clarity is good and what is normally found at this price range I find them near on par with the excellent Sennheiser IE200. The standard tuning is also close to what you find on the Sennheiser IE200, but there will be some differences in the midrange. Sennheiser likes to give us a more vocal enhancement that blends with the overall tuning. Jazz and classical fans would be more satisfied with the IE200.

So I mentioned the Sennheiser IE200 is a close competitor and excellent overall, it gets an overwhelming positive stamp of approval from audiophiles, the general population takes issue with the cable and fitment. The Sennheiser is a new benchmark around the $130-150 price range. The Moondrop May is half the price and one of my favorites closer in price is the Truthear Hexa. It’s not going to best the Sennheiser, but recognize it can fill the gap.

With the Hexa you get balanced bass, and equal resolution and clarity, with additional treble presence that is boosted. It sounds more V shaped with less midrange presence. The Hexa fits with modern rock and pop music, where the Moondrop May is trying to straddle the mainstream and yet still appeal to audiophiles with a more proper timbre. The Truthears Hexa also has lower sensitivity and works better with more amplification.

FINALE

Keeping in mind the Moondrop May is a $65 earphone with an attached DSP dongle it ticks off many boxes with caveats. Those being restrictions on connections and devices, app is only available on the Android platform (not even Windows or Mac OS), and has to be side loaded outside the Play store. It has technical abilities that set it apart from the ok entry level offerings, and could easily last a while without getting the itch to upgrade.

Great value too minus the bland eartips, this is a good one to have and safer to recommend over the Starfield 2. Much like the KZ VXS Pro, the built in DSP tuning is something that is carrying over from the powered professional studio monitors, and I think we will star to see more and more of this concept.

Disclaimer: We are grateful for Shenzhenaudio.com for providing the Moondrop May at zero cost and zero affiliate kickbacks for a thorough picking, poking and an occasional wet-willy.

PACKAGE CONTENTS

• May Earphones
• Detachable Cable
• Manual
• Leather Case
• Service Card

MOONDROP MAY SPECIFICATIONS

https://moondroplab.com/en/products/may

Moondrop USB-C Online Interactive DSP DD+Planar Hybrid Dual Drivers
Driver: 10mm Sapphire Plated Diaphragm Dynamic Driver + 6mm Annular Planar Magnetic Driver
Impedance: 30ohm +/-15% @ 1khz
Sensitivity: 120dB/Vrms @ 1khz
THD: <0.05% @ 1kHz
Frequency Response: 7Hz-39Khz
Effective Response: 20Hz-20Khz (IEC60318-4, 3dB)
Cable connection: 0.78-2Pin to USB-C

GRAPHS

• Left vs Right Out of the box (Note this is not one of the presets, but can be achieved with a non-dsp dac cable)
• Tuning Presets
• Out of the Box Tuning Compared to Non-dongle powered cable
• Moondrop May vs Sennheiser IE200 vs Truthears Hexa

Contact us!

DISCLAIMER

Get it from Shenzhenaudio.com

Our generic standard disclaimer.

About my measurements.

The post Moondrop May IEM + Dongle Review – Oops They Did It Again, Digital Delight appeared first on Music For The Masses.

ORIGIN STORY

I suddenly found myself overloaded with many new audio gadgets to review in the midst of a home remodel to make it more interesting, and the Kefine Klanar stands out amongst the noise. Kefine is a new brand that aims to jump in the Planar realm with an oddly similar planar driver size. I think they hit the mark and delivered a more forward sounding Timeless with less sizzle in the top, and for nearly half the price at an easy to digest price of $119.

As a newcomer, Kefine is named after the founder Ke, and mashed together with Refine hoping to provide refined audio products for music lovers with affordable price and the best value-that’s their tagline. Klanar is word play on Planar from what I can tell. One quibble was the box was hard to open, but it only added to the suspense of what was inside. Seriously though, I appreciate an easy to open box please.

PHYSICAL FORMALITIES

The eartips included with the Kefine Klanar are no big thing, your basic set of small bores with two pairs of medium one of which comes preinstalled and then a set of S/M/L wide bore. I suggest aftermarket replacements as the outer portion is rather flimsy and easy to deform. The nozzle stem is thick which sometimes helps with bass control.

The black matte anodized aluminum CNC shell of the Kefine Klanar is smooth and free of any uncomfortable edges. Kefine understands that CNC shells need not be heavy monstrosities that wear heavily on your ears after long listening sessions.

The emblazoned logo might not be everyone’s idea of a nice design, however simplicity is a statement since it is the only thing to look at. Being a first time product, this is probably a wise choice. Understated, unobtrusive and fits well is a good combination in my book. Keep in mind the nozzles are the typical larger diameter, I have not seen smaller nozzle designs for quite some time.

The medium sized zippered gray cloth hard case is appreciated. It will protect them nicely and fit the ear-tips with ease. The cable is a bit plastic feeling, but is of above entry level grade quality. First comparison, the 7HZ Timeless cable is nicer feeling, but the Kefine Klanar is better equipped with 0.78mm two pin. I prefer 2 pin for longevity over MMCX which instead offers pivoting capability for the ear-hooks. The Kefine Klanar is offered in 3.5mm single ended or 4.4mm balanced connection when you order.

SOUND

Every time I see another planar launched, I automatically assume it has to be similar to the 7Hz Timeless, and so far the Kefine Klanar is the one that has come close. Bass sounds deep when needed with a good haptic rumble. When compared to the Timeless, they feel equal in technical abilities. Articulate, transiently quick and rumble when you need it. 

Despite measuring the Kefine Klanar at a higher level in the bass region, the balance between the bass and mid-range pinna gain, has it sounding similar in quantity to the Timeless. Timeless sounds plump and fatter while the Kefine Klanar adds a touch of warmth and slap. Even double kick drums on Symphony X – King of Terrors rips quick with defined bass notes, I remember how disappointed I was in the HIDIZS MP145 in this regard.

Mid-range does come forward on the Kefine Klanar, but oddly not overbearing. I think it has to do with the lowest valley is not at 1Khz, but rather even lower in the mid-range around 600Hz. At 1khz, we are talking a 10db rise, but at 600hz it comes closer to 13dB.

This again is that balancing act. Vocals sound clean and absence of added rasp. Instruments have good depth and space around them. The Timeless sounds a touch wider given the less forwardness of the vocals. I have to agree Kefine has tuned the Klanar to work well with acoustic music. Snare drums are subdued as mid treble is dialed back to provide a more fatigue free listening session over energetic.

Timbre comes off more digital than analog despite the warmer lower end, to me this is a byproduct of exacting nature of a properly implemented planar driver. Overall it sounds proper and nothing sticks out as off.

The Kefine Klanar treble is where the balance shifts in its favor. The Timeless was known for it’s U shaped signature with a rather over the top treble shimmer and air that can be almost too much at times. The Kefine Klanar has gone easier on us and yet still presents excellent shimmer and clarity with quick transient dynamics. I like the balance of it, others may prefer the extra air of the Timeless.

Easily driven by my LG G8 smartphone or simple dongle despite the lower than average sensitivity, the Kefine Klanar is a few more decibels louder or more sensitive than the Timeless. Power of course is always appreciated. The response through the treble is more consistent and tracks between left and right properly, my Timeless is not nearly as matched left to right.

FINAL REMARKS

Deep down I was hoping this planar would deliver, but had low expectations. I am proud to say Kefine Klanar surprised me and gave us a nicely designed earphone that can compete with the Timeless if you felt more mid-range presence was needed or the treble shimmer was a tad much. The typical universal shaped shell design might also be more appealing, that circular face-plates found on the TImeless.

Given the diffuse field curve with enough low end bass boost and upper treble at a good level, a prominent recommendation for anyone shopping for a new IEM, put it on your short list and consider getting some better ear tips to do them justice. Jazz and acoustic mate well, as does Rock and Pop a close second. I am going to revisit these before year end against the HIDIZS MS3 and Moondrop Starfield 2 and decide who comes out on top at the $120 price point.

DISCLAIMER

Provided Free of charge from Sivga who also sent me their iteration Nightingale yet to be received, I appreciate the opportunity and these will probably get a second look from the man, the legend Loomis. Purchase links below that provide no monetary incentive for us. Check them out on Facebook https://www.facebook.com/kefine.audio

USA:
Audio 46: https://audio46.com/products/kefine-klanar
Hifigo: https://www.amazon.com/dp/B0CKZ71VP3/kefine+klanar/

AliExpress:
https://www.aliexpress.us/w/wholesale-kefine-klanar.html?spm=a2g0o.home.search.0

International:
Linsoul: https://www.linsoul.com/products/kefine-klanar
Hifigo: https://hifigo.com/products/kefine-klanar

SPECIFICATIONS

Style In-ear
Driver size 14.5 mm Planar
Frequency response 20 Hz – 40K Hz
Sensitivity 105 dB +/- 3 dB
Impedance 16 Ω +/-15%
Cable length 1.2 M +/-0.2 M
Plug size 3.5mm SE or 4.4 mm BA
Weight 12.6 g

GRAPHS

• Left vs Right
• Kefine Klanar vs 7HZ Timeless
• Kefine Klanar vs Moondrop Starfield 2 vs HIDIZS MS3

Contact us!

Our generic standard disclaimer.

About my measurements.

The post Kefine Klanar Review – Time Is Only A Reference Point appeared first on Music For The Masses.

The original Moondrop Starfield (my review here) was one of the best $100 IEMs I’ve heard—rich-sounding, smooth and immersive—and I was surprised at how much they changed the tuning for the Starfield II. As with the original, the II has a dialed-down bass and pronounced emphasis on the upper mids. but the II has a leaner, brighter tone with much more high-end detail and sparkle—it actually sounds more like a hybrid BA than a DD.

Technicalities (imaging, transient speed) are very good on the Starfield II even if electric guitars or saxes can sound a little edgy or sharp on some material, and most folks would find the II to be the more refined, better-resolving  piece. I prefer the original, which is less analytical and has a more analogue tone but both are worthy. Moondrop’s forays into TWS have been hit-or-miss, but in the wired world they dominate this price point.

SPECIFICATIONS Moondrop Starfield II

Disclaimer

Borrowed from Durwood.

Contact us!

DISCLAIMER

Our generic standard disclaimer.

About my measurements.

The post Moondrop Starfield II Review (2) – Another Time Around appeared first on Music For The Masses.

The $25 Moondrop Space Travel are absolutely marvellously sounding TWS earphones, my find of the year. There is nothing on these that would indicate their low price.

Pros — Wonderful cohesion and fluidity, organic sound; superb comfort and fit for my ears; decent ANC, incredible value.

Cons — Relatively short battery life; not the loudest maximum volume.

The Moondrop Space Travel were kindly provided by SHENZHENZAUDIO for my review – and I thank them for that. You can get them here.

Introduction

Moondrop were once big into space – now they are back. Just like the USA. Since their takeoff from Chengdu, Sichuan, China, in 2015, they have travelled with Spaceships through Starfields to boldly go where no man has gone before. They experimented with diffuse field neutral and Harman Kardon, and recently appeared to have settled for their own interpretation of the latter, called VDSF (see below).

When I was a space cadet myself in Chengdu (yes, we had an office there), most of the Moondrop protagonists were children or teenagers.

Apart from alternating tuning trends in the “tonalities of the season”, Moondrop sometimes were their biggest competitor, even enemy. For example, their $30 Crescent rivalled their $180 Kanas Pro Edition back in 2019. Needless to say that the Crescent disappeared very quickly and mysteriously from the company’s catalogue. Faster than Yevgeny Prygozhin.

As history ALWAYS repeats itself, I hope the $25 Space Travel will stay in the market a bit longer. They are THAT GOOD. I don’t know the other Moondrop TWS models but am completely satisfied with this one. It could be the one for the lonely island for me (provided there will be enough chargers available).

Specifications Moondrop Space Travel

Physicals and Operation

In the box are:

• Space Travel * 1
• Charging Cable * 1
• User Manual * 1
• Product Card * 1
• Earphone tips * 3 pairs (S/M/L)

The case is made of solid, hard polycarbonate and looks futuristic, like the love child of a pencil sharpener and a water flosser. A bit awkward in one’s pocket but a great looking accessory to any desk. The earpieces (without their antennas) are rather small and have an excellent fit on my ears: super comfortable with a great seal. Stock eartips work well. Haptic of both earpieces and cable is great. No hint that this set is only $25.

Operation is intuitive when you have used TWS earphones before: different taps and clicks operate next/last song, play/pause, turnoff/off voice assistant and ANC. This works smoothly. You can customize these gestures with the free Moondrop Link app…see below.

The voice assistant is actually quite cool: a snoddy young girl’s (or waifu’s?) voice advising the listener in a sometimes funny way. May cause repeated chuckles and good mood.

What you cannot do with tapping is adjusting the volume. This needs to be done on your music source. Speaking of volume: Space Travel’s maximum volume is not as high as that of its more expensive competitors such as the 199€ Earsonics AERØ or the $150 final ZE3000, but it is loud enough for “normal” listening.

Bluetooth Functionality

The Moondrop Space Travel features Bluetooth 5.3 and actually really operates over a distance of 10 m, unobstructed, as claimed. I tested it. Bluetooth operation is very smooth. When alternating between the Space Travel and the final ZE3000, the iPhone recognizes each model automatically. No fiddling with the setting necessary.

Active Noise Cancelling

It works, and surprisingly well as long as you do not expect wonders. The Moondrop Space Travel’s ANC filters out static noise such as remote traffic, wind in trees, or a fridge sound quite effectively. It does not do much for dynamically changing noises such cars passing by or the traffic helicopter above you. The use can choose between noise cancelling, regular, and transparency mode.

Battery

That’s where more expensive models leave the Moondrop Space Travel in the dust. You get max. 4 hours of uninterrupted listening out of them, not quite enough for most international air travel out of Canada. Recharging takes approximately one hour. The case allows three re-charges to a total of 12 hours. It is re-charged within 1.5 hours.

The free Moondrop Link App

I downloaded the free Moondrop Link app from Apple’s App Store. A Google version is also available. The app works for a series of Moondrop devices such as TWS iems and dongles, and serves the purpose of fine-tuning them.

For the Moondrop Space Travel, the Link app allows for two things: first, customizing operational gestures (“Custom Touch”) such as play, pause, next song, ANC on/off etc.

Second, the user can adjust the tonality with a choice of “Reference, Basshead, and Monitor”. The difference between the three is the bass perception. Monitoring has the flattest bass for the most neutral sound.

I mainly use “Reference” in the middle as it is closest to the Harman Target (with a bit of bass rumble). If you are on a noisy train or bus, you may choose “Basshead” in order to support the ANC in suppressing the ambient noise.

Once selected, the Space Travel memorizes the setting.

Tonality and Technicalities

The sound of the Moondrop Space Travel is absolutely superb. This may be a blanket statement but that’s how I perceive it. I have used the Space Travel around the clock (or moon?) since its arrival. Its natural sound rivals my $150 final ZE3000 TWS gold standard. Surprised?

With three selectable tuning configurations you can tweak the Moondrop Space Travel’s tonality to your liking. All three hover around Moondrop’s Virtual Diffuse Sound Field (“VDSF”) target, their interpretation of ideal sonic quantities across the frequency spectrum. The VDSF (and therefore the Space Travel) avoids annoying peaks and is broadly similar to the Harman target.

The “Reference” tuning comes closest to the VDSF target, The “Monitor” shifts the experience somewhat towards neutral. Basshead is not as extreme as it sounds and can polish some flat old recordings up quite a bit.

Bass is in all cases reasonably tight with natural decay — and with good control and decent attack. Mids are a tad on the lean side (but only a tad), and they excel in note definition and articulation. Midrange resolution and clarity are very good.

The interplay of bass and mids makes for excellent spatial cues. You get a real room feeling. And since the upper mids are well controlled there is absolutely no shoutiness. Gone are the days of the piercing Moondrop SSR and the likes of. Treble is safe and well rounded by Bluetooth’s own limitations.

The Space Travel sound wonderfully cohesive, fluid, natural, and relaxed, but with great dynamics nevertheless. Staging is wide with reasonable depth, separation and layering are unbelievably good considering its price. Even microdynamics is surprisingly good.

It is the whole composition that is so enticing to my ears.

In comparison, the superb $150 final ZE3000 are somewhat richer sounding and play louder. But the Space Travel have better articulation (!!!). The ZE3000 also play longer before recharging but have much bigger earpieces.

The 199€ Earsonics AERØ may be built more rugged but have some degree of unpleasant harshness compared to the Space Travel.

None of these pricier competitors offers ANC.

A word on the microphone’s recording quality: pretty good, my voice comes across quite clear in an echoey environment (over hardwood floors):

Concluding Remarks

Since Chinese budget iems have first flooded the western markets some 5 to 7 years ago, consumers have been “holygrailing” to find that $$$ iem at a bargain price. But these killer deals never materialized. This resulted in hoarding for many jumping from one model to the next in short order like Tarzan from tree to tree. It has been a bottomless barrel – and an expensive one cumulatively.

Not quite sure whether the Moondrop Space Travel will satisfy this clientele 100% either, but they are Wall of Excellence material in my opinion. They offer a natural, cohesive listening experience that is nothing less than irresistible to my ears. Greatness independent of price.

My find of the year! It is as simple as that. Why pay more? Get them before they are being pulled – again.

Until next time…keep on listening!

The post Moondrop Space Travel TWS Review (1) – Reaching New Galaxies appeared first on Music For The Masses.

BEGINNINGS

I never thought I would see my Starfield again, but then the Universe delivers the Moondrop Starfield 2 to my doorstep. Not much of a spiritual individual, I was still thankful I get another chance to reminisce.

Truth be told, the Aria would have been more my type to boogie with, but it was released later than the Starfield. Like all impatient audio junkies, I wanted the quick fix of what was new now.

The new Moondrop Starfield 2 is better than version one where the treble brilliance took a trip to the basement and never came back. We should take hints from kids, always shine a light before embarking on a trip to the darkness.

What to expect from the new version? A more forward upper midrange paired with a less gradual decline in treble output with a topping of sparkle and tighter controlled bass.

PACKAGE CONTENTS

Borrowing 1960’s hot-rod paint jobs or old amusement park rides for the kids in us, the Moondrop Starfield 2 utilizes the familiar shell that helps to keep tooling costs down for production. The iridescent paint is beautiful on top of the cast alloy zinc shell.

I believe there were reports of the original Starfield paint had a tendency to chip off. That does not mean the Starfield 2 would suffer the same fate, but painted metal things bouncing against each other will eventually show wear, call it patina or just be warned.

Inside they have stuffed the Moondrop Starfield 2 with a new 10mm dynamic constructed of Magnesium and Lithium alloy that claims to be more rigid and lighter than pure Beryllium.

This should equate to precise and quick transients, and hopefully push the breakup mode of the driver past our threshold of hearing. That is usually the goal of extremely rigid driver materials.

The faceplates are flat vs the angled ones from the Kanas Pro and Kato designs. Moondrop chose to make the screw a decorative feature. The tips of the nozzle also unscrews to change the mesh screen.

I have taken pictures in the past of these screens, and they are rather intricate and specialized to not only keep the moisture out, but apply acoustic filtration.

Also new the Moondrop Starfield 2 are vent hole plugs, in comparison to modders using micropore tape in the past to increase bass. You need patience to attach them, but once attached they increase the bass to bass head levels in a straight liner shot to the bottom. There are also plugs with holes, but it did not seem to change anything different than just leaving them out. 

The 2 pin cable is a striking blue color of twisted silver strand wrapped in a slightly rubberized texture sheath. The brass accents standout and match the brass nozzle. It’s rather weighty at 32g while both ear pieces clock in at 22g together. Microphonics are rendered moot, but the weight of the cable puts a damper in another way.

SOUND

Tested with the Shanling UA2 Plus and SMSL DO100 with HO100, the Moondrop Starfield 2 is a lightweight with the bass, easy on the lower midrange and focused on upper mids with a sprinkle of sparkle. This is the essence of Moondrop’s VSDF target curve many of their products follow with varying degrees of refinement.

The dynamic driver feels quicker than past iterations and the sub bass rumble is adequate. The vent plug drastically changes that, so if you desire they respond well to EQ instead. Still the midbass has a soft start but a tight finish. Despite the relatively minor bass lift it rolls into the lower midrange nicely avoiding sounding too thin.

Midrange clarity is excellent for this tier of IEMs producing well rounded vocals that sound exciting and pure. Note definition has proper decay exhibiting good depth making instruments sound believable. The upper midrange lift is more than my personal preference by a few decibels, but it hangs back ever so slightly before it steps out of bounds. This pinna gain aids in the clarity perception.

The Moondrop Starfield 2 treble is in-offensive and delicate, brass never sounds honky in quieter passages and picks up the slight flutters of saxophones and flutes. A little kick in the brilliance at 10Khz adds excitement and helps to uplift the final stage keeping it from sounding too flat. Purists will probably object, but the original Starfield was too tame for me near this area. What can I say, I enjoy some spice.

Lately I have been giving the Ibasso IT01 some light of day, I felt another oldie but goodie that was frequently recommended in this price bracket deserves a chance. Some might remember the Pioneer SE-CH9T, if not no worries.

They share similarities in the bass department until the Moondrop Starfield 2 except the Pioneer goes flat before making it to the midbass, quantity and quality are equivalent. I find the Starfield 2 has more note weight when listening to stand up bass. 

The Pioneer is more balanced overall, it doesn’t quite have the sharpness at the pinna gain around 3khz. Staging sounds wider on the CH9T and some dips in the treble take the edge off and push the whole stage backwards in comparison to the Starfield 2 with its more forward nature.

I picked up some resolution improvements in the presence region on the Starfield 2. Shakers and cymbals sparkle on the Moondrop Starfield 2 and shine like watching a newer movie shot with digital cameras. The Pioneer feels more analog with a grainy quality. 

Another one of my favorite picks between the $80-100 mark depending on purchase date, the TinHifi T4 is a good match-up for the Moondrop Starfield 2. While following a more similar target to the Pioneer, the T4 has more mid-bass thump and grunt compared to the Starfield 2. Upper midrange on the T4 is a more pleasant and longer session tune for me, but the Starfield 2 has snappier snares. 

While the stage sounds wider on the T4, I do not sense as much separation when compared to the Moondrop Starfield 2. Micro detail resolution winner is the Starfield 2. I clearly pick out each instrument and place them as if listening live, the T4 otherwise sounds more like a great recording.

So what have I missed, perhaps at this point I should mention they offer between good or great isolation. While I sort of miss the sticky and unique Spring ear tips, I think the sizing on them was off and not appreciated by the masses so instead we get rather generic eartips. Storing them is easy in the flip top leather case that can also be found with the Kato.

SO WHAT NOW?

Moondrop really hangs their hat on the VSDF tuning which is more diffuse than the Harman tuning. Moondrop Starfield 2 enhances a few areas on the old Starfield while dare I say, undercutting the previously popular Kato in terms of technical abilities. It will be a shining star for those that crave sharp definition and resolution while not overdoing either in air or bass (unless you want to). 

I have personally bought my way up the Moondrop ladder with the Kanas Pro (retired), Starfield (lost), Kato and Blessing Dusk 2 still in rotation and have previously reviewed the Alice TWS.

I can say the Starfield 2 is good company however not kicking older brothers and sisters out of the house. Kato and Alice still deliver more technicalities than the Starfield 2, but the $100 buys a fantastic floor seat to a great concert anchoring itself at the gate for others to attempt to push past.

Disclaimer: I thank SHENZHENAUDIO/Moondrop for providing these at no cost. While I have purchased the original Starfield, Kanas Pro, Kato, and Blessing Dusk 2 on my own dime you could say I am a bit of a fanboy – I still keep my biases in check.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Open Vent vs Plug
• Moondrop Graph Comparison of Starfield and Starfield 2

Contact us!

DISCLAIMER

Get it from SHENZHENAUDIO.

Our generic standard disclaimer.

About my measurements.

The post Moondrop Starfield 2 Review (1) – Deadly Electric Boogaloo With An Old Friend appeared first on Music For The Masses.

The $120 NiceHCK F1 is a well-resolving planar magnetic earphone that follows the current trend. It essentially sounds like my “modded” LETSHUOER S12.

The $120 NiceHCK F1 planar magnetic earphone was kindly provided by the NiceHCK Audio Store for my analysis – and I thank them for that. You can purchase it at the NiceHCK Audio Store.

Introduction

NiceHCK are an aliexpress company that made their name with $3 earbuds (before the current inflation) and annual Fukubukuro offerings: a surprise bag (“Wundertüte”) containing a mystery new-release earphone at a discount price. They are also quite renowned for their accessories, first and foremost their earphone cables. Good quality at reasonable prices.

While their iems are always interesting, they have been hit and miss throughout history. We have reviewed quite a few of their products.

Loomis and I, in our sonic youth, had a soft spot for their $12 NiceHCK Bro single DD. And I found their $140 NiceHCK M6 offered a sniff into the world of premium iems – at the time. The company’s most prominent effort was/is the NX7 series that recently culminated in the MK4. M6 and NX7 MK4 suffered from a slow bass, a flaw the F1 avoids.

As NiceHCK’s contribution to the current planar magnetics trend, the F1 is actually a good sounding earphone.

Specifications

Physical Things and Usability

In the box are the earpieces, a cable, 2 generous sets of silicon eartips, a lavish pleather storage box, a velcro tie, and the paperwork. The OCC silver-plated cable is absolutely gorgeous with a perfect flexibility and probably costs $30-40 by itself.

The rugged earpieces are made of CnC machined aluminum alloy in the tradition of the 2018 NiceHCK M6 for example. Their cylindrical shape is very similar to my beloved Dunu Zen, just a bit smaller.

The generous sets of eartips are generic – they came with all previous MK4 models, too. NiceHCK should make some effort selecting eartips that optimizes the sound of a particular model (ok, ok, Sennheiser does the same).

The colour combination and faceplate have a retro appeal to me (retro being 2018). The nozzles are a bit short but once I have inserted them deep into my ear canals, they stay i there, and give me a good seal. The shells are comfortable for me over longer listening sessions. Isolation is average.

Just like with many other planars, the F1 are not very sensitive and work best with decent amplification

Tonality and Technicalities

The NiceHCK F1 comes with three different screw-on tuning filters, silver, black, and gold. Each filter creates a different sonic flavour. The silver filter delivers the most balanced and most realistic musical reproduction and is used for this sound analysis.

The gold filter adds an upper midrange spike that introduces a brightness that is fatiguing to the western ear. And the black filter enriches the lower midrange but leaves a particularly thick bass perception.

The F1 rides on the bandwagon of the the current planar magnetic hype, and it does so actually quite well. In the “olden days” there were two end members of sound signature, “neutral” and “fun”. The first meant the item was analytical and sterile as it lacked bass, and the second referred to a bassy V-shaped signature with recessed vocals.

Updating this terminology to today’s standards means “technical” vs. “agreeable (or musical)”. The NiceHCK F1 straddles the thin line between the two.

The F1’s bass is on the satisfying, robust side with a slightly blurry midbass hump, which is not pounding fatiguingly but rather subtly against my eardrums. A reasonably pleasant but slightly unfocused punch (it could be a bit tighter), which bleeds into the lower midrange. This adds robustness to the sound an contrast to the less bassy Dunu Talos.

The midrange is on the clean, more technical side, but not as lean or analytical as in the LETSHUOER S12 for example. It is richer but also not as sharply etched out and articulate as in the S12 or 7Hz Timeless. With the silver and black filters, the upper midrange is not shouty.

Treble rolls off rather early and is a bit robotic, typical for planar magnetics.

Bringing this all together – the human ear processes the whole frequency spectrum in context – this amounts to a slightly bassy sound with a reasonably well resolving midrange, which allows the listener to turn up the volume without regrets.

In terms of technicalities, the “agreeable/musical” part sacrifices some technical capabilities. The marginally blurry, bleeding bass and the lack of treble extension narrow the stage. Midrange resolution and clarity are very good as long as it is not affected by the bass. Separation and layering are also best in the midrange and treble, but lag behind at the bottom end of the frequency spectrum..

Timbre is a bit on the “planar magnetic” side, which means it is a bit metallic…but still good enough for enjoying acoustic sets.

Apart from the bass, the F1 are very good iems. The LETSHUOER S12, in comparison, has a tighter bass, but leaner mids, and is less “musical”. But with its current “micropore mod” (which removed spice from the S12’s upper midrange and thickened the bass) both sound almost identical (and they have almost the same frequency response). I would not be surprised if S12 and F1 had the same driver, just use different filtering.

The Dunu Talos is less bassy than the F1 and S12, has a much wider stage, and comes across as a bit sharper and spicier in the upper midrange (but there’s always micropore tape). I’d not put a newspaper between the three. In any case does the F1 not need any modding, but possibly some better eartips.

Concluding Remarks

After my criticism of their recent models, NiceHCK have pulled out a good and useful planar-magnetic earphone in the F1. While my analysis may be nitpicking, they are quite enjoyable for recreational listening.

Until next time…keep on listening!

Gallery

The post NiceHCK F1 Review – Bandwagonesque appeared first on Music For The Masses.

The $49 TINHIFI C3 is yet another TINHIFI Harman-tuned single DD iem with agreeable mainstream sound, good for universal use.

The TINHIFI C3 Plus was provided unsolicited by the manufacturer – and I thank them for that. You can get it from TINHIFI.com.

Introduction

TINHIFI tried to avoid their sonic sins of the past and recently launched a series of Harman tuned iems coverin- the complete budget spectrum: the $39 C2, the $49 T2 TLC, and the $119 T4 Plus. As we know, the company became famous back in 2018 with their (in)famous T2, which you still get on drop.com.

Strangely enough, all the above mentioned models produce almost identical frequency responses – and the $49 C3 joins in with them. But they sport different drivers and cavities in their shells, which does not make them sound exactly identical. Durwood already took a stab at the C3, which you can find here.

Specifications TINHIFI C3

Physical Things and Usability

The package contains the shells, a set of silicon eartips in 6 sizes, a gorgeous cable, and the paperwork. The shells deviate from TINHIFI’s silvery brushed metal, they are resin with one of these average shapes we have seen frequently before.

The shells fit me well, they are rather comfortable, but they are nothing to write home about. They are a generic standard design.

Tonality and Technicalities

TINHIFI C3 is yet another safely tuned offering by TINHIFI, who obviously learnt their lesson from the sharp sounding T2 DLC. It is reminiscent of the Moondrop Crescent which also follows the Harman curve. The sound is “agreeable” with a bass boost and respectable technicalities.

The low end is the most prominent sonic feature of the C3. It has some emphasis somewhere between sub-bass and mid-bass reminiscent of the XBass in some ifi Audio amps. Bass is visceral, tactile, thumpy, and agile, but could be a bit more composed. It can be quite enjoyable but you sadly cannot switch it off when (not) in the mood. Let’s say the bass is tastefully overdone.

Despite its emphasis, sub-bass extension is actually just average. On the other hand, the punch is below the point that could annoy my eardrums.

Vocals are richer than, for example, in the TINHIFI C2, but they could be richer in absolute terms. Notes are well defined and a bit on the edgy side, they could be a bit more rounded. They are nevertheless never harsh but constitute a contrast to the bass. The advantage of this is a good note definition in the midrange. There is no shoutiness.

Treble is somewhat subdued with limited resolution. Lower treble can be a bit splashy. Rolloff starts quite early.

Stage is average width and depth, and of good height. The other technicalities such as separation and layering are class average, spatial cues quite decent. The TINHIFI is like a good 2nd league football club: no outstanding player but a good team. Timbre is good but with a hint of plastic.

In comparison, the T4 Plus sounds more cohesive, more mature, and rounder sounding. One step up, the $150 Sennheiser IE 200 achieves the timbre we are looking for. The C3 sounds less smooth in comparison.

To my confusion, the TINHIFI T2 TLC also costs $49 and, considering both share the frequency response graph, you tell me which one you prefer. Of the other Harman-tuned recent TINHIFI models, the T4 Plus sound more refined than the C3, and the C2 sounds a tad leaner. Of all these, the C3 may be the most comfortable, and probably the one with the strongest perceived bass perception.

Concluding Remarks

By and large, I find the TINHIFI C3 relatively enjoyable (inasmuch a $60 rem can be enjoyable). Its bass drive helps eliminating ambient noise, which makes the C3 a suited companion on the road, be is on the bus, train, or on foot.

Yes, it is not the last word in audiophile excellence, but after too much caviar, we also crave a tasty burger. And that’s what the C3 can be compared to. In everyday use, I prefer the C3 over the C2 and the T2 TLC, whereas the T4 Plus remains technically out of reach.

Until next time…keep on listening!

The post TINHIFI C3 Review (2) – Tastefully Overdone appeared first on Music For The Masses.

The TINHIFI T4 Plus is the umpteenth repeat/variation of their famous 2018 T2, with identical frequency responses to their current C2, C3, and T2 DLC models…but the best sound quality of the lot. Since it also features essentially the same shells as the $49 T2 DLC, I wonder wonder why TINHIFI keeps beating the same dead horse.

The TINHIFI T4 Plus was provided unsolicited by the manufacturer – and I thank them for that. You can get it from TINHIFI.com.

Introduction

TINHIFI have become famous in 2018 with the (Tinaudio) T2, a $50 neutrally tuned iem – which was unique at the time. The company has pursued the T2’s visual concept in all variations in many follow-up models, most recently in their T2 DLC.

What has changed lately is TINHIFI’s tuning: they have been playing safe by applying the same Harman tonality to all their recent models (see below). This avoids unpleasant surprises such as shoutiness and therefore lack of cohesion, but it also means that, if you know one of them, you know them all.

The T2 Plus is the priciest and best accessorized of the latest “Harman” models. It is indeed safe on all fronts, from the ergonomics to the sound.

Specifications TINHIFI T4 Plus

Physical Things and Usability

The package includes the earpieces, a cable, three sets of eartips in a soft-plastic box, a snazzy storage container and the paperwork. The shells are a modification of the T2’s, which have been re-cycled in different models. They work well ergonomically, and are comfortable. None of the stock eartips were big enough for my ear canals so that I relied on the SpinFit CP145s.

Tonality and Technicalities

The TINHIFI T4 Plus has the same tuning as the C2, C3, and T2 DLC, so you essentially can just read up from these how the T4 Plus should sound. Considering that, on top of that, the T4 Plus has essentially the same shells, and that this earpiece concept has also been used in various other TINHIFI models since their famous 2018 T2 model, the company may be beating a dead horse.

In short, the T2 Plus delivers a safe V-shaped mainstream sound with a warm, thumpy bass, a lean, recessed midrange, and some…treble. As we have heard it so often before, not only in the aforementioned TINHIFI models.

There is an average bass extension, and average bass rumble, making for a warm average bass with bass lines that could be a bit tighter and less thick. The vocals are lean and recessed, slightly bright, clean, and reasonably articulate and natural. They could be richer and more forward.

Treble sounds a bit artificial. Cymbals come across as splashy and tizzy. And I thought my hearing is losing upper frequencies. Obviously not.

Staging is of average width and not very deep. Spatial cues is ok. Timbre is a bit on the metallic side. Separation and layering are average for a $60 iem. Stop, this one is $119. And I have no idea why it is $70 more than their even safer sounding T2 DLC (the T4 Plus’ better accessories alone don’t justify it).

Neither the T2 DLC or the T4 Plus are particularly inspiring for the trained ear. The difference between the two is that the T2 DLC is outright boring sounding and the T4 Plus is ok but unexciting and overpriced.

What’s the difference between the two? I A/B-ed with a splitter. The easier-to-drive T2 DLC sounds a bit splashier, the T4 Plus is a tad more refined and composed. That’s it.

Concluding Remarks

The T4 Plus is principally an appealing and pleasing sounding iem – and the best of the loooong series with the “T2 shells”. Nobody will find it offensive or bad, everybody will somewhat enjoy using it. But for the more experienced listener/hobbyist, the T4 Plus may be repetitive in both design and well-known sonic signature. If the T2 (and their follow-ups) had never existed, I’d be less harsh on the T4 Plus.

TINHIFI should stop copying themselves and stop milking their clientele as their recent $49 T2 DLC offers the same frequency response and almost the same shells as the T4 Plus…and the shells are also shared with the T2, T2 EVO, T4…and and and…did I forget a model?

In summary, the T4 Plus could be considered a good $60 mainstream iem (with some accessories added), unfortunately at twice the price. And if you own any of the iems mentioned in this article, you don’t need the T4 Plus.

Stop resting on your laurels and move on, TINHIFI! You have all the tools…

Until next time…keep on listening!

The post TINHIFI T4 Plus Review – Groundhog Day appeared first on Music For The Masses.

INTRO

The TinHifi C3 is finally a mid-budget IEM tested at $49 that sheds the atrociously uncomfortable aluminum shell spawned from the OG T2. Utilizing an in-vogue PU+liquid crystal polymer (LCP) dynamic driver the C3 is a tonally friendly, simple and effective “Harman tuned” technically competent midfield IEM with minor blemishes in the treble region.

PACKAGE CONTENTS

The TinHifi C3 comes with a half braided half loose twisted silver plated detachable 2 pin cable. It has just enough stiffness to resist tangling but does coil somewhat. The chin slider moves freely with minor resistance.

The plastic housing is a smoothly finished 3D printed shell with a tastefully done carbon fiber faceplate that is devoid of any seams. Not overly showy in comparison to the Nicehck Bro carbon fiber look, it strikes a good balance between isolation and fitment. I stopped using the T4 because the shape isn’t a good fit for long periods of time, so this is a welcome concept.

The eartips are nothing to write home about, olive shaped with decent firmness. They have a short stem and medium bore opening. The package does not include multiple types, instead opting for 2 times of the usual S/M/L sizing. Missed opportunity to provide value if different styles had been included.

Tested with LG G8, HIDIZS XO and SMSL DO100/HO100.

SOUND

It seems most IEMs I have reviewed as of late have a mild bass boost and the Tinhifi C3 is no exception. Bass is punchy with good body it could be tightened up for improved speed. I do enjoy the rumble it provides to avoid sounding to dry, but it is not a basshead set or sub-bassy.

Lower midrange on the TinHifi C3 has good weight, sounding full and luscious. Midrange clarity has good depth and resolution sounding very natural.

Moving up the spectrum, the TinHifi C3 has a syrupy sweetness that is not tainted by peaky abnormalities in the response curve. The pinna rise is perfectly situated to prevent forwardness but it is modeled after the Harman target. Orchestral works sound natural with good timbre, but

The TinHifi C3 treble sounds mellow, inoffensive, lacking sparkle and airiness, it sounds washed over. Overall resolution and detail is what I would expect in this price range and sits in the background of mixes.

Sometimes cymbal crashes and horns do not have the bite to sound realistic. Some people might prefer this type of sound especially if looking for a relaxed listening session. I equate this as listening to a good sounding full range driver vs using a tweeter to cover the top end.

Overall it was touted as being tuned to follow the Harman curve, but I think this is more of a return to the older Chi-fi tuning from 4 years ago. Not everything has to be tuned to the Harman curve although it was studied as a very pleasing tuning (does not mean correct) for a good sample size of listeners.

TECHNICALITIES

The TinHifi C3 sounds closed in and not particularly wide sounding, depth spacing is great however. Timbre is quite good, but due to the washed out top end you loose some of the detail required to really differentiate instruments.

Isolation is above average, but since it leans towards a universal shape there is some loose areas not covered by the shell that allows some sound leakage from the outside unlike the KZ X Crinacle CRN shell.

COMPARISONS

TinHifi T2+ (~$60)

I thought we should compare a past TinHifi offering to see if they are making improvements with the Tinhifi C3. The T2+ was a well received neutral offering, the C3 is more V shaped. Midrange is more present on the T2+, the C3 however sounds cleaner in this area.

Bass feels lighter on the T2+, treble is grittier, and soundstaging feels compressed compared to the TinHifi C3. Cable looks similar but the C3 looks thicker and resists tangling a little better. The shell on the T2+ was nice and smooth but fits loosely compared to the C3.

CCA CRA+ (~$30)

The TinHifi C3 has a clearly nicer cable than the basic CCA/KZ cable on the CCA CRA+. The fitment of the CCA CRA+ is more universal than the TinHifi C3, but my right ear struggles on the CCA-highly personal.

The CCA CRA+ more energetic sounding due to the heightened treble boost higher in the presence region. Bass has more decay sounding bigger on the CRA+, it does make the C3 sound tighter with a cleaner finish. It’s like the CRA+ adds some reverb to sound like a bigger room. The upper midrange is less strained on the C3 where the CRA+ adds some zing making it edgier.

KZ X CRINACLE CRN ZEX PRO (~$37)

Bass level and tonality of the TinHifi C3 and the Zex Pro are comparable, the speed seems relatively close as well. Where they differ is the midrange on the Zex Pro becomes more prominent especially with electric guitars and snares have more feature time.

The Tinhifi C3 adds further treble for cymbals, so the Zex Pro sounds really cut off up top. The KZ X Crinacle CRN also garbles the cymbals while the Tinhifi C3 keeps it together. Technically the TinHifi C3 does a better job, but not exceptionally better.

OUTRO

TinHifi C3 checks all the popular boxes of universal shell, “Harman tuned”essque, and a pretty good LCP single dynamic. For those that do not like the Harman tuning, need more bass or more detailed treble look elsewhere.

While I am surprised the LCP fails to deliver more detailed highs, I look at the price tag of $49 and tell myself that seems fair considering the Moondrop Aria costs double the Tinhifi C3. Solid budget upgrade offering if you have $50 to spend.

SPECIFICATIONS

GRAPH

• Left vs Right (New IEC711 coupler, gone is the tube coupler with Dayton UMM-6 mic)

Contact us!

DISCLAIMER

I am thankful for Linsoul providing the TINHIFI C3 free of charge for experimentation.

Our generic standard disclaimer.

About my measurements.

The post TinHifi C3 Review (1) – Peer Pressure Prevails appeared first on Music For The Masses.

The $30 TINHIFI C2 is a safely tuned, technically average, V-shaped single-dynamic-driver earphone that sticks out of the crowd by its excellent metal build.

The TINHIFI C2 was provided unsolicited by the manufacturer for my analysis – and I thank them for that. You can get it from TINHIFI.com.

Introduction

TINHIFI have been releasing model after model lately – and I am starting an analysis marathon: the $30 C2 here, followed by the $40 C3 and the $120 T4 Plus. Originally an early ChiFi sensation with their $50 T2 some 5 years ago, the company has evolved steadily. Our team has looked at quite a few of TINHIFIs in the past. Their trademark appears to be their metal build and their shiny silvery appearance….with some recent exceptions.

Oh, and any headline that ends on a question mark degrades you, dear reader, to clickbait.

The TINHIFI C2 is a single dyamic-driver earphone that follows the metal tradition. In fact, it uses the shell design of the Revonext QT2S (remember that brand?). Both have a mild resemblance to the Campfire Andromeda.

Specifications TINHIFI C2

Physical Things and Usability

Interestingly, there is no waifu on the package but rather a transformer…therefore not appealing to the pollinating teenage males but rather to the metrosexual engineering type.

In the package are the earpieces, a standard cable, 2 sets of tips (S/M/L), and the paperwork. The aluminum shells are spectacularly well built, the cable is adequate, and the eartips are too small for my ears. I therefore used SpinFit CP145. Fit is good, isolation is average (for me), and comfort is soso: the shells have lots of corners that touch your concha. I had to get used to it but than could enjoy the C2 for hours.

Tonality and Technicalities

TINHIFI C2 is a warm-neutral, safe, standard V-shaped iem with an extra serving of mid-bass but without any annoying peaks. Yep, the mid-bass dominates the sonic image, which develops a more or less subtle boom and is not the tightest at times. Sub-bass extension is good but is also getting fuzzier on the way down. Overall offers the bass shelf a very solid foundation.

Vocals in the lower midrange are therefore pushed back although they are well defined and not even particularly lean. It is just that the bass is ruling. Lower treble is rolled off, which, together with the bass, creates a relative narrow, intimate soundstage. Timbre is very good and comes to the rescue.

The overall signature is “agreeable” and probably more exciting for the less experienced listener than for the compulsive buyer. It is solid but repetitive for people like me. TINHIFI obviously did not want to take the risk of presenting a shouty iem, similar to their T2 DLC.

Stage is, as said, rather narrow, but tall, and with a decent depth. Resolution is somewhat compromised by the emphasized bass. Separation and layering are average. Timbre is natural.

In acoustic pieces without little bass, midrange is clean, clear, and reasonably well resolving. Actually better than one would expect at this price. No hint of harshness. Spatial cues is also more than decent but vocals remain somewhat recessed.

The combination of clear midrange and minor bass boom results in a great speech intelligibility. The TINHIFI C2 work great for me for watching movies and TV programs on the computer. The bass also works well to eliminate much of the ambient street noise, or noise on the bus.

Concluding Remarks

The TINHIFI C2 is a sturdy, metal built iem that offers a solid V-shaped sound with a dominant however not overwhelming bass and a natural timbre. Is is a good choice for a budget V-shaped iem, particularly well usable for acoustic pieces (“timbre”) and also great for watching videos (“bass”) but it may lack excitement for the more experienced hobbyist.

For metalheads: its quality metal build is also rare in its class. Or did I interpret the term wrong?

Last but not least: are the TINHIFI C2 really the small man’s Andros? Probably not…with all respect, that bar is way too high! Thank you, dear clickbait :).

Until next time…keep on listening!

The post TINHIFI C2 Mech Warrior Review – The Small Man’s Andros? appeared first on Music For The Masses.

Gear of the Year: 2022 marks the blog’s fourth year. We collectively published 100-150 articles, mainly product reviews, but also technical information (such as earphone modding). Apart from receiving review units from manufacturers and sellers, we also purchased a lot…and we borrowed from audiophile friends and colleagues.

Our list of earphone reviews is going towards 400, which is a very useful database. And one of the world’s biggest. In the DAC and amplification department we have also reached a respectable 70.

While we shrank from 8 to 6 authors, we essentially doubled our viewer numbers and currently record well over 1000 daily individual blog visitors (1377 on Black Friday 2022). But we remain humble, continue viewing our hobby as labour of love and focus on information for you, the reader, while not selling out.

Another very popular list is our Wall of Excellence, which hosts gear not approved by one of us, but by the whole team. This is a useful filter for you and should give you confidence in your buying decisions.

And yes, we searched for and found an exclusive sponsor in HiFiGo, who help us with our basic operating cost (web hosting). We still chip a lot of our own money in for mailing between us reviewers, import charges etc.

By having a single sponsor (and not Google ads) paying us a moderate flat fee, we don’t rely on viewer numbers. For you, this means no popups and no ads between paragraphs, nothing in your way when reading our articles. All advertisement takes place in the top toolbar and the sidebar. Feel free to check it out.

We also continue refraining from affiliate links as it still leaves a bad taste in our mouths.

As at the end of the previous years, we list our our personal favourites of 2022 – the portable audio we personally enjoyed most. There are no rules, we just tell you what we like. It does not have to be the latest. After all, the gear we use most is the best for us. Between us, the Dunu Zen, 7Hz Timeless, Final ZE3000, and Questyle M15 received the most mentionings. The Questyle M15 appears to be the most highly acclaimed dongle in the blogosphere period and may as well be the “Product of the Year” all around.

We don’t publish any “best of” lists as we have not tested all competitors in each category.

Enjoy this read and we wish you a happy and successful 2023!

We thank

And here we go…that’s what we enjoyed in 2022…

Alberto Pittaluga… Bologna, ITALY

My 18 readers know that I’m much more into enjoying better sound than into getting excited about sidegrades or other small changes from my existing preferences. I am the polar opposite of a marketing hype target individual – on pretty much any topic by the way. I mean: try and sell me a “better” (?) Moka coffee machine…

With that in mind, and considering that I’m not into this since yesterday evening, it’s quite logical that the list of the really significant items out of all those I come across over a year’s time is short. Here’s what I found in 2022 which is worth recommending.

IEMS

Intime Miyabi – a great piece of engineering ticking most if not all boxes for my tastes. Beyond details, one of the absolute best sound delivery experiences one can buy (well… some personal initiative is required to fetch it from Japan) below 500$… spending less than half of it. My report here.

RHA CL2 – I heard quite a few planar IEMs, and not a single one “closes the door” for me. Long story short, none offers me a well-articulated-enough sound experience out of the box, and none carries a driver good enough to be equalised into something I really like. The sole exception I ever came across yet is this RHA CL2 – a dated model indeed, which I had the venture to audition this year for my first time. More on this on my piece about it.

DAC/AMP Dongles

Questyle M15 – no doubt the “best overall quality” battery-less DAC/AMP (“dongle”) at any price. Paired with a small transport easily makes all sub-800$, and most sub-2K$ DAPs pointless in terms of sound quality delivery (some may still prefer “some” DAP for better pocketability convenience or specific features). Firstly reviewed in depth by Jurgen here, you can read my incremental notes here.

E1DA 9038SG3 and 9038D – the M15 is what it is, but it also is relatively expensive (almost 300€ once delivered to Italy). My previous experience taught that me that exclusively higher-tier (and price) dongles are able to deliver sound qualities worth investing in more money than the 9$ price tag asked for an Apple Dongle ($9). Then I found these two gems which fulfill the need for incredibly clean and powerful sound for less than half M15’s price, and 90% of its proficiency.

Biodegraded…Vancouver, CANADA

7Hz Timeless:
Despite a somewhat elevated and loose midbass, these have great overall tonal balance, smooth mids, excellent instrument separation and layering, and speed. Macrodynamics are on the soft side, which might not be for everybody; and the fit will be problematic for people with concha bowls on the smaller side. They work best with warmer, dynamic sources.

Durwood…Chicago, USA

Swimming in dongles I don’t have a favorite, Moodrop Dawn has the selectable gain, others like the Shanling UP3 have single and balanced outputs and controls. Take your pick. I would like selectable gain AND single ended/balanced outputs.

Desktop DAC goes to the SMSL C200 for best value and sound that hangs near the top dogs. I personally prefer separate pieces for the ability to have more connection options and swapping but for near double the price I don’t see double the performance. The SMSL SU-9 is excellent for me I ended up buying one on the second hand market. The SMSL DO100/HO100 is great too and bit more user friendly for the size.

For earphones I still love my Shozy Form 1.4 for the bass tuning, warm signature and superb fitment YMMV. There are lots of excellent performers if just factoring in sound and technical merits including the 7Hz Timeless and Moondrop Kato, but I struggle keeping them in place. For those starting out or not a lot to spend, my budget pick for what is available would be the CCA Lyra.

For TWS, I only have 3 pairs to compare-but if I don’t need ANC, I would pick the Moondrop Alice all day everyday. Review coming soon, they are a wireless Kato and they nailed all the important features (sound, battery life, control, fitment), form follows function.

Jürgen Kraus…Calgary, CANADA

In terms of earphones, I continue liking the JVC HA-FDX1, the Dunu Zen, and the Final E5000. The Zen remain my go-tos. New on my list are the LETSHUOER EJ7M (great allrounders), the Final A3000 & E3000, and the very articulate Dunu Talos. But the earphone I used most in 2022 is the superb Final ZE3000 TWS.

As to headphones, my Sennheiser HD 600 have received company by the Final Sonorous III. On the budget side, I added the excellent KTXPro1 to my Koss selection (Porta Pros, KPHi-30, and KSC75).

I am principally a “portable guy” who used to operate his iPhone with a dongle, mainly the AudioQuest DragonFly Cobalt. Whilst the Cobalt remains a standard staple of mine, the excellent Questyle M15 (and here too) is a great alternative for my higher current-drawing headphones/earphones – and my personal product of the year 2022.

For driving full-sized headphones and single DD items, nothing beats the Apogee Groove. For Bluetooth DAC/amp, I exclusively use the very mature Qudelix-5K. And for earphone testing, I am still holding on to the totally underappreciated Earstudio HUD100.

The Hidizs AP80 Pro-X has proven a great dap for me, no matter if used alone or as transport with a dongle. The Sony NW-A55 with Mr Walkman firmware also remains in my collection of favourites. And the very crisp sounding Questyle QP1R remains my flagship dap. The biggest surprise for me was the Tempotec V6 dap…essentially a $500 device at half price.

For my desktop setup, I am holding on to EarMen Tradutto DAC in combination with the Burson Funk amp and AudioQuest analog and digital interconnects.

Kazi Mahbub Mutakabbir…Munich, GERMANY

Just like that, another year went by. This year was special for me as I got to visit High End Munich 2021 (which happened after a 3-year hiatus) and also got to meet some great reviewers and legends of the industry in person.

Best Headphones: This year, I have slowly transitioned from portable audio into desktop audio. A knock-on effect of that has been my growing headphone collection. What used to be a mere 4 headphones last year, has grown into a whooping 25 now.

Yup, I need another shelf.

Speaking of the best headphones, Hifiman HE-6se V2 got the most use this year from me. I still use the Sennheiser HD650 whenever I feel like relaxing, but for my playlist – the Hifimans absolutely slap!

That being said, they aren’t the best headphones that I’ve tried this year. That recognition goes to the venerable Stax SR-X9000. Still underrated in the summit-fi segment, these overtook Susvara for me in almost every aspect. They are build better, has better sense of space, bass is better defined and slams a bit harder, and of course – the ethereal treble is an absolute joy.

Too bad that the price tag (with energizer) makes these nigh-unobtainable for me. Doesn’t make them any less awesome, though.

Best IEMs: Dunu Zen remains my daily driver, and they scale tremendously with desk sources, so I am a happy camper.

Speaking of camps, Campfire Audio Holocene has sneaked their way into my daily rotation. Probably my most favorite Campfire Audio IEMs, ever. They deserve a lengthy, long-term review, which is in the pipeline.

This year I also had to wade through loads of “meh” IEMs, each mimicking a certain “scientifically perfect” (lol) curve in one way or another, and each sounding boring and unremarkable. But the one IEMs that kept the fire alive was the Softears Turii.

Exceptional in almost every sense, their fit is the biggest concern, but with Spinfit W1 tips (excellent tips btw, recommended) I found them stable enough to enjoy outdoors. Too bad that they’re discontinued.

The Softears Twilight is a spiritual successor of sorts. Doesn’t have the crazy sense of space that the Turii portray, but pretty much beats every other single dynamic I’ve tried under USD $1000 (and I have tried nearly all of the hyped ones by now). So yeah, Softears, take a bow!

Desktop DAC and Amp: Questyle CMA Fifteen takes the cake for the best all-in-one system that I’ve heard. Near-endgame for 99% out there I’d say. Drives almost everything with authority. What’s not to like? Oh yes, the price. Something’s gotta give after all.

As for standalone units, the best solid-state amp I’ve tried: Zaehl HM1. As for the best tube amp: Feliks Envy, or the Feliks Euforia AE. Two very different price-points, but both about the best tube amps you can buy right now.

DACs are a bit difficult for me to judge, and the ones I’ve tried this year couldn’t replace the Holo May L3 I tried last year, so that one still reigns supreme.

Portable DAC/Amp: Questyle came outta nowhere with the M15 (and here too) and seized the day. Nothing else comes close, really. On the higher side of the price, Chord Mojo 2 is an excellent device. For using with IEMs and moderately efficient headphones – that’s all you’ll ever need. The DAC section is kilobuck-level as well.

Surprise of the Year: Final ZE3000.

I do not like wireless stuff at all, mostly because of how poor and compressed 99% of them sound. This one caught be off-guard. I bought them only to review them, fully expecting to put them up for sale once the review is done.

Now, three months later, I carry them everywhere and despite the finicky touch controls, I keep coming back to them. Only the Sony WH-1000XM4 sound as good as them, and they cost 2x the price. To think that Final would come up with one of the best TWS IEMs around – didn’t see that one coming.

Then again, who else would be that methodical?

Loomis Johnson…Chicago, USA

IEMs:

Moondrop Starfield—my default rec to folks who ask me which <$100 phone to buy…big-sounding, with seamless coherence and as lot of PRAT.

7Hz Timeless—polarizing and imperfect (there’s some stridency at the highest frequencies), but technically very accomplished and highly resolving. The more I hear ‘em the more I dig ‘em.

Tin HiFi TWS Buds 3—light on features (no app, no ANC) but beautifully built and a really engaging listen, with very good imaging and instrument placement.

AXS Audio Professional Wireless Earbuds—generic-looking, with a modest soundstage, but probably the best-sounding TWS I’ve heard to date. 

Portable DAC/Dongles:

Xumee USB-C—lots of power and surprising finesse for less than the price of a six pack.

Hidisz S3Pro—a really refined performer which synergizes well with anything under 150 oHm.

Headphones:

1More Sonoflow Wireless ANC—you can pay a lot more for punchier sound or more tech features, but these are an awful lot of headphone for the money, with good noise-cancelling, an unforced natural tonality and fantastic battery life.

Koss KTXPro1—uber-comfortable and musical as hell; for $19 there’s no reason everyone shouldn’t own a pair.

Bluetooth Speakers:

Oontz Angle 3—diminutive, seemingly indestructible cheapo with surprisingly good bass output and an enveloping 3D soundstage.

Edifier R1280DB Bookshelf Speakers—I gave a set of these to the owner of a cannabis dispensary, whose customers rave incessantly about how good they sound even before imbibing.

Desktop DAC:

SMSL SU-6—a more than capable DAC, with excellent bass control and a very detailed (if occasionally overbright) high end; digital preamp and Bluetooth functionality are big plusses. Outstanding value.

KopiOkaya…SINGAPORE

The editor: although KopiOkaya retired a year ago (on his own terms), he keeps his eartips compendium up to date. His list has been a cornerstone of this block and its most successful article. It currently records somewhere between 80,000 and 100,000 views.

Best under $50 IEM:

7HZ SALNOTES ZERO

Best under $100 IEM:

DUNU KIMA

Best IEM of 2022:

SOFTEARS TURII Ti

Best dongle DAC/AMP of 2022:

QUESTYLE M15 (here and here)

Best portable DAP of 2022:

TEMPOTEC V6

Best budget DAC/AMP combo:

SMSL SH-9 THX AAA-888

Best desktop DAC of the 2022:

HOLO MAY KTE (KITSUNE EDITION)

Best desktop headphone amp of 2022:

QUESTYLE CMA FIFTEEN

Best eartips of the 2022

SPINFIT W1

Most outstanding audio product of 2022:

QUESTYLE M15 (here and here)

And This Was The Previous Year:

The post Gear Of The Year 2022 – Our Personal Favourites appeared first on Music For The Masses.

The TINHIFI T2 DLC is the archetype of a V-shaped budget earphone with a relatively thick bass and recessed mids, without any annoying peaks or quirks, but also with limited excitement. Just like the original T2, the DLC is a good earphone for the newbie’s collection. A classic revisited.

TINHIFI kindly provided the T2 DLC for my review. You find more information on the company website www.tinihifi.com.

Introduction

TINHIFI were still Tinaudio when they released the original T2 in 2017. It was unique in its day, almost spectacular: the only neutrally tuned single dynamic-driver iem in the $50 category. The Tinaudio T2 came with unreliable MMCX connectors and a cable without memory wire. This meant, they could be worn under ear and over ear.

My MMCX connectors gave up after a few months and the dealer would only accept an exchange if I wrote a review on Head-Fi. This gave essentially rise to this blog. My treatment of the Tinaudio T2 was its first article.

Tinaudio later released the T1 (after all 1 comes after 2), then the T2 Pro, T2 Evo, and T4 in essentially the original T2’s shells, and the T2 Plus in different housings. This resulted in…the next paragraph.

All Our TINHIFI IEM Reviews so far

Specifications TINHIFI T2 DLC

Physical Things and Usability

Not much has changed in the TINHIFI T2 DLC from the original Tinaudio T2. The earpieces retained their principal shape, but with modifications to fit the new 2-pin connectors. They are lighter and shinier, obviously due to a different alloy used. But they are still made of metal…and very sturdy.

The cable comes very close to the original one, with a slightly different 3.5 mm plug, and the selection of eartips remained the same.

The earpieces are now worn exclusively over ear as memory wire was added to the cable. Comfort and fit are good, isolation depends on the eartips used. The stock tips still do not work for me, I used SpinFit CP145s.

Tonality and Technicalities

The TINHIFI T2 DLC sounds like a glorified 2017 iem, and I would not be surprised if it features the same driver as the original T2, just with a different tuning. The tonality is classic V-shaped, a warmish mainstream tuning we have heard 100 times before. Was the original “neutral” (and therefore unique T2 criticized for not offering enough bass, the DLC delivers on that front. No need to tape the T2’s front vents off anymore.

The TINHIFI T2 DLC’s sound is dominated by its bass. Not that it is too much, no it is just not of the best quality (in today’s terms). Whilst it digs deep into the sub-bass, the low end is punchy but little composed and controlled. Baselines are generally thick and somewhat loose – and they smear into the midrange. Bass kick is of healthy quantity but can be rubbery in quality. The low end is not outright bad, it is just nothing special in 2022. I am so familiar with this kind from so many pre-2020 budget iems.

This is a pity as the vocals are nicely defined and natural, the real strong point of this iem. Yes, they are somewhat recessed but still offer decent richness. In tracks without much bass, there is good midrange definition. But if bass is taking over, resolution and separation suffer. But, at least, there is no shoutiness.

Treble is another weakness as it drops off early, cymbals and hats are somewhat hiding – and they do not resolve well.

Technicalities are a mixed bag, too. Stage is narrow but deep, triggered by the bass from one end, and the lagging treble from the other. Great depth, though! Dynamics is good, separation and layering rely on bass quantities and are nothing special. Timbre is very good (if you ignore the low-end).

Overall, the TINFI T2 DLC have decent tonality and technicalities, but they offer nothing new and appear to be from a bygone earphone era. I dug the ole original T2s from 2017 out of the basement for comparison. Same timbre, same technical qualities, but less bass and more forward vocals.

Concluding Remarks

The TINHIFI T2 DLC is essentially the original, neutral T2 pressed into a mainstream V-shape. It excels in vocals quality, timbre, and depth of field, but disappoints with a rather ordinary bass and a lack of well-resolving treble.

It nevertheless constitutes a good value, but only for the newbie. The expert would find the TINHIFI T2 DLC somewhat repetitive…and therefore unexciting. It is a very safe choice.

I speculate this is the final T2 variety. As one of my professors (not a native English speaker) once said: “let the sleeping cow lie”. Somebody must have let the dogs out.

Until next time…keep on listening!

The post TINHIFI T2 DLC Review – Unspectacular Goodness appeared first on Music For The Masses.

The Moondrop Stellaris is…hmmm…bright…

The Moondrop Stellaris were kindly supplied by SHENZENAUDIO for my analysis – and I thank them for that. You can get them from SHENZENAUDIO for currently around $100.

Introduction

Planar-magnetic earphones came into fashion (again) when a YouTube salesman hyped the $220 7Hz Timeless per spaceship into a starfield (excuse the pun) not even a year ago (setting the scene to cash in on a “collab” with the next release of this technology). The Timeless feature a driver that had been dismissed by major manufacturers a couple of years earlier. Admittedly, this model was good enough for co-bloggers Biodegraded and Durwood to purchase one :).

LETSHUOER were the next company to pick up on this technology with their $135 S12, which likely features the same driver as the 7Hz Timeless, but with a different tuning. I compared both models in this article.

What followed was “a race for space”. Many manufacturers wanted to have a piece of the cake, which resulted in “planar wars”, artificially constructed by another bunch of attention-seeking YouTubers. I only got part of the tail end of it with the $115 TINHIFI P1 Max and the $199 Dunu Talos. More planar-magnetics are flooding the market as we speak (I am eagerly awaiting the Akoustyx S6 from California).

In the past, planar-magnetic earphones had been overpriced and underperforming. Not anymore…which was actually a good thing about the 7Hz Timeless hype.

But what makes a planar-magnetic earphone distinct? First, the driver digs deep down, it has a tight bass response, low distortion, it is easy to drive, has a great imaging and a deep stage.

On the downside, a planar-magnetic earphone may lack slam, may be rather lean in the lower midrange, and be bright (“more lean than bright”), which may contribute to midrange clarity but exposes a lack of richness. Treble may be robotic through an overly fast note decay. Many planar magnetic iems do not do a good job in the reproduction of acoustic sets (“classical music”) – too artificial sounding.

Prices have come down even further since the release of the 7Hz Timeless. Moondrop offer the Stellaris at $109.99, on par with their Starfield and between their $79.99 Aria and their $189.99 Kato (all single DDs). The Aria is generally considered to be one of the best iems below $100, and it outclasses the Starfield. Therefore, Moondrop appears to create their own in-house competition in search of the class leader.

Who are Moondrop? They are one of the world’s most innovative earphone companies out of Chengdu, Sichuan, a city I know well and love. We “audioreviewers” have analyzed many of the company’s models (see below).

Specifications Moondrop Stellaris

Physical Things and Usability

The Moondrop Stellaris was costmetically modelled after the Moondrop Starfield. Both share the same coating with its characteristic luminous bluestone that shimmer…and chip if abused (no chipping on mine so far).

But what’s different is that the Moondrop Stellaris is big. Big and heavy earpieces…little monsters…ouch…but with long nozzles, good for my ears. The earpieces need to be deeply inserted into my ears and I wished today’s generations of planars were as small as, let’s say, the current Sennheiser single-DD iems.

So if you do this to your ears, you’d expect some reward, which would be sound quality. However…

Tonality and Technicalities

The Stellaris are tuned according to Moondrop’s own VDSF (Virtual Diffuse Sound Field) target response, the company’s version of the Harman target. You find more about this on Stellaris’ product page. They have their low-end boost in the sub-bass (rather than the mid-bass) for a dryer bass response and well extended treble. The midrange is a bit odd with a large spike at 2.5 kHz.

Other than that – as in so many other cases – the graph sells us little about the IEM’s sound. The Stellaris’ overall signature is uneven: warm at the bottom and bright on top.

Let’s face it, the Stellaris are most of all bright, very bright. Bright right up to the uppermost registers. Cymbals and hats are dancing arround my eardrums, the bass is partially swallowed and the vocals are somewhat honky. Well, that monstrous pinna gain between 1 and 2.5 kHz does not help either.

The signature is unbalanced, which throws the Stellaris out of the orbit of my sonic enjoyment. This iem lacks cohesion. So much for the general validity of target response curves.

Other than that, some of the individual aspects are not bad. For example, the bass is reasonably deep reaching and somewhat controlled. A bit dry, perhaps, as it peaks towards the bottom end. Punch is decent and reasonably well dosed.

The lower midrange is…weird…voices are pointy and lean…nasal that is, and the opposite of rich and full. They are so thin that even the sub-bass kick overshadows them. Well, and then there is this mess at the top end.

Technically, the Stellaris are capable: big stage, good midrange clarity, decent imaging, but overall they fall easily behind the likes of the LETSCHUOER S12 and TINHIFI P1 Max – and, if you go up to $200, the Dunu Talos. Hence no reason to discuss them further.

Concluding Remarks

The Moondrop Stellaris are a disappointment to my senses: they are bulky in my ears and uneven sounding. They simply lack soul despite their technical prowess…and are therefore a great advertisement for the $79 Moondrop Aria, which remains one of the best iems in the $100 area.

Get the Aria instead.

Until next time…keep on listening!

The post Moondrop Stellaris Review – Champagne Supernova appeared first on Music For The Masses.

The article shows how to customize the sound of your iems by changing the frequency response – without equalization – and in a non-destructive way. That is, the modification is quickly reversible. The results of this earphone modding may vary but you will frequently enjoy an earphone more when modified than right out of the box.

Introduction: Why reversible Earphone modding?

Reversible earphone modding (“modifying”), mainly performed with micropore tape, aims to balance an earphone’s sound to better fit one’s personal tonal preferences. Those audioreviews.org authors who are also subscribing to the “Super Best Audio Friends” Forum, have always been keen on the technique.

In the following, I will summarize the basic principles and some simple tricks & tips in an easy cookbook style to assist you in getting the best out of your earphones. You then can dig deeper into some case studies provided.

Reversible meaning that, after modding, the iems can be easily brought back to their initial stage…no holes poked, nothig ripped off etc. That’s favourable if you want to sell them later…

Modding is required then some iems don’t sound right for some listeners out of the box. They may be too bright (“shouty”) or the may have too much/not enough bass. In some cases, a different cable of different eartips help, but our method is cheaper – and it can be applied on top of all others. It changes the frequency spectrum without equalization.

The idea of “reversible modding” was initiated and pioneered by SBAF/Head-Fier James444. We reproduced his wisdom with his permission on our blog, previously, whilst applying and refining it ourselves over time.

Typically, a sensitive listener wishes to reduce unwanted peaks in the upper midrange (2-4 kHz harshness and hardness area) and treble (e.g. 7-10 kHz sibilance area). And he/she also wants to attenuate an overly inflated bass, particularly slowly decaying mid-bass humps. In short, if the frequency response curve is a U or V with its lowest point in the lower midrange (let’s say at 1 kHz), this shape should open up towards a horizontal line in the eyes of an “audiophile”.

Dynamic-driver (DD) earphones, because of their comparatively simple design, are easier to modify than balanced armature (BA) multi-drivers or hybrids.

Our Success Stories

Our authors have tamed the upper midrange by micropore mod in the following iems – and included the process and results in their respective writeups (each of which gives you insights in the particular modding process) – but I recommend finishing this article first before dipping into the particulars:

• Blon A8 Prometheus
• Blon BL-05 MK1
• Brainwavz Delta
• ddHifi Janus2
• KBEAR Diamond
• KBEAR TRI3
• KBEAR KB04
• KZ EDX
• LETSHOUER S12
• Moondrop Kato
• Moondrop SSR
• Moondrop Starfield
• NF Audio NM2+
• NiceHCK M5
• NiceHKC NX7
• NiceHCK NX7 Pro
• Pioneer CH3
• Rose Technics QT-9 MK2S
• Shanling ME80
• Shozy Form 1.1
• Tin Hifi T2 Evo
• TRN BA8
• TRN VX
• Unique Melody 3DT
• Urbanfun YBF-ISS014

Materials needed

You will find most of these items in your household. The biggest hurdle may be finding 3M micropore tape. Have a look at your local drug mart or health supplies store (e.g try here if you live in Calgary).

1. 3M micropore tape (Johnson & Johnson micropore tape may be too thick; you can also try Transpore tape)
2. Electrical tape or Scotch tape (Tesa Film for Germans)
3. Alcohol swabs (only in rare cases; 2-ply because it is the thinnest)
4. Thin wire (create it from a twist tie)
5. Needle
6. Scissors

One IEM, two Vents: the physical Principles

Typically (but not always), an iem has two vents, one in the front and one in the back. Here the Tinaudio T2 as an example.

Head-Fier James444 explains the functionality of the vents (original Head-Fi post):

Front Vent: making it smaller increases bass. Explanation: the front-mod adds a tiny amount of front leakage which avoids over-pressurization in the ear canal and reduces bass quantity. Attenuation is a bit stronger in deep bass than in mid/upper bass, resulting in a bass-lighter, but slightly more mid-bassy signature. Because of the leakage, isolation is slightly reduced.

Back vent: adding air increases bass; decreasing back vent diameter makes bass roll off. Reducing the air flow through the rear vent by taping it reduces bass (cover up and poke). Explanation: the back-mod restricts airflow through the back vent, resulting mainly in mid/upper bass attenuation. Deep bass remains unchanged and strong. Due to partial blocking of the back vent, isolation is slightly increased.

Both vents: the combination of front and back-mod yields the largest amount of bass attenuation and results in a significantly more balanced signature than stock.

Reducing and increasing Upper Midrange/Treble

Attenuating Upper Midrange/Treble

Is your earphone shouty? This mod can affect the frequency range between 5 and 15 kHz, depending on earphone.

This is done by adding micropore tape onto the nozzle:

1. Cover 80-90% of the screen with a single strip of micropore tape or use two thinner strips and tape over in a cross-like manner. this should do the job in most of of cases.
2. If this does not work perfectly well, try this: cover the nozzle 100%, then take a needle and poke a hole in the middle and four by the edges.If this still does not do the job in rare cases…
3. You can also try covering ca. 80-90% with 2.5 mm square of 3M micropore tape. This resulted resulted in 2-3 dB decrease in the upper midrange of the TRN VX.

Downside: if nozzle is covered too much, micropore can slow down the bass and make it “boomy” and/or compromise dynamics and soundstage in some earphones.

Example on the right: 95% of screen taped over with 3M micropore tape removed an evil 6-7 kHz “sibilance” peak in a Knowledge Zenith ED3.

Increasing Upper Midrange/Treble

Since the human ear hears the whole frequency spectrum in context, you increase perceived upper midrange/treble by reducing bass. See below how this is done.

Reducing and increasing Bass

Attenuating Bass with Micropore Tape

This is a twofold process and involves a bit of juggling between the two. Measuring comes in handy for double checking the results.

1. Taping off the back vent. If bass is too weak now, poke a hole into the tape to dose bass quantity. As long the hole in the tape is smaller than the original vent opening, the bass will be removed.
2. Creating an air-vent (or aid duct) in the front between tip and nozzle: this easy process is described over there. If you prefer a quickie, follow these pictures…

The combination of back-mod and front mod yields the largest amount of bass attenuation and results in a significantly more balanced signature than stock. If there is no back vent, one can obviously only do the air ducting. And that’s how it goes:

Unfortunately, you will never be able to speed up the bass, that is making it less muddy…but, of course, the muddiness will appear less irritating with reduced bass quantity after modding.

Below an example of a successful mod.

Attenuating Bass with the “Gummiringerl” (=Elastics) Method

(German, Viennese slang: “Gummiringerl”…little rubber ring, elastic; name coined and method suggested by SBAF/Head-Fier James444). 

The air-vent mod can also be performed with rubber string/elastic/any other string: pull through between tip and nozzle, then cut the ends off. You can try string of varying thickness. The downside is lack of flexibility in fine tuning, but you don’t have to worry about channel balance and it probably lasts longer. And it is faster and easier.

Increasing Bass with Micropore Tape

Tape off front vent for maximum effect. If you would like to scale it down, poke a small hole. The bigger the hole, the lesser the bass. Measure channel balance after each step, or do it sonically using a sine wave (Online Tone Generator).

Example: The Tinaudio T2s’ bass can be maximized by taping the front vent over. The bass quantity can be scaled back by poking a hole into the tape.

How to add Bass Extension

That’s hit and miss and varies from earphone to earphone. The idea is to reduce the air flow in the back vent. It is a byproduct of reducing bass by reducing the size of the back vent by taping and poking as described above.

Modding Limitations – That awful 3 kHz Peak

3 kHz peaks may introduce unpleasant hardness and fatigue, but they effectively cannot be safely removed with a reversible mod. Some drivers may respond to micropore tape on the nozzle: it is therefore worth a try to either cover the nozzle grille with 80-90% of micropore tape or remove the screen with a needle, tape completely over with micropore tape and poke a hole near the edge…as described in the treble section.

Other published Mods

Successful mods of single dynamic-driver earphones performed and described by James444:

Alpex HSE-A2000 —  balancing reduction of bass and treble

JVC FD01 with DIY filters — dampening with swabs

JVC HA-FX850 — with great explanations of the physics

Pioneer CH3 — treble reduction only

Kopiokaya explains his mods of the following earphones in great detail:

TRN VX — shoutiness reduced

KBEAR Diamond — bass attenuated

Concluding Remarks

The methods I have summarized in this article may help you getting over your dissatisfaction with a recent purchase – by easy, inexpensive means. In the future, just read as many evaluations of an iem as possible to form the most complete picture.

And please, never – NEVER – fall for any YouTube hypsters/salesmen/influencers and order pricey iems on spec. They mostly want your money. We don’t.

Although this article is quite comprehensive, the relevant chapters can be easily selected and accessed from the “Table of Contents” above. All of these methods are easy and can be performed by people with two left hands. I am the best example of that.

Until next time…keep on listening!

Contact us!

Disclaimer

I thank James444 and Kopiokaya for their insights and cooperation. James444’s wisdom is reproduced here with his permission.

Our generic standard disclaimer.

The post The Principles Of Reversible Earphone Modding – Removing Shoutiness and Bass Boom… appeared first on Music For The Masses.

Instead of first impressions, we offer completely flavour-neutral optical treatments before following up with our exhaustive reviews of the products’ performances.

Current Photography

1. BQEYZ Autumn vs. BEQYZ Summer (Jürgen Kraus)
2. Hidizs MM2 (Jürgen Kraus)
3. IKKO OH2 vs. IKKO OH1S (Jürgen Kraus)

Vintage Photography (prior to March 2022)

1. AME Custom Argent Hybrid Electrostatic (Jürgen Kraus)
2. Anew X-One (Jürgen Kraus)
3. Blon BL-05 Beta (Jürgen Kraus)
4. Blon BL-05 Beta (Jürgen Kraus)
5. Blon BL-05 MKI & MKII (Jürgen Kraus)
6. BQEYZ Spring 1 (Jürgen Kraus)
7. BQEYZ Spring 2 (Durwood)
8. CCA CA16 (Durwood)
9. Drop + JVC HA-FXD1 (Jürgen Kraus)
10. Fidue A65/A66 (Jürgen Kraus)
11. FiiO FD1 (Jürgen Kraus)
12. FiiO FHs1 (Jürgen Kraus)
13. Hill Audio Altair • RA (Jürgen Kraus)
14. iBasso IT01 V2 (Jürgen Kraus)
15. Hilidac Atom Pro (Jürgen Kraus)
16. Ikko OH1 (Jürgen Kraus)
17. KBEAR Believe (Jürgen Kraus)
18. KBEAR Diamond (Jürgen Kraus)
19. KBEAR hi7 (Jürgen Kraus)
20. KBEAR KB04 (Jürgen Kraus)
21. KBEAR Lark (Jürgen Kraus)
22. Kinboofi MK4 (Jürgen Kraus)
23. KZ ASX (Jürgen Kraus)
24. KZ ZSN Pro (Slater)
25. Moondrop Crescent (Jürgen Kraus)
26. Moondrop Illumination (Jürgen Kraus)
27. Moondrop Kanas Pro Edition (Jürgen Kraus)
28. Moondrop SSP (Jürgen Kraus)
29. Moondrop SSR (Jürgen Kraus)
30. Moondrop Starfield (Jürgen Kraus)
31. NiceHCK Blocc 5N Litz UPOCC OCC Copper Earphone Cable
32. NiceHCK Litz 4N Pure Silver Earphone Cable (Jürgen Kraus)
33. NiceHCK NX7 (Jürgen Kraus)
34. NiceHCK NX7 Pro (Jürgen Kraus)
35. Queen of Audio Pink Lady (Jürgen Kraus)
36. Revonext QT5 (Slater)
37. SeeAudio Yume (Jürgen Kraus)
38. Senfer DT6 (Slater)
39. Sennheiser IE 300
40. Sennheiser IE 500 PRO
41. Shozy Form 1.1 and Shozy Form 1.4
42. Shozy Form 1.4 (Jürgen Kraus)
43. Shozy Rouge (Jürgen Kraus)
44. Simgot EM2 (Jürgen Kraus)
45. Simgot EN700 Pro (Slater)
46. Smabat ST-10 (Jürgen Kraus)
47. Tin Hifi T2 Plus (Jürgen Kraus)
48. Tin-Hifi T4 (Jürgen Kraus)
49. TRN-STM (Jürgen Kraus)
50. TRN V90 (Jürgen Kraus
51. TRN-VX (Jürgen Kraus)
52. Whizzer Kylin HE01 (Jürgen Kraus)

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Easy to drive with a mobile, although amping with a modest dongle better controls the slightly tubby midbass region and gives these a bit more crispness. Somewhat tip-sensitive, with narrower silicons giving ‘em a bit more subbass depth.

My more learned colleague describes the Tforce’s tuning as  “diffuse field near neutral” (I would have called it balanced), which isn’t to say it’s flat—there’s some added emphasis in the midrange which pushes vocals forward and provides for good clarity.

Coherent, in the manner of good single DDs, with clean instrument separation; tonality is slightly warm and pretty natural, without shrillness or artifacts, while resolution is likewise good though missing some low-level detail and subtleties in drumbeats and acoustic guitar strings.

Analyzed aspect-by-aspect, it’s hard to find fault with the Yuan Li—it’s a capable, professionally-executed phone. However, my visceral reaction is that it opts for safety over excitement—compared to peers like Moondrop Starfield or the Shozy 1.1/1.4, the Yuan Li lacks a bit of high end extension and  sizzle and come off not so much as dull but as unengaging.

The Yuan Li would make a good entry drug for someone looking to enter this IEM rabbit hole—it does very little wrong and much right. However, you’d hope that subsequent releases from its maker will amp up the PRAT.

Disclaimer: Borrowed from Durwood who received them free of charge from HifiGo which sells them on their website here and also on Amazon.

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Cons — Included “Spring Tips” too small for big ear canals.

Executive Summary

The Moondrop KATO か と is a well-balanced, smooth sounding single DD earphone that sets a new standard in the $200 region.

Introduction

In the Japanese syllabary of Hiragana, か と stands for “ka to” or Kato, which is the 10th most Japanese surname. I struggled with these characters in my Japanese class at university during the mid 1990s…in order to end up in China later – many times. And yes, it was Chengdu, Sichuan, the home of Moondrop. C’est la vie. But we digress.

The 10 also stands for the number of Moondrop iems I have reviewed, following the company’s odyssey of tunings, always with micropore tape on standby to tame the iems’ upper midrange.

But, to my absolute delight, there is no more tape needed for the か と, pardon “KATO”. It is as smooth as silk. I said it weeks earlier in the SBAF forum, Moondrop are raising the <$200 bar with this model.

Now, before you pull the trigger on your order, please read on. The fact that this iem is astounding still does not mean everybody will love it. There are some strange listeners out there, after all.

The か と, erm…well…you know…is a further development of the $190 KXXS, which was a modification of the $190 KPE (Kanas Pro Edition). I don’t know the KXXS but found the KPE incoherent in that it was warm and thick at the low end and overly lean and neutral in the midrange. I did not like it.

The $110 Moondrop Starfield was said to be very similar sounding as the KXXS (although some disagree), but they are somewhat “loose” at the low end compared to the Kato.

The $90 Aria has recently rolled up the Moondrop field from underneath for being coherent, articulate, but it is also a bit peaky, which nevertheless made it my favourite Moondrop model so far…until now. Spoiler alert: the KATO is even better in that it is smoother and richer. Everything in the KATO is bigger compared to the leaner Aria. It is like a cappuccino with generous whipped cream vs. a strong cup of black tea.

Specifications

Physical Things and Usability

In the (rather big) box are the two earpieces, 2 sets of screw-on tuning nozzles (steel and brass), a carrying bag and a carrying case, a set of foams and a set of Moondrop’s own “Spring Tips”, the earphone cable, and the unavoidable paperwork. Generous!

The steel earpieces are virtually identical with the KPE’s and KXXS’ from the outside, but inside they host a new Ultra-Linear Technology driver for improved dynamics and resolution (info on product page). All these earpieces have the same comfortable fit.

The cable is bordering on spectacular – and you know I usually don’t care much about those. It is of medium weight and intermediate stiffness with fantastic haptic and no microphonics.

The in-house developed “Spring Eartips” also feel superb: they have a rather thin membrane and feel extremely grippy. Unfortunately, they are rather small so that even the largest pair does not fit my ear canals. In contrast, the foams are of generous sizes. And since foams generally do not do it for me, I have good results with the Final E tips (clear version). With those, isolation is ok.

The Moondrop KATO can be driven with a phone, but they get more life when amplified.

Tonality and Technicalities

Equipment used: Sony NW-A55, MacBook Air + Audioquest DragonFly Red/Earstudio HUD100/EarMen Eagle + AudioQuest JitterBug FMJ; steel and brass stock nozzles; Final E tips (clear version).

Sonically, the Moondrop KATO has no sharp corners or other sonic vulgarities, everything is well measured and well composed. To achieve this, low end and midrange have been dialled back compared to previous models.

Despite lesser quantity, the low end is digging deep down into the lowest frequencies with the bass climaxing at the transition to the sub-bass. This avoids a thumpy midbass. The low end is weighty with enough rumble, and the mid bass has a good punch, but both are well dosed and not overwhelming – and rather smooth and subtle. Decay is realistic and there is no bleed into the lower midrange. The bass adds some colour to the mix.

In contrast to its predecessors such as the KPE, the KATOs’s midrange also has some colour which harmonizes much better with the low end. The KATO’s midrange is fuller bodied with well rounded notes and a good weight but also offers great clarity, transparency, and spatial cues.

New is the lack of an upper midrange (and treble) peak which attenuated and sharpened vocals in the Starfield or, to a lesser extent, in the Aria. Nothing aggressive in the KATO. Hurrah, Moondrop finally did it and I can retire my micropore tape I used to stick onto so many Moondrop nozzles to tame the upper midrange.

Treble has better extension than (many) previous Moondrop single DD models but always remains sweet, composed, and well resolving, contibuting to KATO’s overall cohesion.

Staging and imaging are outstanding. Soundstage has good depth and height at average width. There is no congestion, great three-dimensionality, very good separation and layering. Transients are realistic, which adds to the smoothness.

I summary, the Moondrop KATO is one of (if not) the smoothest and most homogenous iems I have tested.

All of the above was determined with the steel nozzle. The brass nozzle adds body to the sound but also removes clarity. I therefore prefer the steel nozzle, which was also used for the comparisons below.

Moondrop KATO compared

Since Moondrop have pursued their VDSF target in their recent single DD models, their frequency responses are all rather similar – but not their sound. The biggest difference is probably between the KATO and the $800 Moondrop Illumination in that the latter has a much more boosted upper midrange, which made it somewhat shouty to my ears. I much prefer the much cheaper KATO.

In comparison, the Moondrop Aria has more bass and a prominent treble peak, which makes it overall more aggressive sounding. The Aria is also leaner, cooler, and edgier sounding with inferior imaging. So yes, the KATO is a worthy upgrade.

The Moondrop Starfield is looser and less measured across the frequency spectrum with earlier treble rolloff and a narrow stage. It is also behind the KATO in terms of technicalities and I even prefer the Aria over the Starfield.

The $250 single DD JVC HA-FDX1 (on our Wall of Exellence “WoE”) have been a very highly regarded standard staple for the last 2 years, mainly because of their rather accurate tonality at a very reasonable price. The JVCs are more neutral and crisper in their attack compared to the warmer, smoother and more immersive KATO, which lack the JVC’s upper midrange glare.

The JVCs have a flatter stage, the perfect bass, they are harder to drive, but they are tonally very accurate and are even cleaner sounding than the KATO. It is a bit silly to compare these as both are superb in their own way.

The IKKO OH10, also on our WoE, has a more pronounced V-shape than the KATO with a thicker, boomier, more impactful/more satisfying bass and more recessed leaner and sharper, that is more energetic midrange. This results in a huge soundstage. Again, the IKKO OH10 are a different beast and not exchangeable for the Kato.

Finally ddHiFi Janus2 (taped) is shouty and thinner (in the midrange) sounding than the KATO. It also has less bass. The Janus2 is not remotely as smooth and cohesive as the KATO.

Concluding Remarks

Moondrop finally got it 100% right. Their KATO is a super smooth performer with a superb overall presentation. It is technically and tonally good enough to please both analytical and recreational listeners. You cannot do better at this price, as simple as that. Just bo and guy it. What…?

Until next time…keep on listening!

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Disclaimer

The KATO was kindly provided from Moondrop via their distributor Shenzhenaudio – and I thank them for that.

Get the KATO from SHENZHENAUDIO.

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So this the part where all blogs tell you Tforce Audio is another one of those OEM/ODM companies in China that decided they should stamp their name on their own product. Sure why not, everyone else is doing that. Smart move to actually pick a name that makes sense to western customers and not just a keyboard mashup. There seemed to be some interest brewing for the Tforce Audio Yuan Li throughout the community of earphone users.

I thank Hifigo for providing this set to a fellow who had no idea what these entailed. This wholly balanced easy going set is a cheese and wine earphone, something that is very relaxing and pleasant to listen to after a busy day.

GOOD TRAITS

• Tuning, Tonality, Timbre
• Nice assortment of eartips

NEEDS IMPROVEMENT

• Bass is over-damped and needs amplification. I would like to see it tuned a little lower and with more freedom to articulate and provide slightly more definition.
• Plastic feeling cable, it does resist kinks pretty well though

COMFORT / ISOLATION

Isolation on the Tforce Audio Yuan Li is pretty decent slightly above average. Comfort is excellent for me even with the considerable heft of the shell weight. Not a lot of fiddling is required to make them sit correctly.

PACKAGE CONTENTS

Tforce Audio Yuan Li comes in a highly decorative box having that old world feel. Collectors will love it while people like me will repurpose or recycle it. The earphone case is reptilian skin-like leather inspiring a high class feel which is what they must have been going for. It follows the trend that bigger boxes inspire a more premium product lays waiting inside. Have to love marketing mind games, I am on to you.

The Tforce Audio Yuan Li itself is a trip down memory lane with throwbacks to the Moondrop Kanas Pro period. It’s chrome and uses a DLC coated dynamic driver. The shell is rounded and smooth, no sharp edges and is well assembled.

Cabling is of the twisted variety and has a stiff plastic feel, but it doesn’t tangle as easily as some others. The slider tends to stick to the cable, but that’s ok because then it stays in place where you put it.

Tforce Audio comes supplied with two sets of eartips. They got you covered with a balanced set which means a wider bore, and the bass tips which equates to narrow bore. Then there is the one set of foamies. I personally preferred the widebore, which is pretty much always.

SOUND

Sources: LG V30+ and Sony NW-A55 (mobile)/ Liquid Spark Dac + JDS Labs Atom (stationary)

The Tforce Audio Yuan Li tuning is a diffuse field near neutral with a warming bass lift. I will classify as completely neutral, but for others neutral equals rolled off bass. This just has flat bass in quantity and quality. Bass is heavily damped, smart phone users and even stand alone daps may struggle to really extract the bass from this set. They are more appreciated with amplification.

Tforce Audio manages to keep the bass controlled maybe a little constricted, but definitely not as slow like the Moondrop Kanas Pro. Carries notes well when amped, but a little too curt when using something like a smartphone. You will have to use the volume at a higher level to bring the bass to life. Lowest of the lows will not tickle your pickle, but it’s not chopped at the end either. Overall it is lays out some warmth without stepping out of bounds. Articulation could see some improvement.

Lower mids present vocals naturally and with a dark background. Pianos as well as guitars sound realistic too without sounding one dimensional. The Tforce Audio Yuan Li come off a little forward on the vocals. There is not a single hint of “added” sibilance just smooth as can be and nicely done. This is a western tuning, with a mild rise that avoids coming off shouty.

Treble on the Tforce Audio Yuan Li also follows suit remaining controlled with no sharpness except when needed for trumpets and sax. It doesn’t contain any fake airiness but also manages to sound fluid when presenting cymbals and flutes. It’s easy to hear the notes float avoiding any kind of dullness. No detection of any weird anomalies that mess with the timbre.

My only complaint again is that maybe it is too controlled, I would like to feel the cymbal crashes a little more but this is nitpicking. Overall Tforce Audio Yuan Li manages a well balanced treble that mates up with the slight warmth in the bass.

TECHNICALITIES

Timbre is nailed by the Tforce Audio Yuan Li, and coherency is not a problem either because it is a single dynamic. Spacing is handled well and congestion is not an issue. Enhanced width with only a minor drawback in depth. Resolution is what I expect in this price range, it does out-resolve the $50ish offerings and fits nicely in the $100-150 range, with some other multiple driver units sometimes besting it.

This might just be a function of the diffuse field tuning however when comparing other sets that place extra emphasis towards 5khz. If I had to give it a letter grade on technical merits perhaps a B-.

COMPARISON: Tforce Audio Yuan Li ($119) vs. Moondrop Kanas Pro ($179 discontinued)

I would have liked to compare to the Moondrop Starfield, but I stupidly misplaced them for eternity. So, the Moondrop Kanas Pro seems like a good stand in being a DLC driver earphone like the TForce Audio Yuan Li however being discontinued and nearly double in cost. I already mentioned the slightly more controlled/damped bass, the treble is a tad brighter on the Moondrop Kanas Pro while the Tforce Audio Yuan Li takes a relaxed path on treble so that it is not overbearing. This is the difference between a diffuse field peak and a Harman plateau. It really is not a huge difference between these two, I actually forgot which one I was listening to when trying to compare. The weight, the feel and the sound are very similar.

FINAL REMARKS

For a virgin product, the Tforce Audio Yuan Li is a force to be reckoned with. Honestly this comes real close to a cheaper Moondrop Kanas Pro with tightly damped bass. If you were sad to miss out on the Moondrop Kanas Pro or the Sony MH1C seriously consider picking these up. Let’s hope these are not a one hit wonder, and Tforce Audio can crank out some other options to satisfy other tunings. Pleasant vocals with a hint of warmth and sprinkle of sparkle treble, these hit the mark. The Tforce Audio Yuan Li is on my approved list.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Tforce Yuan Li vs Moondrop Kanas Pro vs Sony MH1C

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DISCLAIMER

These were provided free of charge by HifiGo which sells them on their website here and also on Amazon. There must have been a good sale on chrome plating, because my desk is starting to look like a scene from T2 with all this chrome laying around.

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About my measurements.

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